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I saw this movie last night at the Phila. Film festival. It was an interesting and funny movie that had some endearing and moving scenes. Peter Falk was excellent as was the rest of cast. They were believable and played their roles well. The movie may have gone a bit long and the conclusion was okay. The audience laughed at the right places. The family dynamics were terrific and though this was a Jewish family, they could have been Italian, Irish or any other including Greek. I recommend this film if you are interested in laughing at a subject that isn't often handled that way. IOT makes you think about the consequence's of your actions and how they affect others in your life and those who are not clearly in your life. | 0 |
I first saw this film accidentally when they showed it on TV and I was up far too late... I really lucked out there though. It's truly incredible; from the location (as isolated as it's possible to be on this planet; it made 'the abyss' look like ET in the council swimming pool), through the interesting characters (Keith David is especially good as the reactionary Childs -'What if we're wrong about him?' - 'Then we're wrong.') and the effects (more yucky than Alien).<br /><br />Moreover, however, the real tension and fear in the film has nothing to do with the effects. It's the people you start being scared of; knowing that one of them may - or may not be - 'All they appear to be'. It's certainly got the feel of 'who goes there?'.<br /><br />The soundtrack is great; it really plays up the isolation, fear, and gravity of the situation.<br /><br />Finally, the epilogue scene really, really cuts. Even more than the 'But then again who does ?' punchline of Bladerunner. Enough said. | 0 |
I will never forget this film or the events that lead up to Jonestown in Guyana. It just seems so tragic but needs to be told. Powers Boothe give a commanding performance as the leader Rev. Jim Jones from obscurity until total madness. It would have won him an Academy Award easily if it was released in the movie theaters. It is the kind of mini-series you won't forget. You won't forget the images of the cult's brutality, control, and obsessiveness of it's leader. His rise and fall and the threat from the outside world to destroy what he considered to be paradise. The mass suicide is horrifying, almost unreal to anybody's imagination as to why so many people (900+) went willingly or resisted JOnes' orders. They don't make mini series like these anymore where we're left with out mouths open and hungry to know what happened to the others. | 0 |
This movie was a really great flick about something that affects us all. I know I've personally run into this many times. Thank goodness Will Smith has jumped onto the societal issue of text messaging while driving. People, don't do it. An hour and forty five minutes is not enough time for this cause. Personally, I wanted to throw away my cell phone after the movie. I was glad to see other people in the theater saw the message and dumped their phones with the empty bags of popcorn. I decided to disable all text messaging on my phone and would encourage others to do the same. If you care about your family, make them watch this vital Public Service Announcement on text messaging while driving or they could kill seven people. Thanks for showing us the way. | 0 |
Someone will have to explain to me why every film that features poor people and adopts a pseudo-gritty look is somehow seen as 'realistic' by some people.<br /><br />I didn't see anything realistic about the characters (although the actors did their best with really bad parts) or the situations. Instead, I saw a forced, self-conscious effort at being 'edgy', 'gritty' and 'down and dirty'.<br /><br />Sadly, it takes a lot more than hand-holding the camera without rhyme or reason and failing to light the film to achieve any of the above qualities in any significant way.<br /><br />It's a sad commentary on the state of independent film distribution that the only films that see the inside of a movie theater are nowadays all carbon copies, with bad cinematography, non-existent camera direction and a lot of swearing striving to pass themselves as 'Art'.<br /><br />It's little wonder that films like 'In the Bedroom' or 'About Schmidt' get such raves. I found them to be meandering and very average, but compared to the current slew of independent clones like 'Raising victor Vargas' they are outright brilliant and inspired.<br /><br />A few years ago seeing an 'independent' film meant that you would likely be treated to some originality and a lot of energy and care, and maybe a few technical glitches caused by the low budgets, nowadays, it means that chances are you'll get yet another by-the-numbers, let's-shake-the-camera-around-for-two-hours attempt at placating the lack of taste of independent distributors. And of course all that to serve characters and situations that are completely unreal and contrived.<br /><br />Is it any surprise that the independent marketplace has fewer and fewer surviving companies? Not at all when you see films like Raising Victor Vargas that do nothing but copy the worst of the films that preceded them. | 1 |
Crash is supposed to be a film about racism in Los Angeles. But in fact, it's just a bunch of coincidences between several characters that connect each other during one day in one of the biggest cities of the world. Who the hell is going to believe that? There are unrealistic situations, one after the other. On the other hand, this film pretends to show racism between Asians, Iranians, Latinos, Blacks, and Whites. But the big error relies on a pre-establish racism coming from the writer. Mainly because the White characters in this movie are usually portrait as people with a better social-economical status than the rest of the other races. Iranians are poor, just like the Asians. And Latinos, as always, are portrait as Housekeepers, police officers, or with a very low profile job like a locksmith. Jesus!!! Don't you guys think it's about time to change these stereotypes? Same with blacks, portrait as gang members, with the exception of a Black TV Director, who was the only fresh character for me. This movie sucks so hard, that makes me so disappointed about the kind of cinema coming out from Hollywood these days. Always with stereotype characters. No realism whatsoever. Nothing to identify with. It's simply a big waste because this could have been a great opportunity to show Latinos, Koreans, Iranians, and blacks, from a different perspective. | 1 |
