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As is the case with many films of this ilk, my non Catholicism got in the way of my understanding it. The church has this mass of rules which have been put together over centuries. We have a short time to learn them and have to accept them at face value. Then, throw in some bad guys getting revenge for a long distant act against them, working under these rules and attempting to circumvent them, and you have this book and movie. I found myself thinking, 'That's pretty cool. Why did they do that?' There's this casual thing in the Robert Langdon character where no matter what the issue, he seems to always make the right first move. I suppose it's like watching CSI where they solve incredibly complex cases in a matter of days. They know the lay of the land. In this film, there is so much land and so little time to really understand everything that is going on. But if you create Robert Langdon, you need to set him to work. That's OK because heroic nerds like him have been saving the day forever. I thought the film was fun. I thought the Da Vinci Code was fun too. Interesting and not as bad as people seemed to think. This is a marvel to look at and never stops for a second. | 0 |
POPEYE AND BIG FOOT **; POPEYE'S ENGINE COMPANY **; GETTING POPEYE'S GOAT **1/2<br /><br />I used to lap these up as a kid but, catching an episode of the series comprising three cartoons back-to-back now i.e. several years later (they preceded the theatrical screening of the pirate yarn RAIDERS OF THE SEVEN SEAS [1953]), I can see how they don't hold up all that well! The character of Popeye isn't exactly sympathetic to begin with, Olive Oyl distinctly overbearing and Bluto's antics failed to elicit much interest either in short, the scripts were alarmingly thin, fairly awful and generally unfunny to boot. They're strictly juvenile fare, yet I doubt today's kids would even have the patience to stick with them!; furthermore, the animation style is unattractive.<br /><br />Taking each short per se, I guess they improved from one to the other: after the initial shock, one adapted to its mediocre quality as it were, so that the third cartoon easily results in being the most enjoyable of the lot Popeye is entrusted with a mascot army goat whose immense appetite causes him no end of mischief (hardly original, I know, but always an amusing ploy). One interesting element here was that the shorts were bookended with Popeye delivering moralistic bits of wisdom to the kids in the audience. | 1 |
Lord have mercy! Why was this film made? Why did Seagal and rising star Max Ryan agree to be in it? The Foreigner is so excruciatingly bad in every conceivable way that it boggles the mind.<br /><br />The film has an ultra-cheap look to it. Like a budget of a couple of bucks was far out of their reach. What's worse is that the makers know this and try to make it look slick to compensate. The result is a film that just don't look right. The fight scenes are so dull and edited 'discretely' to hide the fact that Steven Seagal is not in good shape anymore. None of them are engaging or exciting. The plot is nonsense that doesn't interest in the slightest way or have any uniqueness to it. The Eastern-Europe locations (a sly move by the producers to keep the budget down, or non-existent) look unpleasant and should not be serving as the backdrop for an 'action' film (what action?).<br /><br />And what is the deal with the title? As far as I could tell everyone in the movie was foreign. Which ONE does the title refer to?<br /><br />The DVD is in 1.85:1 anamorphic widescreen and in Dolby 5.1 sound. Neither are remarkable enough to warrant even a single rent. The Foreigner is not worth one second of your time. Gotta love that tagline tho! 'If they think they can stop him, they're dead wrong.' Sheesh! | 1 |
This movie is a true reflection of the Australian resourcefulness that has been required to make this country what it is over the last 200 years. Not pompous like the British, not Gung-Ho like the Americans. If either of those countries had attempted what this crew did, it would have failed dismally. Either due to ignorance on the British part, or too much faith in superior firepower on the American side. 'True' Australians (i.e. non-imports) are the only ones who can excel in modern military conflicts because they have had to improvise most of their adult lives. Just look at examples like Gallipoli; Paschendale; Tobruk; New Guinea and Vietnam. | 0 |
Without question, the worst ELVIS film ever made. The movie portrays all Indians as drunk, stupid, and lazy. Watch ELVIS's skin change color throughout the film. | 1 |
When this movie first came out back in 1984, Prince was one of the hottest acts around. Everyone wanted to see this movie, which was not much more than a extended music video. The acting was pretty bad, but what can you expect from musicians acting on the big screen for the first time? Despite that, it was still a very entertaining film! Morris Day and Jerome Benton provide some all time classic comedy, especially their rendition of 'The Password', which will make you think of Abbott & Costello doing their 'who's on first' baseball routine.<br /><br />Appolina (who went by a single name then) provided some beautiful breasts, so you had the brief nudity covered. Plus, she is very attractive. And of course, the soundtrack of the album is one of the best Prince ever recorded. Prince later on had a fallout with Warner Bros. and changed his name, but at this particular time in his career, he was at the top of his game.<br /><br />This movie doesn't rank in the all time great category, but it is pretty entertaining. | 0 |
Well done Al Gore! You have become the first person to have made 1 Billion dollars of the global warming lie! Just like all the other man made fable's in the world this one is up there with the best lies to have sucked in so many people. Sure polution is not a good thing, and I would love for all the tree's to keep on growing, but global warming is a business! It employes thousands of people that are all very mislead.<br /><br />Google it! There are just to many things that just don't add up, but well done Al, you failed as a politician, but went on to make lots of money sucking in the world.<br /><br />Whats next? Santa is real? | 1 |
Chick Flick? Of course.... Been done before? Many times.... Predictable? Yes..... Worth watching? You bet! I was delighted with Sarandon and Portman's portrayals of otherwise stock characters in a familiar story line. I am a great fan of mother/daughter stories. What makes the difference between the good ones and the weak ones ARE the performances and the character development. Although this is not the BEST of its genre, I will buy it and watch it again. I felt the characters were believable and the acting was superior. | 0 |
These days, you rarely come by a kid's show that does not involve 1) a preteen/teen pop star who is as amusing as watching paint dry 2) involve a plot about finding the perfect date with a different guy/girl every time 3) revolves around erratic yelling and unintelligible humor. About 95% of shows on Disney, Nickelodeon, and Cartoon Network fit the listed criteria. To put in simpler terms, they all lack good acting, originality, and good story telling. It as if producers and writers think kids aren't smart enough to understand character development and plot detail. They couldn't be more unaware. Sure kids enjoy a good laugh and erratic behavior (if it's done to a conservative level and done right), but as they also want to enjoy a story, see drama, and see people being challenged. They don't want to see people living in a flawless world where they get everything they want. They know this world isn't all fun and games, they know it's not perfect. Everyone has problems, and we all must learn to work around them. This show revolves around that kind of stuff. Alex Mack is an average teenage girl who seems to have everything going for her genius sister, Annie. Her Mom works at some office but is sometimes a stay at home parent. Her dad, George, is a top scientist at the Plant, a chemical corporation that employs most of the town they live in, Paradise Valley. Alex is unpopular and picked on by most of her peers. Her only friend is Ray (but she gets more friends as the series goes). On her first day of Jr. High, Alex walks home not too happy about school, but a truck delivering chemicals from the plant crashes into a fire hydrant trying to avoid running her over, dumping a strange chemical known as GC-161, where the chemical mixes with the water, covering Alex in it. Soon after, she starts to develop strange powers such as morphing into a puddle, shooting lasers out of her hand, and moving things with her mind. She also glows constantly when nervous (though we never see much of that later on). Aside from her sister Annie and friend Ray, Alex decides to keep these powers a secret from everyone, even her parents for fear of being kidnapped by the Plant, whose corrupt owner, Danielle Atron has her head of Security, Vince, search for the mysterious GC161 kid. Every episode then deals with Alex trying to live a normal life as kid at the same time learning to live with her strange powers. The series may seem like a girls show, but it's not. As a boy, I liked watching this show because of its awesome effects and drama. The producers successfully add some elements of science fiction with the elements of teen drama. In fact, some episodes were quiet violent and a little eerie. The unfounded plant manager Atron and Vince make good antagonists for the series, for the writers really do establish them as a threat and give you that dreadful feeling every time they come on screen. Also, smart move adding David, driver of the truck that spilled the GC-161, as Vince's bumbling assistant in the hunt for comedic effect but also you get to love him towards the end. It was interesting to watch little Alex try to live as a normal kid but struggles to perfect her powers. At times, you forget that these are kids who are battling a giant Adult run institution, because you are drawn in to the story. The show does a good job of relating to kids by showing Alex that she may have super powers, but she still is a kid, and must be careful. Even some episode you'll find yourself distraught at Alex's calamities. My favorite episode where Alex wishes she was never born truly demonstrates most of these elements. As I said, the producers never hesitated to add in some laughs whether they come from Ray's one liner or George's strange habits or David trying to be a nice guy. Of course you come across corny moments and an entire episode that really has nothing to do with the series plot, but what good series doesn't? All in all great show. 9/10 | 0 |
I really tried to like 'Saw.' The story was good, and I admire the breakneck pace of the way the film was shot. However, there were too many clichés and elements that while they may have looked 'cool,' they really made no sense.<br /><br />First, what I liked about the film was the overall tone of the story, and I thought the premise was fantastic. The character of The Jigsaw Killer was intriguing and reminded me of vintage Dario Argento. Danny Glover was excellent in his role as an obsessed detective, and Monica Potter was good in a thankless role as a doctor's abducted wife. Shawnee Smith's scene was incredible and both Wan and Whannell should be commended for using that scene as a demo to get the backing for the film. The whole notion that the Jigsaw killer finds a way for his victims to kill themselves is an excellent notion, but once the film got going, logic began to get away.<br /><br />Once they showed that Zap was the one holding Dr. Gordon's wife and daughter hostage, it was apparent that he was not the Jigsaw killer, and part of it. The scene where he puts a stethoscope over the heart of the terrified Diana while Allison screams at him through her gag was one of the most gratuitous scenes I've ever seen. It was supposed to be chilling, but establishing nothing. Also, since the Jigsaw killer finds a way for victims to kill themselves, he has no problem slicing the throat of a police officer. I guess it's a way to show that he doesn't want to get caught and will go to any means necessary to ensure that doesn't happen, but to me it just didn't make any logic, especially when he shows no remorse over the death of another detective (which I did like that setup, just would've been better if given to someone who actually deserved it).<br /><br />I felt Leigh Whannell was fine as Adam. It wasn't really a showy role and he has a lot of potential as a character actor. However, I wasn't too fond of James Wan's direction. The story may have been original, but the direction sure wasn't. I guess I'm tired of quick, MTV style cuts in favor of the old approach to directing, but a lot of scenes involving the Jigsaw killer reminded me too much of 'Se7en,' way too much of it. As the film progressed, to me it was starting to become a series of demo reels like 'Hey, look what I can do.' Instead of being intriguing, it became very distracting. But hey, it worked. He's now directing 'Final Destination 3' so he's on a path to a successful career, and I think he will become a top notch horror director in years to come.<br /><br />What really did it in for me was the ending. Like I said, I knew that Jigsaw wasn't Zap, and I liked how Adam discovered the mini tape player after killing him. It would've had a terrific ending, except for one fatal flaw: I felt they should've left it where you didn't know who the killer was. The way it was done was only done for one reason: Boy, are we clever? Uh, no. To me, it just didn't make sense.<br /><br />Some of the better horror films are made for a reason, where there is a reason for the violence we see in the story. While 'Saw' started out very well, it started to become undone by the filmmakers' insatiable need to be 'cool' and detract from the winning story they had. Perhaps if they weren't too insistent on making the films themselves, and relied on a more experienced horror director to helm it, I think it would've been the horror classic that it undeservedly has been given over the past four months. If this and 'Cabin Fever' are the future of horror, I'm very scared. | 1 |
Ten out of ten stars is no exaggeration. This documentary provides the viewers with unique footage about the 2003 coup in Venezuela. This great film is now the minimum knowledge requirement if you want to express a competent opinion about Venezuela or Hugo Chavez.<br /><br />The dramatic, electrified atmosphere, the unique footage will allow you to experience a true historic moment. You'll feel like you're in the middle of the situation. <br /><br />The film will help you gain unique insight in the happenings of 2003 and will help you hear a side you will rarely hear on TV. It's something you shouldn't miss. | 0 |
