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Strained and humorless (especially in light of its rather dubious psychology), but well-paced and comfortably lurid, this genteel body count movie highlights the unusually hypnotic presence of Angharad Rees as a young woman periodically possessed by Jack the Ripper, thus allowing for some nasty gore effects amidst the Edwardian propriety. It's all pretty standard stuff for Hammer, but is handled with a good deal of visual elan, even if the central relationship, between psychoanalyst Porter and Rees, drives the narrative without ever being satisfactorily explained.
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My discovery of the cinema of Jan Svankmajer opened My eyes to a whole tradition of Czech animation, of which Jirí Trnka was a pioneer. His Ruka is one of the finest, most technically-impressive animated movies I've ever seen.<br /><br />A potter wakes up and waters his plant. Then he goes about making a pot. But in comes the huge hand which crashes the pot and demands that the potter make a statue of itself. He casts the hand out, but soon it returns and imprisons him in a bird cage where he's forced to sculpt a stone hand. He sets about it, fainting from exhaustion, but eventually completes the task.<br /><br />In a marvellous sequence of metacinema, the potter uses a candle to burn his visible puppet strings, which keep him in thrall, and he escapes back home. He shuts himself in and is accidentally killed by his own beloved plant when it falls on his head.<br /><br />This movie doesn't hide the fact it's pure animation, unlike modern movies that strive to be realistic (why?). The hand, for instance, is clearly someone's hand in a glove. Everything else is clay. Strings are visible and are part of the narrative, making it a precursor of the movie Strings. The atmosphere is eerie: that hand going after the little potter managed to instill more dread in me than many horror movies combined.<br /><br />The movie is obvious but it avoids being totally manipulative for its simplicity. it's a fable about artistic freedom and tyranny which can't help winning the heart and mind of anyone who holds freedom as a natural right.
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I loved the movie. I loved Timothy Dalton and Joanne Whaley. The movie had many different locations in it. I really liked when Ann Hampton realized she could not make Rhett love her. And when Scarlett and Ann where together and Ann apologizes for taking Rhett and Scarlett just told her not to worry she would get him back. It had a great story it told. You just can not compare it to GWTW. It just has so many great scenes. I love both SCARLETT AND GWTW! Of course do not forget to have a hankie handy.
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This movie tells about the real life story of Ramon Sampedro, who lived for 27 years lying in bed after having broken his neck, and fights a battle to get legal permission for someone that can assists with his death.<br /><br />Javier Bardem is one of best actors of his generation. Consider this: he has to carry this movie with only his face! Unbelievable that he didn't even got an Oscar-nomination. Now we can all see that the Academy is a joke! The supporting cast was terrific! The optimistic Rosa, his lawyer Julia, the rest of the family...Each and everyone has his/her own opinion about the fact that Ramon wants to die.<br /><br />Whether your for or against euthanasia, put your opinions aside, because this movie deserves to be seen by people all over the world! Half way through the movie I started crying and it didn't stop until the credits rolled. This movie is so heartbreaking but also wonderful to watch and I can't wait to see it again. I give it a 9/10, and in my opinion it is by far the Best Film of the year so far.
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Thomas Capano was not Anne Marie's boss Tom Carper, the Governor was. That is the reason the Feds became involved, he called Clinton and asked him to get the Feds involved in the case. I lived outside of Philadelphia at the time so the case was front page news every day. I also read Ann Rule's book and saw the 'City Confidential' segment on A&E. Tom Capano was a megalomanic(sp.), an uber-controller and a monster. He claimed to love Ann Marie but all he wanted was someone that he could control. When she wouldn't let him do that anymore he killed her, the ultimate form of control. I think it's a waste of money that he is still alive.
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I don't understand why critics would bash this movie. It's a teen movie that's actually serious, which is a rarity. I'll admit that there are moments that are hugely sappy, but c'mon it's about young love, it's gotta be sappy to be valid. My biggest complaint is Chris Klein. While he was funny in American Pie, he apparently isn't ready for the switch into more dramatic fare yet, he's very uncomfortable looking in some of his 'mama stuff'. Hartnett and Sobieski on the other hand, demonstrate a remarkable amount of depth and believability, as do the parent's. Although the script is heavily cliched with the lovers spouting off poetry, the actor's make it work. The directing sports some powerful images on the screen. Beautiful cinematography, nice music, great young actors, I was impressed and I'm a jaded critic when it comes to teen movies.
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This might be the WWE's 2nd best PPV of the year after Wrestlemania it was a good suprise! John Cena had an excellent match in which he upset Chris Jericho. Jeff Hardy retained his IC title in a short sloppy match with Willam Regal. Bubba & Spike Dudley won a fairly violent tables match over Benoit & Guerrero. Jamie Noble had a really good match with Kidman which was suprising to me. Booker T defeated The Big Show in a no dq match, at one point Booker T gave the scissors kick to Big Show and sent him right through the table. In a stupid decision by the WWE Christian and Lance Storm, the jealous anti-americans defeated Hogan and Edge with a lot of help from Test and Jericho. RVD and Brock had the match of the night it was filled with great high spots and RVD got to retain his ic title through a DQ so I was happy he kept the title. Triple H also signed with Eric Bischoff and Raw which means little to nothing. And in the main event the Rock became the first ever 7-time WWE world champion defeating both Kurt Angle & Undertaker in a triple threat match. Overall this is probably the WWE's 2nd best PPV of 2002! 7/10
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I saw this version of Hamlet on television many years ago, and have seen every other version since, whether television or movie. However, this is the one that remains the truest depiction of the story for me. Most excellent Derek Jacobi made Hamlet *real* for me. Before I saw this version, Shakespeare was simply gibberish to me and I never tried to understand the Elizabethan English. Having seen Jacobi's Hamlet several times not only increased my knowledge of literature, but also that of my family. I promptly checked the play out of Library and read it, and poured over the accompanying recording. Jacobi's rendition attracted me to a deeper knowledge. And yet, I have been searing for a video of it for years and years to no avail. It gets a very high rating from viewers. Why, then, has it not been released on video? It's the only Hamlet that I'd invest in...
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Despite Disney's best efforts, this is a rather enjoyable movie about following your dreams. I was surprised that it didn't strike me as over-sentimental; this movie played fair. Dennis Quaid was very, very good in the role, which is saying something for a sports movie. I can't recall how many sports movies have had little quirks that bother me; here, everybody looks the part. This movie is surprisingly good, and I predict that it will do surprising business as it is a G-rated movie that doesn't require the viewer to stop thinking. Ebert to the contrary, this movie is a success.
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I read somewhere where this film was supposed to be a remake of the 1949 film noir, 'Criss Cross.' I found the latter to be disappointing but it was still better than this film. <br /><br />This movie is a 'neo-noir' since it's modern-day and it's in color, two things that purists would make it be disqualified for film noir status. <br /><br />The biggest negative to it, however, wasn't the cinematography (that was fine) but the muddled storyline. Hey, some of '40s Dashiell Hammett stories were similar but I didn't care for some of those either. The filmmakers here did not help the situation by placing flashbacks into the story what seemed like every three minutes. No wonder it was the keep up with this story. It was ridiculous! What happens is that by the 45-minute mark, their is so much confusion nobody cares anymore. I know I didn't.
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I went to see suspecting I would hate it, I did. Everything about it was wrong; it was like they were filming a different book. Granted the locations and houses very lovely (if not a little miscast-yes even the house were wrong for their parts) Keira was too modern, dull and frankly I found it unpleasant to watch her. Were everyone else sees Darcy as a sex god the writer of this saw him as sexually frustrated and inadequate. Bingley was stupid and dippy (he isn't meant to be) and the Bennett's were shown to be destitute and for some unknown reason farmers, this is incorrect and ludicrous. The very idea that Mr Bennett would answer the door in his night gear with the rest of the family dressed in their underwear to in the middle of the night is stupid. They had servants. Mr Collins was not repulsive and greasy merely stupid and obnoxious, Georgina Darcy was ugly and old and Miss Bingley wore a sleeveless dress, what! As if! It is Historically inaccurate and even the ending is unsatisfying. I could go on for days. I hated it so much as not only was it nothing like the book but I fear that for many people it will be their fist experience of this great novel and it will give them the worst possible idea of it. The BBC version is so superior it's not even funny and everything about this version is an insult to its memory. In short if you must see it be sure you have read the book first or seen the BBC version other wise you will be lead done the deluded road that this is what it's like, which its not!
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ALIEN LOVE ( As this movie is known in Britain ) is a very strange movie . I don`t mean that it`s an esoteric art house movie in the style of Peter Greenaway or Derek Jarman , I mean it`s a TVM with swearing , sex , some really good T&A , a bad script and a very retro feel . You can just imagine someone like John Hughes directing this ten years earlier , though of course he would have cut out the T&A <br /><br />Going back to the bad script , one of the problems is that few of the characters have any type of motivation especially Amanda . Why does she pick up Connie at the bar ? Just so she could meet an alien ? Do you see what I mean about retro ? ET , SHORT CIRCUIT and a whole lot of other movies from the mid 1980s had this type of plot with most of them being more defined and convincing than the one seen here . The storyline continues to follow an ill defined , unconvincing and illogical path <br /><br />That said I did find ALIEN LOVE watchable and not only down to the T&A on display . As a a sci-fi sex comedy it`s much better than FLESH GORDON and EARTH GIRLS ARE EASY
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I guess I was attracted to this film both because of the sound of the story and the leading actor, so I gave it a chance, from director Gregor Jordan (Buffalo Soldiers). Basically Ned Kelly (Heath Ledger) is set up by the police, especially Superintendent Francis Hare (Geoffrey Rush), he is forced to go on the run forming a gang and go against them to clear his own and his family's names. That's really all I can say about the story, as I wasn't paying the fullest attention to be honest. Also starring Orlando Bloom as Joseph Byrne, Naomi Watts as Julia Cook, Laurence Kinlan as Dan Kelly, Philip Barantini as Steve Hart, Joel Edgerton as Aaron Sherritt, Kiri Paramore as Constable Fitzpatrick, Kerry Condon as Kate Kelly, Emily Browning as Grace Kelly and Rachel Griffiths as Susan Scott. Ledger makes a pretty good performance, for what it's worth, and the film does have it's eye-catching moments, particularly with a gun battle towards the end, but I can't say I enjoyed it as I didn't look at it all. Okay!
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I truly despair for womankind when they discuss this joke of a programme as if it's intellectually engaging and promotes female liberation and independence. This show is the biggest insult to women next to all those libidinous hip-hop videos. If talking like a bunch of reckless teenage boys over $100 lunches in swanky restaurants, indiscriminately shopping for unnecessary fashion and jumping into bed with the nearest male in site is considered empowering, the fate of western women may be doomed as we speak.<br /><br />Aside from the damage it does to the female gender, Sex and the City is NOT ENTERTAINING. Not once has it been funny, captivating, exciting or original. The episodes play out monotonously. Each character are factory produced mannequins who behave in the same manner every episode. Not once have any of these shallow, unattractive women evolved. Perhaps the worst is lead character Carrie Bradshaw. Aside from looking hideous, her penchant for over analysis of relationships is cringe worthy. On top of all this, the show portrays men as a bunch of empty headed slobs who are unable to commit to healthy relationships. Even when there is a decent man, he is somehow painted as a villain. The utter lack of empathy for men is clearly the work of some 'progressive' pseudo feminist.<br /><br />Saddest part of the whole show is that these women live unfortunate miserable lives. Any intelligent woman would never envy them. It is a banal show with even more banal characters. The NYC tourist board must hate the way this garbage is showing up their otherwise fine city! Thankfully this train wreck is over! Desperate Housewives is seen as the fitting replacement for SATC. While DH can be quite far-fetched, at least it explores women in more multi-faceted ways. Plus it treats men more respectfully and it's actually entertaining!
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Aro Tolbukhin burnt alive seven people in a Mission in Guatemala in the 70's. Also he declared that he had murdered another 16 people (he used to kill pregnant women, and then he set them on fire).<br /><br />This movie is a documentary that portraits the personality of Aro through several interviews with people that got to know him and through some scenes played by actors based on real facts.<br /><br />'Aro Tolbukhin' is a serious work, so analytical, it's not morbid at all. Such a horrifying testimony about how some childhood trauma can turn a man into a monster.<br /><br />*My rate: 7/10
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This is fantastic! Everything from the Score - to when the final credits role. This movie is a Masterpiece. It's genuinely creepy and its effectively hysterical setting is enough to give anyone the creeps. It is apparent that the movie was NOT rushed, and that David Schmoeller (Who would later work with Fullmoon on the Puppet Master Series) had a clear and concise image of what he is trying to direct. The professional aspect of the movie is astonishing considering it's relatively low budget. It relies on scares without effects (Mainly due to budget restrictions) but still creates a tension filled atmosphere.<br /><br />Stephen King stated that this was one of his favorite movies and I seriously cannot blame him! It's one of my favorite horror movies and always will be. This is my favorite Fullmoon Movie and has been ever since I first purchased a good few years ago.<br /><br />Money Well Spent! I own both VHS and DVD versions.<br /><br />10/10
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I try to be very objective when I view a low budget movie. I also apply a lower weight to independent and low budget productions versus the big budget productions. I expect near flawlessness from big budget productions and their studios. Therefore I apply tougher criteria to the major studio releases. But this movie was just a dud. Period. The premise was terrible. The main character, Mary Gordano (Alicia Silverstone), was unbelievable as a high school senior with an unquenchable desire to solve crimes. There was not enough depth in her character or her acting that pulled you into her world. Also, to make this movie more mysterious, the lighting in certain scenes did not set the mood, especially in the warehouse.<br /><br />Once again another disappointing movie that I could only give three points to.