Matthew McConaughey is a mysterious man waiting for Agent Wesley Doyle (Powers Boothe) in his FBI office. He claims to have information about a serial killer chased by FBI. When Agent Doyle arrives in the office, he tells him that the serial killer is indeed his dead brother. Agent Doyle requests some evidence, and the man tells the story of his life, since his childhood. They were a simple family of three: his widow father Meiks (Bill Paxton), his brother and himself. One night, his father gathers the two brothers and tells them that an angel of God had just visited him and assigned his family to destroy demons. What happens next is one of the most scary movie I have ever seen. <br /><br />I watched this movie four months ago on VHS, and yesterday I watched again, now on DVD. Although being a low-budget movie, the screenplay is sharp, with no flaw. The cast is outstanding, but I would like to highlight the performance of Matt O'Leary as the young Felton. It is a very difficult and complex role to be performed by a young teenager. The direction of Bill Paxton is remarkable. There is no explicit violence in this horror movie. A great debut behind the camera. I regret the Brazilian title of this movie: 'A Mão do Diabo' (The Devil's Hand'). If at least it were 'The God's Hand', it might be acceptable. But calling this movie as 'the devil's hand' is indeed ridiculous. Brent Hanley, the screenwriter, did not deserve such a lack of respect from the Brazilian distributor. This film is highly recommended. My vote is eight.<br /><br />Title (Brazil): 'A Mão do Diabo' ('The Devil's Hand') | 0 |
This movie starts out very VERY slow, but when the action finally gets started, it's a little had to follow. I couldn't understand why some of the events were taking place, and a lot of events happened before they were explained, making them sort of confusing. The only thing it really has going for it is the massive amount of blood/gore it has, although most times the special effects are lacking. Blood looks like red Kool-Aid. Skin tearing sounds like somebody is stepping on a pile of sticks. Again, the story has a sort of amateur feel to it, like the writer didn't take a long time to perfect it. I feel like it could be a much better movie if the effects were done better and more time was taken on the script. I honestly wish I hadn't watched it, not because of the gore, but because I feel that i wasted 90 minutes of my life. If you like extremely gory movies, this is for you, if not, stay away. | 1 |
this movie made me watch Paul W.S. Anderson's AvP1 and enjoy it! I am not even going to dream of comparing Requiem to any of the Alien or Predator series' movies,this is a HORRIBLE TEENAGE B-HORROR FOOTAGE SET IN AN American SMALL TOWN NO ONE CARES ABOUT.<br /><br />AvP1 at least had heaps of handcrafted art carved into the movie sets,it had bags of eye-candy not previously seen in any of the original movies - but was ruined by unconvincing characters/acting.<br /><br />Requiem takes bad acting to the lowest imaginable level,and it also lacks in every other department just as much...it's a sacrilege to include alien and predator suits in this kind of rubbish. | 1 |
In this film, made JUST as the production code was being enforced, Jean Harlow is Eadie, and Patsy Kelly is the wisecracking, man-chasing sidekick 'Kitty'. Girl from Missouri starts out with the girls getting on a train, with Eadie making a promise to herself to earn money while looking for a millionaire husband, staying whole-some in the process. It doesn't take her long to meet up with Frank Cousins, (Lewis Stone, was the kindly Doctor in Grand Hotel, as well as Judge Hardy in the 'Andy Hardy' films.), but all is not as it seems...The censors must have LOVED Harlow's line 'A girl couldn't accept an expensive gift like that from a gentleman unless she was engaged.' Later, someone says 'You know we've never been alone together' and Eadie replies 'Yeah, and we're not going to be!' Lionel Barrymore is T.R. Paige, another rich, uppercrust who comes to her rescue when trouble comes looking for Eadie. At one point, Paige declares 'You oughta scratch me off your list - I'm not a ladies man'.... I wonder what that line would have been just a couple years earlier before the Hayes code came rolling into town. What was he really saying? Carol Tevis seems to be the high-pitched 'Baby Talker' as listed in the credits on IMDb. Looks like she was only in showbiz from 1931 - 1939, with 'Munchkin' in Wizard of Oz being the last part she played. Fun, cleancut romp as the girls chase men around the country. Look for Nat Pendleton as the lifeguard, who was an Olympic Wrestler 1920 (silver medal winner) turned film star (he was in many of the Dr. Kildares, and would appear in four of Harlow's films.) Mistaken identity, plot twists, a young Franchot Tone, love stories, even Jean Harlow in a bathing suit in 'Palm Beach', although the outdoor scenes of downtown appear to be a backdrop. | 0 |
In 1967 I visited the Lake Elsinore glider-port and flew a yellow Pratt Read sailplane. Returning to Germany the above serious ran on TV and one segment was about the high altitude sailplane flights in California in the early 50ies. (The real life pilot was Bill Ivans, I don't know who played him in the series) It turned out that the sailplane in the film was the same (same N-number) as the one I had flown at Lake Elsinore. Ever since I saw that segment I have been searching for it and have been wondering if it is somewhere available. (other segments in that serious were about the Baker Ejection Seat; an instrument to find avalanche victims etc. | 0 |
This was without a doubt the best of the 'Dirty Harry' series. From the opening credits, you're swept up in a revenge tale that hits hard and is profoundly engrossing. Sondra Locke is perfect in the role of a traumatized woman out for revenge. Eastwood has many 'aside' sequences that have nothing to do with the plot, but show Harry at his bad-assed best. Loaded with unforgettable characters in minor roles, this film rocks and should serve as the standard for detective/action flicks. This is the one Dirty Harry flick that's raw and devoid of any 'fluff'. I can watch this again and again (okay, not in one sitting) because it's a gratifying 'out for revenge' yarn. The pace is quick and several of the scenes are unforgettable. 'Go ahead - Make my day...You feel lucky, Punk? ....' classic Eastwood as only Eastwood, with his anguished, rubbery expressions, and whispery, menacing voice can do it. | 0 |
If Deborah Messing were not already cast as 'Grace', this might be a tolerable film. However, it is simply another story of a frustrated spinster with issues, who hires a paid escort (Dermot Mulroney) she reads about in a Time magazine article to travel to London for her sister's London wedding. How new is this plot?<br /><br />Neither funny, nor remotely romantic, the Wedding Date slides over the storyline of deceptive sex by bride and best man, and paid for escorts to pass off the film as Four Weddings without Hugh, and definitely, a dead end deal for the naive groom who is ignorant to the sexual history of his bride (Amy Adams). While Messing has perfected the repressed princess, 30- something woman with a failed relationship history, her neurotic and drunken moves on yet another faux beau is simply the restating of her TV series. If this woman is an actress, get a role that does not rehash what is already on prime time.<br /><br />Lots of drunken female bonding, cricket visual jokes, and Mulroney in a towel (nice!), but the film is a bore with the obvious happy ending. Expected Messing sequel: Divorce Date. | 1 |