A group of models is seeking an apartment to live in, and are shown one by a local real estate agent. Unknown to the models and the agent, however, is that 'hell's threshold' is in the apartment and when crossed, the demon 'Dethman' is summoned to kill all those in his path. The story is told by Sam Bishop, a journalist who was accused of the murders.<br /><br />Although I am a champion of low budget, microbudget, and independent films, I cannot praise this movie. The creators take pride in their 24-hour shooting schedule and at least one actor boasts on the DVD of his acting prowess, but I cannot wrap my head around this. Why make a film in 24 hours if an extra one or two hours of editing would make all the difference? And why pride yourself on acting that is poor, nonsensical and results in the bad delivery of a handful of lines?<br /><br />Through much of the film, the models are being shown parts of an apartment by a real estate agent. The dialog is clearly ad-libbed because no scriptwriter could come up with such empty diction. The agent, also, clearly knows nothing about housing... she focuses on aspects of a home that no one could care about, incorrectly explains the heat source (didn't she see the radiator?) and says the vermin problem will be solved when they call 'the terminator'. Please, write a script -- some deviation is fine, but this was a mess.<br /><br />And why were the girls moving in models? Their careers had no point in the plot, and this seems like a forced situation. At one point, an actress breaks character and says something to the effect of 'dude, they're going to be (upset)' which sounded more natural than any other line, though out of place because of the other bad dialog.<br /><br />The demon made no sense. I appreciated the attempt to explain how 'hell's threshold' jumps to random places on Earth (including apartment fireplaces), but why not explain where the demon came from? His background involves a man whose love is killed by another man. How does this make you a demon? (Also, why did we need all these Victorian flashbacks with no dialog and glances across a field? It was overdone.)<br /><br />The dramatic pauses between lines was awful. The Sam Bishop character was by far the worst, with the interviewer not far behind. Does every question require a pause, a funny face and a response... followed by a pause, a funny face and a response? I was so frustrated. To me, the only point was to drag the time out... but I'd rather have thirty minutes of good delivery than an hour of horrible delivery (and then more time is wasted by rolling through the same credits twice).<br /><br />Who was the Sam Bishop character, anyway? Allegedly he 'saw' all this and was accused of killing the girls, but yet at no point was he ever in the part of the tale with the girls. So how did he see them? And if he didn't, how did he know Dethman killed them? And if he didn't see Dethman, how does he know Dethman is the spirit of Apostoles? I was so lost... was there even an outline for a plot when this was written? <br /><br />The only part I found enjoyable in this movie was a scene with one of the models in the bathroom. Not that it was really important or anything, but it was the only break from boredom I was given. I wonder what director Felix Diaz was thinking. His music is very good (see the DVD behind the scenes for his impromptu playing), but I wonder about his movie making skills. Although, by far the best part of the DVD was the trailer for his 'Superhero Excelsior' (the trailer alone was better than this entire waste of time).<br /><br />I am sorry I have to be so harsh. I'd like to think that this movie was a test of what can be done in 24 hours or maybe just an experiment for fun and the idea was never to make a quality film. But if 'Superhero Excelsior' is any indication, Diaz can make quality... so why did he choose to avoid that here? Perhaps the world will never know. | 1 |
I work in an office on weekends, and there is a TV that only gets ONE channel. So, I don't have the option of turning to something better. I keep it on, though, because it provides a little background noise. Sometimes, I get a decent movie/show. Not today. Today, I got 'Breaker Breaker.' The city looks like a third rate set (which, of course, it is). All the actors and bad guys look like they just graduated from stuntman school. I have seen better dramatic enactments at a carnival. The special effects (flames at end of movie are more fake then Michael Jacksons masculinity). Even the horse at the end of the movie was a terrible actor... A badly acted, badly shot, badly written movie. | 1 |
I think i watched this movie, but don't quote me, as i may have fallen asleep during watching it as it didn't exactly 'grip my excitement and imagination.' At least i know i watched enough of it to know i won't be watching it again soon. Or ever.<br /><br />Jeez, talk about lame... Really lame. Totally lame. It wouldn't even appeal to a six year old. It basically had NO worthwhile dramatic impact. Zilch. Nada. Just shlock turned into dreck. Comedy? That was supposed to be comedy? Ya coulda fooled me-ee-ee...!<br /><br />Now, if the aliens had been insatiably carnivorous like in the movie 'Critters', we could have had the human characters do something a little more profound than be overly smugly cutesy... like yelling and screaming and running for their lives so they wouldn't be eaten so the story could be something more exciting than watching paint dry.<br /><br />Don't bother watching this. It's not worth the effort. You can find something more interesting to do. Like watching paint dry. Or falling asleep. | 1 |
This is the classic case of an excellent film being looked over by the American public simply due to the fact it didn't have Bruce Willis or Arnold Schwarzenneger as the lead man - Adrian Quinn does a better dual performance, thats right you heard it dual performance in this film than either of those have ever pulled off in their careers! Well anyway, now to the review...<br /><br /> The Assignment is loosely based upon the story of Carlos the Jackal, a 1970's radical who terrorized Europe for years before finally being apprehended by French agents. In this adaptation, a US Naval officer (Adrian Quinn) is on leave in Israel when he is apprehended by Mossad (Isreal's crack intelligence / counter-terrorism agency) and took in for questioning due to the fact he looks EXACTLY like the jackal (this is the one extremely cheesey part of the film, but trust me it doesn't detract from the great value of this film). When it is discovered Mr. Ramirez is not the Jackal, however, he is recruited by a hardened CIA agent by the name of Jack Shaw (Donald Sutherland, who does his usual grizzled mysterious government authority figure routine but in a stupendous manner) who has spent his life hunting the Jackal, and the series of events which follow will captivate anyone who watches this film - it is chock full of great acting, without all the usual action film cliches and one-liners, and a great plot which will surprise anyone. The three leading men - Quinn, Sutherland and Kingsley - carry this film much further than its modest budget would have allowed with anyone else filling their shoes. Also kudos to the director and his staff, the camera angles and cinematography are top notch, especially in the action scenes. The Assignment is better than anyone renting it could ever expect, its a pity the film did fairly poorly in the box office, otherwise we might see a sequel to this stupendous espionage thriller.<br /><br /> 9/10 stars, this reviewer HIGHLY recommends it to all potential viewers! | 0 |
In the funeral of the famous British journalist Joe Strombel (Ian McShane), his colleagues and friends recall how obstinate he was while seeking for a scoop. Meanwhile the deceased Joe discloses the identity of the tarot card serial killer of London. He cheats the Reaper and appears to the American student of journalism Sondra Pransky (Scarlett Johansson), who is on the stage in the middle of a magic show of the magician Sidney Waterman (Woody Allen) in London, and tells her that the murderer is the aristocrat Peter Lyman (Hugh Jackman). Sondra drags Sid in her investigation, seeking for evidences that Peter is the killer. However, she falls in love with him and questions if Joe Strombel is right in his scoop.<br /><br />'Scoop' is another great Woody Allen's comedy outside Manhattan, actually again in London. His ironic and witty lines are simply fantastic, and I laughed a lot inclusive with his fate of hero in a country where people drive 'in the wrong side'. Sid Waterman is extremely funny and Woody Allen is in an excellent shape as comedian. However, his present muse Scarlett Johansson, of whom I am a big fan, has over-acting and is annoying in many moments, changing inclusive her accent to a histrionic pronunciation. Her character is absolutely silly and promiscuous, and I was quite disappointed with her performance (probably for the first time in her filmography). But this supernatural comedy is still a hilarious and worthwhile entertainment. My vote is eight.<br /><br />Title (Brazil): 'Scoop O Grande Furo' ('Scoop The Big Scoop') | 0 |
it MIGHT have been a good movie if it had explored something more interesting rather than just the surface of a lesbian relationship if this was the meaning of the movie...it is quite predictable not mentioning that the two girls resemble the Russian group t.A.T.u....coincidence? i don't think so. There is nothing original in this movie to support it so they had to use something which is already famous.You know the recipe. The other actors...well,i just don't know what their role is supposed to be. Most of them are well - known people in Romania and i must mention some of them are not even actors(e.g.Mihaela Radulescu).SO to summarize it: 'girl band tatty'+desperate/publicity needing 'actors'+ a non-existing plot+ the occasion to use bad language in order to shock= Love sick....too bad...the idea was good,though...and i am seriously holding myself from commenting the title... | 1 |
Meester Sharky, you look so ... normal. You would never get a table in this fancy cocktail restaurant/bistro. I, on the other 'and eat grapes and pate 'ere every day. You like my fur coat with all the fine trimming? My enormous golden rings of gold? Or maybe you like these blonde, 'ow you say?, bombshells, who are all qualified in aerobics and naked petanques, who decorate my long, maroon velvety sofa like so many soft boiled larks on a plate of pan fried foie gras and figs. You like? You can't have! Zey are all mine.<br /><br />You will never possess 'er as I possessed 'er. Domino was the best, apart from Maman. You do not understand the art of lovemaking. Just look at your inferior moustache. It is almost funny to me, non, to think of that ludicrous protuberance on your silly face, as you snuffle around Domino's love hillock like the piggy seeking the truffle in the forest, the forest heaving and swaying in the hot winds of desire! You lose again Sharky.<br /><br />When I make love to the women zey know, Sharky, zey know. Zey learn, zey learn until zey become the teacher. Not nano-maths, the arts of love. Domino was the seedling which I watered. I watered her so very often. Everywhere Sharky. Her scented petals, her proud stalk, everywhere. She will wither under your ridiculous hose, like the soufflé removed from the oven five minute too soon.<br /><br />I must go now Sharky, you bore me so with your disgraceful behaviour. It is you who will be flushed down le pissoir like the smelly thing.<br /><br />Bon chance! | 0 |
The film begins with a dandy gunfight, where three bandits are quickly gunned down by a bounty hunter--a bounty hunter who bears more than just a superficial to the Man With No Name from the Clint Eastwood trilogy (FISTFUL OF DOLLARS, FOR A FEW DOLLARS MORE and THE GOOD THE BAD AND THE UGLY).<br /><br />Immediately after, you see this man in a gold train filled with Union soldiers. Naturally, the shipment is attacked and the soldiers all fight like blind guys, so they are quickly neutralized. However, in a twist, one of the bandits cheats the gang leader (Gilbert Roland) and rides away with the gold. Soon, Roland catches up and is about to find out where the gold is hidden. But, just at that moment, the army turns up and kills the traitor....bummer. However, the Man With No Name wannabe thinks Roland knows about the treasure and perhaps a medallion given to Roland by the traitor holds the key. A strange banker, also is thrown into the mix. All three want the gold and all three seem pretty macho.<br /><br />Overall, this is not a particularly distinguished Western. Much of it is the plot, some of it is that George Hilton (a Uruguayan despite the American sounding name) isn't as interesting as Eastwood or some of the other premier Spaghetti Western stars but most of it is because the soundtrack simply sucks. So often the music doesn't even come close to matching the acting and it seems almost randomly added. Plus, it just isn't very good stuff as well. This clearly isn't the work of Ennio Morricone--music master of the Spaghetti genre.<br /><br />Overall, just a time passer--and not a particularly good one to boot. | 1 |
Jon Voight is brilliant in Midnight Cowboy, but Hoffman's performance, though reminiscent of his later turn in Rainman, is the kind of performance that keeps me watching movies. As a portrayal of a New York character, only Daniel Day Lewis' portrayal of Bill Butcher in Gangs of New York comes to mind as comparable, and Day doesn't give his character the emotional depth that Hoffman gives Ratso. <br /><br />It's typical of Hoffman's way of acting that the actor we tend to identify most with Midnight Cowboy is Voight. I think Hoffman is one of the 4 or 5 best actors in the history of film at playing off the people around him in such a way that he raises their performances far above their normal levels. <br /><br />Voight's Buck is so naive that he would float out of the film altogether, except that Ratso pulls him down - pulls him down, but also teaches him, a lot about how to survive and, more importantly, how to live.<br /><br />Midnight Cowboy is a movie about escape that turns into a movie about finding yourself. I think that, as gritty a movie as it is, it has a very beautiful message, that no matter how much a loser you might be (Ratso clearly defines 'loser'), if you can find a way to be true to yourself, you are in possession of the secret of life, and you might even be able to share that insight with someone else. <br /><br />I can't help but compare Midnight Cowboy to Klute, from a few years later, which I think is more like a movie about finding yourself that turns into a movie about escape. | 0 |
Heart of Darkness was terrible. The novel was difficult enough to understand, but when a production company decides to release a film loosely based on it, then that just messes everyone up. Not only did those in charge decide to change certain characters and completely eliminate others, but the acting was horrid and the overall impression I got from the movie was that it was a complete dud. I watched the film in hopes of understanding the novel a bit better, but it just threw me and my fellow classmates off completely. I think the movie was a waste of time, and I was disappointed to see Tim Roth in such a disappointing film, especially when he has awesome flicks like Pulp Fiction and Resivior Dogs under his belt. Same with the very cool John Malkovich. | 1 |
I have yet to watch STARCRASH (1979) - that notoriously cheesy Italian take on STAR WARS (1977) - but it can't be much worse than this misbegotten piece of junk which, suffice it to say, makes Mel Brooks' so-so SPACEBALLS (1987) look like a veritable work of art! In fact, the main reason why GALAXINA is remembered at all nowadays is because of the tragic fate which befell its leading lady - Playboy centerfold Dorothy Stratten who was killed by her insanely jealous estranged husband - before the film had even had its official premiere! <br /><br />Although Statten (who subsequently had two biopics made about her wherein she was portrayed by Jamie Lee Curtis and Mariel Hemingway) plays the title role, for the first half of the film she is reduced to being propped up in a chair ostensibly driving a spaceship on a 27-year journey to some planet or other; in fact, Galaxina is an all-purpose android who also serves the wacky crew their snacks, gets them all hot under the collar and even goes scouting for the Blue Star (cue choral music) once they land! Having said that, Statten certainly looks luminous in her white attire and, even if her role hardly demands much exertion of any acting talent she might possess, it's not exactly demeaning either.<br /><br />Still, it's ironic that for a film which bears her name, she is overshadowed by the campy and would-be zany antics of her fellow crew members, especially the annoying Captain Cornelius Butt (which gives you the idea of the level of comedy on display here), a long-eared, wing-sporting colored guy, a pot-smoking, proverb-quoting old Chinaman and, best of all (relatively speaking) a foul-mouthed, rock-eating, hairy alien creature they hold prisoner. The villain of the piece is a metal-clad non-entity who does, however, have the best laugh in the film when, upon hearing the choral music following his every mention of the Blue Star, exclaims, 'What is this s**t?' There is little point in listing the sci-fi classics which are mauled by this stinker in its ludicrous attempts at spoofing the genre since they are not only lame but obvious; incredibly enough, a chest-busting but ultimately benign alien is apparently played by diminutive Hollywood veteran, Angelo Rossitto!<br /><br />For what it's worth, then, the scenes shot on the planet they visit (which looks more like a Western set than a planetary landscape) have a yellowish, sun-like hue and its inhabitants are 'human gourmets' (delicacies on their menu include Skin and Tonic, Scotsman on the Rocks, Thigh Pies, Baked Alaskan, etc), not to mention a motorcycle gang who serve their own particular deity (the Harley Davidson) and when our heroes escape on the back of it, they dare not shoot at them for fear of hitting their 'Lord'. God(awful) indeed... | 1 |