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THE SCREAMING is a very low budget horror movie that was shot on video. It features passable acting, poor lighting, a weak story, and some of the worst monster effects I've ever seen. The plot has a college student being pressured to join a cult by his attractive landlord. The cult is a parody of Scientology with a book similar to Dianetics. This would have been a funny shot at that group were it not for a dumb script and the cheapness of the production. The monster effects look awful and the picture quality makes it feel like you're watching a home video or a public-service announcement. I think anyone who sees this will agree that movies should be shot on film.
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When I first became a father about 5.5 years ago, I was prepared for many of the sacrifices I'd have to make. I knew I'd have to change diapers and take them to swimming lessons and attend many a freezing Santa Claus parade, but I wasn't ready for the kind of sacrifice I made last night. This, in my humble opinion, is cruel and unusual punishment.<br /><br />Underdog is bad. It's not quite Karate Dog bad, but it makes The Shaggy Dog feel like Pulp Fiction. If Underdog were a television show, I'd recommend flipping on by. Not even the presence of Puddy and the voice of Banky Edwards can save it. Bow. Wow.<br /><br />It was also just about the best 80 minutes I've ever enjoyed. James was seated to the right of me and Michelle to the left, and I spent more time watching their reaction to this talking, flying mutt than watching the screen. At 5 and 3 years old, they were the target audience, and this movie nailed the target. There's a scene where Underdog belches loudly in another dogs face and Michelle thought it was the funniest scene ever captured on film. When Underdog was flying into outer space, James was literally at the edge of his seat, mesmerized. The kids absolutely loved Underdog, and that's why I was there. That's what last night was all about.<br /><br />Unless you're accompanying someone under the age of ten, you have no business wasting a second of your life watching this brutal film. But if you are looking to kill 80 minutes with your four year old, I won't judge. I had a blast.
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I saw this television version of a Christie mystery story when it was shown back on Channel 5 in New York City in 1980. At the time I was surprised it was not shown on Channel 13, the Public Television Station that showed most of the Masterpiece Theater programs, but (aside from some Dorothy Sayers 'Lord Peter Wimsey' stores, and THE MOONSTONE) the BBC productions rarely dealt with British detective stories. Another series, THE RIVALS OF SHERLOCK HOLMES had dealt with stories set in the Victorian and Edwardian period, so a period charm was involved in getting those stories onto Channel 13.<br /><br />The plot of WHY DIDN'T THEY ASK EVANS? dealt with a young couple stumbling upon a dying man who's only last words are the question of the title of the story (the novel was originally called WHY DIDN'T THEY ASK EVANS?, but subsequently was retitled THE BOOMERANG CLUE). The young couple start investigating the murder, and trace the crime to a set of people who surround a questionable doctor (Eric Porter). Despite the warnings of the father of the hero (John Gielgud), the hero (James Warwick) and the heroine (Francesca Annis) pursue their investigation - even as it gets murkier and more dangerous. The death of another suspect by suicide increases the apparent dangers as the killer starts looking into silencing the two amateur detectives.<br /><br />It's not a bad film, although I agree it was a bit too long for a single night's entertainment (if it had been done like later Miss Marple episodes with Joan Hickson, or the Hercule Poirot episodes, in two parts it would have been better). But it has it's strengths. One is the proper use of Porter as chief suspect, and a clever scene later in the film where he appears to be spying on the young couple who are investigating the mystery. If you stick to the film, you will be in for a fair surprise later on.<br /><br />But it has one failing. When dealing with a Christie novel the figures in the story have to be in a rigid schedule of movements so that the reader might be able to figure out what the secret of the plot is. I will only add that if you hear the dialog at one point, and how a little boy was almost killed (but wasn't), then you will find all the parts of the story coming together, and what the villain's motivations were.<br /><br />Except for that and the lengthy time the telefilm takes to tell it's story, it is quite a good film, and worthy as one of the best programs based on a Christie story in the period when their was a sudden renaissance in films based on her novels.
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Having read so much negative press on this movie over the years, I'd always avoided it, but the advent of the cheap public domain DVD encouraged me to finally give it a viewing. <br /><br />Unfortunately, it's been transferred from a poor copy. The modern prequel, shot on tinted stock, is blurry and the contrast, non-existent. Faces are occasionally difficult to make out. Having said that, the actual story is entertaining and Lou comes across as an accomplished actor, more so than in many of the boys' movies.<br /><br />Once the movie switches to the 'Jack' story, the film switches to 'colour' and I use that term loosely. Most hues are orange or brown. The greens look particularly bad.<br /><br />Dorothy Ford as 'Polly', the giant's maid, was a big plus for me as I enjoyed her in an early 'Andy Hardy' appearance.<br /><br />With so many negative comments put down to the actual quality of the print, I'm still happy to give this movie a 7. It gave me a lot of laughs and that's more than the greater majority of comedies I've watched over the decades can manage.<br /><br />One to watch if you get the chance.
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What a great movie!! It's a touching story about four high-school friends who grow up in the 1960s. Throughout the decade, the friends are somewhat separated, but they mnnage to see each other occasionally. There are many tragedies, but there are also a lot of happy moments that make you laugh and smile. It's a heart-filled tale of life, love and friendship. Definitely a must see for drama fans.
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I've seen this movie more than once and it's worth it. For those of you who like martial arts and overcoming internal conflict, this is a worthy choice. After seeing this movie, I wanted to be a more productive member of society because I could relate to the inner turmoil of a girl looking for acceptance and needing a path to follow. Of course, Mr. Miyagi always provides his sage advice. 2 thumbs up!
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I foolishly read the back of the DVD cover of this movie in Best Buy about a year ago, and said to myself, 'Seems funny, plus it has Michael Clarke Duncan, how can I lose!' I proceeded to pay $15.99 plus tax for it. I took it over to a friends house and we both stood aghast at how poorly it was written and acted. Wooden performances abound. All the 'hilarious' and 'outstanding' performances promised never seemed to arrive. After 90 minutes I hung my head in shame, knowing that I could never get that 90 minutes or $15.99 back. I literally almost cried as well, because if that was what could be considered 'comedy' I didn't want to believe in movies anymore. My friend and I constantly informed a friend of ours of the horror of this movie to the point that he needed to see it just to understand how bad it was. Over the holiday season this year I watched it with him because he didn't want to watch it alone. This was my next horrible mistake, because as I watched I just became angry. I began to yell at the movie, and I'm not one to talk to movies period. Everyone I know that has even glimpsed this movie has agreed its the worst they've ever seen. My sense of humor is sick and twisted and often offends my friends, but that could not save this movie even. The fact that this movie is not on the bottom 100 list on IMDb is astounding. The fact that its rating (at the time of this writing) is 3.6 is a crime against humanity.
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Neil Simon's THE ODD COUPLE set up a model for many of his later plays. Felix Unger and Oscar Madison were the unsuitably paired roommates in the original, the former being picky and neat, the latter being slovenly and loose. Simon would rewrite (less successfully) the play in the 1990s as THE NEW ODD COUPLE, with female roommates. He made it a mixed couple (a woman with her daughter, and a man) in THE GOODBYE GIRLS. He also gave it an additional twist in 1973 with THE SUNSHINE BOYS, a Broadway hit starring Jack Alberson and Sam Levine as Al Lewis and Willie Clark, the aged, semi-retired Vaudevillians. Here the 'apartment' problem is reduced to a teaming of two men who can't stand each other. The 1976 film starred Walter Matthau as Willie, and George Burns as Al.<br /><br />In actuality, Al probably does not think totally badly of Willie - Willie is pathological on the subject of Al. First Al had little habits, such as accidentally spitting slightly when pronouncing words beginning with the letter 't', and slightly jabbing Willie with his index finger, on stage. Secondly, Al retired when his wife died. Willie was not ready to retire (and has been forcing his nephew and agent, Ben (Richard Benjamin) to try to get him jobs in commercials. But Willie can't remember lines unless they are funny, and keeps flubbing them. So he rarely is able to stay to the end of a rehearsal for a commercial.<br /><br />Ben is asked to get the two back together for a live scene of their most famous sketch on a television show about American Comedy. He does bring Al to see Willie, and the sparks begin flying, as neither can figure out what the other is doing (and this is just in rehearsal. On top of that, Willie is insisting on changes (minor ones, but they throw off Al) such as saying 'ENTER!!!' when Al knocks on the door. The initial rehearsal is a failure, but Ben manages to get them to the taping of the show. The question is if they will complete the scene in the finished program or will Willie wring Al's neck?<br /><br />The three leads, Matthau, Burns, and Benjamin, do very well with the one-liners, frequently reminiscent of vaudeville patter (example: 'Chest pains...I'm getting chest pains Uncle Willie. Every Thursday I come here and get chest pains!' 'So, come on Fridays!'). Benjamin strives to prove his deep affection for his uncle, although Matthau's rough outer shell makes it difficult (he only smooths down when he discusses the glory days of vaudeville). Matthau has a little better grasp on reality (at first) than Burns, who seems senile by his repeating himself - but in actuality Matthau's sense of rejection by the world that once applauded him make him less willing to behave properly. Burns is not senile - he takes things slowly. But he seems far happier in accepting his retirement.<br /><br />I call this a final 'Voyage of Discovery' for our modern Lewis and Clark. Al and Willie transcend their old skits, as they gradually end up realizing that they have more in common in their old age than they thought. Even the irascible Willie admits that Al may be (to him) a pain in the ass, but he was a funny man.<br /><br />Burns was not the original choice for the part of 'Al Lewis' (supposedly Dale of the team Smith and Dale). Jack Benny was. Benny probably would have done a good job, but ill-health forced him out (he died in 1975). Burns (whose last involvement in any film was in THE SOLID GOLD CADILLAC in 1956 as the narrator) turned in such a fine performance that he got the 'Oscar' for best supporting actor, and was to have a career in movies in the next decade in such films as OH GOD!; OH GOD, YOU DEVIL; and GOING IN STYLE. He died in 1996 age 100, having proved that he was more than just a brilliant straight man for his wife Gracie Allan.
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This was one of the worst Wrestlemania's I've seen. It just didn't stand out at all, really. Card wise, I thought it was going to be pretty good, but every match just seemed to fall short.<br /><br />Chris Benoit vs. MVP One of the better matches. Benoit carried it. I just didn't think MVP was that great, but Benoit saved this match. <br /><br />Kane vs. Khali Wow, these two guys don't mix. Or maybe it's Khali and any other person alive don't mix. Awful match.<br /><br />Melina vs. Ashley I'm not a fan of female wrestling.<br /><br />ECW Originals vs. New Breed I was excited about this match, until I saw it. Really, Really disappointing.<br /><br />Edge vs. CM Punk vs. King Booker vs. Jeff Hardy vs. Matt Hardy vs. Mr. Kennedy vs. Finlay vs. Randy Orton Absolutely the worst MITB match so far. Just a major let down, to many people in the ring at the same time. It just didn't live up.<br /><br />Bobby Lashley vs. Umaga O.K. not extremely impressive, but not the worst of the night.<br /><br />Batista vs. Undertaker This was maybe the best match of the night. Very, very, very nice to see something good for a change. <br /><br />John Cena vs. Shawn Michaels I really feel like this match deserved to be last. People make a case for Batista vs. Undertaker, but this match was just as good. I am starting to get sick of seeing Cena win every match though. It's getting a little old. Now, I have to say, I feel this match is the best of the night, but I'm a huge Shawn Michaels fan, so I'm a little biased. Batista vs. 'Taker may have been better, but I'm biased, so...sorry. The last two were undoubtedly the best matches of the night and most everything else really came up short.
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Timberlake's performance almost made attack the screen. It wasn't all bad, I just think the reporters role was wrong for him.<br /><br />LL Cool J played the typical rapper role, toughest,baddest guy around. I don't think the cracked a smile in the whole movie, not even when proposed to his girlfriend.<br /><br />Morgan Freeman pretty much carried the whole movie. He was has some funny scenes which are the high point of the movie.<br /><br />Kevin Spacey wasn't good or bad he was just 'there'.<br /><br />Overall it's a Dull movie. bad plot. a lot of bad acting or wrong roles for actors.