A lonely depressed French boy Mathieu (Jeremie Elkaim) on vacation in the summer, meets and falls in love with Cedric (the gorgeous Stephane Rideau). Quiet and slow this is a very frustrating movie. On one hand, I was absorbed by it and really felt for the two boys. On the other I was getting annoyed--the film constantly keeps flashing around from the past to the present with no rhyme or reason. It's very confusing and pointless. <br /><br />SPOILERS AHEAD!!!<br /><br />Also there are tons of plot holes--Mathieu, at one point, does something that ends him up in the hospital. What is it--we're never told! Then he breaks up with Cedric and tells everybody else he's living with him. Why? We're not told. Then he hooks up inexplicably with another guy at the end. Why? No explanation. It's clear Cedric loves Mathieu and Mathieu is living in the same town so... However it is a tribute to the film that you really care about the characters so much. If only things were explained!<br /><br />Elkaim as Mathieu is not good. He's tall, handsome and has a nice body--but he can't act. His idea of acting is sitting around with a blank look on his face--all the time. Rideau, on the other hand, is great. He's VERY handsome, has a very nice body and is one hell of an actor. Also he has an incredible sexual magnetism about him. There is full frontal male nudity, lots of kissing and a fairly explicit sex scene in the movie which is great--most movies shy away from showing male-male love scenes. This one doesn't and it helps to see how the characters care and feel for each other.<br /><br />So, a frustrating film but somewhat worth seeing--especially for Rideau's nude scenes--that is, if you like good-looking nude young men!<br /><br /> | 0 |
Two sisters, Su-mi (IM Soo-jung) and Su-yeon (MOON Geun-young) return home with their father (Kim Gap-soo). Eun-joo (YEOM Jeong-ah) welcomes them but Su-mi's manner is bitter to her. Su-mi hates Eun-joo because the father let her act like the house wife after the sisters' mother died. Seeing her attitude, Eun-joo is getting to treat the sisters coldly and there grows a tense atmosphere among them.<br /><br />As if called in by the atmosphere, series of mysterious things occur in the house. When Su-mi is hanging her dress in her wardrobe, there have been already hung a lot of dresses of the same design. When she put her diary into a drawer, she finds another diary of the same kind there. When she is sleeping in her bed with scared Su-yeon, a nightmare awakes her and she finds a woman standing on her -- and a hand dangles out of the woman's skirt!<br /><br />Mysterious things occur to the other people, too. On the evening of next weekend, Eun-joo's brother and his wife visit the family and they have a dinner together. Eun-joo cheerfully talks about a crazy man she met when she was a child, but nobody is interested in her talk. She says the crazy man annoyed the brother, but he says he doesn't know anything about the man.<br /><br />Listening to their talk, the brother's wife has a panic.<br /><br />After the dinner, the conflict between Eun-joo and the sisters becomes at its worst. Eun-joo pulls Su-yeon into a wardrobe and locks her in it. Su-mi saves the crying-out sister and complains to their father what Eun-joo has done to his daughter. But his response is unexpected. 'Give me a break.' says he angrily, 'Su-mi, please. Don't make me tired any more.'<br /><br />And the following words out of the father's mouth are more shocking than what they have seen in the house.<br /><br />To tell the truth, I hate horror movies. Although I seated myself at a theater because my intuition told me the movie was something different, I was regretting what my curiosity had made me act when it started showing. The regret, however, had changed into joy for expectation ten minutes later.<br /><br />This film is a tragic mystery more than a horror -- painful more than horrible; beautiful more than sensational. That may have a hard core horror fan disappointed, but for a mystery fan like me, this film is a must see. (9 out of 10) | 0 |
Im not usually a lover of musicals,but if i had to choose what would be my favourite it would definitely be Oliver.This film is so well made,the characters are well depicted,the costumes are spot on the acting is good and the songs are great,my favourite being 'Reviewing The Situation'sung by Ron Moody who gives a brilliant portrayal of Fagin.I wasn't old enough to see Oliver when it was released in the late 60s but my sisters were,so for weeks on end i had to put up with them singing the bloody songs,usually it was 'Who will buy my wonderful roses'so i already knew all of the songs before i saw the film.Its a timeless musical you definitely couldn't remake it,it stands on its own.Its not accurate to the book and i don't think it would have worked so well if it had been.I don't think Charles Dickens would be disappointed,as he wrote Oliver to depict the poverty in London,the orphanages,the work houses and about what the poor had to resort to in order to survive,and the film portrays this very well.Also another great reason to watch this film is Bullseye the Old type English Bull terrier,notice his long thin legs,this was bred out of the breed many years ago,they must have hunted high and low to find a specimen like him,and he is exactly how an English Bull Terrier would have looked in Victorian times.Notice he has scars {which is probably makeup}on his face,Bill Sykes had probably used him for dog fighting or for the rat pit.A Victorian Bull Terrier had a record amount of kills in a rat pit.His a beautiful dog any way,and notice he disobeys Bill Sykes after he has killed Nancy,he obviously has his standards his not the chunk head Bill Sykes thought he was.This is a great musical to watch if you like musicals,and if you don't like musicals give it a try any way,there's something for everyone in this film. | 0 |
Our Song is a marvelous example of passionate, movie making at its aesthetic best. It is, in fact, a genuine wonder of a movie; a penetrating and insightful work of art that chronicles the lives of three young inner city (Crown Heights, Brooklyn) girls during a particular summer in their lives when the perplexities of their approaching adulthood will compel each of them to make a number of difficult, life altering choices that will likely re-define who each of them is, as well as how they will continue to relate to one another in years to come.<br /><br />Jim McKay's writing/direction is graceful and uncluttered. There is no sappy, gratuitous sentimentality nor are there cliché ridden solutions in this film. What we see here seems, at times, to be heart breakingly real. There is a naturalism - a credibility, if you will - in Our Song that surpasses that of other giants in this genre, including American Graffiti and Cooley High.<br /><br />Much of the credit for the film's spirit goes to its principle actors. The combined presence of Melisa Martinez (Maria), Kerry Washington (Lanisha), and Anna Simpson (Joycelyn) is dazzlingly powerful. It would be easy - and, of course, blatantly obtuse - to dismiss, as some apparently have, the performances of these three as apathetic or unemotional. In fact, their quiet charm, their instinctive sense of dignity and their raw, sometimes unconventional intelligence, throughout the film, are absolutely riveting. One would have to be completely 'out of touch' with, or completely indifferent to, the behavior of teenagers to miss the resounding authenticity in what these three young ladies bring to the screen. Likewise, the supporting cast, particularly Marlene Forte as Lanisha's mother, compliments the work of the three girls as well as the overall tone of the film.<br /><br />Our Song is a film not to be missed - by anyone of any age. | 0 |