Saxophonist Ronnie Bowers (Dick Powell) wins a studio contract and goes to Hollywood. He stays at Hollywwod Hotel (of course). At the same time big egotistical star Mona Marshall (Lola Lane) has a tantrum and refuses to attend the premiere of her new picture. In a panic the studio hires lookalike Virginia (Rosemary Lane) to impersonate her and have Bowers take her to the premiere NOT telling him it's not Marshall. Naturally they fall in love. You can pretty much figure out the rest of the plot yourself.<br /><br />The plot is old (to put it nicely) but Powell and Rosemary Lane make a very likable pair and have beautiful singing voices. The score is good (highlighted by 'Hooray for Hollywood') and director Busby Berkeley shows off his unique visuals in a really fun drive-in musical sequence (with Edgar Kennedy doing his patented slow burn). Also Glenda Farrell has a few funny bits as Monas sister Jonesie.<br /><br />Still the movie isn't that good. The rest of the cast mugs ferociously and most of the humor is just not funny. Lola Lane especially is just lousy trying to play Mona for comedy. Also there is racism--a stereotypical black maid is played for laughs and there's some truly appalling racist 'humor' at one point. That's probably what keeps this off TV most of the time. I realize it was accepted at the time but it comes across as revolting today.<br /><br />All in all a so-so movie with some serious problems helped by a good cast and some great songs. I give it a 7. | 0 |
Worst horror film ever but funniest film ever rolled in one you have got to see this film it is so cheap it is unbeliaveble but you have to see it really!!!! P.s watch the carrot | 0 |
Dysfunctional family goes home for the holidays and murder and mayhem result. Violent sexy Milligan at his most home made. Little better than a home movie (as much of Milligans films are) this is a trip into depravity 1960's style. Notable for the copious nudity and sex this film is neither sexy nor gruesome, playing now more as quaint.(though decidedly r rated). The film suffers from its uneven cast and from the cheapness of the production.(No one was ever sure where the money went on his movies since he was always broke). Its a bad bad movie thats not worth seeing except as a Milligan completeist or because its got some good looking people fooling around. | 1 |
It has been widely agreed that Hayao Miyazaki is a master at his craft when it comes to combining rich animation with thoughtful story lines and similarly imaginative characters. His movies, from NAUSICAA, TOTORO, KIKI, LAPUTA, and MONONOKE to the recent HOWL'S MOVING CASTLE are all not only gorgeously rendered in terms of art, but in terms of movie-making as well. Can this man do no wrong? Not really, but it is impossible to expect everyone of his movies to always be five star marvels. His newest film, PONYO, an unashamedly family-friendly tale of a 'goldfish out of water', is as lushly animated and alive with interesting characters as you would expect... and yet this is the first film of his which treads into 'lesser' territory. Don't get me wrong, PONYO is not a bad movie by any means. As mentioned, it is a sight for the eyes and is as charming and adorable as TOTORO and KIKI. The problem is that the story doesn't stay afloat to satisfy anyone eager for another engrossing, in-depth plot.<br /><br />For its opening hour, PONYO is Miyazaki storytelling at its finest, in which a rowdy and overeager young goldfish (who later becomes named Ponyo) makes a forbidden trip to the human world where she is subsequently adopted by a boy her own age named Sosuke (modeled, interestingly, after the director's own son). This does not please Ponyo's father, a mysterious wizard named Fujimoto, who is very angry at the humans for their destruction of the sea (this environmentalist theme is not much different from Miyazaki's other films)... a problem he very much intends to rectify by creating jellyfish from the prow of his submarine. He separates the pair and tries to talk Ponyo into staying underwater with him. The goldfish, however, has already tasted both Sosuke's blood (healing a cut on his finger) AND some of the human food (ham, which she becomes inexplicably addicted to), and of course steals into her father's forbidden potions, transforming into a hyperactive young girl (who is the spitting image of Mei from MY NEIGHBOR TOTORO). This triggers a dangerous tsunami which threatens to engulf the entire world with water. Conspiring with his wife, Gran Mamare, a diaphanous sea goddess who alternatingly shifts from super-sized titan to human-size form, Fujimoto decides to test the two youngsters' love for each other. They do this by elevating the sea to the level of Sosuke's house, prompting the youngsters to set out across their now ocean-infested world in an over-sized toy-boat (made possible by Ponyo's own magical powers).<br /><br />It is at this point where PONYO begins to run out of steam. Although Ponyo and Sosuke are adorable and the scenes involving them are funny and cute, they slow down the film. Where the film really takes on water, unfortunately, is at the climax in which Sosuke must prove his love to Ponyo, presented in a way which is strangely anticlimactic and rushed, bringing an otherwise charming tale to an abrupt halt. This will likely underwhelm viewers expecting another instant masterpiece from the man who has delivered far more interesting finales for many of his other movies. Remember the destruction of Laputa? Satsuki's search for little Mei? Kiki's rescue of Tombo? Porco Rosso's fight with Curtis? The rescue of the Forest Spirit's head? Or even the test between Chihiro and Yubaba? All those resolutions were far more satisfying and felt more complete than this one.<br /><br />On a technical level, PONYO cannot be faulted. The animation is absolutely gorgeous to look at, produced entirely without a single shot of computer-generated-imagery, and naturally Joe Hisaishi provides us with yet another breathtaking musical score; the best moments being the rousing sequences underwater, accompanied by a chorus and a soprano voice. And the backgrounds are lovingly painted and detailed as any other Ghibli movies.<br /><br />Having proved themselves worthy on translating and dubbing Ghibli's previous movies into English with top-quality results, Disney Studios and Pixar once again provide an English dub complete with a mostly capable cast of actors. Frankie Jonas is surprisingly good as Sosuke, sounding very natural and believable throughout. Noah Cyrus as Ponyo, on the other hand, sometimes goes overboard in shouting her lines before eventually settling down toward the end. Leads aside, the rest of the cast includes Liam Neeson as the overprotective Fujimoto (who manages himself unsurprisingly well in the character), Cate Blanchett as Gran Mamare (in an omnipresent tone which is not much different from her Galadriel in LORD OF THE RINGS), Matt Damon as Sosuke's constantly seafaring father Koichi (who is good but nothing to write home about), and Tina Fey as Lisa. Of them, Fey is the best voice in the entire cast, imbuing the character with just the right amount of spirit and personality. Her scenes with Sosuke show real chemistry. On the other hand, Cloris Leachman, who was spectacular as Dola in CASTLE IN THE SKY, is disappointingly wasted as one of three handicapped elderly women (she barely has ANY lines!), who are also voiced by Betty White and Lily Tomlin. Of them, only Tomlin's character, a cantankerous woman named Toki, shows any real personality, but if I were casting the movie, I'd switch Tomlin with Leachman. Probably the only really jarring drawback of the dub is a blasty techno-remix of the film's catchy (but ridiculously repetitive) title song, which thankfully doesn't occur until midway through the closing credits.<br /><br />On the whole, PONYO is a good film; a fine piece of animated work which is perfect for youngsters and family audiences. Due to the loss of momentum toward the end, though, it falls far short of classic status. Since Miyazaki at his least is still better than a majority of other animated films, though, I'll be generous and give PONYO a full star recommendation, because any feature of his is still very much worth watching, particularly on the big screen. (Be sure to catch it in the theaters while you can.) | 0 |
This oddity contains Bunuel-like touches, but doesn't sustain one's interest. A 10 year old roams a bizarro America in a stolen Mustang, while the usual cult movie suspects (Dick Miller, Mary Woronov, Susie Tyrell) commit malicious acts in the name of comedy. Like his AFTER HOURS and VAMPIRE'S KISS, the screenwriter delights in making you squirm. I remained unaffected, due to the broad acting. You know you're in for it when Meat Loaf and Flea give the most appealing perfs. (And what did this kid's screen test look like? He's insufferable.) Recommended to the dozen or so fans of SONNY BOY ('87). | 1 |
While flipping through the channels on a late Saturday night, my friends and I stumbled across this film. First of all, Irish actor Pierce Brosnan as a Native American? Seriously?! His accent was breaking through so much, although his character was apparently Scottish. Next, I was stunned to find that this film was made after he had already played James Bond/Agent 007 at least twice. This movie plays up the stereotypes, with the inspiring professor figure. The girl who played Pony should be paid to keep her mouth shut. And, this film won an award? I cannot believe it. Brosnan is an attractive man, but we seriously wanted to gauge our eyes out after watching this for just 10 seconds. We switched from 'Kicking and Screaming' to this, and we wanted to switch back. We watched the 1995 children's classic 'The Indian in the Cupboard' earlier in the night, which also discussed the Iroquois. The following line represents our desire to run away: 'Take me outside, earth grasper.' From 'Grey Owl': 'If you don't like it, you don't have to watch.' | 1 |
In 1983 two Bond movies was made, one was the official Bond movie Octopussy starring Roger Moore who starred as James Bond for the first time in Live and Let Die and the other was the unofficial Bond movie Never Say Never Again starring Sean Connery who played the role as James Bond for the first time in Dr. No, that film was also the first 007 James Bond movie to be made. Never Say Never Again is called unofficial because the company that made the other James Bond movies didn't make this one. Never Say Never Again is also a remake of the 1965 007 movie Thunderball, there are several differences in Never Say Never Again that lets you know it wasn't made by EON. One thing is that the opening is different, there's no gun barrel sequence and no pre-credit sequence, another difference is the music score. Some things in this movie does feel like a James Bond movie like the gadgets and cars, plus James Bond always getting it on with the ladies and the film does have an opening credits song. Sean Connery still does a great job playing Bond, the acting from the other stars is also great. <br /><br />Never Say Never Again is a good film that's just has entertaining as the official James Bond films. Check this out. 10/10 | 0 |
Singleton has some serious issues he has to come to grips with. I get the feeling that he thinks he is pretty smart; however, this movie is almost comically transparent and self righteous. In addition, there are a bunch of 'might-makes-right' messages like when our local Nazi jerks get beat up. I mean, who in their right mind is going to root for a bunch of Nazi jerks? However, he way Singleton portrays the 'fight' is downright silly and seems to be designed to show us more the superior fighting qualities of the black protagonists than anything else. There is another 'bad guy' (in reality a drunken frat boy) who rapes one of the movie's protagonists. In this instance, I think that Singleton actually does a nice job portraying what is probably an all too common situation when the woman involved asks the frat boy to use a condom and he either does not have one or does not want to use one. In any event, he does not accede to her demands that he stop and he proceeds to have intercourse despite her pleas. I think that this type of rape is all too common and in fact many uniformed people refuse to accept the fact that it is even a rape. Well, no means no, this is a rape, which probably occurs a lot in Universities across the country.<br /><br />Having established the rape, how does Singleton deal with it? When the frat boy tries to call the woman, her roommate refuses to put the victim on the phone, at which point the frat boy calls the roommate a 'black bitch.' The aggrieved roommate appears to appeal to a counsel of Ice Cube, et al, who then proceed to physically humiliate and abuse the frat boy into repeated and prolonged 'apologies' to roommate for his racist remarks; however the (apparently in Singleton's mind) lesser crime of rape is not mentioned. Again, no one really should feel sorry for the frat boy; however, Singleton seems to be sending a dual message that a racist comment is a greater offense then rape and in any event violence is justified against jerks.<br /><br />What is so ultimately so disappointing is that this movie could have truly been about something important but Singleton, while no doubt a talented director, does not appear to have the maturity or depth to pull of something of this magnitude. | 1 |
I tuned in to this movie because there was nothing else to watch. I was immediately sucked in by the characters.<br /><br />Robin Tunney is nothing less than spectacular in this film. Her portrayal of a mentally ill woman is both moving and 100% believable. Really, this sort of thing is not easy to do. She pulls it off fantastically.<br /><br />We know early on this film is going to end tragically, but you cannot take your eyes off of it. The characters do stupid things, but unlike most Hollywood movies where people do stupid things because the plot demands it, these people do stupid things because the are not right in the head - and the things they do are completely consistent with their characters.<br /><br />This is just a great example of film making IMHO. Great writing, great acting, great directing. A film for people who think film can be more than mindless entertainment. | 0 |
I really liked the movie 'The Emporer's New Groove', but watching this was like coming home and seeing your wife having 'relations' with a llama. Seriously, this movie was bad. It's like Club Dread after Super Troopers. I am supposed to write 10 lines, but I don't even know what else to say. I laughed a couple of times, but only because I was drinking. A movie like that should at least be funny when your drunk. It was not. Maybe llamas are just funny and regular cartoon people aren't. Either way, just stick with The Emporer's New Groove if you want a funny, cartoon, llama-themed movie. Line 10 is this line right here. | 1 |
REALLY? REALLY???? I know if you make a political war movie you will get noticed but this movie was just garbage. Horrible in every sense. Terribly inaccurate in so many ways. I have an easier time believing the president of the United States suiting up, flying a jet fighter, and shooting down aliens. It is easier to note the few things that were right. My jaw dropped when I saw some one say that this movie was the best in the last 25 years. It was overacted, seemingly pointless plot diversions, and had questionable cinematography at times.<br /><br />X-box, YouTube, ACUPAT utilities
did anyone check that these things did not exist in 2004? It's not like you had to do extensive research, it was only five years before this movie came out. I am an Iraq war Veteran and if you spent ONE day with an infantry platoon or an EOD squad you would realize how B.S. this movie is. To compare this to Platoon or Saving Private Ryan is ludicrous. Why don't you just throw Commando and Red Dawn in there too; I think those might be more accurate. <br /><br />If for some reason you can see past the unbelievable plot, the historical and factual discrepancies, then this movie might just be OK. Nothing more. If you keep on hearing 'Oscar buzz', and have to add your own pompous review, go right ahead. As for me, I am writing the director to see if I can get my 131 minutes back. | 1 |
This series it's 'something different'. Sometimes European series are less accurate than the USA ones, but this time authors have hit the right target creating a mix that works in a smoothly way. Edel & Starck is great, it has all: great plot, smart, witty, always well delivered lines, an amazing theatrical timing showed by all the stars and beautiful shots of Berlin, one of the most interesting city in the world. It's entertaining to see how things works in the justice field in other countries than the USA and for once 'feel' the old Europe way of dealing with life. Kudos to all the cast and crew for a well done comedy that is going to be a must to see in the years to come.Watching the series in German is super. | 0 |