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Pretty, stereotyped, good looking cast, the story loops in a wide and confusing arc, leading you down a number of garden paths (without attendant fairies) before plummeting to an end that feels you leaving - hollow.<br /><br />If you are after a film that has climax or ends with a satisfying thump, this is going to be a disappointment. Inspite of the main character's notionally overt sexuality I felt that he was androgynous, lacking a clear male persona, rather like his lacking of a clear French persona. Even though he is notionally laid naked (or rather sat naked) at the end of the film, the viewer is as unaware as the character as to motivations - that little thing called plot. Probably a stereotypically English speaking point of view, at least if you take the side of the film.
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I had the misfortune to watch this last night on the BBC, I expect I may have been the only viewer. From the beginning there was something quite wrong about the movie, after a few minutes of viewing i managed to work out what it was. THE MOVIE WAS BAD! Not bad in a good way like Wolfpack or a Seagal film just plain old shoddy bad.<br /><br />Why was this made into a movie? I've seen a few episodes of the TV series and thought it was alright but I only saw repeats of that because they made this.<br /><br />I spent most of the film trying to work out what the story was and by the end I was none the wiser. I seem to remember at some point a character, maybe Farina's mentions that the Mod Squad can get in to places regular cops can't. The 'place' turns out to be a 'club', one of the toughest places to get into, maybe it was student night? I lost track of the plot at this point or maybe there was no plot and the movie was just chopped together from various leftovers from other TV series remakes.<br /><br />Was it an action comedy? I don't remember any laughs.<br /><br />Overall this movie lacked the real scene stealing power of someone like Seymour Hoffman as the bad guy. With him Ribisi would have had somebody to bounce off.
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Okay, so I love silly movies. If you enjoy silly sci-fi movies, over the top movies, or if you are a fan of Mr. Bruce Campbell, i would go see this movie. This movie is all that i wanted it to be. Being a fan of over the top movies, this fit the bill. Every time i thought to myself 'this movie would be the sillest, best movie ever if *blank* would happen....' then just as i thought it, *blank* would happen. It's a wonderful silly 'b'-movie. If you are a fan of Campbell i'd say 'see it', bring your friends, laugh at it. It's fun. It's not classic, or anything, but if it's on TV some night, watch it. It has become, for me, a movie i would file under 'indulgent movies'. Movies that may not be good, but after a hard day of work, i could come home and watch, (this list also includes 'harold and kumar go to white castle', 'army of darkness', and ' Intolerable Cruelty' ) <br /><br />If you feel like a over the top, wonderfully slightly bad movie, watch this. if not, go rent 'Bubba Ho-tep'
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---------SPOILER ALERT----------------------------<br /><br />This was the worst of the series, it is horror disguised as political satire and it is as subtle as a sledge hammer, not very scary and not very insightful. Did Micheal Moore have anything to do with this piece of Garbage.?<br /><br />I'm really sick of Hollywood using entertainment as a political campaign against George Bush and constantly repeating the same talking points over and over again. This movie wants to be DeathDream, but unlike that movie which subtly poignantly tackled the problems soldiers who came back from Vietnam by clever making the main character come back as a blood craving zombie and slowly built on this theme: it was a true horror film that was also good social commentary, because it didn't get sanctimonious, exploitave and preachy.<br /><br />I guess Joe Dante, thought this was trying to make a horror film to scare Republicans, conservatives and Libertarians and me being the last in that list found this film to be totally ridiculous, manipulative and exploitave all at the same time and I don't mean the good type of exploitative, that you often find in the ' drive-in' type movies, I mean exploitative in the most sickening and vile manner: using the deaths of our soldiers as a manipulative political statement disguised as a horror film. <br /><br />This film assumes that all the soldiers who died in Iraq, would vote against a conservative president if they would come back to life as zombies, which is a flawed premise, because as I recall for the most part and going by George Romero's rules; zombies are mindless, flesh eating creatures, operating on pure impulse and even though the zombie Andy, in DeathDream could talk, he couldn't really hold a conversation and he was driven by his addiction to human blood. Okay, zombies are mindless creatures driven by impulse and not intellect and obviously they are dead, so why would dead people be allowed to vote in the first place? My interpretation of this film is that the only war a liberal democrat could win is by having mindless, dead people vote for him, I guess they meant to say the people that vote for presidents like George Bush are the mindless zombies, while the real mindless zombies, are actually the ones making the intellectually sounds decisions. Yeah, whatever. Dawn of the Dead tackled this idea much better, but user the idea of mindless consumerism. This film isn't Dawn of the Dead by any stretched of the imagination.<br /><br />The film addresses the issue while the soldiers are alive that a majority of them voted for a Bush like president, but after they die they would vote for a liberal anti-war democrat after they are zombies, who are normally considered brain dead creatures and laughably has them destruct after they vote.<br /><br />If you are gonna make a zombie movie Mr. Dante and invoke George Romero's name in it, you better have mindless zombies that like ripping people apart and eating their intestines, not zombies that vote. I also like how the zombies just go 'evil' conservatives who support the war.<br /><br />If you want a good movie with social commentary skip this poorly made, preachy piece of junk and watch DeathDream instead.<br /><br />The worst of the Master of Horror Series hands down.
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I simply cant understand why all these relics from the Ceausescu era refuse to let go. One can see clearly how frustrated they were during the commie censorship that forbade them so many things to show in their movies, and now they imagine its dunno what big deal of artsy-fartsy freedom so fill the screen with people defecating, urinating, vomiting, swearing, and any other kinds of hideousness imaginable. THIS IS NOT CINEMA, FRIENDS AND NEIGHBORS! This is simply visual perversion. Forget about Bunuels Chien Andalou, about David Lynch, about Forman and neorealism and other movie makers who were able to work with an aesthetics of ugliness. THOSE people were mastering their jobs - well, you Don't! Do us a favor, all you Daneliucs and Nicolaescus and Saizescus and Muresans and Marinescus and Margineanus and other obsolete old-timers, and leave us alone! Its bit time to see some Romanian MOVIES on screen, enough with your immature terribilisms! You are not directors, you are ILLITERATE!!!
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When I see a movie, I usually seek entertainment. But of course if I know what genre the move is, then I will seek what it is meant to do. For example, if it is a deep film, I expect the film to rile thoughts up in my cranium and make me ponder what it is saying. But Who's That Girl? is not a deep film. But it is entertaining, nonetheless. It's a campy sort of film that's a joy to watch. There's barely a boring moment in the film and there are plenty of humorous parts. I've watched it when I was younger. The cast is always entertaining as usual. I had a small crush on Griffin Dunne even though he wasn't the typical male heartthrob at the time. Haviland Morris also stars. And late Austrian actress Bibi Besch is here too! Overall, a delight!
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She's The Man was everything I wanted it to be and maybe even a little more. I love the teen type 'chick flick' films and I knew this one would be great!! In the same vein as 10 Things I Hate About You (one of my all time faves) She's The Man is a unique, well written, very well performed comedy with some of the funniest lines, and physical comedy I have seen in a long time. It's probably the funniest movie I've seen this year (with the exception of the hilarious Pink Panther.) But She's The Man is actually a more intellectual funny and most of the humor relies on the witty script, 'Three's Company' style story of mistaken identities, and mixed messages, and the cast.<br /><br />Amanda Bynes is a star!! Even since the days of the horribly campy (yet strangely entertaining 'The Amanda Show', she has shown a brilliant talent for comedy. She's probably one of the most talented comediennes out there. Her style of physical comedy, impersonations, and witty dialect makes her hilarious. Previously her big screen debut (where she was the star) was the rather hilarious and well made 'What A Girl Wants.' If that wasn't her break out vehicle than She's The Man takes care of that hands down. Bynes is really the ultimate girl next door. It's a shame she doesn't do more big screen work because she could be the next 'It' girl. She is the All American, cute, down to earth, bubbly teen (although she's twenty now) and whether or not she'll be able to carry her talent and style over to being an adult actor will remain to be seen. But for the purpose of this film she is perfect!! She actually legitimately pulls off the rather outlandish plot of her impersonating her twin brother and makes it believable. Not entirely...but believable enough. Most of the script relies on the comedy of her errors trying to be a guy but it's just hilarious, non stop laughs. Channing Tatum redeems himself from his deplorable performance in 2005's 'Havoc' by plays Duke. He's the jock, the captain of the soccer team, and eventually Bynes' object of affection, unfortunately he's also Sebastian's room mate (who is Bynes.) He's a good leading man, and the chemistry is perfect between them. Laura Ramsey is Olivia, who happens to be attracted to Sebastian (who again is Bynes.) She does good as well although her part is small and she doesn't really effect the rest of the cast one way or another. James Kirk is great in his small role as the real Sebastian. His resemblance to Amanda Bynes is astonishing...they are absolutely believable as twins and further more, from a distance you could understand someone believing Bynes is Sebastian. The rest of the cast all fit in there somewhere and their roles range from brief to more supporting but essentially they are all supporting the story between Bynes and Tatum but everyone is more or less supporting Bynes terrific performance. She easily carries the film with no hesitations and makes it worth while.<br /><br />This is one of those films that shows so much in the trailer and yet it's not one of those films that when that part comes up it's not funny anymore. The parts in the trailer that make you laugh are even more hilarious in the actual film. Relative newcomer director Andy Fickman does such an incredible job on this film. He weaves together a potentially complicated storyline and makes it flow naturally and makes everything fall together. The story which is loosely based off of Shakespeares Twelfth Night but it's remarkable how much they managed to translate over to this modern day film. It's seemingly completely off the wall but more exact to the classic comedy than you'd think. There isn't too much to say about a downside except that the last half hour drags a little and also becomes a might predictable but it doesn't change the hilarity of the first half of the film. Nonetheless you'll be laughing to tears and it's one of the funniest films in the theater right now hands down!!! 9/10
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This is a generally nice film, with good story, great actors and great songs. The cinematography was unfortunately bad. One of the film's weakest points is the annoying chain of sequences copied from Pretty Woman. Why? Does it hurt to attempt some originality, Abbas? Mustan? Anyone?<br /><br />The film is about a newly married couple, Raj and Priya (Salman - Rani). Priya cannot conceive after an accident she had during the previous pregnancy, and they finally decide to use a surrogate mother, who will carry their child. They pick Madhubala, a vulgar prostitute played by Preity Zinta. The film is not really realistic, I mean, isn't it easier to adopt? And even if they pick a girl, does it mean the man has to sleep with her? Have you heard of insemination? Anyway, I guess if the writers had heard of all this, the film wouldn't have been made, so the concept is apparently intentional.<br /><br />Salman acts very well. It's nice to see him playing a serious character. But his character suffers from unnecessary and cheap dialogues about his great love to his wife and how hard he finds it to sleep with another woman. Come on, it's cheesy and unrealistic. Rani is just about OK; she is generally effective and does try to do something with the role but gets completely overshadowed by Preity Zinta.<br /><br />The film belongs to Preity, who steals the show in a big way with her flawless performance. She makes the transformation from a loud prostitute to a sensitive woman easily and naturally. She lives the film, emotes and makes you love her and admire her at the same time, partly because of her role, partly because of her magnetic and positive personality. This is one of her career-best performances. There is no doubt she is more talented than her industry contemporaries. She just should do more such roles.<br /><br />The film's ending only highlights what I said above. It is tear-jerking, exciting and very well-acted. Watch it for Preity.<br /><br />7/10 for the film! 10/10 - for Preity!
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If you're a fan of Gothic horror, then you're definitely absolutely guaranteed to LOVE this wondrous Italian 60's film 'Castle of Blood'. We're really talking about creepily creaking doors, eerie portraits that appear to be moving, spontaneously dying candles although there's no wind and smoke coming from underneath heavy wooden chamber doors. Speaking in terms of atmosphere and style, this masterful piece of Gothic film-making is one of the best out there; just one tiny league below landmarks such as 'Black Sunday', 'The Three Faces of Fear' and 'Curse of the Crying Woman'. The prominent directors duo Sergio Corbucci ('The Great Silence', 'Django') and Antonio Margheriti ('Cannibal Apocalypse', 'Killer Fish') are successful in all areas, including a powerful plot (one that is genuinely nightmare inducing), ultra-sinister scenery and filming locations, stylish black and white photography, spine-chilling music and a brilliant gathering of talented performers. Barbara Steele, starlet of the aforementioned 'Black Sunday' and Italian goth-muse number one, shines brightly again as a spiritually tormented character and she's literally surrounded by excellent co-players. One of them, Silvano Tranquilli, even gives away a fairly credential depiction of author Edgar Allan Poe. The story involves him and another wealthy visitor of a countryside tavern challenging a brutal young journalist to accept a morbid wager. If he Alan Foster would survive spending one night in the infamous Blackwood Castle, he receives the astonishing reward of $10 and a newspaper interview with Poe. Needless to say the ordeal is much more dangerous than it sounds, even for somebody like Alan Foster who's a firm non-believer in ghosts and vampires. The night starts out great for him, as he even meets up with the stunningly beautiful woman of his dreams, but gradually he learns that Blackwood Castle is a hellish place where the ghosts of the previously deceased visitors are trapped for all eternity. I don't know about you, but this is seriously one of my favorite horror movie premises of all time. Co-director Antonio Margheriti clearly was proud of this film as well, because he remade it himself a couple of years later as 'Web of the Spider'. That movie had a handful of trumps, like for example the casting of no less than Klaus Kinski in the role of Edgar Allan Poe, but in general this original is vastly superior. 'Castle of Blood' literally oozes with atmosphere and maintains a thoroughly unsettling ambiance throughout. This truly is one of the rare films that can make the hair on your arms and back of the neck rise with fear if you watch it in the right circumstances. Watch it late at night, preferably alone and in a candle lit room, and you'll get an idea about the true definition of horror.