Stay away from this movie at all costs. I was suckered into watching this movie in a bet to see which one of us knew the t 'worst movie of all time'. Needless to say this one won hands down. It is long and drawn out, and has no purpose or plot from what I can gather. A movie about a killer kid raised from a fetus that was grown outside the womb just has no place inside your vcr. If you are extremely bored and have no life watch this movie. But if you rather keep your sanity, stay AWAY. | 1 |
This is a very bland and inert production of one of Shakespeare's most vibrant plays. I can only guess that the intent was to make the play as accessible and understandable as possible to an audience that has not been exposed to Shakespeare before. By doing this, though - by making every line clear and every intent obvious - they have drained the play of life and turned it into a flat caricature. Somehow, it is actually boring - a very hard feat given such wonderful material.<br /><br />The acting is forgettable at best - Sam Waterston as Benedick and Douglas Watson as Don Pedro. Others, however, do not fare so well. April Shawnham's Hero is a pouty, breathless airhead that frequently provokes winces. Jerry Mayer's Don John is a nonsensical cartoon character on the level of Snidely Whiplash (though Snidley was much more enjoyable).<br /><br />F. Murray Abraham (you know, the guy who killed Mozart?) is not in this version, unless he was in disguise and had his name removed from the credits.<br /><br />Given that the producer, Joseph Papp, is basically a theater god, this production is not only disappointing but head-scratching as well.<br /><br />Don't bother with this. Watch Branagh's Much Ado instead - his version is overflowing with vitality and humor, to say nothing of wonderful performances. | 1 |
I remember seeing this one when I was seven or eight. I must have found the characters round, because they left a impression in my mind that lasted for a long time after the end of the movie. And the ending, now that's sad, well... for a 7-8 year old kid.<br /><br />I had the opportunity of seeing this movie again lately, and found that the plot was too simple, the character, two-dimensional... I guess it's the kind of movie that you can only with the innocence of a young child... Pity...<br /><br />I recommend this one for all you parents with small kids... ( I saw it in its original french version, so I cannot tell you whether the translation is good or not.) | 0 |
At first I didn't like the movie cause of it being a Nazi swastika drama.But after buying it and seeing it, it wasn't that bad. I heard so many complaints about the numbers being short and Ilse Werner not singing. Now I understand. The radio show was a super propaganda radio program. Ilse , Johanne and Zara plus Rudy Shruki and band like Kurt Widman and his Orchestra and Fud Cantics ex cetera never appeared in the radio show cause the singers and the bands were of the pop jazz and swing categories. The Club Foot had that regulated that for touring occupied areas for the soldiers to short wave radios for the soldiers also night clubs and hotels,in Berlin and Hamburg, and record sales only. This is why Ilse wasn't allowed to sing in this picture. This would be made up by medium budget musical ,Were making music, 1942, in which she would demonstrate her whistling.But this is an excellent example propaganda.Inge and her aunt Eichhorn,played by Ida Wust, goes to the 1936 Olympics. The aunt forgets her tickets so Inge has to wait till her aunt comes back with the tickets. She meets Carle Radditz, who plays Herbert, who has an extra ticket. She goes with him and it's love at first sight. they plan to marry but the Spanish war get in the way so he has to go on an assignment against the right side.Carl Raddatz as so many people complained about him was really handsome and not plain. When he did Opfergang and they put a mustache on him plus his own suntan that made him plain looking.You see the Nazi soldiers acting normal,like a scene in which a ex butcher and his troops are in France and they steal pigs from a farm and they are about to make lunch until their leader suggest to save the pigs. This reflect Adolphs animal rights extremism. The character was a butcher now soldier . This was a subtle put down against meat eating.Late on in world war 11, Herbert is flying in a German airplane. We shoot one of the pilots so Herbert takes over. We shoot his plane. They crash. Unfortunately for us they survive.Another seen the Nazis soldiers go in a bomb Catholic church ,now it's putting the catholics down, and Hubert's best friend Helmet,played by Joachim Brennecke starts to play the organ, Beethtoven, .More bombs come in from us. The church is bomb more the soldier continues to stay and play the organ he's being told to leave. We end up injuring him. Propaganda message? The catholic church organ cause him to become addicted to it.It injured him. See? By this time Inge is with her either mother or grandma, played Hedwig Bleibteu, the same German Grandame actress who played Maria Holst's Aunt in Weiner Blut.Well ,later it comes to the short view of the radio show. This was not intended to be a musical revue, such as Kora Terry released that same year were as well As Rosen in Tirol, The music as well as their side of the war was so supposed to be only the back drop. It was mainly a war romantic movie.It's easy to take a pot shot at those soldier in the movie but in real life many of those soldiers were being forced to fight the Nazi cause, cause of the job and the monthly pay that they would receive. After the war many of them who survive would regret it. This is a good swastika classic. The only problem is that today you have Neo Nazi and Nazi skin heads, who watched the same movies to reflect their Hitler worship and their. They have disturbing websites who exploit these film classics to raise money for their insanity . Be careful most of the time it's the direct hate only classics. If their scenario looks like they are glorifying it ,then its a Nazi website skip it .Go to IHF or German wartime films dot com, Amazon dot Dee or German video dot net. They are legitimate. 01/23/10 Mada a mistake it wasn't Herbert's friend that got killed at the church . It was Malte Yager's character's friend Schartzscop. | 0 |