GAME.... Huh... game. I'm not even sure the bloody hosts of that particular reality-game know what the term 'GAME' means, let alone the bloody PLAYERS in the game! <br /><br />An aspiring PUA would look at that and think... Hmmmmm... What the flying FORK was that useless excuse for a demonstration of seducing women? I've seen my neighbours DOG seduce women with more panache than that! And it is one UGLY bloody dog! And its main approach tactic is to frenetically hump legs! <br /><br />I challenge the frustrated chump hosts of that show to a SHOW-down; a demonstration of their SO-called pickup ability... Can they deliver? If one is to view that piece of un-reality-drivel, then you would realise, No, these grandstanding, mentally-masturbating, suck-me-darling-boyfriend, wanna be hosts of Queer Eye or something similar (not that there's anything wrong with that...), are unable to un-shrinkwrap their penises long enough to provide a demo of a REAL pickup. <br /><br />As you lovely North-Americans say: '...'Nuff Said!...' <br /><br />A message from Down Under... with Love.... | 1 |
A comedy that worked surprisingly well was the little British effort 'The Divorce Of Lady X (1938)' . It marks the first pairing of Laurence Olivier and Merle Oberon, before that little film about uncontrollable passion on the 19th century English moors. And while Olivier and Oberon are not particularly well-suited to screwball comedy, it all flows along nicely. Oberon is Leslie, a young woman who ends up in priggish divorce lawyer Logan's (Olivier) hotel suite by way of a nasty English fog preventing travel. She does everything possible to irritate him--but, in the crazy way films go, he falls for her. And she falls for him. But a serious case of mistaken identity occurs when Oberon's 'Lady X' (that's all she leaves Oliver in a note) is thought by Olivier to be a married woman. To make matters worse, and more amusing, Lord Mere (Ralph Richardson) goes to Olivier wanting a divorce from his wife whom dear Larry thinks must be Oberon! There is some nice battle-of-the-sexes dialogue, and fun exploration of sexual politics. You can see that Olivier is not too confident with the comedy, but in true Olivier he's a consummate professional, and delivers. And he handles the screwball twists and turns, maybe not with ease, but with gusto. Oberon was no great shakes as an actress, but she was usually competent enough, and despite their reputed off-screen dislike of her, worked well with Olivier. This was filmed in early Technicolour that looks very primitive today (everyone looks even whiter than Michael Jackson), but perhaps the print needs cleaning up. | 0 |
I don't usually like this sort of movie but was working at home and wanted something to halfway watch while I did. I got so engrossed I gave up working to just sit and finish watching the last half hour uninterrupted. And I sure don't usually shed tears over this sort of show, but I was crying at the end. A lot of emotional nuance. Great acting, and good southern feel. John Corbett is one of the most talented actors out there, and the guy who played Luke was really good too. Highly recommend. | 0 |
This really doesn't do the blues justice. It starts out badly with images from the voyager probe and Blind Willie McTell (or was it Blind Lemon Jefferson? Someone blind anyway) apparently narrating from outer space (?) and telling us the life stories of various blues musicians. Corny as it is, this might be the visually most interesting part of this documentary. Afterwards the only thing to see is actors incompetently mouthing the classic tunes, filmed in fake 20s black and white intercut with the likes of Beck and Shemekia Copeland raping the same songs afterwards. This is a good device to show us why the old Blues greats were really so great, but it doesn't make for compelling viewing. There is hardly anything in here that could justify making it a film and not a radio play. Nobody should be forced to see these badly done reenactments. It's a shame for Wenders, Scorsese and especially for the Blues. Avoid at all costs. | 1 |
This ultra-low budget kitchen-sink yawn is the kind of film that can only be made in the UK in that, anywhere else in the world the fact the a market would need to exist before a green-light would be given. Most probably self funded this is clearly an attempt to redress important issues but ultimately undermines its point of existence in that the question needs to be begged, who would ever put money into distributing this and secondly if a market audience doesn't exist to watch, buy or rent this film, why would anyone bother in the first place? My opinions may sound unfairly harsh on a first time director but, this is the kind of film that only goes to undermine the commercial viability and quality standards which have only just kept a British film industry in existence. Reviewed in Edinburgh. 2 out of 10. | 1 |
The original Body and Soul (1947) is a masterpiece. John Garfield, Ann revere, Lilli Plmer, William Conrad, Canada Lee...and filmed by one of the greatest cinematographers to ever grace the screen..James Wong Howe. This remake is abominable. In spite of the presence of Rod Steiger, Joe Mantegna and Jennifer Beals there is nothing of value here and it is a shame this product bears the same title as the brilliant original. Only the main character's name, Charlie Davis, is the same in both films. I don't think there are any redeeming qualities in this remake. I am amazed that Rod Steiger participated. This may be the only bad film he ever made. Maybe he needed the paycheck. | 1 |
Just saw this film the other day at the Santa Fe Film Festival. I was delighted by its honesty and humor. It was the most thought provoking movie I've seen in a very long time -- I just can't get it off of my mind for some reason. It may not be for everyone, because it makes you think. I don't know if people like to think in movies so much anymore, which is a shame. The actors who play the Franklins are quite a find. I couldn't imagine playing these complicated people with such frankness. Though I thought a couple of the supporting characters were not as good as the Franklins, I can totally forgive it -- because this is an important movie in my opinion. I didn't expect to like it so much, but as I've thought about it for a few days, it's proving to be a very relevant piece of entertainment. | 0 |
This movie will be a hit with those that enjoy sophomoronic, mindless, explicit bragging about sexual exploits and F... in almost every sentence. Like a good plot? Like comedy? Like romance or other human values? Stay away from Whipped. It was so bad I left after about half an hour. I saw two kids slip in that looked to be about 10 -- very harmful -- this deserves an X. | 1 |
I first saw this movie at a festival. There were many good movies, but few kept me thinking about it long after, and An Insomniac's Nightmare was definitely one of them. Tess is definitely a gifted filmmaker. The shots were great. Casting was perfect. Dominic shined in his role that she perfectly crafted. There wasn't a lot to know about his character, but she wrote the story in such a way that we cared about him. And Ellen-- I can't wait to see where she ends up! She's showing a lot of talent and I hope she does a few more films. With all the million dollar budgets trying to get a cheap thrill, Tess shows that it's all not needing as long as there is a good story and actors. Kudos to everyone involved with this film. And thanks to Tess and co. for distributing it on DVD! | 0 |
This movie had a IMDB rating of 8.1 so I expected much more from it. It starts out funny and endearing with an energy that feels spontaneous. But before the movie is half-way through, it begins to drag and everything becomes sickingly predictable. The characters in the office were delightful in the first third of the movie, but we get to know them a little too well; they become caricatures, not real people at all. This is the same story I've seen hundreds of times, only told here with slightly different circumstances. The thing is, I could stomach another predictable love story if only the dialog weren't so stale!<br /><br />The only thing that could be worse is if the characters had inconsistent and unbelievable motivations, and unfortunately that was also the case with Dead Letter Office. Hopefully this movie will end up in the Dead Movie Office soon. | 1 |
I watched it with my mom and we were like...<br /><br />What the hell? We didn't get it at all. I may have this wrong, but a chair had something to do with the death of this woman's father. That movie was terrible! This is not a movie for those who love a good suspense movie. Bad suspense movie! *shakes cane at movie* I'm never seeing it again. And I'm a big fan of lifetime movies, too! They kinda need to quit trying to make movies outta books. It's driving me crazy!!!<br /><br />And Whit was butt-ugly and yet, she loves him more than Hugh, who was a TINY bit nicer-looking.<br /><br />My rating: 1/10 | 1 |
This is not the best movie you might ever see, but it still is very refreshing. Of course, it has it's flaws, it has it's humbling moments and yet at the same time it's different from all the sh*t you're used to and is funny in a way only the french can give you this. You might recognize a little from the masterpiece Amelie, when you see the opening. I give it 7 out of 10, but still reccomend it to you if you're tired of the usual bore you can rent in the videostore. | 0 |
this is what i call a great movie. it lives trough the fantastic actor skills and a simple but human story. there are real characters which can be funny and dramatic. but the main theme is very cruel, like live is.the bus driver and his son are collecting people trough the country (jugoslavia) on their way to the capital Belgrad. the funny and cruel situations that happens on the way, connect the people and the pigs that travel together. <br /><br />watch it and you gonna remember it for life... its filled with Slavic humor and lifestyle.<br /><br />and another reason for its magic : it is hard to get!! | 0 |
This show has an amazing plot with good and recognizable actors (like the girl from Boston Legal and Boris the Butcher from Snatch). Even the extras and the kid, whom i thought from the commercial might be a weak link, surprised me with his skill. It's just the little things that the director needs to tweak. Like the guy who does the recap of the last episode at the beginning of each new episode needs to be fired. Having a narrator tell you what happened kind of ruins the story. The only other small problem I had was that sometimes they take too long to do things, but no where near as long as some shows like Prison Break. Anyone know when they will resume the season?? | 0 |
Stan Laurel and Oliver Hardy had extensive (separate) film careers before they were eventually teamed. For many of Ollie's pre-Stan films, he was billed on screen as Babe Hardy ... and throughout his adult life, Hardy was known to his friends as 'Babe'. While touring postwar Britain with Laurel in a music-hall act for Bernard Delfont, Hardy gave an interview to journalist John McCabe in which he explained the origin of this nickname: early in his acting career, Hardy got a shave from a gay hairdresser who squeezed Hardy's plump cheeks (the ones on his face) and said 'Nice baby!' Hardy's workmates started crying him 'Babe', and the nickname stuck.<br /><br />Although much of Hardy's pre-Laurel work is very interesting -- notably his comedy roles in support of Larry Semon and the Chaplin imitator Billy West -- his teamwork with Billy Ruge (who?) in a series of low-budget shorts for the Vim Comedy Film Company is very dire indeed. Hardy and Ruge were given the screen names Plump and Runt: names which are unpleasant in their own right, but made worse because Ruge (although shorter than Hardy) isn't especially a runt. Seen here, Hardy looks much as he does in his early Hal Roach films with Laurel ... but without the spit curls and the fastidious little moustache.<br /><br />'One Too Many', an absolutely typical Plunt and Runt epic, is direly unfunny ... and its dreichness is made even more conspicuous by the fact that this film has exactly the same premise as 'That's My Wife', one of Laurel and Hardy's most hilarious films. Plump (Hardy) is the star boarder in a rooming-house run by a tall gawky landlady. Runt (Ruge) is the porter. Plump receives a letter from his wealthy uncle John, whose dosh he expects to inherit. His uncle is coming to see him and to meet Plump's wife and baby. There's only one problem: Plump hasn't got a wife and baby. He's been lying to his uncle in order to seem a family man. Now, of course, Plump expects Runt to find him a wife and baby on short notice. Of course, the results are disastrous. It would be nice if those disastrous results were funny, but they aren't. Most of the unfunny humour here is just empty slapstick, with characters settling their arguments by shoving each other into bathtubs.<br /><br />SPOILERS COMING. Vim director Will Louis (who?) shows no instinct for camera framing: the actress who plays the landlady is significantly taller than Hardy, and Louis consistently sets up his shots so that her head is out of frame. This could be funny if done on purpose, but it's merely inept. At one point in this bad comedy, an extremely tasteless gag is looming on the horizon as Runt approaches a black laundress. 'Surely they wouldn't stoop THAT low for a laugh,' I thought. But they do. Runt steals the woman's black infant and tries to fob this off as Plump's progeny.<br /><br />Somehow, Plump acquires an infant's cot, but he still hasn't got a baby. With Uncle John coming up the stairs, Plump conscripts Runt for babyhood. This gag might just possibly have worked with a midget, or even with a truly runt-sized actor such as Chester Conklin, but Billy Ruge is only slightly below average height. Ruge's impersonation of a baby is neither believable nor funny, and Uncle John would have to be a complete moron to fall for it. Amazingly, he does!<br /><br />The most notable aspect of 'One Too Many' is a brief appearance -- apparently her only-ever film appearance -- by Madelyn Saloshin, Oliver Hardy's first wife. The marriage was not a happy one, although Hardy's marital troubles never attained the epic proportions of Stan Laurel's. <br /><br />Only one thing in this movie impressed me. There is a very brief flashback sequence, with Hardy reminiscing about his seaside romance with a bathing beauty. In 1916, there was still not yet a standard film grammar for conveying flashbacks: the one shown here is done gracefully and simply. Too bad this movie has no other merits. 'One Too Many' is definitely one film too many on Oliver Hardy's CV, and I'll rate this movie just one point out of 10. Laurel and Hardy together are definitely much funnier than either of them separately. | 1 |
'Valentine' is another horror movie to add to the stalk and slash movie list (think 'Halloween', 'Friday the 13th', 'Scream', and 'I Know What You Did Last Summer'). It certainly isn't as good as those movies that I have listed about, but it's better than most of the ripoffs that came out after the first 'Friday the 13th' film. One of those films was the 1981 Canadian made 'My Bloody Valentine', which I hated alot. 'Valentine' is a better film than that one, but it's not saying much. The plot: a nerdy young boy is teased and pranked by a couple of his classmates at the beginning of the film. Then the film moves years later when those classmates are all grown up, then they're picked off one-by-one. The killer is presumed to be the young boy now all grown up looking for revenge. But is it him? Or could it be somebody else? 'Valentine' has an attractive cast which includes Denise Richards, David Boreanaz, Marley Shelton, Jessica Capshaw, and Katherine Heigl. They do what they can with the material they've got, but a lackluster script doesn't really do them any justice. There are some scary moments throughout, however. <br /><br />** (out of four) | 1 |