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Wow. I read about this movie and it sounded so awful that I had to see it, and my gosh, I can smell it in St Louis. Where do I start? National Lampoons was trying to follow up 5 years later on the success of Animal House, but they completely missed the mark. I'll go chronologically with these short flicks.<br /><br />Short Film #1 <br /><br />Poor Peter Riegert (Boon from Animal House). Apparently, he wasn't working back then, so the boys at National Lampoons probably called and said 'hey, we're making a c**ppy movie, wanna be in it?' Peter was like 'well, I'm not doing much these days, why not?' He was a great side character in Animal House, but he couldn't carry this sorry short flop for 5 minutes.<br /><br />POSSIBLE SPOILER The premise is funny enough, with Jason Cooper (Riegert) telling his wife to leave him, she needs to find herself. It's too weird that they're actually in a happy marriage. So he chases her off, there she goes, and Cooper is in charge of the kids. This, off course, leads to him burning the house down, losing several of the kids, and sleeping with an assortment of New York bimbos (including an ever so young Diane Lane). Then the wife comes back, wants the kids, and the film ends with a coin flip that'll decide the fate of the children. The idea was actually somewhat clever, but the director stunk. The characters all seem like they're falling asleep, they HAD to be doped up. Sorry Boon, your legacy was tarnished with this flop.<br /><br />Short Film #2 <br /><br />MORE SPOILERS <br /><br />Enter Dominique Corsaire. Pretty girl, recently finished college, not sure what to do with her life. So she becomes a slut, starts sleeping around with some mega rich guys, takes their money when they die, and she doesn't stop until she beds the most powerful man in the world, Fred Willard (Ooops, I mean the president of the United States). Once again, it could have been funny, and though I was happy that Corsaire (Ann Dusenberry in real life) wasn't afraid to bare all, her acting was horrible. What a waste of time.<br /><br />Short Film #3 <br /><br />I can't believe I made it this far. Here's the rookie cop Brent Falcone (Robby Benson) with veteran Stan Nagurski (Richard Widmark). Falcone is young, naive, thinks he can really help people, though he becomes cynical after being shot several thousand times. Nagurski, really, has just given up caring. He watches muggings, assaults, you name it, and never intervenes. He figures the world is lawless and he'll probably get sued if he does anything. Even Christopher Lloyd (at the end of Taxi's run) gets in on the action, getting the police called on him, committing a crime, but having his lawyer there to protect him. God bless America!!<br /><br />Once again, could have been funny, the performances were intentionally campy, but goodness, no energy whatsoever. Henry Jaglom and Bob Giraldi should be ashamed of having their names on this schlock. I think the writing wasn't bad, the ideas were there, but the execution was pulled off as well as the rescue attempt in the Iranian hostage crisis. If I had been a part of this film, I would want my name removed, it's horrible. Then again, that's why I watched it.<br /><br />The only good thing about this garbage is that Dr John did the film score (repeating 'Going to the Movies' over and over again) and the film isn't much longer than an hour and a half. Show this one in film classes with the heading 'what you should NEVER do in film-making.' This script should have been left on the shelf because yep, it's that bad.
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A `Wacky Chick' flick. A beauty contestant winds up dead and the Usual Suspects are rounded up. Another entry in the vein of the Texas Cheerleader, this is an average example of its type.<br /><br />Yasmine Bleeth turns in her usual wholesome girl performance, and Jill Clayburgh does a good job as her stressed-out slightly obsessed mom.<br /><br />Some mildly funny moments listening to the vapid self-serving PR coming out of contestants' mouths. (`I'd like to own a restaurant so I can give left-over food to the homeless.')<br /><br />You have to ask yourself what people are using for brains when they think a cheerleader spot or beauty crown is worth killing for!<br /><br />
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This is, without doubt, one of the worst films I've ever seen...<br /><br />The plot is so full of holes, the story is like a bad remake of a bad suspense movie and the actors sound like were reading directly from the manuscript for the first time. Worst of all is Steve Guttenberg. He plays his character like he was in 'Police Academy' - the same foolish womanizer - and that's not suited for a leading man in what should have been a thriller.<br /><br />It's really hard to believe that Hanson would make 'L.A. Confidential' ten years later...<br /><br />Avoid this like the plague...
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When you think 'Oliver Stone' the movies that come to mind would be his biggest and most controversial ones like Platoon, JFK, Born On The Fourth Of July, or Natural Born Killers. Talk Radio usually doesn't. It's a pretty small movie, actually. More than half the movie takes place with Barry Champlain at his radio station talking into his mike. But believe me, this is one of Oliver Stone's greatest movies and should NOT be missed.<br /><br />Above all things it's a character study. Barry Champlain is a rude, self-destructive, risk-taking talk radio show host who says one too many things and starts to get in trouble with his boss, his lover(s), his fans, and even some Nazis. He doesn't like his audience and callers and a lot of them don't like him (eithor that or do like him, but have no idea why). But, at the end he says on his show: 'I guess we're stuck with each other.'<br /><br />See Talk Radio, even if you don't like Oliver Stone movies. You might be surprised. I sure was.<br /><br />My Rating: 10/10
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When an attempt is made to assassinate the Emir of Ohtar, an Arab potentate visiting Washington, D.C., his life is saved by a cocktail waitress named Sunny Davis. Sunny becomes a national heroine and media celebrity and as a reward is offered a job working for the Protocol Section of the United States Department of State. Unknown to her however, the State Department officials who offer her the job have a hidden agenda.<br /><br />A map we see shows Ohtar lying on the borders of Saudi Arabia and South Yemen, in an area of barren desert known as the Rub al-Khali, or Empty Quarter. In real life a state in this location would have a population of virtually zero, and virtually zero strategic value, but for the purposes of the film we have to accept that Ohtar is of immense strategic importance in the Cold War and that the American government, who are keen to build a military base there, need to do all that they can in order to keep on the good side of its ruler. It transpires that the Emir has taken a fancy to the attractive young woman who saved him and he has reached a deal with the State Department; they can have their base provided that he can have Sunny as the latest addition to his harem. Sunny's new job is just a ruse to ensure that the Emir has further opportunities to meet her.<br /><br />A plot like this could have been the occasion for some hilarious satire, but in fact the film's satirical content is rather toned down. Possibly in 1984 the American public were not in the mood for trenchant satire on their country's foreign policy; this was, after all, the year in which Ronald Reagan carried forty-nine out of fifty states in the Presidential election and his hard line with the Soviet Union was clearly going down well with the voters. (If the film had been made a couple of years later, in the wake of the Iran/Contra affair, its tone might have been different).<br /><br />The film is not so much a satire as a vehicle for Goldie Hawn to show off her brand of cuteness and charm. Sunny is a typical Goldie character- pretty, sweet-natured, naive and not too bright. There is, however, a limit to how far you can go with cuteness and charm alone, and you cannot automatically make a bad film a good one just by making the leading character a dumb blonde. (Actually, that sounds more like a recipe for making a good film a bad one). Goldie tries her best to save this one, but never succeeds. Part of the reason is the inconsistent way in which her character is portrayed. On the one hand Sunny is a sweet, innocent country girl from Oregon. On the other hand she is a 35-year-old woman who works in a sleazy bar and wears a revealing costume. The effect is rather like imagining Rebecca of Sunnybrook Farm grown up and working as a Bunny Girl.<br /><br />The more important reason why Goldie is unable to rescue this film is even the best comedian or comedienne is no better than his/her material, and 'Protocol' is simply unfunny. Whatever humour exists is tired and strained, relying on offensive stereotypes about Arab men who, apparently, all lust after Western women, particularly if they are blonde and blue-eyed. There was a lot of this sort of thing about in the mid-eighties, as this was the period which also saw the awful Ben Kingsley/ Nastassia Kinski film 'Harem', about a lascivious Middle Eastern ruler who kidnaps a young American woman, and the mini-series of the same name which told a virtually identical story with a period setting. The film-makers seem to have realised that their film would not work as a pure comedy, because towards the end it turns into a sort of latter-day 'Mr Smith Goes to Washington'. Sunny turns from a blonde bimbo into a fount of political wisdom and starts uttering all sorts of platitudes about Democracy and the Constitution and the Citizen's Duty to Vote and We The People and how the Price of Liberty is Eternal Vigilance blah blah blah
, but in truth the film is no more successful as a political parable than it is as a comedy.<br /><br />Goldie Hawn has made a number of good comedies, such as 'Cactus Flower', 'Overboard' and ''Housesitter', but 'Protocol' is not one of them. I have not seen all of her films, but of those I have seen this dire comedy is by far the worst. 3/10
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This is one of those movies that was never publicized and therefore was missed when it originally played in the theaters.<br /><br />I came across it while switching TV channels and was immediately engrossed in this story of an aging rodeo bum whose recklessness and lack of responsibility hurt everyone around him. I've often wanted to see the movie again but couldn't even remember its name, and have never seen it in the rental stores.<br /><br />James Coburn and Slim Pickens were excellent in their roles, and the rodeo footage was first rate. While being an action movie and having a western setting and theme it could be enjoyed by anyone regardless of their taste in films.
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ABC's version of the life of the late Pope: They put it just slightly ahead of CBS's version and it may have suffered from that but the program itself was excellent. It moved fast since it only had two hours (with commercials also taking up time) to cover this great man's long life, but Thomas Kretschmann admirably was up to the challenge.He did a remarkable job in conveying the emotions and strife that John-Paul endured.He-unlike the CBS biopic- played the role from youth to old age and managed to seem 'realistic' at both ends of the scale.His credibility never wavered.He has an amazing range and depth. It is a shame that the program could not have been longer and more detailed but working within the time frame they did have,I think they did an excellent job bringing it to the small screen.
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***SPOILERS*** Even though the movie 'They Made Me A Criminal' is nowhere as good as the later John Garfield anti-hero classics like 'Body & Soul' in 1947 'Force of Evil' in 1948 and his last and very underrated 'He Ran All The Way' in 1951 it's the film that defined his career from that point onward until his untimely death on May 21, 1952 at the young age of 39. <br /><br />Garfiled plays the part of light Weight Champion Johnnie Bradfield and later the fugitive from the law Jack Dorney who's innocent of the murder that he's charged with, even though he's been declared officially dead. Jonnie's manager Doc Ward, Robert 'Doc' Gleckler, who during a drunken victory party killed reporter Charles McGee,John Ridgely, who was going to expose to the public his fighter Johnnie Bradfield lies about him being a one women guy as well as non drinking momma's boy. Doc Gleckler smashed a bottle over McGee's head killing him as Jonnie was almost dead drunk with a number of women partying in his hotel suite. <br /><br />Doc was later killed in a car crash with Johnnie's girlfriend Goldie, Ann Sheridan, but Doc burned to a crisp and with Johnnie's watch on him was mistaken for Johnnie. Told to stay dead and buried by his lawyer Malvin ,Robert Strange, who took $9,750.00 of the $10,000.00 of Johnnie's money that he had for this great piece of advice. Malvin told Johnnie to take on a new identity and call himself from now on Jack Dorney and get the hell out of the state of New York; talking about sleazy shysters. Johnnie now Jack Dorney travels the rails from New York down to Arizona ending up at the Rancho Rafferty Date Farm where most of the film takes place.<br /><br />If it wasn't for John Garfield in the lead role as both Jonnie Bradfield & Jack Dorney the movie would have long been lost and forgotten. Garfield who was only 26 at the time brought the best out of everyone in the movie. Even the transported Dead End Kids, I guess we can call them The Arizona Kids here, acting were notches above what you would have expected from them and they came across as real and sensitive persons not a bunch of slap stick clowns like in almost all of their movies. All that due to being on the same stage, or filming location, with John Garfield. <br /><br />'They Made Me a Criminal' is a good story that has the undercover champ acting like anything but not to draw any attention on himself and end up not only behind bars but in the electric chair. In the end Jack showed just what kind of man he is by not fighting the big fight and against all the odds dramatically winning at the last moment but by going four brutal rounds to get the money for his new found family at the date farm including his girl Peggy, Gloria Dickson, to open up a gas station with it. <br /><br />Giving the European champ Gaspar Rutchek, Frank Riggi, the fight of his life and getting $2,000.00, thats $500.00 a round, for doing it Jack showed everyone who looked up to him like the 'Arizona Kids' that sometimes taking a punch is far braver and more courageous then throwing one.The fact that Jack could have easily clobbered Rutched but didn't in order not to expose himself to the police, as on the loose killer Johnnie Bradfield. But instead went as far as he could taking everything that Rutchek could throw at him to help out his friends showed more then all the fights that he won in the boxing ring put together. <br /><br />I for one didn't find the ending of the movie contrived at all but fitting right in with the story. The cop Morty Phelam, Claude Rains, who came to Arizona from New York to arrest Jack had to live with for years the fact that he once sent an innocent man to the electric chair. We were told all this right at the start of the movie. Why knowing that Jack/Johnnie was innocent of the murder that he's charged with and not knowing for sure if he'll be found innocent of it in a court of law would he want to make the same terrible mistake again? I can easily see this happening in real life why not then in the movies.