First, I did like this film. It was well acted by all.<br /><br />However, I don't understand comments I hear from people about a surprise ending. I knew nothing about this movie going in except a few 'gotta-see' recommendations, but I knew where the plot was going in under ten minutes. (I won't mention what clued me in so as not to spoil a good film for others.) Still, despite it seeming obvious, I kept watching. It was nice to see how everything played out, filling in the details and the character motivations in later scenes.<br /><br />I don't hate it when I guess the ending early in a film. I only hate it when the road to resolution is lined with boring scenery.<br /><br />Will Smith's screen persona is just likable, even when he's playing such a troubled character. He's energetic and believable in everything that I've seen him do. Seven Pounds is another fine performance.<br /><br />Rosario Dawson is a solid performer, portraying a quirky, rather upbeat character despite a terminal heart condition. Beauty is in the eye of the beholder, and with Rosario, if you don't find her gorgeous, you should think about replacing your eyes.<br /><br />It was nice to see Woody Harrelson back on the screen. I haven't seen him much lately, but that could just be me. Woody didn't have a tremendous amount of screen time, but he sold his jolly, piano-playing, blind man character for all it was worth. Excellent.<br /><br />A cursory bit of research on the box jellyfish tells me that its venom is cardiotoxic, neurotoxic and dermatonecrotic. I would think this makes it a questionable choice for both pet and plot.<br /><br />Overall, I have to recommend this film not for the plotting, but for some very good performances, and for the fact that it tends to evoke some of the tragic emotions that we generally try to avoid. | 0 |
I am a student of film, and have been for several years. And the concept of a cyber, kung-fu, satirical chimpanzee had me wondering, 'Is this the film that's going to break the mold?' Let's face it, America has never been let down by any piece of cinema that features a simian costar. After such great classics as 'Monkey Trouble' and 'Dunston Checks In', I thought that the best ideas were already taken. But then comes 'Funky Monkey'. I laughed, I cried, I contemplated suicide.<br /><br />Now I've read about demon possession in the Bible, but that still doesn't explain why someone would create such a product of evil. First off, having at least a shred of intelligence, I realized that a chimpanzee was in fact an ape, not a monkey at all. However, I was sure that the filmmakers would clear this problem up further into the film. They didn't. Let me sum up this work of art: A company by the name of Z.I.T. has decided to train chimpanzees as soldiers. Why? I think they mention something about the soldiers working for bananas, but when it would cost about an estimated 13 million dollars of government money to train one chimp, this doesn't seem cost-effective. Well anyways, Z.I.T. brings in a CIA specialist (Matthew Modine) to train Clemens (The Chimp). Clemens is everything Z.I.T. hoped for. He can take out an entire shift of guards, who all appear to have gotten their training skills at the local mall, and yet still manage to remind us that we're watching a kid's movie. As you may have guessed, Modine finds out that Z.I.T.'s intentions may be evil (Gasp!) and decides to break Clemens out. Being a CIA agent and all, Modine knows that best way to make himself disappear is to go to a large city, rent a guest room, regularly make appearances on television while fighting crime, and using checks to pay for everything.<br /><br />Z.I.T. finds out where Modine is staying, and sends two of their finest to retrieve him. These guards are possibly the greatest comedy team up since Martin and Lewis, or was it Turner and Hooch? It doesn't matter anyways, because in the end, for a heck of a twist ending, the good guys win!!! Yay! Hooray for predictability! Throw in a nerdy kid who learns to be himself, a lonely mom who needs a date, and music montages that feature songs that would even be blackballed by Radio Disney and you get 'Funky Monkey'. The climax to the movie? A football game! Played by thugs, bumblers, a chimp, and the nerd boy. No one seems to care about such substitutions at a high school football game.<br /><br />Funky Monkey never lets up! It's edge of your seat entertainment. Some might even call this the 'American Beauty' of monkey-filled features. After finishing this epic, I recalled hearing a story about a railroad worker who lost much of his brain functions when a metal rod pierced his temporal lobe. Funky Monkey is a metal rod among movies. | 1 |
Wow, I loved this film. It may not have had the funding and advertising that the latest hollywood blockbusters get but it packs twice the emotional punch. The tale revolves around this one family from Utah and it's the connections between the people in the family that provide the film with its punch. The main lead (Giovanni Ribisi) plays his part very well, at no time does he leave you to believe that he's acting all his feelings. It's his brother (Elias Koteas) who stole the show for me though. When the two were in scenes together they bounded their lines off of each other, giving fantastic performances. Great cast, great film. | 0 |
I absolutely LOVED this film! I do not at all relate to all the other comments I have read about it. I was COMPLETELY enthralled through every second! <br /><br />I found the story gripping, the acting intense, and the direction spot-on. I would literally jump every time the phone would ring close to the end of the movie. Even though there was nothing 'scary' about the story itself, I was soundly on edge through the whole movie - and for the rest of my evening. <br /><br />I found that there were so many perfect choices made...the casting, the script, the little bits of humor sprinkled in it. There were so many points where the film could've gone for the cheap thrill, but it never did, and that for me put this movie above so many of the mediocre thrillers that have come out lately...and for the last number of years. | 0 |