I cant understand at all why so many Godzilla fans think this is excellent, one of the best Godzilla films ever in fact. This film is horrible and one of the very few Gojira films I cant stand to watch again (the other being G. vs Megalon).<br /><br />The plot is too campy to be in the Heisei series, a series that attempted to turn the aging Godzilla franchise into bonafide action films, revolving around ideas that seemed more in place in 1974 than 1991. It just sounded ridiculous, especially with some of the subject matter, take for example the WW2 scene, with the Japanese soldiers praising a dying Godzillasaurus, a mournful and serious tone, take the exuberant former commander turn capitalist and his death, serious seens in a film its fans somehow denote as played for laughs, as a goofy romp with guilty illogical fun, if so than this is easily one of the most tasteless films I've seen, however I think its more likely it was only talent the filmmakers lacked and this was a case of a straight faced action movie gone bad. It was made ever worse by the fact that the special effects are terrible beyond compare, from the jet packs to the android, to the hokey sound effects emitted from everything, its impossible to take anything seriously, and yet the film expects you to, there's no nudges to the camera.<br /><br />Like nearly all Godzilla films there's a pointless romance, and this is no exception, though something can be said about the fact that this one is especially pointless since and inexplicable. There is literally no reason at all presented for the romance, it just happens and there lives make 360 degree commitments for it. Aside from this the other terrible aspect of this film is dialogue, both the Japanese and English is horrible, clunky and possibly the inspiration for Battlefield Earth.<br /><br />The Tristar DVD compounds the problems, making everything look grainy, blurred, dim and just plain ugly, the same was for the sound. I first saw the Japanese Region 2 version and the differences are night and day, with the original vibrant colors and texture, the noteworthy score, the fight scenes especially, are actually watchable.<br /><br />In my opinion, the Heisei series is a disappointment, with the exception of Godzilla 1984 (Japanese version) there is little to praise here, and Godzilla vs. King Ghidorah is case in point of this failure. It doesn't even come close to deserving the reputation and fans it gets.<br /><br />2 out of 10 | 1 |
I wonder how the actors acted in this movie. Annette Bening was really herself, half in and half out, was she faking or being natural? It didn't make any difference considering that even if she had been walking on the ceiling it would not have changed the pattern of the film. Brian Cox acted really well. I almost thought that he had always acted this way, tricky, dishonest, in a dirty surrounding where nobody really cared about hygiene. As for Gwyneth Paltrow, the question is what she was doing in this film.<br /><br />This film is quite sickening and disgusting. Who would pay to see such a crap? | 1 |
Watched this flick on Saturday afternoon cable. Man, did it drag. I got the metaphors, symbolism, and all that stuff. No, I didn't care one way or another about the sexuality of the characters. But, the pacing of the story and the scripting almost put me to sleep.<br /><br />That is..... until Ruth Marshall got naked. If you're a breast-man who is not homo-phobic, you may want to rent it. Ruth has a lesbian sex scene that's pretty hot, and then a hetero sex scene that is a notch higher than most standard movie fare. Her jiggly D-cups made the film worth the watch.<br /><br />--The Mighty Avatar | 0 |
Time does extraordinary things. It's the ultimate judge. Time has granted 'Married To The Mob' an extra doses of freshness. There aren't any dead moments or cheap shots. It's more of a delight now than it ever was. Michelle Pfeiffer creates a mafia widow that it's as far away from a caricature as anything she's ever done. A true original creation touching or hinting at the stereotype just to guide us through but her Angela is quite unique. The legendary Dean Stockwell presents us with a a mafia boss that it's just as menacingly real as he is hilarious. And Matthew Modine? Why did I think back then that he didn't have any chemistry with Pfeiffer? I was wrong. They are wonderful together. They reminded me, this time, to the Barbara Stanwyck, Fred MacMurray of 'Remember The Night' I'm writing this comment now to entice you to visit or revisit this Jonathan Demme gem. | 0 |
This comment is meant mainly as a warning to the people who might be attracted to the title by its (temporarily)high user rating which I find frankly puzzling. The reasons why I didn't like this title are following:<br /><br />1. The directer must have had some doubts whether to make a Jackie-Chan-type of a flick or a dark Oedipian tragedy. As a result, in terms of genre, the film falls between two stools, as the tragic and comic elements clash and cancel out each other rather than make a harmonious whole.<br /><br />2. The characters' motives and behaviors are incoherent and unconvincing. Psychological truth and logic are sadly missing.<br /><br />3. Absurd casting. I don't blame the actors, for it is a hard thing to create a convincing character by acting alone, if there is scarce logic in the script. However, why is there an apparent age difference of about 15 years between the leading two actors, whose ages in the film can't differ by more than 3-4?<br /><br />4. To me the film was poor entertainment primarily because of point 2. If you can't find a character you could sympathize with it is hard to follow the story with interest. When you finally learn the reason of what happened to the main protagonist, it turns out to make no sense.<br /><br />5. Some films apart from being entertaining are also thought-provoking. Having seen this film, I began to wonder whether the thought the director tried to provoke was not that incestuous relationships could be perfectly wholesome and delightful. I cannot put any other construction on the ending. <br /><br />6. The film is rife with totally unnecessary violence. Violence in a film (and elsewhere) is a good thing, if it serves an important and worthy purpose. Purposes can be different and I don't want to enter into this broad subject. Let me just say I don't object to violence in such films as 'Saving Private Ryan', 'The Passion of the Christ' or 'The Pulp Fiction'. In 'Oldboy' the scenes of torture and suffering are prolonged and graphic (or aural). What for? I do not know. Personally, I don't derive any satisfaction from watching teeth being extracted with a hammer or hear a man cut off his tongue with scissors and then see him choking on his own blood etc. etc. <br /><br />7. The film reminds me a little of Japanese porno mangas in its fixation on incest and young Asian girls' panties, urinating and the like. It appears there is a minority who actually enjoy this kind of thing. If you're one of them, you might find this film enjoyable.<br /><br />In short, I do not recommend this film either as entertainment or 'food for thought'. Where it isn't silly, it is disgusting. Don't waste your time. | 1 |
In a phrase, moral ambiguity. In the Soderbergh remake, there ARE good guys and bad guys. Benicio del Toro's character is clearly the good guy, morally clean and uncorruptable. His counterpart in the BBC original, Fazal the farmer turned dealer, is realistically flawed and conflicted over his fate. The two relentless cops are similarly different. In the American one, they win our hearts. In the BBC original, they are over-zealous, nearly obsessive.<br /><br />The best moment for me in Soderbergh's was when the college student rhetorically asked the Drug Czar, 'What would you do if you were poor and black and rich white people came into your neighborhood looking for drugs?' That point was insinuated throughout the BBC show, and crystallized in Jack Lithgow's final speech. Both are excellent, but the BBC towers over the remake. My conclusion after seeing both shows is that dealers are innocent pawns who are only supplying a demand, and it is the demand that causes so much suffering. | 0 |
Being a huge street fighter fan and thoroughly enjoying the previous film, Street Fighter II: The Animated Movie, I was really looking forward to this one!<br /><br />However, it seemed that the film had no real sense of direction or purpose. Most of the characters I could not associate with and it just lacked the intense action that made the other mentioned street fighter film so superior.<br /><br />There are some good points however, the Animation is superb!!! | 1 |
WAR, INC. (2008) **1/2 John Cusack, Marisa Tomei, Hilary Duff, Joan Cusack, Ben Kingsley, Dan Aykroyd, Sergej Trifunovic, Lyubomir Neikov, Ned Bellamy, (Voice of: Montel Williams)<br /><br />A hit-and-miss-21st Century 'STRANGELOVE'<br /><br />John Cusack who co-wrote the script with Mark Leyner and Jeremy Pikser stars as a jaded hit-man named Brand Hauser who is burnt out but decides to follow thru on one final assignment by icing a Middle-Eastern oil minister named Omar Sharif (yes, not THAT Omar Sharif but you get the tone here from this misfire for a laugh) commandeered by the ex-Vice President of The USA (Aykroyd, Cusack's old 'Grosse Pointe Blank' co-hort, doing a mean Dick Cheney manqué turn here), enlisting Brand to do the deed under the guise of a Trade Show Producer in mythical Turaqistan (read: Iraq/Afghanistan) for the American private corporation Tamerlane (read: Halliburton). <br /><br />While being briefed Brand is faced with a moment of clarity when he comes across intrepid journalist Natalie Hegalhuzen (Tomei) and eventually falls in love with her. <br /><br />Meanwhile Tamerlane is sponsoring the unlikely union of Eastern European teen sensation Yonica Babyyeah (a surprisingly decent Duff aping her own celebrity with tongue- through-cheek) and the idiot son of the country's leader.<br /><br />What follows is a bold attempt for a 21st Century black comedy a la 'DR. STRANGELOVE' but for all intense and purposes there are sadly more misses than hits in this broad try for laughs amidst political message (an unjust war being outsourced by American capitalism, check!) <br /><br />While Cusack riffs on his Martin Blank from the aforementioned 'Pointe' he does add some nice touches of his man in black (he does shots of Tabasco sauce to take the edge off), the rest of the cast plays catch up (except sister Joan who is a riot as the high-strung aide- de-camp for Hauser and has one of the film's funniest laugh-out lines: 'My mass communications skills are finally paying off') for the most part. <br /><br />Cusack visited the Iraq War earlier this year in the 180 degree different 'Grace Is Gone' and here he allows his political views wear on his sleeve ; while admirable overall the film's pace and rhythms are off largely no-thanks to first time filmmaker Joshua Seftel making his directorial debut here (and it is noticeable) except for maybe the well-choreographed fight Hauser is involved with Babyyeah's idiotic fiancé's entourage.<br /><br />A nice attempt yet a misguided failure ; maybe next time Cusack won't try so hard and let the idiocy of war speak for itself instead of doing the heavy lifting by himself. | 0 |
***SPOILERS*** ***SPOILERS*** HERE ON EARTH / (2000) 1/2* (out of four)<br /><br />Mark Piznarski's 'Here on Earth' holds the record for a movie containing the most recycled material in 96 minutes. Literally every contrivance, cliché, and familiar plot element are somewhere in here; there is simply nothing unique, original, or fresh about it. God, what an agonizing motion picture to sit through; I wish I saw the film during its theatrical release last year so it could have earned on my year's worst list. This is the kind of movie where the story makes itself instantly obvious, and goes downhill from the opening credits, and worst of all, takes itself seriously. 'Here on Earth' is clearly one of the most horrible, painful movies to come down the pike in some time.<br /><br />'Here on Earth' is a teen heartthrob film, so it must contain some of Hollywood's most prized young men who are attractive and inexperienced enough to accept a role in a movie as bad as this. Chris Klein and Josh Hartnett fit that vary description, and take the lead roles by storm. Klein plays Kelley, an arrogant and insolent student with a wealthy father (cliché number one). He is to graduate as the valedictorian and attend Ivy league college following in the footsteps of his father (Stuart Wilson). This sets up the 'I don't want your life,' cliché in which the father tries to control his son's life, while the son resists rebelliously. Throw in Kelley's deceased mother who committed suicide a while back. When his father brings home another woman, he brutally questions his intentions (the 'no one can replace mom' cliché counts as number two).<br /><br />Josh Hartnett plays Jasper, a character on the opposite side of society to Kelley. His family owns a local diner. Enter his long-time love interest, Samantha Cavanaugh (Leelee Sobieski) a waitress at the diner who covers for her sister (who has no purpose whatsoever rather than controlling the following scene) when Jasper and Kelley act like childish morons by racing their cars and (oh no) crashing into the diner, causing it to erupt into flames. (Conflicts between the rich and poor will count as cliché number three.)<br /><br />The bungled car chase sets both Kelley and Jasper up for a contrived and plausible conflict. They get in trouble with the law, but because this movie feels the need to exist, the local judge orders them an alternative to serving time: they must work together to help rebuild the diner.<br /><br />The two boys work hard during the summer growing strong and getting a nice tan. Samantha's eye catches Kelley, and romantic sparks fly. Jasper is jealous, but wants what is best for his true love (cliché number four). Her parents (Annette O'Toole and Bruce Greenwood) disapprove of her little romantic triangle (cliché number five), but she continues two timing Jasper without a second thought. Her father also happens to be the local sheriff, how surprising (lets count that melodramatic nugget cliché number six).<br /><br />The contrived romantic feelings between Kelley and Samantha count as cliché number seven. But Samantha's relationship with Jasper is never defined, so how can there any romantic tension? If the film is going to induce involvement in Samantha's choice between the two young men, then we need to see both characters from both sides. The movie depicts Jasper as a distraction to her 'rightful love,' Kelley. It's clear Jasper truly loves her, but it is also clear she does not love him back. This absolutely slaughters the romantic tension early in the story.<br /><br />Leelee Sobieski does no harm here; however, her charm and kind performance do not fit a two-timing character like Samantha. John Hartnett is also right for the role of Jasper, but the movie gives him nothing to do except bicker with Kelley. Chris Klein gets to make a hunk name for himself here; he spends much of the movie shirtless, sweaty and overworked. Unfortunately he does not show off his acting ability, maybe because he has very little. The supporting cast is much more talented. Bruce Greenwood supplies the best performance in the film, but does not have near enough screen time to save anything but a few brief moments. I also enjoyed the performance by Stuart Wilson, who perfectly fits the role of a rich, controlling father of high social status.<br /><br />Then we lean about Samantha's knee problem exactly one hour and ten minutes into the movie (another spoiler ahead). What is this, she has a serious incurable illness (yet another contrivance into the picture, approximately number eight). Her terminal disease brings the two competing young men together as friends, well, at least I think that is what the movie intended to show, that the loss of one loved by two nemeses can bring both together (cliché number nine).<br /><br />Klein rehearses his valedictorian speech to demonstrate his character is more than a shallow stereotype, but we have seen this so many times before I would prefer a rich character rather than a deeply sentimental who hides actual feelings (cliché number, um, was it ten)?. The conflicts between Kelley and Jasper are desperate and inane; a 'your mom' comment triggers a fist fight while they rebuild the establishment. There is a retread from 'Armageddon,' as Samantha and Kelley sprawl out in an open field, horny as hell, as he slowly moves his fingers around her body, naming areas after US cities (why not call that number eleven). The movie uses alcohol as a means to increase the romantic tension: an intoxicated Kelley makes a fool of himself after getting in a fight with Samantha's date, Jasper, but the following day he recites desires only to dance (cliché number, oh no, I am losing count). | 1 |
This movie could have been so much better, especially considering the talent. Larenz Tate's portrayal of Frankie Lymon was not good, especially in musical performances. He doesn't lip sync well and his stage mannerisms are Larenz Tate, when he should have been Frankie Lymon. The portrayal of the women as a bunch of gold diggers has Hollywood written all over it. The powers that be obviously pushed it, but it only made the characters more unrealistic. The positives of the movie were Miguel Nunez's portrayal of Little Richard, and the cameo of Little Richard himself. Lela Rochon is eye candy, as usual, even in a conservative role. It's too bad that the talents of Halle Berry and Vivica A. Fox were wasted. The whole Frankie Lymon saga was fascinating in real life. Too bad this film was a wasted opportunity. | 1 |