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BASEketball is indeed a really funny movie. David Zucker manages to make us all laugh our heads off again, in a really silly, but many times smart, comedy.<br /><br />The 2 creators of South Park, the main actors in this film, play very good, surprisingly good actually, but this is the first time i see them as actors. The movie oftenly reminded me of South Park - one of my fav shows.<br /><br />It's a really good and funny film, so don't miss it.<br /><br />Vote: 7.5 out of 10.
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This is a plain old spooky ghost story. I showed it to some friends of mine in my movie club, and they were kept spellbound until the ending! No blood or gore- just good old fashioned suspense. It starts out right from the beginning, and builds and builds. The ending is a real twist that caught me unawares. <br /><br />Well directed and well acted. It is also a 'period piece'- set in the 1920s- which added to the atmosphere. <br /><br />I was so impressed I got the book by Susan Hill from Amazon. The movie follows the book rather closely. <br /><br />It's a shame it's not readily available on DVD. My copy is VHS. This along with 'Haunted' are probably two of the best Ghost Stories I've ever scene. Which just goes to show that a little creativity outdoes 'in your face' gore any day!
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The 60s (1999) D: Mark Piznarski. Josh Hamilton, Julia Stiles, Jerry O'Connell, Jeremy Sisto, Jordana Brewster, Leonard Roberts, Bill Smitrovich, Annie Corley, Charles S. Dutton. NBC mini-series (later released to video/DVD as full length feature film) about the treacherous 1960s, as seen through the eyes of both a white family and a black family. The film's first half is driven by the excellent performance of Dutton as Reverend Willie Taylor and evenly spreads the storyline between the families. However, Dutton's character is killed halfway through and the black family is completely forgotten in a dull, incoherent, and downright awful 2nd half. RATING: 4 out of 10. Not rated (later rated PG-13 for video/DVD release).
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Similar story line, done many times before, and this was no improvement.<br /><br />15 minutes into this, and you should pretty much be able to turn it off - the ending was deja vu all over again.<br /><br />The only morals I could see out of this are: - stupidity + criminals do not equal success - if he screwed you before, he's gonna do it again
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'The College Girl Murders' is my first acquaintance with the writing work of Edgar Wallace and generally my first real acquaintance with 'Krimi' films in general and I can say that I'm moderately impressed. This stuff is really entertaining, although I never would have expected it to be so
goofy! The film has an exhilarating and nicely convoluted plot, with a healthy dose of humor, flamboyant twists and pretty inventive killings. There's some James Bond type of evil mastermind who always sits in the shadow and in front of a large monitor - recruiting prisoners to kill certain girls at a specific college with a new type of poison. There's also a villainous monk with a whip, dressed like a communist KKK member, getting rid of the leftover characters, like overly curious teachers and such, as well as a kooky police commissioner who persists on solving the case with a psychological approach. Seriously, if I had known sooner that these Krimi films were so colorful and crazy, I would have purchased a whole collection of them already. The pretzel plot actually raises more questions than it answers in the end, and the overload of comical gimmicks on the account of Scotland Yard Inspector Higgins are sometimes a bit much to swallow, but I don't care because it was sublime entertainment. Even the funky 60's soundtrack remained stuck in my head for a long time. It's like a variant on the Italian Giallo, but with slapstick elements.
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Everyone agrees about the technical excellence of this film by Jutra (whose life ended short so tragically). As for the content, of course it makes a difference if you're a Quebecker, and this explains some of the divergence of opinions. For me, it is to cinema what Vignault's 'Mon pays, ce n'est pas un pays' is to song. In addition, Jean Duceppe was himself a part of legendary Quebec.<br /><br />This film can be contrasted with 'CRAZY', a current Quebec release that is successful enough to be showing here in Spain and is also about the 1960s. Urban Quebec (Crazy) vs. rural Quebec (Antoine). But also a film that must be something very different for foreigners and for people who know Quebec from the inside.
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After viewing 'Still Life', a short film directed by Jon Knautz, I was genuinely excited for his feature film debut, 'Jack Brooks: Monster Slayer'. 'Still Life' had perfectly captured the essence and feel of an episode of 'The Twilight Zone' and I was eager to see what Knautz could do when taking on the horror-comedy genre. The campy nature of the name and promotional materials suggested something along the lines of 'Evil Dead' or 'Army of Darkness'; a fun, gory, 80's style horror flick with lots of monsters. While that was what Knautz was going for, he utterly fails at capturing any of the fun or entertainment value these movies had.<br /><br />The problem with 'Jack Brooks: Monster Slayer' is that it completely lacks an understanding of what made these horror-comedies, that it tries to evoke, so great in the first place. Two-thirds of the running time is primarily devoted to the film's hero, Jack Brooks, a plumber and college student, as he goes to class and attempts to deal with his uncontrollable bursts of anger. There's nary a monster in sight for the greater part of the film, barely even a drop of blood or the slightest attempt at anything horror-related. Even if 'Evil Dead' or 'Dead Alive' had subsequent amounts of the gore cut out, they'd still be entertaining. 'Jack Brooks' isn't. It's plain boring, which is the worst thing a film of this nature can be. Jack Brooks himself is not all that interesting, at least not enough to warrant the amount of screen time he's given. All one needs to know about him is revealed in the films first ten minutes and from that point on, whenever he's not beating the pulp out of a monster (and he rarely does), he's not worth watching. The movie goes nowhere, following him around on psychiatric sessions and scuffles with classmates.<br /><br />Eventually things do pick up. Jack Brooks battles a few monsters, some heads are crushed, a few humans are slaughtered, and then it's over. Just like that. All within the span of about fifteen minutes. It is a good fifteen minutes. The monsters are all fairly inventive (and done entirely in camera) and there's some great gore gags (the best being a zombies head crushed in), but after sitting through seventy-five minutes of pure tedium, fifteen minutes just isn't going to cut it.<br /><br />That's really all there is to it. I could ramble on about the acting which is fairly well done (especially horror icon Robert Englund in a non-traditional role) and how the creature prosthetics are a nice throwback to the days when films didn't use CGI, but it really doesn't matter. 'Jack Brooks: Monster Slayer' is utterly boring and while Jon Knautz obviously does have the talent to create a good film (once again, the last fifteen minutes are killer and 'Still Life' was amazing check it out), 'Jack Brooks' completely misses the mark. It has its successes (acting, make-up), but those don't change the fact that it's not very entertaining at all. The screening I caught this at had the director and cast in attendance. One piece of information I picked up was that a sequel was in development and that this time, it would focus more on fighting monsters as opposed to 'the creation of a hero'. My advice: skip this one and wait for the sequel.
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When I saw it for the first time I was really impressed.The director made such a mysterious atmosphere, especially in the end. Through all the story spectators can expect that Richard will really kill Thomas or he will do it first.But..the main point was not conflict but..FRIENDSHIP!Older and mature one prayed himself to save the younger who has the whole life to life.It is amazing. Every time I watch it I enjoy!Of course it is pretty violent like every action movie but I think it is acceptable. Thanks a lot Louis Liosa and Tom Berenger! Amazing film!I advice everyone to see it.I am sure people wont regret and will really have a good time.
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It's not like an historical movie, it's not a movie with unforgettable love stories, it's not a movie with a spectacular scenario, but i can surely say it's a movie with a great atmosphere...<br /><br />It had that 60's kind of bohemian and rebellious spirit: a group of friends living in a poor apartment in Paris, each one making art, dreaming of changing the world, doing drugs and loving in his very own way.<br /><br />It takes a lot of patience to watch, and a special mood, that if you're not in, you might find it extremely boring and dull.<br /><br />I liked a lot the very realistic approach of the events that took place and their immediate effect on student's lives: the fear for their future, the difficulty of earning their living, the obstacles in following their dreams.<br /><br />What i absolutely loved was the black & white image. The still camera angles were amazing, they were like freezing moments. It left me the impression of a long slide show of old and very emotive and suggestive photographs. I actually had to see the movie again, just to take those amazing screen-shots.<br /><br />In one word: beautiful...
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Shame on Julia Roberts and John Cusack. They are so talented and should not have had any part in this movie. The storyline was dumb and predictable. The jokes were not funny. The romance was not really romance. I was all too happy when this movie ended.
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Nahhh! Leila (Grace Mills) is a teenager turned on to Satan (and LSD) by her archaeologist fiancé Richard. There's a neighborhood hippie demon cult hanging out at the local decrepit ancient castle, where Leila and Richard drink blood, drop drugs, join in sex orgies, dance to lame psychedelic rock and participate in black mass ceremonies where the guys wear pants, masks and capes and the women don't wear anything at all. Unfortunately, these kind of extracurricular activities have left Leila open to demonic possession from the dreaded 'spirit of evil.' Leila also comes from a screwed up family, which doesn't help either. Her older brother John is a recluse who seems to be in love with her. Her mother Patricia (Maria Perschy) is depressed because she thinks she was responsible for the father's death. To top it off, her sister (Maria Kosti) is a slutty semi pro golfer named (gasp!) Debbie Gibson. There's plenty of hired help around also to waste more time. Two maids (a young one who takes her clothes off a lot and an old one who spies on everyone), plus Udo (Luis Induni), a bald voyeuristic handyman who spies on Leila changing clothes, takes nude pictures of her and sneaks into the pool house to take a sniff of her freshly used bathing suit. Oh yeah and Borg, the pet German Shepherd.<br /><br />Paul Naschy is Father Adrian Dunning, the doubting priest (zzzzz) who starts snooping around after John and Richard both have their heads twisted around backwards. Leila tells him 'They say I am perverse and I'm going to prove it is true!' During her birthday party, she tells her guests 'You make me sick! I hate you all!' and when mom suggests having a doctor come over she she screeches 'I don't want to see that fat ass!' Debbie suggests they commit Leila to a 'sanitory,' but Leila runs off and joins the cult again. She is rescued (again) and brought back home (for the third time).<br /><br />By this point in the movie, there's only about ten minutes left to go and all we've basically seen is some very boring scenes of characters talking and whining about how terrible and f-ed up their lives are and how Leila is acting weird. It's almost as agonizing to sit through as an Andy Milligan movie, minus the gore and laughs. But finally during the last few minutes we get the movie the title implies - an EXORCIST-like possession flick. Unfortunately, the best part of it are the contact lenses Leila gets to wear. Some cheap time-lapse slashes appear on her arms, legs and face, she gets scabby lips and her eyes take on the appearance of blue and white marbles. She begins reeking of rotted flesh, spits up some clear gunk, starts speaking in her dead dad's voice, sneaks into her mom's bedroom, slaps her around a bit and calls her a 'filthy bitch of a whore.' In comes Father Adrian, who now finally believes she is indeed possessed, fends off her attempts at seduction, hallucinates frogs and eels are in the kitchen and douses Leila with holy water. Doors open and close, a mirror breaks, there's sudden thunder and her bed rises up off the floor. After she tackles Dunning and the two roll down the stairs, the spirit is out of her and into - guess who? Why, Borg the family pooch! The demon dog then turns on Adrian and chews him up a little before he impales it on a fire poker. Then we get one of the most irritating final shots ever committed to film. It's Leila on the floor going from her hideous appearance back to her normal sexy self. But then there's ANOTHER time-lapse effect that sort of seems to suggest that the demon has possibly reentered her body. It's so badly done, you really have no clue what to make of it, which is the final slap in the face to anyone who has just realized they've wasted an hour and a half on this worthless POS.<br /><br />Screw the contacts, 1 out of 10 it is.
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This version is likely available at your local dollar store on DVD. The print is not great, nor is the sound, but if you have $1.00 and 90 or so minutes to spare, you'll get your money's worth (which is not saying an awful lot). Anna Neagle is extremely vapid as Nanette. Whatever her charms may have been back in the day, they are not evident in this film. A great number of fine character actors appear in this film (Helen Broderick, Zasu Pitts, Even Arden), but the material falls remarkably short of their talents. Still, it is interesting to see how such accomplished performers make the most of the weak writing. The musical numbers (there are really only two) are quite horrible. Clearly the studio did not feel compelled to cash in on the rich musicality of the original 'No, No, Nanette'. For what it's worth, the DVD can be had for $1.00. It's worth that much just to say you've seen it.