I didn't at all think of it this way, but my friend said the first thing he thought when he heard the title 'Midnight Cowboy' was a gay porno. At that point, all I had known of it was the reference made to it in that 'Seinfeld' episode with Jerry trying to get Kramer to Florida on that bus and Kramer's all sick and with a nosebleed.<br /><br />The movie was great, and surprisingly upbeat and not all pissy pretentious pessimistic like some movies I can't even remember because they're all crap.<br /><br />The plot basically consisted of a naive young cowboy Joe Buck going to New York trying to be a hustler (a male prostitute, basically), thinking it'll be easy pickings, only to hit the brick wall hard when a woman ends up hustling HIM, charging him for their sexual encounter.<br /><br />Then he meets Enrico Salvatore Rizzo, called 'Ratso' by everyone and the cute gay guys who make fun of him all the time. You think of him as a scoundrel, but a lovable one (like Han Solo or Lando Calrissian) and surprisingly he and Joe become friends, and the movie is so sweet and heartwarming watching them being friendlier and such and such. Rizzo reveals himself to actually be a sad, pitiable man who's very sick, and very depressed and self-conscious, hates being called 'Ratso' and wants to go to Florida, where he thinks life will be much better and all his problems resolved, and he'll learn to be a cook and be famous there.<br /><br />It's heartwarming watching Joe do all that he does to get them both down to Florida, along with many hilarious moments (like Ratso trying to steal food at that hippie party, and getting caught by the woman who says 'Gee, well, you know, it's free. You don't have to steal it.' and he says 'Well if it's free then I ain't stealin' it', and that classic moment completely unscripted and unscheduled where Hoffman almost gets hit by that Taxi, and screams 'Hey, I'm walkin' here! I'm walkin' here!'), and the acting is so believable, you'd never believe Joe Buck would grow up to be the distinguished and respected actor Jon Voight, and Ratso Rizzo would grow up to be the legendary and beloved Dustin Hoffman. It's not the first time they've worked together in lead roles, but the chemistry is so thick and intense.<br /><br />Then there's the sad part that I believe is quite an overstatement to call it 'depressing'. Ratso Rizzo is falling apart all throughout the movie, can barely walk, barely eat, coughs a lot, is sick, and reaches a head-point on the bus on its way to Florida. He's hurting badly, and only miles away from Miami, he finally dies on the bus. The bus driver reassures everyone that nothing's wrong, and continues on. Sad, but not in the kind of way that'd make you go home and cry and mope around miserably as though you've just lost your dog of 13 years.<br /><br />All in all, great movie. And the soundtrack pretty much consists just of 'Everybody's Talking'' played all throughout the movie at appropriate times. An odd move, but a great one, as the song is good and fits in with the tone of the movie perfectly. Go see it, it's great, go buy it | 0 |
I saw a sneak preview of this Tuesday night with a group of friends and we had a blast! After seeing sneak peaks for BOOGEYMAN (Horrible! 3/10) and Amityville Remake (so-so 6/10) I enjoyed this a lot more! As seen in the trailer, one knock I had was believing that a whole town could be 'forgotten' but this is a cheesy popcorn horror movie so I accept it for what it is.<br /><br />My only major complaint is I assumed Paris Hilton would touch wax or get dipped etc. and moan 'that's hot' but they didn't do that (how could they resist???).<br /><br />There is NO nudity from the 2 girls although Paris looks great in her lingerie! I'm surprised they didn't put a 3rd 'hot token victim' in the movie for some needless nudity which is the norm for this type of flick! I won't list any death or plot spoilers BUT I will say that Paris & Eliza both get roughed up good! <br /><br />The characters are developed decently and are somewhat likable (not like Cabin Fever where you wanted them to die) and the movie has a decent pace although nothing happens in the 1st 30 minutes like most horror films.<br /><br />I give it a 8/10 as it delivered good scares and gore and I had low expectations going into it. If you go with some friends that like cheesy horror movies you'll have a good time.<br /><br />Noah | 0 |
I absolutely love this game to death. Ever since I was 9 years old (I am now 15). It has great graphics, characters, magic, weapons, additions, and don't forget the ultimately awesome dragoon forms! I am still waiting for a remake, prequel, or a sequel to this spectacular video game. <br /><br />You play as Dart, a young swordsman who has the potential to be quite the hero. On this adventure you encounter wondrous creatures and boss fights. You also encounter some friends on the way who have their own special element. Such as Fire, Darkness, Water/Ice, Thunder/Lightning, Earth, Light, and Wind. There are also items known as dragoon spirits, which allow you to transform into magical creatures of legend. Dragons, wizards, creatures called winglies and evil creatures you'll have to face on this adventure of action-packed thrills and excitement. One of my all time favorite games, The Legend of Dragoon! | 0 |
Jake's Closet has the emotional power of Kramer vs. Kramer combined with the imagination of Pan's Labyrinth. Even the beginning special effect seems to give a nod to Pan's Labyrinth. But this is a story that takes place in modern times, not in a war sixty years ago and in that way it has even more resonance today. Jake's Closet is about a boy, an only child, practically alone on summer vacation, dealing with his family falling apart. It's a horror movie like The Others and The Sixth Sense, a horror movie for the thinking person. If you're looking for a slasher movie, this won't be your cup of tea but if you're looking for a story that is both touching and suspenseful with good acting, this is the movie for you. At the screening I saw, I swear there was one moment where the entire audience screamed. I highly recommend catching this film. | 0 |
This film was the worst film I have ever viewed. It was like a 'homework assignment' for a film class. It totally misses the mark when it comes to the 'message' it is TRYING to relay. Characters are over exaggerated, poor acting and as for a plot...well it is utterly ridiculous. The cover shot is what made me think it may be a decent film, the co-actor is handsome and that's about it. Moral of this movie: NEVER JUDGE A MOVIE BY IT'S COVER! Save your time, money and energy and make your own home movie and you will be far better off than I. It was painful to watch and quite frankly I am surprised that anyone would spend money to make and distribute it! | 1 |
I've slowly been collecting the films available on DVD of both Catherine Deneuve and Francois Truffaut. Both actress and director have done some stinkers in their time - fortunately Mississipi Mermaid is not one of them.<br /><br />Next to 'The Soft Skin', coincidentally staring Deneuve's sister (the late Francoise Dorleac), this would have to be my favourite Truffaut film.<br /><br />As well as directing, Truffaut also wrote the screenplay. Something that always strikes me about Truffaut is his almost childlike innocence when presenting a story -- one could almost call it naivety.<br /><br />There's a scene towards the end of the film where Belmondo returns to the apartment in Lyon with the remains of the loot. He rings the doorbell and Deneuve answers wearing a negligee. In the time it takes Belmondo to reach their room from the street, Deneuve changes into her dress, puts on her best pair of stockings and shoes, then lies on the bed and pretends she is asleep. It's a scene that could almost come from the mind of a child - but that's Truffaut for you.<br /><br />Watching Catherine Deneuve in her films of the late 60's is indeed a sensory pleasure. She is so extraordinarily beautiful it is almost painful for us to watch. Incidentally, for those fans, there are a couple of topless scenes of her in this film - indeed a sinful pleasure.<br /><br />I disagree with previous posters. I see nothing 'Hitchcockian' about the film at all. As for the 'look' of it - i love the look of the older film stock used in the 60's. It certainly gives films of this period a unique look.<br /><br />Highly recommended for both Deneuve and Truffaut fans...... | 0 |