Let's start by the simple lines. From the viewer's side, there a couple of good 'director details', some points of view at the movie scenes that are nice. The special effects are good enough, a good acting/good scenery also. But the story is way too simple. It shows how a elite Army bomb squad unit lives, acts and sometimes dies. It shows the drama of living in war. In my movie experience as a serious action movie 'addicted' guy, I missed that click that gets my eyes and mind stuck on the screen. One of the things that need to be present in a movie in order to I consider it a good one is the ability of immerse the viewer in the movie reality and time. It didn't happened to me. I stayed 'conscious', for the entire movie.<br /><br />Honestly speaking, I think that this movie gained its place in fame based on the 'subconscious' appeal of American patriotism, a healthy and genuine feeling, but not the adequate use as a movie fame generator. More than a movie about war, it grows its popularity based on that.<br /><br />A simple thought: if this was a world war II or I movie, only changing time, with everything remained the same, would it be this awarded? Sure not. Why? Because there are great ones that elevate the bar way to high.<br /><br />Compared against its rivals in the Oscars, I don't think that all of the prizes it won are correctly awarded. | 1 |
Before I'd seen this, I had seen some pretty bad Christmas films. But once I saw this, 'Jingle All the Way' looked better than 'The Godfather'. 'Santa Claus' is a jolly film about Santa helping out some kids, but it almost feels demonic watching it. Santa's jolly ho-ho-ho is replaces by an evil, devilish laugh that I'm sure has turned many kids off of Christmas. The plot of this massacre is very strange, which fits along with all of the performances and dialog. Santa lives high above Earth in the North Pole where he, and kids from all around the world get ready for Christmas. But Santa has an enemy named Pitch, or Satan. Pitch tries to ruin Santa's Christmas by making three boys naughty, and by creating diversions, like moving the chimney and making the doorknob hot. When Pitch causes Santa to be attacked by a dog, it's up to Santa's helper Pedro and Merlin the wizard to get Santa out of this pickle. <br /><br />Everything about this film, along with being downright bad, is so bizarre. Satan dances a lot and he actually seems much more merry than Santa. Santa talks about delivering presents to all the boys and girls, yet he seems to only deliver to 5 houses of kids in Mexico. The reindeer are wind up toys, and when the reindeer laughs, I'm amazed it doesn't bring tears to kid's eyes...it's frightening. Everything is terrible. The first 10 minutes are simply Santa playing the organ while kids sing to it. Probably one of the strangest scenes is Santa shooting Pitch in the butt with a mini-cannon and uproariously laughing about it while Pitch dances around in pain. I think parents are better off telling their little kids about where babies come from, than showing them this. The only positive is it will have you laughing hysterically if you can appreciate bad cinema.<br /><br />My rating: BOMB/****. 85 mins. | 1 |
One of the more obscure of Anthony Mann's Westerns, The Last Frontier was also his only cavalry Western (aside from one brief episode in Winchester '73), though naturally he focuses on the outsiders and internal conflicts rather than offering a Fordian celebration of comradeship and shared ideals. Set not in his beloved high country but in the foothills and forests, it's a much more cynical view of life of the frontier, in many ways his Fort Apache without the need to preserve the legend: this outpost is made up of misfits, failures, cowards and the odd competent officer ignored by his superiors, badly led while the Civil War takes priority and all the best the army has to offer.<br /><br />Victor Mature and James Whitmore are the free trappers who find civilisation creeping up on them when they are relieved of their pelts and packhorses by a local tribe aggrieved by the incursion of the Cavalry into their territory. Rather than blame the Indians for their losses they decide it's the army's fault for building the fort and decide to demand compensation from them, ending up joining their ranks as scouts instead. But despite the best efforts of Guy Madison's amiable and competent acting commander to bring Mature into the 19th Century and make him fit to wear the uniform, the arrival of Robert Preston's humiliated Colonel eager to revenge himself on the tribe that drove him out of his own outpost and Mature's clumsy infatuation with the Colonel's wife (Anne Bancroft, too much of a blank slate here to do much with the role of a woman who's tired of being saved by men who think they know what's best for her) soon drive matters into much darker territory. It's not long before some of the soldiers are busily planning on killing each other, both sides trying to goad their subordinates into doing the deed for them: little wonder that at one point Mature throws away the bluecoat he has long coveted in disgust, screaming 'I would have died for this, but it's nothing but a dirty filthy blue rag!' The Stallone of his day, Mature was one of those actors who could surprise you with the odd excellent performance here and there when matched with the right part and the right director. This is not one of his better days despite having his most complex part, perversely enough as a simple man well-meaning but drunk, violent, uneducated and with a unsubtle, almost childlike lust for life, the part seems designed with Burt Lancaster in mind, with some striking similarities to his character in The Kentuckian. But Robert Preston's Ahab-like Colonel is clearly the best role, determined to resurrect the career he destroyed in a single disastrously suicidal Civil War engagement by launching another pointless suicidal campaign against the tribe that added another humiliation to the list that keeps him out of sight and out of mind of the promotion board. In his obsession to redeem his career he moves further away from any hope of moral redemption, driven as much by his sense of shame at his wife's sympathy as by the promotion of former comrades he regards as his inferiors. He's beyond salvation, but there's still a recognisable human being in there and one not entirely without a sense of integrity he genuinely admires Madison's courage in making a futile attempt to get Preston's orders countermanded by their superiors fatally skewed though it is.<br /><br />Like its hero, the film is a little rough around the edges (and boasts one of the most surreal and jaunty title songs of any Western), but that only tends to make it more interesting, and there are plenty of Mann's typically elegant camera moves and plays on perspective, while the frontier setting is convincingly harsh and primitive. Unfortunately the deficiencies of the early CinemaScope lenses are very apparent in Columbia's DVD, with the image often dark (2.55:1 CinemaScope required a huge amount of additional lighting and early Scope films show a lot of trial-and-error) and grainy. | 0 |
This film tops the previous incarnation by a mile, taking everything to the next level. As always the JackAss guys are purely unbelievable, and I personally laughed harder in that theatre than I have in a long time. Like the first JackAss, this isn't so much a movie as an eighty minute long string of stunts and pranks. It is pure circus entertainment taken to the highest level. Essentially these guys are clowns, debasing themselves for the amusement of others. And its great. The shenanigans are so low, outrageous, and often disgusting that they transcend into a higher form of entertainment.<br /><br />You can't rate this along other movies, its in a class of its own. And it shines. Go and enjoy it for the pure spectacle that it is. | 0 |
**Spoilers contained**<br /><br />I'd heard from various sources that this film was controversial and that the ending in particular was horrific. What I didn't expect was the complete change in tack with about twenty minutes to go. What starts off as a typical cowboy/indian western suddenly descends into a very dull romantic 'comedy' about Honus (Soldier Blue of the title played by Peter Strauss) and Cresta (Candice Bergen) who escape an onslaught of the cavalry by the Cheyenne. The majority of the film then focuses on these two mismatched people hence the romantic comedy bit. Donald Pleasance then turns up and abducts them both for no real apparent reason. They then escape and both turn up (separately) at the cavalry base on the eve of an attack on the Cheyenne base. As Cresta used to be married to one of the Cheyenne chiefs she escapes the cavalry base and joins up with them. So far so ordinary. Then comes the ending. After enduring well over an hour of poor acting involving a cliched will they/won't they get together storyline, the movie then transforms into over the top exploitation involving among other things a decapitation and a child being shot in the back of the head. Similarities can be drawn with the Wild Bunch at this point of the film but the Wild Bunch kept the same tone throughout and didn't resort to extreme gratuitous violence. In some ways, Soldier Blue reminds me of Frank Perry's Last Summer which also completely changed tack for a shock ending. I didn't hate Soldier Blue nor find the ending particularly disturbing but just found it to be pretty dull with an unnecessarily violent ending. If you want to see a film with a truly disturbing slaughter of the innocents, I would recommend Elem Klimov's Come and See. | 1 |
I'm a huge fan of war movies, and, as a Vietnam combat vet, have some experience with the technical details. I worked with the bomb guys more than once and have nothing but respect for them. Other vets, and Iraq vets in particular, have summarized the inaccuracies in this movie very well. Poetic license is one thing, but this movie is a complete fantasy, and fails badly because of it. No bomb disposal unit, or any unit, would ever have tolerated this rogue operator for more than 5 minutes. Military units prize conformity and discipline for a reason;it saves lives. The opening scene particularly annoyed me. The guy with the cell phone would have been shot immediately. Yelling, 'Stop dialing' is not an effective deterrent. It got worse from there. The scenes with the sniper were particularly egregious. As others have noted, your average EOD guy doesn't know jack about being a sniper, and to think any Arab sniper is that good really stretches the imagination. Kidnapping an Arab businessman for some form of personal revenge just wouldn't happen. Somebody might shoot him, but this kind of risk-taking is limited to the movies. I could go on, but, as I said, others have pointed these things out in detail. This is not a good movie, and if it wins any awards at all, it's a further reflection of why 'La La land' is so named. | 1 |
This movie does not really promote kids to be nicer and have better attitudes, as a family movie should, and this wouldn't be considered family anyway because it has some things in it that children shouldn't be seeing. Not the best ABC Family film if you ask me. If there were less sexual themes in the movie, then maybe it would be better. Hollywood isn't doing anything to make a movie better by adding in sexual situations. There's really no reason for them. At least this is a TV movie. I wouldn't want to waste my money on this garbage by renting it. If you have other things to do other than watch this movie, please proceed to them. | 1 |
Awful in a bad/good way...this movie has officially become the worst 'made for TV movie' in my book...except for the camp value it offers, I give it a 1 in quality and a 10 for the camp value. Suggestion: Watch with friends, champagne and plenty of popcorn...you'll want to throw some at the screen! Preferably friends who like Chris Noth from his 'Sex in the City days'...this movie is dreadfully funny. This is definitely the lowest point in the careers of all cast members...honestly, I don't know how they controlled the laughter as the lines were delivered! Daniel J. Travanti is absolutely pathetic. EVERYONE participated in the school of over acting; and poor Joan Van Ark, I believe she was the only one taking this theater of the absurd seriously...she is credited as a producer though. Her 'Mom' jeans and bad plastic surgery are scene stealer's. This movie also crosses the oh so delicate line of social incorrectness when they introduce a mentally challenged character into the plot. This is an obscure movie showing on Lifetime listed as {With Harmful Intent}....has anyone else had the pleasure? | 1 |
Don't get me wrong: I enjoy art-house movies, low-budget flicks, character studies, and foreign movies. Unfortunately, I couldn't enjoy this one -- glacial pacing, complete lack of plot, and characters that you can't dislike enough to hate, but you can't tolerate enough to like.<br /><br />For me, Distant was like watching the cutting-room floor footage of a reality show -- all of the scenes which were deemed too uninteresting which would normally not make the final cut, were the only scenes included. A camera in my apartment with two of my friends ambling around for hours does not an interesting movie make.<br /><br />Distant certainly makes the watcher feel that way -- long stretches of no dialogue (nearly 10 minutes before the first word is spoken from the credits) can be made to work (2001 comes to mind), but for me, something else compelling needs to happen to draw me in.<br /><br />If you're the kind of watcher who can sit through a movie and be content with movie analysis, perhaps it will work for you. However, if you're somebody who chooses to watch movies to relax, expand your mind, or be entertained, you should probably look elsewhere. | 1 |
Burt Reynolds stars as an undercover cop who is after a crime boss.. Rachel Ward as the high price call girl he falls for..Burt does well in this role and I think he would've done well in more roles like this..<br /><br />Rachel Ward is beautiful and sexy in her part..good pacing and story but something is missing in the equation.. on a scale of one to ten..7 | 0 |
When reading a review from another user, saying that it's a terrible game, I could not stand idle and do nothing!<br /><br />Well, this game is great, from the news clips (with two real persons, full of humour sense and credibility!), to the story, I find it very good! I only complain about the enemies start blinking when they die, until they disappear; and some frustrating situations on the LEILA VR missions, when riding the bike, here and there...<br /><br />Except that, it's a great game, with a great story, good graphics, excellent characters, great soundtrack... I recommend it! Surely! It can be a bit old, but still enjoyable! At least, on the Dreamcast... but the PS2 version shall be the same. | 0 |
Here's a decidedly average Italian post apocalyptic take on the hunting/killing humans for sport theme ala The Most Dangerous Game, Turkey Shoot, Gymkata and The Running Man.<br /><br />Certainly the film reviewed here is nowhere near as much fun as the other listed entries and is furthermore dragged down by poor voice over work, generally bland action sequences, a number of entirely tasteless scenes such as a prolonged rape sequence and some truly stupid and illogical points throughout.<br /><br />Take for example towards the end of the film, when our hero manages to infiltrate the compound of the villains. He initially kills a sentry and leaves him in his jeep. Upon discovery of the said corpse, the villains response? (bearing in mind that our hero has come to brutally murder them all) They resolve to wait until the next morning to look for the culprit (!!!!!!!!!!)<br /><br />However, I suppose to be fair the film remains nonetheless about watchable if you can suspend your disbelief during such stupid scenes and does benefit immensely by the presence of the always excellent Woody Strode (even if his screen time is very limited)<br /><br />Not a classic by any stretch of the imagination but still just about worthy of a watch for Italian B-Movie enthusiasts. | 1 |