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Not many television shows appeal to quite as many different kinds of fans like Farscape does...I know youngsters and 30/40+ years old;fans both Male and Female in as many different countries as you can think of that just adore this T.V miniseries. It has elements that can be found in almost every other show on T.V, character driven drama that could be from an Australian soap opera; yet in the same episode it has science fact & fiction that would give even the hardiest 'Trekkie' a run for his money in the brainbender stakes! Wormhole theory, Time Travel in true equational form...Magnificent. It embraces cultures from all over the map as the possibilities are endless having multiple stars and therefore thousands of planets to choose from.<br /><br />With such a broad scope; it would be expected that nothing would be able to keep up the illusion for long, but here is where 'Farscape' really comes into it's own element...It succeeds where all others have failed, especially the likes of Star Trek (a universe with practically zero Kaos element!) They ran out of ideas pretty quickly + kept rehashing them! Over the course of 4 seasons they manage to keep the audience's attention using good continuity and constant character evolution with multiple threads to every episode with unique personal touches to camera that are specific to certain character groups within the whole. This structure allows for an extremely large area of subject matter as loyalties are forged and broken in many ways on many many issues. I happened to see the pilot (Premiere) in passing and just had to keep tuning in after that to see if Crichton would ever 'Get the girl', after seeing them all on television I was delighted to see them available on DVD & I have to admit that it was the only thing that kept me sane whilst I had to do a 12 hour night shift and developed chronic insomnia...Farscape was the only thing to get me through those extremely long nights...<br /><br />Do yourself a favour; Watch the pilot and see what I mean...<br /><br />Farscape Comet
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Having seen the movie years ago and been disappointed by its squandered potential, when I heard that it was becoming a TV series, I flatly refused to watch it. My best friend became a rabid fan immediately, and knowing my love for horror movies, could not believe that I wouldn't watch a single episode. I told him that the movie had scarred me for life as far as anything BUFFY was concerned, and he told me to forget that the movie even existed. He insisted that I give two episodes a shot: 'Once More With Feeling' and this one.<br /><br />Both of them are why I am a BUFFY fan today. He was right - I was hooked immediately. I have never seen a show with the guts to dare try an episode that has next to no dialogue, and nothing else could've pulled it off with the panache and the pure creativity of BUFFY. I think X FILES might've gotten away with it if they'd thought of it first, but I'm glad that BUFFY did it instead. <br /><br />It is a credit to everyone involved that you are riveted for the entire hour, sometimes hanging onto the edge of your seat. And when it was all over, I craved to know more about every character. So I went out and bought the Season One boxed set. And the rest is history...<br /><br />I guarantee you that if you've never seen it, either, you'll want to see more if you make this episode your first. <br /><br />The only reason I'm not giving it 10 out of 10 is because I'm reserving that score for 'Once More...'
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Henri-Georges Clouzot's film is quiet an example of the french transition cinema. A film between the realism of the postwar cinema and the full-of-magic and symbolism nouvelle vague. With some spots of the American classic films (but not imitating it) the director tales us a story about love, crime and the importance of points of view. We can find great actors too (Suzy Delair is impeccable).<br /><br />Is interesting too, how we can find aspects of this film nowadays. Quai des Orfèvres inheritance is palpable in Woody Allen tradition. Plunging a crime situation in a picturesque environment. The naive ending is also typical in Steven Spielberg's good-ending films. And finally I would like to point out, the deja voo sensation during the photography session between Jenny Lamour (Suzy Delair) and Dora Monier (Simone Renant) in which the first one confess that she thinks her husband is being unfaithful and exactly with the woman who is photographing her. That scene is exactly the one between Natalie Portman and Julia Roberts in Closer (Mike Nichols, 2004).
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How did so many talented or at least charismatic actors wind up in this baloney? Nothing is very good about this movie but the worst things probably are the screenplay and the directing.<br /><br />Apparently this is director Damian Niemans heart-piece as he's both written and directed it (and acted in as well). He's a card magician himself and seems to have named characters in homage of other famous magicians. This was his first feature film as far as I know, and chances are it's his last.<br /><br />It's hard to point to exactly what makes it so poor but I'd say the story and character's are not believable (the screenplay) and the directing doesn't give it any boost (the director). Plus the poker scenes are bad in the worst Hollywood manner (super-hands, Hollywood rules)! The supposed twists in the movie are either totally predictable or totally unbelievable. They just end up tying a knot to a story that at best can be described as 'a few decent scenes'!
| 1 |
A great film in its genre, the direction, acting, most especially the casting of the film makes it even more powerful. A must see.
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Dr Tarr's Torture Dungeon is about a journalist who travels to an insane asylum to write about a new technique they use with their patients. However, the journalist soon finds out that things are not what they seem to be, and the asylum is being run by the patients, and the doctors are in cages. First of all, some parts of the film are just plain boring and just makes you want to fall asleep, and the interesting parts are interesting for all the wrong reasons(A guy who thinks he's a chicken, for instance). I have to admit that the story is actually pretty good, but the film itself bombs. The music of the film is really odd and like something you would hear in some insane comedy, and yes, there is a scene involving dancing chicken men, which pretty much made me want to shut off the screen. Watch this film at your own risk! <br /><br />Rated: R for Violence and Nudity.
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Lolita is a rebel and she's going to share to our wide open eyes some little sex stories, between sci-fi and fantasy... Well, this Surrender Cinema production is not very good: very bad acting, horrifying music and a story line without any story and any line. BUT, the sex scenes are pretty well done, lot of lesbian scenes, and Jacqueline Lovell, as beautiful as in The Exotic House Of Wax, offer to us a very good final and very hot strip show. For Lovell's fans only.
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I watched this movie for the hot guy--and even he sucked! He was the worst one--well, okay, I have to give props to that freaky police officer rapist guy too, he was even worse. The guy wasn't that cute in the end, he had the most terrible accent, and he was the most definite definition of hicksville idiot that can't stand up to his mom for the one he 'loves' there's ever been. Overall, and if this makes any sense to you, when I go to pick up movies at the video store, I think to myself as I read the back of a movie that looks so/so, 'Well, at least it can't be worse than Carolina Moon.' The most terrible movie, and the most terrible writing, acting, plot--everything in it made my gag reflexes want to do back flips. It was THE most horrid movie I will ever see, with Gabriela way up there too. I hated it, and trust me, if there was any number under 1 IMDb had for rating, I'd choose that in a heartbeat.
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This movie brings to mind 'Boys 'n the Hood,' 'Menace to Society,' 'South Central' and others of its ilk and even shares actors with some of them. The film's 'us vs. the law' mentality is underscored by the all-black neighborhood vs. the nearly all-white police force. Here the cops are so bad they seem like caricatures and in one scene they even ambush the boys as they drive by in a car they've just 'liberated' from its owner. It's like a bushwhacking from an old Western, but the contemporary setting makes it look all too real.<br /><br />The story centers on young Jason Petty and his buddies, to whom school is just an inconvenience that takes time away from their 'real occupation' of boosting cars. This happens to be Newark, N.J., a rust-belt city low on jobs but notoriously high on crime. In fact the problem is so severe that the cops all have 'Car Theft' written on their backs, to show that an entire unit must be devoted to this particular crime.<br /><br />The boys use a 'slim Jim' to gleefully break into cars and go joy-riding, as if it's no big deal. They only run into real trouble when the police ambush them. The vicious, Nazi-like Lt. has a vendetta against the boys, seeing them not as human beings who might be worthy of redemption, but as human targets. In fact, he's a little reminiscent of that sadistic Nazi officer of the Warsaw ghetto, who shot down Jews for pleasure in the film 'Schindler's List.' When the boys steal a police car in retribution for the ambush, things predictably go downhill fast. They are severely beaten by the cops and Jason finally ends up in prison. Clearly these are 'bad boys,' who'd steal your car in a minute, but the film wants us to see them as anti-heroes, showing Jason protecting his sister and his friend taking care of his own grandmother. The film left us wondering whose side to take and who to feel sadder for: the boys whose lives are going down the drain, the honest citizens whose cars are being stolen left and right and who could be caught in the crossfire of a shootout at any moment or the city of Newark itself, the spirit of whose law is being betrayed by brutal, soul-dead cops.<br /><br />In spite of the over-the-top portrayal of the latter, the film offers a realistic-looking rendering of the ghetto, of the protagonists and their families and of the culture of car theft in a city where there appears to be only 2 career paths - law enforcement and crime. Strangely, the entire subject of drugs is never mentioned.<br /><br />The filmmakers (including producer Spike Lee) are obviously biased against the Newark police, who, we hope, are not as bad they are portrayed here. Nevertheless, they've given us yet another a strong, affecting story about the inner city and black youth gone awry and Sharron Corley is fine as Jason.
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I love this movie! 10 out of 10 hands down! It is that damn good! I am not much of a fan of movies but I gotta tell you this one opened my eyes. Astounding color and fast energy. I was fortunate to catch this at a screening during the Zoinks! Film Festival in Boston, and the story really enveloped me from the start. It had a lot of adult themes and character and when it ended I wanted more. I hope they make a sequel. That would be fun. My only problem with it is the performance of Melissa Connor as Anya. UGH! She SUCKS! I've seen a block of wood pull out a better performance. I don't what the director was thinking when he cast her. But if you ignore her you can't help but give this movie a big ten!!!
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After some further thought about this film, I find it's far too easy to dismiss this as the Boy's dream. I have actually received some spiritual strength from Northfork.......Angels do exist....we definitely are entertained by Angels....most of the time we aren't even aware of it..... At a point of spiritual and emotional turbidity in my life, I personally really needed this film. Yes, as I wrote before, it speaks to so many......can't wait to get to Heaven...<br /><br />'Being so sick of all of the FX and Formula stuff, I found this film to be genuine Cinema. All I can say is it touched me in so many ways, that I still am sorting it all out. North Fork is a wonderful film. One that brings the viewer's mind out of the gutter and into the heart. The spiritual aspect is so very intriguing to me. Pay attention, as you'll need to use the brain and heart God gave you to follow the story. I think it's possibly a bit over the heads of some, but I feel those are the individuals it speaks to most importantly. I want to view it several more times, just so I can take it all in!<br /><br />The Industry needs to study this film to realize we do exist.<br /><br />My thanks to all involved in the making of this film.'
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Tiempo de valientes is a very fun action comedy.After his great fist movie called El fondo del mar and the spectacular TV pro-gramme Los simuladores,Damian Szifron made another great work.Tiempo de valientes looks,for moments,a movie made in Hollywood.Diego Peretti and Luis Luque are two great actors and here,they have great performances.The movie is very fun and funny and it has superb moments.Tiempo de valientes is a very fun action comedy that I totally recommend if you wanna have a great time.And I have to congrats Szifron for all the talent he has.<br /><br />Rating:9
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Well we definitely did see and I and many other people were actually expecting worse. It did have some good parts too it that I was not expecting it still did fail in other areas though.<br /><br />First off the acting was above average. I love Phillip Seymour Hoffman in this movie and I liked Tom Hanks. Hoffman was the glue to this movie. If it were not for him this movie would have crumbled and hit rock bottom. His performance was by no means stunning but absolutely necessary. He gave a good witty, cynical performance in what most other actors could have easily made his character into a cliché. Tom Hanks really gave a nice loose performance and did not disappoint but he certainly did not impress. What I could not stand was that Julia Roberts was involved in this movie. She was as big of a miscast as I have ever seen. For one she is a bad actress, at least to me, she was to young for her character and was to phony even for the character she was playing.<br /><br />The directing was average to me. I'm not really a big fan of the recent Mike Nichols movies and I'm not exactly impressed by this one either. It was made with such a Hollywoodish, cartoonish touch hat I could not stand. The worst part about it was that he tried make it be a really meaningful movie at the end. I love meaningful movies but not when a movie tries to rush a scene or two at the end and show something that tries to justify the rest of the garbage spread throughout the whole movie. That is something that Mike Nichols has seemed to have done a lot in his recent track record.<br /><br />The one impressive part of this movie was the writing. The dialog was put together very well and was able to let the story play out. The writing was what was able to really able to take this movie to an above average level. In so many scenes I found myself laughing in part by the writing.<br /><br />Well that is some of what we saw at least. A lot of the scenery was good in the movie if you get what I mean but not a lot other than that. I did like that this movie did not glorify everything America had done. It is obvious that during this whole war in Afghanistan the U.S. gave weapons to the people who are now against us. This movie kind of show we are too blame for that. It shows that what may seem good in the short term may turn into something horribly wrong in the future. This movie did have a good original message but it just did not deliver it right. Overall though it was entertaining.