Did anyone else notice whenever they are in the car each time the camera takes a new angle they switch roads. Like in one scene it is a one lane residential with sidewalks, next they are on a multiple lane highway with a divider, next a two lane country road with double yellow lanes. I can understand a low budget but that was just sloppy film work.<br /><br />I also read the other reviews and disagree that it was a bad movie. I think that if you are a fan of Paul Reiser and his comedy then you may enjoy this movie. If, however, you find his work/not funny then I would recommend staying away from this one. | 1 |
When I saw this film the first time I was very impressed concerning the kind of atmosphere the director creates. It is also very interesting to see how they imagine the near future in the year 1974. If you see the film you will see a lot of sets and customs which are called freaky and modern again today.<br /><br />The topic of the film deals with the old question 'What is real and what is illusion?'. If you see 'The Matrix' you will find a lot of similarities. But the two films are not comparable at all because 'Welt am Draht' is art and 'The Matrix' is entertainment. If prefer the first one.<br /><br />Unfortunately I lost my video copy of it.<br /><br /> | 0 |
Another comedy about a plucky little country struggling through the jungle of the modern (for the forties) global world with only native wit and pluck to guide them, this is a fine entry in the Ealing cannon. Terry-Thomas sparkles as usual in the lead, as a feckless ministry man led to the brink of disaster when a nation he is supposedly in charge of starts attracting the interest of the world, Ian Bannen makes a great romantic lead, Peter Sellers puts in one of his quieter performances as a corrupt politico and the uber-suave John Le Mesurier plays against type as a rugged revolutionary leader. Lots of fun is had by all, especially the viewer; perhaps not in the very top echelon of Ealing classics, but pretty high up. | 0 |
OK, I'm 26 so I've been thru all the action heroes 80's hype, and Chuck Norris along with Seagal, Van Damme and the rest of the guys were my childhood heroes, fighting the bad guys, shooting dozens of bullets from one round only;) I saw the advert of this movie on TV a couple of days ago - Chuck Norris was throwing some fireballs from his fingers. WHOA! 'That is a must-see crappy movie!', I said. And indeed it was. Only a lot lot worse. It is very difficult to see all the movie - stuffed with some religious thoughts, ridiculous zombie-like monsters, who serve Satan, all the idea of a plot set in some forgotten community, which represent whole mankind - it is a load of Christian fundamentalist's wet dreams.<br /><br />I've nothing against Christianity, even in the movies, but this one lacks taste, it lacks almost everything that connects with a common sense, c'mon, Chuck Norris playing an ANGEL, whose job is to look after little town, where Satan lives?!?! The whole plot is so damn straight and boring, not mentioning its silliness (yes, it's not stupidity anymore, we're talking silliness like... like a retarded child's joke) make altogether terrible movie, made as far as I suppose for elder people very much devoted to Catholic Church, because young viewers laugh at almost every scene. Technically it's incorrect, the fx are worse than the ones you've seen in early 90's in TV series, the plot seems VERY stupid, actors could be easily exchanged to cardboard stands, not mentioning the music which as far as I've heard was played on a childish toy piano. I've seen a lot of movies, even the worst ones (the ones from the IMDb bottom list) like 'Space Mutiny' or 'Manos - hands of fate' BUT believe me nothing compares to this ridiculous, terrible, horribly acted quasi-movie which brings some students' prank movies to my mind rather than regular production. Avoid it. At all cost avoid it. There's even nothing to laugh at. Chuck Norris has officially finished his movie career. | 1 |
One of Alfred Hitchcock's three greatest films, along with 'Psycho' and 'The 39 Steps', 'Strangers On A Train' is as brilliantly out-of-control as a merry-go-round in Metcalf, and almost as deadly. It's the kind of film you have so much fun watching, you can't even feel properly guilty about it until you have time to catch your breath.<br /><br />Top amateur tennis contender Guy Haines (Farley Granger) meets a singularly weird, louche stranger named Bruno Anthony (Robert Walker) on a train. Thanks to the gossip pages, Bruno knows all about Guy's problems with his no-good wife Miriam, and rather gaily suggests they do each other a favor: Bruno will kill Miriam and Guy will kill Bruno's father, who wants to put Bruno in an institution. Guy laughs it off, but Bruno ain't kidding, as Guy finds out to his peril.<br /><br />It's a great premise for a murder story, and Hitchcock gives 'Strangers On A Train' a run for all its worth, with the help of Walker in perhaps the greatest performance in any Hitchcock film, including Anthony Perkins in 'Psycho'. While Perkins makes his mark playing tetchily against the grain, Walker as Anthony is one perfectly at home either buttering up old ladies at a swank dinner party or strangling a young woman at an amusement park.<br /><br />What drives Bruno? Many commentators suggest his apparent homosexuality finds a match in pretty Guy. Yes, Bruno lights up the old gay-dar, but Guy seems happy enough on love's rebound with socialite Anne Morton (Ruth Roman). Bruno's interest for Guy could just as easily be envy, for someone making a mark in the world while he lives at home, letting Mommy file his nails.<br /><br />'Oh, I certainly admire people who do things,' Bruno purrs, looking like a cat eyeing a mouse. 'You know, it must be pretty exciting to be so important.'<br /><br />Later on, Bruno calls himself a 'bum', accurate enough except for our rooting interest in him, even as he wrecks Guy's life with his homicidal meddling. It's the ultimate perverse underdog's tale. There's a sense of integrity about Bruno, in his dogged dedication, which commands our respect and which Hitchcock plays to so brilliantly. When Bruno floats away from the scene of his big crime, am I the only sick person in this world who's actually happy for him? I think not, yet Hitchcock keeps the story on a right-enough path for us to realize how low we have fallen. We don't want Bruno to win, exactly, but we enjoy his élan as he tries.<br /><br />Everything else is so perfect, or at least close enough, to make every shot memorable. Hitchcock always managed at least 2-3 good setpiece sequences per movie; here you get a score of them at the amusement park alone. ('20 Big Shows' the neon side at the entrance says, and they aren't kidding.) Script, camera-work, a gripping tennis match, Ruth Roman's jaw-dropping figure, it's all too much greatness for one film to contain. Even Granger does his callow-youth thing here with more risible plausibility than Gregory Peck ever managed.<br /><br />You can call this a clinic in movie-making, but 'clinic' sounds too dull. 'Strangers On A Train' is good nasty fun, all the way through, leaving you with a nifty stinger at the tail as you realize you were rooting for the wrong stranger all along. Heck, I'll take that ride over again in a second! | 0 |