I love this movie!!! Purple Rain came out the year I was born and it has had my heart since I can remember. Prince is so tight in this movie. I went to a special showing of Purple Rain last night and it was like a concert i was glad to see some true fans cause this movie is so undervalued, it is really one of the greatest movies of all time. The music is untouchable. The movie is about 'The Kid', played by Prince, his family is dysfunctional, his band is the hottest act in town, and he has his eyes on the Apollonia, an aspiring singer. There is no question why purple is my favorite color I can thank 'The Kid' for that. So if you have not seen this then you are need to asap. This is a classic - 4ever! | 0 |
Great movie in a Trainspotting style... Being billed as the Welsh Trainspotting, but then so was Twin Town, although this is streets ahead.<br /><br />Takes in a weekend in the life of Cardiff Clubbers, good debut movie from Kerrigan and some great performances in the cast.<br /><br />Go see ! then go clubbing | 0 |
I am surprised by the relatively low rating this film has. It is a screwball comedy & romance film rolled together by someone besides Billy Wilder but it does a really good job & even won an Oscar.<br /><br />It is Ingrid Bergman's first film in the US since the 1950's & even though she is no longer the young bombshell she was in her early films, she brings off a difficult role quite handsomely. This film proves she had multiple talents beyond her good looks.<br /><br />Goldie Hawn who won an Oscar in this, her first film, as supporting actress is very good as the modern sophisticated yet quirky latest mistress to Dentist playboy, love them & leave them Walter Mathaw. Goldie is delightful to all the senses in this role which with a great cast set her up as a slam dunk for this early career award.<br /><br />This film is not real deep, but is a gem that has stood the test of time very well. Not sure why it's average is so low as I give it a solid 8. | 0 |
Truly, truly awful. I don't even know where to begin. This is a perfect example of a movie that doesn't know what to do with itself. I'm not sure I could even assign a category myself, except that I'm quite sure it's a slap in the face of everyone, every where. Even the unborn.<br /><br />At times, I thought I was watching a parody, or some kind of farce. At times, just a bad B movie. But I kept holding out for the porno, which, I fear, is almost(but not entirely), non existent.<br /><br />Some one advised skipping to the ending. I would definitely second that emotion. The last five minutes are intense, and certainly contain some of the best film making/cgi you will ever see, ever.<br /><br />Ed Wood would be proud. | 1 |
what ever you do do not waste your time on this pointless. movie. A remake that did not need to be retold. Everyone coming out of the theater had the same comments. Worst movie I ever saw. Save your time and money!!!<br /><br />Nicgolas Cage was biking down hills, swimming in murky water and rolling down hills while being attacked by bees but yet his suit was still perfectly pressed and shirt crisp white until the very last scene.<br /><br />Although a good cast with Ellen Bernstein and Cage the acting was just as unbelievable as the movie itself. It is amazing how good actors can do such bad movies. Don't they get a copy of the script first. If you still have any interest at all in seeing the movie at the very least wait for it to come out on DVD. | 1 |
In short:<br /><br />Spike Lee clearly has a lot on his mind. He's thinking about racism color-ism, media and hegemony, consumerism and capitalism, religion, sexism, 'hetero-sexism', politics of the drug war etc etc...<br /><br />That level of consciousness on is own is great. I think it is a blessing that more and more people are choosing to critically examine fundamental aspects of our daily lives; the silent and invisible forces that govern our societies. However, just because Lee is making contentious films does not make him a good film-maker.<br /><br />What comes across in 'Jungle Fever' is a superficial understanding of these socio-political forces. This is largely the result of two main failures:<br /><br />firstly, Lee is simply trying too hard. He seems to be desperately trying to accommodate every political/social statement he can think of into the 90mins. And as such, the end result seems confused and irresolute as he allows himself no time to develop characters that can fully embody the ideas he hopes to present. And so he exhausts stereotypes and we are left with rushed testimonies and very loaded dialogs. The end result is very staged and unrealistic.<br /><br />Secondly, by attempting to make statements about such a wide variety of societal functions, he appears to have no concrete or original interpretation of the social/political issues presented. What comes across is a puddle of regurgitated non-sense. You feel that he bought an elementary level sociology text book and spewed out all 500 pages.<br /><br />These are highly problematic features because the artistry of film is sacrificed and the work is transformed into a loudspeaker for the voice of the voice of the filmmaker. He is unable to distance himself from the work, and allow it to speak for itself.<br /><br />It functions neither as a piece of art nor a sound political argument.<br /><br />Although I still do appreciate Lee bringing up these important issues, I must say:<br /><br />Two thumbs down. | 1 |
A toothsome little potboiler whose 65-minute length doesn't seem a second too short, My Name is Julia Ross harks back to an English tradition of things not being what they seem -- Hitchcock's The Lady Vanishes is one example. Out-of-work Julia Ross (Nina Foch) finds a dream job at a new employment agency in London, whose sinister representative seems very anxious to ascertain if she has living relatives or a boyfriend. After reporting to duty, she wakes up (Having Been Drugged) in a vast Manderley-like pile on the Cornish coast, supposedly as the barmy-in-the-crumpet wife of George Macready, who displays an alarming interest in knives and ice picks. His doting, enabling mum is the irresistible Dame May Whitty (this time a model of bustling efficiency on the other side of good-vs-evil than she occupied in The Lady Vanishes). The nightmare vision of this tale unfolds claustrophobically; we know what's going on but are powerless to tell poor Julia. This movie, curiously, is regularly accorded a place of honor as one of the earliest (and very few British) films noirs. I think it's closer to the Gothic old-dark-house tradition than the American one of wet cobblestones and urban corruption; it does, however, evince a more modern, psychoanalytic cast of mind. Whatever you call it, it remains a sharply satisfying thriller. | 0 |
I absolutely loved this show. Never understood why it was called Bug Juice though. I must have been about 13 when it came out. I remember they ran it over the summer holidays on channel 4, between re-runs of Pugwalls summer and Saved by the bell or something like that. I remember sitting there and wishing i was at summer camp too - ha ha. All the kids in it looked to be having so much fun, it was all about 'discovering who you are' and 'growing up.' First kisses and all that stuff. I remember there was this really cute guy in it, i think he was the main reason i got up in the mornings that particular summer. They should have more teen docu-soaps like this, i thought it was great! | 0 |
I know that you've already entered this in film festivals (or at least I think you have, I may just be making that up) but I think this should get 'best animated short film' in every one. Bravo. I can't wait for the full film. I realize that you may not hear this often enough because of the bizarre nature of your animations, but hear it now and accept it as the truth. Kudos, my friend. Okay, now I'm just trying to get ten lines of text... Though I still mean it. And here comes yet another -SHOE!- and I cannot stop here yet. This is extremely annoying and yet at the same time I have nothing better to do. In fact, I'll probably watch all of your movies in yet another spasmodic 'Jason Steele Marathon.' I do have a lot of those.<br /><br />-R | 0 |
Very slow, dull, enigmatic film. MAybe the kind of film Jean-Luc Godard would have made had he been Italian. Certainly conveys how tedious, repetitious, joyless and empty a person's life can be, but I don't usually go to the cinema to find that out! The plot (such as it is) doesn't convince. Why a gorgeous hotel receptionist (an exception to the dullness of the film) would be the slightest bit interested in a moody, chain-smoking, silent loner who speaks in 'deep' aphorisms baffles me. Very difficult to feel any sympathy with the main character. One feels like shaking him by the throat and telling him to 'snap out of it!'. His brother is a much more human character. The ending is inconclusive and puzzling. Everyone in the cinema (when I saw the film) went out muttering about how they nearly fell asleep. Of course, it shouldn't have to be a Hollywood Bruce Willis-style 'shhot-em-up' and 'crash-bang' fiesta, but a little bit of energy and action would have made it a lot more thrilling. One of the best Italian films ever?! Pleease...An art-house, curiosity at best. | 1 |
Let me just say - I love the horror genre to the extent that I see every single one that I can get my hands on regardless (except really low quality b-movie horrors which I could do without) and recently have become a big fan of Eastern horrors. Little did I know that a Korean horror would be the one that tops my list beating off heavyweights such as the Japanese Ringu (or the American Ring), or even quality US movies such as the Sixth Sense and The Others, and the widely acclaimed Hong Kong horror 'The Eye'.<br /><br />Previously 'The Ring' had stood as my favourite horror but it seems to me that I prefer the beauty of 'The Tale of Two Sisters' any day - the story is extraordinary and rather open to interpretation thus allowing repeat viewings although chances are you'll want to watch this again and again just because the movie is so masterfully shot... the story is likely one of the best in the genre to date. The acting is top notch too from the entire cast and the scares when they come have the potential to rattle you like anything within the Ring - I did find myself glued to the screen at those points unable to take my eyes off. <br /><br />Still I am glad it didn't come back to haunt me later that Sadako/Samara did from the Ring - after all such feelings are unpleasant and The Tale of Two Sisters leaves you with an uneasy feeling, but one that hopefully won't leave you without sleep but leave you satisfied that you have seen something quite special. But do remember.. if you don't understand the plot after the first viewing, a repeat viewing is more than advised.. I personally didn't have time for this since it was late so I flicked through scenes on the DVD, some numerous times until I had a good synopsis in my head and after looking on the net, seemed Ihad pretty much nailed it on the widely agreed interpretation. And the satisfaction from solving a puzzle like that is wonderful.<br /><br />All in all - a masterfully crafted horror that is unlikely to produce the same 'level' remake (its been purchased by Dreamworks) simply because of the Korean content and everyone is advised to catch this in the theaters or on DVDs while they can... its one of the best you will get. Unfortunately due to the type of movie this is, there is no way to even talk about the story without spoilers so its best to do what I did - watch it without knowing a single thing except its 'a tale of two sisters'! And be prepared for something that is unlikely to be matched for some time. | 0 |
This is just one more of those hideous films that you find on Lifetime TV which portray the abhorrent behavior of some disgusting woman in an empathetic manner. Along with other such nasty films as 'The Burning Bed,' 'Enough,' or 'Monster,' this film takes a disgusting criminal and attempts to show the viewer why she's not such a bad person after all. Give us a break! Here's my question to the filmmakers: If LeTourneau were a man, and Vili were a 12 year old girl, would you have made a picture sympathizing and empathizing with this person? Answer: Hell no.<br /><br />Imagine switching the genders in this film, and then you'll see just why myself and others here consider this a worthless piece of garbage. Were the genders switched, there would be no attempt to empathize with the criminal. Instead, we'd likely be treated to a portrayal of a monstrous and hideous man preying upon a young girl, his lascivious behavior landing him in prison, and his brainwashed victim suffering from Stockholm Syndrome. The only reason LeTourneau does not receive the same treatment in this film is by virtue of her sex.<br /><br />Let's call a spade a spade. LeTourneau is a pedophile. Plain and simple. No ifs, ands or buts. She's a criminal who belongs in prison, and deserves our derision and contempt, but certainly not our pity or empathy. | 1 |
I stumbled on this late last night n TCM.<br /><br />Hadn't seen it since it came out originally, but had never forgotten it.<br /><br />I had completely forgotten how gorgeous and talented Signe Hasso was when she was still young, ditto for Shelly Winters before she balooned out.<br /><br />Ronald Coleman, though, was the quintessential state actor of his time - I had read Othello in high school English - and HATED it. After seeing 'A Double Life' I read it again and finally understood what the play was about.<br /><br />The Gordon/Kanin writing team was at its peak when this script was done -<br /><br />A movie well worth remembering and rewatching, | 0 |
this movie has lot of downsides and thats all i could see. it is painfully long and awfully directed. i could see whole audience getting impatient and waiting for it to end. run time is way over 3 hrs which could have been edited to less then 2 hrs.<br /><br />transition between stories is average. most people confessed being on seating expecting something better to come out.<br /><br />its funny only in pockets. ambitious project and a below par execution. govinda does a fair job, anil kapoor disappointed me, rest we as expected. if u r expecting anything close to babel or love actually then its no where close. | 1 |
This seems like two films: one a dreary, pretentious lengthy saga about an ac-tor who is taken over by the parts he plays; the other a brilliant social comment about a middle aged divorce who is picked up by a waitress. Shelley Winters is wonderful as a waitress with another business on the side. She drops heavy hints about the need for connections, her certificate in massage and her desire to get into the modelling game. I love the glimpse of her seedy flat with a kitchenette behind a curtain, and her terrible seducing outfit of navel-revealing, puff-sleeved crochet top.<br /><br />Do actors get Oscars for Shakespeare? We know they Oscars for impersonating disabled people, wearing a lot of prosthetics, or pretending to be mad. The Shakespearean scenes (which go ON and ON) are embarrassing and dated. And so are the 'going mad' scenes where Tony looks distracted while listening to his own voice-over.<br /><br />By the way, Anthony John is not aristocratic. He makes it quite clear in an early scene that he used to be a chorus boy. When he quotes his father's advice, he slips into a Cockney accent. | 1 |
Andreas arrives in a strange city. He doesn't remember where he came from and how he got there. He is ordered to arrive at work, and gets his own apartment in the city. All his co-workers are nice and polite to him, they say hi and smile when they pass by him. But then later on Andreas discovers that the city isn't that pleasant as it seems. Going home from work, he see some people wearing grey suits, cleaning up the bloody mess of a dead body, apparently a suicide victim that had thrown himself out of the window. The procedure is done with a calmed mind, as if they were emptying a trashcan. The following day, Andreas meets the suicide victim fully alive at work. More and more Andreas discovers the feelingless atmosphere of the city.<br /><br />Den brysomme mannen might be the best norwegian film I've seen. Original, artistic directing is usually missing in norwegian films, with only a few exceptions. The plot is also very original, and could even be called post-modern horror, as the film present us a terrifying thought of having to cope with a world that is completely feelingless. and the more you try to fill your life in this city with a meaning, the more meaningless it becomes. I am fascinated by how the director manages to create the feeling of a disembovled universe, a nightmare, that you simply cannot escape from, not even with death.<br /><br />go see it, its really worth it! i gave it 9 out of 10. | 0 |