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The London Underground has something inherently creepy about it, with its long winding tunnels, the escalators taking you deeper and deeper underground, and of course the rats roaming the tracks.It a source of wonder that it is not used in horror films more often. It was used in the seventies horror Deathline aka Raw Meat, featuring a cannibalistic tribe living in a disused tunnel, and the celebrated chase sequence in American Werewolf in London. So I was pleased to see that someone else had tried to capitalise on the atmosphere of the tube at night with the recent UK production Creep.<br /><br />I thought the film started off well, with a highly effective credit sequence that was genuinely unnerving, followed by a scene in the sewers that sets up the premise of there being something evil lurking below the streets of London. However, Creep went downhill from here, and I found myself wishing that I'd switched it off after this opening scene, leaving me with a favourable impression of the film. All the characters become unsympathetic and unlikable, even Potente herself, and the director felt the need to hit us over the head with social commentary about homelessness. he also made the mistake of showing the 'monster' in full lighting, where he ceases to become remotely scary, and reveals his name to be Craig. How can you have a monster called Craig? It turns into an X Files-type thing, and reminds one of the episode Tombs. In fact, I was wishing Mulder and Scully would turn up and sort them all out for me.<br /><br />As for the infamous sexualised violence, it is very graphic, disturbing and totally unnecessary. It seems to be there merely to shock the audience rather than for any intrinsic plot value. The trouble is it is so over the top and horrific that it actually numbs you to the rest of the horror, which is a mistake as it's only halfway through the film.<br /><br />So there you go. The only redeeming feature of the film for me was a rare appearance from Ken Campbell, one of my favourite occasional actors. You don't see him very often, but when he's on screen he acts everyone else into a corner. Casting him as a sewer inspector was a stroke of genius, unfortunately the only one evident in the film.
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This movie is truly unbelievable, in every sense of the word. I couldn't believe what I was seeing, and hearing, and I didn't believe it anyhow. Hepburn is probably my favorite actress, but this was ridiculous. Being a hillbilly myself, I know what it should sound like, and it's not Kate's Back Bay accent. The only thing I found funnier was the fact that the guy who played Charlie Chan so many times, Sydney Toler, was cast as another one of the hillbillies, with accent to match. Maybe this was a practical joke, come to think of it. I can think of no other reason for such peculiar casting. Well, maybe this. I noticed that Natalie Schaefer, Lovey Howell on Gilligan's Island, appeared in this play on Broadway. Can you imagine what part she might have played?
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A child-like puppeteer, for a public access children's show, goes over the deep end when he discovers kids he entertains at a hospital were victims of horrible abuse. This movie has some of the worst indescribably monstrous parents you could ever come across. Not an exploitation film as much as an afterschool special on the dangers of child abuse. Seemingly harmless, Mr. Rabby takes matters into his own hands when it seems the police are neutered by lack of evidence to convict loathsome parents of their terrible abuse towards their children. The children are emotionless and zombie-like(..due to the amount of abuse inflicted upon them), the parents loud, inconceivably harsh, contemptible, and belligerent. The mothers, in particular, are so obscene, you'll root for their execution. They are essentially miserable people taking out their frustrations on the kids. Our detectives are a tired lot, frustrated with the whole judicial process, how police procedure is often unable to prosecute those who beat their kids into submission. While the crimes themselves are heinous, the film doesn't explicitly elaborate the grisly activity on screen. I'd say the reason to see this is for Tom Basham's performance as the unbalanced man-child who slips into psychosis. There's quite a weird dinner table sequence between Basham's Mr. Rabbey and his guardian shortly after he murdered the parents responsible for the death of their child, regarding how he lives in a fantasy and how what he had just done has left an indelible mark(..notice the changes in behavior, pretty impressive work, going from innocent to creepy). Peter Renaday is Lt. Hayes, the detective in charge of the homicides cases, expressing on his face the strain that is taking it's toll on him. There's an early performance by John Ashton as detective Matthews, always raising the ire of Hayes because of his inability to follow directions, not to mention how opinionated he is regarding the parents abusing their kids. Awkward laid-back bluesy score that seems improper for a film such as this. Controversial conclusion establishing that even kids can only tolerate so much. A bit too slow moving for my tastes, but there's an effective use, I felt, of Basham's eyes before he takes care of business, waiting patiently as he prepares to strike.
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One of the best sitcoms to run on Indian television along with Dekh bhai dekh and Idhar udhar. Great acting, well paced and an extremely amusing script made this a truly memorable series. The fun filled opening montage (sung by none other than the inimitable Kishore Kumar)gave a very accurate picture of what one could expect. I used to borrow it from my local video library years after Doordarshan had stopped airing it. I wish Indian television would revert back to serials such as these rather than the asinine saas-bahu soaps and reality television which is all its good for these days. Anyone who's found of genuinely good comedy ought to go and get this series. You'll might also enjoy a couple of Pakistani sitcoms such as ups and downs and aik aur aik which are certainly comparable to India's best.
| 0 |
This movie is totally wicked! It's really great to see MJH in a different role than her Sabrina character! The plot is totally cool, and the characters are excellently written. Definitely one of the best movies!!
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This film IS brilliant...... without a doubt. Watched it a while ago after constant pestering from family members who are right into their sci-fi films (which I am not), and thought it was quite good. But after recently watching a few documentaries on outer-space etc we watched it again... and it IS good.<br /><br />Kevin Spacey is without doubt one of the greatest actors ever and I really like Jeff Bridges (Big Lewbowski, Blown Away, Arlington Road). The film revolves around a patient in a nursing home who claims he is from another planet. Yeah right, you think... but what if his story is so believable that even his psychiatrist begins to wonder if he is telling the truth.<br /><br />That is how the story evolves with Bridges going through all kinds of emotions dealing with Prot (as he is known), his own psychiatric colleagues, his wife and family, his brother-in-law and his cosmologist astronomer work colleagues (who after getting some data from Prot, pretty much admit that he might be telling the truth!) A great film... that get's you wondering.....<br /><br />8/10 Dave
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I was 15 years old when this movie premiered on the television. Being raised in Texas, I understood the boredom & monotony of teenage life there. This movie touched my impressionable teenage heart & I remembered it fondly through the past 12 years. I recently got to see it for the 2nd, 3rd & 4th times thanks the the LOVE channel. I still cry because the movie reaches in & touches my inner confused teenager.
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If you have plenty of time to kill and the DVD was given to you by your friend for free but still it may require lot of courage to watch this film which does not have good script or humor for that matter.<br /><br />On the acting front imran is frozen in time/acting, Tushar Kapoor was slightly better than Imran in this movie Paresh Rawal was good at comedy was usual. <br /><br />The story revolves around a college campus where Imran is a bad boy n Tushar is the good one, they pretend to be the opposite of respective nature and so the story goes on.....<br /><br />Watch it only if you don't have any thing to do and the film is running on your local cable TV.
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I wish they would just make a special section in the video rental stores for movies like this. The section would read: 'Movies for lonely older men who like to watch young girls being naughty and wearing fetish clothes' I guess dominique swain, after lolita nd now this, is establishing herself as the queen of the dirty old man genre.
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The only thing I expected that this film didn't have was an intelligent, talking motorcycle.<br /><br />This film is just plain awful. I gave it 1 star, which of course, means I enjoyed it tremendously. Bad acting, bad writing, bad directing, bad fight choreography. The only real actor in this movie is Martin Landau, who of course does a good job playing the villain, although the character is your standard cardboard cutout evil CEO/Villain. Even the so-called 'plot twist' at the end was no shock.<br /><br />There was so much to make fun of in this movie, I enjoyed it a lot. And it did have a few impressive car wreck stunts.<br /><br />Like bad movies? Check this one out, ouch. Want a good movie? Not here.
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i guess its possible that I've seen worse movies, but this one is a real stinker! the plot is unremarkable but thats not the worst of it. the directing is no where close to what you would expect from andy ching. he's capable of good work but failed to pull this movie together.<br /><br />angie harmon, playing the female lead as a reporter dogging into who's behind the assassination of the president, truly butchered the role. there was no chemistry with gooding, her demeanor was flat and wooden, and the 5 inch spike heels she wore throughout the movie were absurd. this outing for harmon places her solidly at the bottom of the 'b' list.<br /><br />and what was cuba gooding thinking??? he has to his credit a number of outstanding performances, but this was far beneath what we've come to expect from him.<br /><br />poor james woods and burt reynolds. poor poor poor poor poor.
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I have seen and liked the original film, and expected more from a remake than this.<br /><br />GOOD: Effects and makeup are good. No complaints about the score and visuals, they are adequate, and the performances were okay (Tim Roth was excellent, the other principals were fine, and a handful of the 'supporting supporting actors' did very well with extremely limited roles). The action scenes were exciting and fun.<br /><br />BAD: The escape from the ape city was terrible. The characters are going in circles, then suddenly someplace in the middle of town there are tunnels to escape. Plus, what escape route leads through everybody's bedroom?<br /><br />The story was pared down to include as much action as possible. I like action scenes but the original film had more meat to it and deserved more respect.<br /><br />Finally, the ending was completely nonsensical as presented. Without seeing the inevitable sequel, there is no justification for it.<br /><br />
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The true measure of any fictional piece of work is whether or not the characters grow from their experiences and emerge from the experience altered in some significant way (note that this change need not be positive or beneficial) at the end.<br /><br />By that measure, Enchanted April is a resounding success. As a film in general, it succeeds quite well-excellent ensemble cast, well-developed characters you come to care about, wonderful script and beautiful sets and locations. In short the film is, well, enchanting. Although all the performances are first-rate, three must be mentioned-Josie Lawrence, Jim Broadbent and Joan Plowright. It says something when Miranda Richardson does her usual fine work and yet is overshadowed by so many others in the cast. Most highly recommended, particularly if you are a romantic at heart. Further Deponent Saith Not.
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Turner and friends are closing in on HBO for the top spot among made-for-TV movie producers. This is a nicely paced, contemplative thriller of sorts. William Macy is stellar, as always, and Adam Arkin offers one of his better performances. A bit more lively than classic Hitchcock but not as in-your-face as typical movies of its type, A Slight Case of Murder eases you in and never lets go. (Note: I saw a preview copy, which means I didn't have to wait through commercials. Those interruptions may hurt the pacing, but you know this will be available on video sometime
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Claudine was one of the very first movies that gave positive role models for both Black men and women. I appreciated this movie even more as I got older. This movie shows that men didn't always turn away from responsibility. An excellent movie I'd always recommend for anyone who appreciates a good inner city love story.
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This is a charming little film, which like many of it's kind, derives it's charm from the circumstances involved rather than the actual dialogue.<br /><br />Glenn Ford (as always) shines through in a great comedic performance as the penniless Air Force officer, married after just one day to gold-digging showgirl Debbie Reynolds.<br /><br />After the one initial wedding night of passion and a life changing move to Spain, the two quickly realise that apart from the strong sexual attraction they feel for each other they have nothing at all in common.<br /><br />However when she decides to give their marriage a go, it is on the understanding that it for one month trial period only and sex is most definitely not on the cards.<br /><br />Ford is also falling foul to his new $40,000 Lincoln Futura Concept Car (the future Batmobile) which he wins in a raffle the same night he meets his new wife.<br /><br />The car is bringing him unwanted attention from the Air Force, who see it as a vulgar display of American wealth and is bringing suspicions of corruption and embezzlement etc. It is also putting him in the 80-90% tax bracket and as penniless as he is he now faces a tax bill of over $17,000. Not the kind of money you should be owing when your wife is the kind of person who spends over a $1,000 on one shopping trip.<br /><br />Even when he tries to sell it it brings him misfortune as selling so much as a cigarette or a pair of stockings to the natives is punishable by court martial, so you can imagine that a $17,500 transaction practically has the firing squad polishing their rifles.<br /><br />His potential purchaser is also causing him problems as he is a disgustingly handsome Bull-fighting Spanish nobleman, who's interest in the car has lead to a stronger interest in Ford's wife, made worse by the fact that a rich jet-set lifestyle is being offered and is what she has sought for so long.<br /><br />With Ford's sexual frustration rising and jealousy in his love rival mounting, coupled with Reynolds' materialistic attitude and flirtatious behaviour around the enamoured Spaniard serving to drive the wedge deeper between the two, it seems that their whirlwind relationship is destined to end.<br /><br />But can whatever love and attraction that threw these two love birds together in the first place, shine through and keep them together?<br /><br />Not the best example of this genre of film, but due to the watchable performances by it's principles and the enjoyable plot line, it is certainly a fine one.
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Extremely funny. More gags in each one of these episodes than in ten years of Friends. And with a good (ie. funny) Nordberg, not the fab-only-casted OJ Simpson in the movies. When will these episodes emerge on DVD?...