I have just read what I believe to be an analysis of this film by a lyrical Irishman. Lovely to read.<br /><br />However, a concise analysis of this film is that it is a interweaving of the seven deadly sins with the four types of justice.<br /><br />Envy, greed, pride, sloth, anger, etc. and justice in the forms of retributive, distributive, blind, and divine.<br /><br />I could demonstrate three examples of each, one for each of the three protagonists; however, it is much more fun to note them for oneself.<br /><br />This is an excellent film.<br /><br />Don't miss it. | 0 |
If you like your sports movies to be about dignity and the best values then this'll work for you big time. Oversentimental in places? Sure, of course it is - and proud of it. It is the biggest and best ride in the Carnival and should be enjoyed as that. <br /><br />Big production values, simple telling, with creative shots: it is not complex, is a very nice and remarkably sweet film. It really feels like a labor of love from Bill Paxton; and I bet his son gets that.<br /><br />The build-up is slow enough to be enjoyed, the conflicts feisty, and the British vs. Americans handled with a degree of vaudevillian villainy, but the dignity between the two main transatlantic protagonists is always to the fore. I have minor gripes: the score wants to be James Horner but is too overblown, and there are too many close-ups, and panning shots for 2005, but if you want a straightforward, decent, and good-looking sports film then this is it.<br /><br />So here's the thing, and I feel like I know my film, but I actually liked it more than Seabiscuit: which is a better film, but Greatest Story is simply Disney at its core and hugely enjoyable! Thanks, Bill. | 0 |
I finally watched the third film in Mehta's trilogy: 'Fire'. To begin, I'd say that 'Water' was the unquestionable masterpiece, on all levels. Fire comes next with Earth close behind in order of quality. Fire: there is so much going on in this film that I'll need a few more viewings to drink it all in. The writing is superb, the script creating friction that starts the entire process of 'heat' from the beginning until the end when it really does erupt into a fire, the conflicts moving into complete rupture of relationships. <br /><br />Mehta is one brave lady: she sees with a clear eye much that is jaundiced, false and repressive about the great society from which she came from. India is rapidly changing these days but much of this is economic change. That she met with such ferocious opposition to the making of 'Water' after having had the script cleared, shows that there are still many taboo subjects which Indian people more than less cannot look squarely in the face, cannot examine or discuss them. Worse, if someone like Mehta has the courage to hold up a mirror to these issues, she faces death threats. So, as much as India thinks of itself as a pluralistic, tolerant society, the facts are not always so. Whereas 'Earth' was merely a historical setting of the carnage of the civil war after Indian independence, Fire and Water are pointing at personal, social and religious issues, which as I say are considered so strongly (in a negative sense) that an open artistic dialog is still many years away. As I write this 'Water' is scheduled to actually be shown in India later this year. I'll believe it when I see it. <br /><br />Fire confronts a similar sexual and emotional conundrum that I saw in 'A price above rubies'. Whether it's arranged marriages (which it used to be like among Jews about 150 years ago, or like it is among many modern Indians), they have the risk of having a bad match forced upon both men and women; or, just plain loveless marriages..... However, this is not the real issue. Mehta is clearly impatient with the totally rigid religious attitudes that either keep widows in misery (Water) or else keep women enslaved to loveless marriages (Fire). I am no expert regarding either the secular or Hindu laws concerning divorce. The film seems to imply that the stigma (of divorce)is almost as bad as the sad marriage. In any case Mehta's film is a very moving, powerful attempt at sexual discourse that holds modern Indian relationships up to probing scrutiny. That all three of these films have made themselves felt in India as an unwarranted attack on their culture sounds to me like the predictable clamor of a repressive mindset. Mehta is forcing the issues to be looked at no matter how much flack. I admire her work and cannot highly recommend her films enough. Superb, disturbing, provocative, taboo shattering. | 0 |
An awful film; badly written, badly acted, cliched, hackneyed, dross. The premise is such a good one and a chance to educate about black cowboys but the film is truly dire. It is a curious mix of a bad 1950's Randolph Scott B movie and a bad 1970's spaghetti western. The villains are cardboard, the flashbacks laughable, the dialogue excruciating.<br /><br />The deliberate anachronisms (such as 'Victorian' rap singers and modern swear words like 'motherf****er'), are irritating to the extreme.<br /><br />A Frankenstein monster that died on the lab table. | 1 |
Mary Pickford often stated that Tess Skinner was her favorite movie role. Well said! She played the part twice and for this version which she herself produced, she not only had to purchase the rights from Adolph Zukor but even give him credit on the film's main title card. Needless to say her portrayal of this role here is most winning. Indeed, in my opinion, the movie itself rates as one the all-time great experiences of silent cinema.<br /><br />True, director John S. Robertson doesn't move his camera an inch from start to finish, but in Robertson's skillful hands this affectation not only doesn't matter but is probably more effective. A creative artist of the first rank, Robertson is a master of pace, camera angles and montage. He has also drawn brilliantly natural performances from all his players. Jean Hersholt who enacts the heavy is so hideously repulsive, it's hard to believe this is the same man as kindly Dr Christian; while Lloyd Hughes renders one of the best acting jobs of his entire career. True, it's probably not the way Mrs White intended, but it serves the plot admirably, as otherwise we would have difficulty explaining why the dope spent a fortune on defense but made not the slightest attempt to ascertain who actually fired the gun that killed his future brother-in-law! Needless to say, this particular quality of the likable hero is downplayed by Jack Ging in the bowdlerized 1960 version which also totally deletes the author's trenchant attack on smug, middle-class Christianity. Notice how the well-washed priest here moves forward a pace or two in surprise at the interruption, but then makes no attempt whatever to assist our plucky little heroine in the performance of duties that he himself was supposedly ordained to administer. This is a very moving scene indeed because it is so realistically presented.<br /><br />'Tess' also provides an insight into the work of another fine actress, Gloria Hope, whose work was entirely confined to silent cinema. She married Lloyd Hughes in 1921 and retired in 1926 to devote her life completely to her husband and their two children. Lloyd Hughes died in 1958, but she lived until 1976, easily contactable in Pasadena, but I bet no-one had the brains to interview her. Another opportunity lost! <br /><br />To me, Forrest Robinson only made a middling impression as Skinner. I thought he was slightly miscast and a brief glance at his filmography proves this: He usually played priests or judges! But David Torrence as usual was superb.<br /><br />In all, an expensive production with beautiful photography and marvelous production values. | 0 |
Despite being a huge fan of Fred Astaire and Ginger Rogers' movies, it wasn't until about 6 years ago that I first saw 'Follow the Fleet'. I knew all the songs from an old Astaire/Rogers record (yes, vinyl) but knew nothing of the plot.<br /><br />Unfortunately, while the songs are catchy and Ginger Rogers' character is sweet and funny, you just can't like 'Bake Baker'. While trying to make up to his longtime partner, he continually sabotages her career. His character doesn't have the usual humour and elan of the other films' Astaire characters.<br /><br />Worth watching for the songs and a great solo tap routine by Ginger Rogers. | 1 |
THE RIDDLE was written and directed by Brendan Foley in what appears to be an attempt to pull the mysteries of the Charles Dickens' novels into a contemporary story, but that attempt is thwarted by electing to use the two periods of time format in which the 'riddle' is unraveled. Despite a cast of well-known actors, trying their best to pull off this direct to DVD movie, the end product is a long, tedious, amateurish mess that can only be considered as entertainment if viewers are fans of the cast as remembered from other films. <br /><br />Mike Sullivan (Vinnie Jones) is a journalist confined to reporting on dog racing events while he dreams of important reporting assignments. A series of similar murders happens to include an old friend of Mike's - Sadie (Vera Day) who runs a pub on the banks of the Thames, having just discovered an old valuable unpublished manuscript by Charles Dickens, and has a heart of gold, giving sandwiches away to such pathetic creatures as an old tramp beachcomber (Derek Jacobi). Sadie's murder attracts Mike to the role of detective journalism and with the help of policewoman Kate (Julie Cox) he begins to tie the investigation to clues he finds in reading the Dickens manuscript. Disrupting the flow of this rather simplistic story is the use of flashbacks to Dickens' time as Dickens (again Derek Jacobi) narrates a rather personal story of peculiar murders. The parallel between stories and the cross casting among actors may have worked in another's hands, but the finessing of this kind of venture escapes writer/director Brendan Foley. He draws his story to a close (at long last) with a tired Hollywoodesque ending. <br /><br />In addition to Jones, Jacobi, Cox, and Day, the film somehow attracted the attention of Vanessa Redgrave, Jason Flemyng, PH Moriarty and Mel Smith: their contributions are minimal but happily distracting. This is a flimsy bit of treacle leaving the viewer wondering how films of this quality ever find funding. Grady Harp | 1 |
The credits come from the Sandy Frank stitching job that was made to turn this movie into Cave Dwellers for re-release. Now that that's cleared up...oh! Excruciating, eye-gouging pain. Blade Master leaps shamelessly on the sword & sorcery bandwagon started by the Conan flicks...except the bandwagon never left the garage anyway. As such, this Italian flick is a dud trying to rip-off a box office dud, with predictable results. However, this would give too little credit to the director and writers, who make no effort whatsoever to maintain a coherent plot, continuity, any semblance of era-accurate continuity. Miles O'Keefe is no leading man, now or forever (Tarzan The Ape Man proved that, if Ator didn't). Just an unlikeable picture and a chore to watch. | 1 |
I saw this movie on my local cable system under the title of 'Beyond Redemption'. I was searching for new material to watch, since most of the reruns one Saturday morning didn't interest me. I've always been a fan of Andrew McCarthy and Michael Ironside, so I chose this movie. I was pleasantly surprised.<br /><br />Personally, I enjoyed the film. Rich Roesing, who posted a comment about the film being spoiled for him by seeing scenes from the movie on the back of a video rental box, are well justified. I did not have the disappointment of knowing beforehand anything about the film. This led me to rate the movie higher than the average score listed on the page.<br /><br />I like suspense movies, and this one was no exception. The movie kept me guessing until the very end. I was surprised by the ending!<br /><br />The moments of reflection and remembrance of past experiences by the main character during the film only added to the suspense. His reactions to those remembrances gave the film a sense of the humanitarian, yet conflictual, side of police work. The struggle with his faith is also a welcome addition.<br /><br />If you like suspense films, but also like films that expound on the character's feeling, personal inflection side, this film is for you.<br /><br />Should you find this movie on your local cable or satellite system's guide, watch it!<br /><br />However, if you are looking for a rental video, follow Rich Roesing's advice and have someone get the video for you before watching it. | 0 |
I barely remember this show, a little ,but I remembered it was great! My eldest brother, reminded me about the show recently and I had seen an advertisement for the D.V.D set coming out. The network, again screwed up in pulling this from the air, so that they could put what else in it's place? It should have gone at least 3 seasons. Why not, right? I think sometimes that the network executives think they are the 'gods' of the entertainment world. But they mis-guess and flat out miss good show placement from time to time. Let it be said that, they have a lot more flops than 'hits'. This was one of the poor decisions to cut from the line-up. Anyhow, I am getting this for my collection. | 0 |
Having spent the six years previous writing and producing, Luc Besson returns to the directors chair with Angel-A. I'm a huge fan of Léon, and quite liked the prospect of a black and white French film from the same chap.<br /><br />André is a liar and gambling addict, owing money to almost every loan shark in Paris. Unable to repay his debts, and fed up with being held over the edge of the Eiffel Tower, he decides to kill himself. He happens to do so at the same time as a mysterious woman, who he decides to save. Determined to thank him, she begins to help him fix his own life.<br /><br />The film starts with some laughs, which run well throughout. The visuals are quite nice and work well with the sights of Paris. But that is it. That's all the film has got going for it. And these mere two facets can do nothing to hold back the torrent of terrible film-making the movie unleashes. Though I can't hugely fault the main character (his inconsistencies are close though), the eponymous one is ghastly. A terrible screen presence and bitterly annoying. The plot is ridiculously inconsistent itself, and at times bizarrely silly, particularly the ending; an ending which completely bloodied the fledgling redemption engendered by the scenes immediately prior to it. Perhaps the most ridiculous scene I've had the ignominy of observing, it is stupid, indulgent, melodramatic, and considerably too awful to be 'so bad it's funny'. The overall premise of the film could conceivably have once held potential, but it is brutally massacred by the unendingly terrible implementation of its ideas. The film really was a task to watch, and one which had me screaming at the screen the whole way through.<br /><br />Massively and immeasurably flawed, Angel-A is just plain bad. Though its occasionally fun dialogue manages to draw out chortles at rare intervals, by the end it is clear that this film is nothing more than repugnant. | 1 |
I remember when this show came out. It was originally advertised as a mini-series. At the end of the last episode it said 'To Be Continued' to the dismay of all the people who had watched the whole boring beyond words thing. It ended as it was supposed to, so yes, you can blame the series for having no ending. The plan was for there to be another obviously if ratings had been higher, but it was a boring show that way too long, and annoyed people by not ending when it said it would, so they never made any more. Quite a few of the comments blame its cancellation and lack of ending on the viewing public, when the truth is that for this show that is not the case, it ended the way it was actually planned to end, it is just a lousy ending. | 1 |
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