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Cactus Flower is what I call a 'pizza movie' -A personal favorite that never fails to satisfy. Perfect for an evening at home with a pizza. Knowing all the lines (and what lines!) by heart only enhances the enjoyment.<br /><br />Since so many others here have retold the plot, I'll simply add the correction that Bergman's character, Miss Dickinson, was a nurse-receptionist, meaning she was a skilled nurse -and therefore an educated person -not 'just' a receptionist.<br /><br />Bergman's performance in this film -and the film itself- was largely dismissed at the time, but today's audiences will marvel at her range; not just the impeccable comic timing, but the ability to make us believe her character is unaware of her own feelings while revealing them so clearly to Toni and to us. While the general plot stretches credibility, Bergman's performance is compelling: honest and utterly believable.<br /><br />Also a standout is Jack Weston's performance as the Matthau's old friend and co-conspirator, Harvey. No one could deliver a zinger like Weston, and I.A.L. Diamond's script gives him plenty. For example: 'That's such a big, dirty, rotten lie it has class.' Weston excelled at slightly seedy characters because he exuded a warmth that allowed you to forgive his characters' flaws. <br /><br />The film is a fairly straight adaptation of the Abe Burrows play (which was itself adapted from a French play by Barillet and Gredy). On Broadway Matthau's role was played by Barry Nelson. Bergman's by Lauren Bacall, and Hawn's by Brenda Vaccaro. It ran for 1,234 performances (three years) and was nominated for two Tony Awards (Vaccaro and Burt Brinckerhoff, who played Igor).<br /><br />For me, the film's score, written and adapted by the legendary Quincy Jones is another highlight. The main theme (A Time For Love Is Anytime) is performed by Sarah Vaughn over the opening and closing credits. It is also insinuated in different arrangements throughout the film, most notably as the romantic piano music underscoring Berman's speech to Hawn in the record store. Jones also created covers of popular songs from the period (To Sir With Love, I'm A Believer) for the night club scenes. As with all of the film's elements, there is a tremendous amount of talent, taste, and professionalism evident. <br /><br />In my opinion, few modern romantic comedies can hold a candle to this classic. It's great to finally have it available on DVD. Time to call for a pizza...
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Interesting mix of comments that it would be hard to add anything constructive to. However, i'll try. This was a very good action film with some great set pieces. You'll note I specified the genre. I didn't snipe about the lack of characterisation, and I didn't berate the acting. Enjoy if for what it is people, a well above average action film. I could go on but I've made my comment.
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Paul Rudnick (Jeffrey, Addams Family Values) wrote this frothy tale of a mild mannered school teacher (Kevin Kline) who is outted on the Academy Awards by a former student-turned-actor (Matt Dillon). The rest of the film deals with the absurdities revolving around this setup -the effect on the town, his fiancee (Joan Cusack), himself- and climaxes with an everybody-loves-everybody finale.<br /><br /> If you're an angry gay rights activist or a naive youth looking for an accurate portrayal of a man's struggle to come out or a 'true' depiction of gay life, then save yourself the trouble and rent something else (maybe Beautiful Thing) or read a book (Giovanni's Room). If you are able to understand that this film was inspired by the piousness of Tom Hanks's speech on the Academy Awards when he won for Philadelphia and pokes fun at Hollywood culture and small town ignorance and you have a fondness for '30's screwball comedy (Bringing Up Baby, Holiday, The Palm Beach Story) then enjoy! Far from being a biting satire, the film tries for the exuberance of a Preston Sturges farce and comes damn close. No, it's not 'deep' or 'powerful' -neither were Romy & Michelle, 9 to 5, or Young Frankenstein- and it doesn't pretend to be; it keeps it's tongue-firmly-in-cheek. It gets too preachy and maudlin for its own good toward the end and sure some of the jokes are a bit stale (there's also a locker room scene that could have been cut) but after sitting through countless comedies that misfire, it's like a breath of fresh air.<br /><br /> Kevin Kline and Tom Selleck are wonderfully game while Debbie Reynolds and Wilford Brimley add fine support. The excellent Joan Cusack's award winning performance is stellar and the great Bob Newhart is, well, Bob Newhart. <br /><br /> The fact that many have been offended by In & Out is as absurd as the mentality of the townsfolk it pokes fun at; personally, I was more offended by Philadelphia. I'll take harmless fluff over sanctimoniousness anytime.
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Ah, the infamous 'Guinea Pig' series...I honestly have to say that I've been disappointed as a whole by this entire series ('He Never Dies','Mermaid in a Manhole', and 'Flower of Flesh and Blood' being the exceptions...and even those aren't great by any means...), but 'Devil's Experiment' just plain blows. There is nothing realistic-looking going on here, other than the climactic (or perhaps anti-climactic, depending on how you view it) eyeball piercing scene. The victim appears to not really care what is going on and barely whines or whimpers while being subjected to 'hideous' (more often sometimes 'hilarious') tortures. 'Flower of Flesh and Blood' is a more violent and gory depiction of fake 'snuff' material, but that film also falls flat on the realism level. I applaud the Japanese for pushing the boundaries, and they've really come a long way over the past 2 decades to wear the crown in 'extreme' film-making, but 'Devil's Experiment' just doesn't hold up. Worth a look if you are a die-hard, if for no other reason than to see what the fuss is about, but I can only give this film an extremely generous 3/10 and that's only for the needle-through-the-eye scene...
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A favourite of mine,this movie tells of two feuding New York 'characters', Steve Brodie(Raft) and 'Chuck' Connors(Beery),who both strive to be the 'Main Guy' in the Bowery in the late Nineteenth Century.<br /><br />Brodie(1863-1901) and Connors(1852-1913),were real people,though this is a heavily fictionalized account of their antics(based on a play).Brodie's legendary(did he do it?- it's still a cause of argument!),jump from the Brooklyn bridge(1886),for which he became famous,is shown here as happening around the same time as the Spanish-American war(1898).Director Walsh clearly had a great affection for the period,so beautifully recreated here,and it includes a wild rumbustious ragtime number from saloon singer Trixie Odbray(a young Pert Kelton).Raft is at his slickest as Brodie,and Beery shows again what a clever actor he was,as tough, big hearted, and at times quite touching Connors.Pretty Fay Wray is the love interest both the boys are pursuing.<br /><br />Full of life and energy,'The Bowery' moves at a fast pace(unlike many early 'talkies').It is not an easy movie to find,but is well worth looking out for.
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The most positive thing I can say for this dull witted local 'comedy' production is that it's inoffensive. In fact it's so astonishingly bland that one wonders how many dozens of re-writes by committee it went through to have such a complete removal of personality. It's not witty, it's not entertaining, it's not insightful, and it's not charming. It's just a staid, laughless, progression of four losers who must change their ways - and their attitudes towards women - to be allowed to attend their best friend's wedding.<br /><br />With acting that would be sub par for the local amateur dramatics society, a plot line so tired it'd make a forty third season of 'Allo 'Allo look fresh, and jokes about as humorous as watching decaying vegetables, Sione's Wedding nonetheless scored ten (yes 10) nominations in the NZ film awards recently.<br /><br />Fortunately, somebody saw sense and it didn't win any.
| 1 |
Great Woody Allen? No. Good Woody Allen? Definitely. I found myself, along with the audience in attendance, laughing hard and often at some of the best Woody Allen lines we've heard in a while. The aging Allen created an appropriate role for himself as Scarlett Johansson's 'father' ... well, sort of. Some have said Johansson plays 'a young Dianne Keaton.' I beg to differ. She plays Woody's dialogue, which, in his comedies, always has a very similar feel...like, well, a Woody Allen comedy. That's fine for us Woody appreciators. She certainly did Woody's dialogue far better than the young cast of his last comedy, Melinda/Melinda. Some may find Woody's humor tiresome, but for those of us who love it when it's done right, we look forward to the next.
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Someone mentioned editing. This is edited badly and what started out as somewhat intriguing became an incomprehensible mess. For starters, let us know what it is you are trying to do with these experiments. Why are these people the best choices for the type of experimenting they are involved in? And, what exactly are they testing? Apparently there is some grand plan that some agency is going to exploit. The acting is pretty bad. Everyone is emoting. Everyone is keeping secrets. They frequently mention that if it weren't for the money, they'd hang it up. There's a deranged minister who spouts scripture. On and on. But, again, the biggest hang up is the lack of laying out a playing field for the actors. There are some really cheesy elements. Those little rooms and those chaise lounges. The awful wallpaper (was it wallpaper?). It was interesting, but didn't seem to go anywhere.
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Irwin Allen put all his talents behind this one: he's co-screenwriter, producer and director of this cartoonish 'epic' about an atomic submarine and its efforts to reduce a ring of radiation circling the Earth. Potentially exciting story fails to take off, despite an eclectic cast. Varied players from Walter Pigeon and Joan Fontaine to Frankie Avalon and Barbara Eden are interestingly intermingled and provide a dash of color, but this soggy sci-fi is pretty cheesy. Good for a few stray laughs, but Allen didn't seem to know the difference between strong, solid adventure and campy nonsense. Later a popular TV series. ** from ****
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The worst Wrestlemania ever.<br /><br />This had no must see bouts and many crap ones at that. This took place in Las Vegas and WWE made it's employees dress up like Egyptian gods! They even changed Howard Finkels name to Finkus Maximus, which probably doesn't mean anything. The sight of seeing Jim Ross in that terrible gown still gives me nightmares to this day and I'm 21 years old, so you could imagine it when I was 7 years old! Bobby Heenan was funny though.<br /><br />Matches included The Undertaker vs Giant Gonzales in a p*ss poor match, The Headshrinkers vs The Steiner Brothers in a useless match, Doink vs Crush in a comedy match and a boring match featuring Razor Ramon vs Bob Backlund. Hulk Hogan teamed up with Brutus Beefcake to battle Money Inc. You could clearly see Hogan had a black eye. In storyline purposes Ted DiBiase and IRS beat up Hogan while he was playing poker or something like that in the casinos, which is a poor storyline, but in reality, Macho Man Randy Savage hit Hogan because Savage thinks he's like The Hulk (no pun intended) no not the wrestler but the film character.<br /><br />The main event consisted of Bret 'Hitman' Hart facing off against Yokozuna in a very boring main event match. Mr Fuji threw salt in the face of Hart and Yoko won, but not until Hogan came down and squashed Yoko in 21 seconds.<br /><br />Overall Grade - E
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GUERNSEY (Maria Kraakman - Belgium/Netherlands 2005).<br /><br />The mousy Maria Kraakman plays Anna, a woman in her thirties, who finds out her husband (Fedja van Huet) is cheating on her but she doesn't dare to confront him. She painfully avoids any confrontation with human beings, her parents as well as her sister, so we have a main character in a feature film that doesn't do much at all. We barely know anything about her background or her motivations. Just a woman who seems to be stuck in a blind alley, not just during this difficult episode of her life. She obviously suffers from something, but why do we in the audience have to suffer as well?<br /><br />I almost gave up on cinema after seeing this unwatchable mess. These were a very dull and painful 90 minutes. Normally I try to avoid wasting energy on bad film making. I'll take the beating and roll with the punches, but in this case a fair warning is in place. How on earth did Nanouk Leopold get funding (in large part from publicly financed funds) for this turkey? Obviously, there was no script to speak off. It could be compensated by an ingenious filmmaker with cinematographic ideas or a cast with only a little more appeal. None whatsoever, just a vaguely defined concept, 'I want to do something from a woman's point of view'. The result is an insult rather than a tribute to a female perspective on life.<br /><br />To make things worse, there's not an interesting shot to be found in the entire film. I cannot think of a cast who could have spiced this one up, but Johanna ter Steege is a (small) light in the dark, if possible with this dire lack of material. I'm trying to imagine how Leopold tried directing Maria Kraakman: 'Maria, look at the horizon, we'll film you for three minutes, just express sadness'. A perfect cure for insomnia. Get a copy and watch this late at night, guaranteed too put you to sleep.<br /><br />Camera Obscura --- 1/10
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Simple story... why say more? It nails it's premise. World War 3 kills all or most of the human race and we're viewing 2 of the survivors. The message is that the 2 warring sides should not have been at odds in the first place. Distilled down to representatives from each side, we see they have everything to come together for:<br /><br />Security... Finding resources... food, shelter, etc... Survival... Love...<br /><br />At the end they've decided to pool their resources, (she finally does), so they will survive. Simple story, expressed in the limited budget of the early 60s television landscape. We see it in 2009 as somewhat old and maybe predictable. In the early 60s, no one had seen such stuff... I give it a 10...
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I saw the last five or ten minutes of this film back in 1998 or 1999 one night when I was channel-surfing before going to bed, and really liked what I saw. Since then I've been on the lookout, scouring TV listings, flipping through DVD/VHS racks at stores, but didn't find a copy until recently when I found out some Internet stores sold it. Then, being a world-class procrastinator, I still didn't order it. Finally, I found a DVD copy in a Circuit City while visiting Portland, OR, a few weeks ago. Then it only took me about a month after returning home before sitting down and watching it.<br /><br />So, what do I think about the film? It's good. Not as good as I remembered and hoped for, but still well worth the $9.99 it cost me. After seeing the whole film for the first time I rate it as a 7/10, with potential to become an 8/10. I'll have to be less sleepy then, and have a better sound system to avoid rewinding to catch some dialogue.
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I figured that any horror film with Orson Welles in it would be weird. Necromancy sure was but it was a little too weird for it's own good. The film does indeed have a creepy feel as it deals with a coven of satanists/witches in a small town and a young woman's attempt to escape them. The director though seems to be deliberately trying to confuse the audience by using flashbacks and dream sequences. By the finale, there are too many unanswered questions. What's worse, as the story is so confusing, it's pretty hard to root for any of the characters. It seems odd that Welles would agree to headline this film especially since he doesn't have that much to do. Maybe someday they will put out a tape of the outtakes and bloopers from this movie. Now that would really be fun!
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