I really wanted to love this movie, and not only cause it had Aaron Eckhart in it but I thought the premise would be cool cause I enjoy movies and shows that revolves around chefs. The cinematography was good but besides it being revolved around chefs everything else is just very cliché. Oh and Little Miss Sunshine was very irritating in this movie although Abigail Breslin seems to be a bit irritating in every movie she is in cause she plays a lot of roles where she is whinny. It has some decent flashes of cooking, but food really didn't play a big part in the movie than I expected which was a big disappointment for me. This film had some good potential, the cast was great but they just had very little to work with. I like a good light hearted romantic comedy but this was just bland. And longer than it should be cause it felt way longer than it is. It's not a terrible movie, you just won't miss anything by not watching this movie.<br /><br />4.5/10 | 1 |
Wow, what an overrated movie this turned out to be! It was supposed to be 'an extremely suspenseful tale of a crazed killer holding a woman hostage and in terror in her home.' Well, I doubt it terrorized audiences in the early '50s and I know it would put today's audiences asleep.<br /><br />'Sends shivers down the spine,' proclaims the New York Times. No, the only shivers I get is that anyone is left on the planet who believes anything the N.Y. Times prints about anything.<br /><br />Well, it was about a deranged man who held a woman hostage for a short time in her house but the man. 'Howard Wilton' (Robert Ryan) was actually harmless and friendly. In fact, this was one of the nicest roles Ryan ever played! Yes, 'Wilton' was nuts but he never harmed the woman and only wanted a friend to trust.<br /><br />The film even turned boring after awhile with very little going on except a lot of yakking. <br /><br />Beware, my reader.....this sucks. | 1 |
The Reader is an exceptionally well done and very sweet short. Every element of the piece assists in eliciting a pure emotional response to the script. Well acted, directed, shot and written. I was surprised to hear that there was no rehearsal before shooting, not even a read through. The performances stand as testament to some fine instinctual acting in response to a well written script. The actresses work was excellent and there was never an indication that their work would slip into the purely sentimental. Less is much better in this case. This film is a prime example of how these low budget contracts benefit actors as well as film makers. | 0 |
I saw the 10p.m. showing and I must say that this movie was nothing special. Although I did not leave the theater wanting my time back (as I don't actually pay for movies anymore) I didn't really find any redeeming qualities.<br /><br />There were a few lines and such that made me chuckle, but mostly the film seemed to consist of rampant fan service to the younger (in mind more than age as this film is rated R) male audience. The fan service seemed out of place and rather distracting as well. I know you all want to hear Samuel L. say his infamous line, but let's be honest, it's a whole lot of hype for very little pay off. The only truly horrible part of the film was the CG, which looked very digitized and did not mesh well with the live action on the screen.<br /><br />Now I am a reasonable man, I knew going into the theater that I wasn't going to be seeing 'Casablanka,' and I am at least thankful that this film is an original (albiet inane) idea and not some re-make or franchise spin off. However to be honest, if you are not a part of the cult following you are probably better off spending your money elsewhere and seeing the film either in a second run theater in a few weeks or renting it in a few months. | 1 |
I've watched it plenty of times and I'm planning on buying the full feature. I love all of Jason Steele's comedy. It's very different and unique and is very enjoyable. I love indie films and this one is just great. The plot is strange but very funny. This short film is about a talking Spatula named Edward. The order of the events are a bit jumbled, making this film very interesting to watch. At first you see Edward fighting the spoons, but then the focus changes to earlier in his life. This is a silly movie, but of course, it's still great. I highly recommend that you watch this film at www.spatulamadness.com or www.filmcow.com. It's very funny. The humour may not match everybody's taste but watch anyway. It'll only take 16 minutes of your time, and it's free. GO WATCH SPATULA MADNESS! | 0 |
I've noticed that a lot of people are taking Opera to task for the way Betty reacts to the murders. I think they are basing these complaints on how they imagine a 'normal' person would react. The thing is...Betty is not a 'normal' person, due to traumatic events in her childhood. She has problems way way before the movie ever even starts...and by the end of Opera...in my opinion...she has become totally unhinged.<br /><br />---------------------SPOILERS--------------------------------------- You have to keep in mind that when she was a very small child she witnessed her mother's lover commit at least one brutal murder while her sadomasochist mother was getting off watching it.<br /><br />She was raised by a woman who achieves sexual release tied up watching girls get hacked, slashed, and strangled to death. That does not make for a healthy home life. I think it's pretty easy to conclude that her mother would have employed all sorts of emotional manipulation and negative reinforcement to ensure that her daughter never snitched on her. It is also likely that at her impressionable age, Betty might have been deeply confused by what she saw. Is this just something that adults do, etc.<br /><br />Betty obviously looks up to her mother...I mean...she's become an opera singer just like her. If mommy likes it it can't be bad, can it...mommy can't be bad, can she? She couldn't tell the police on her mommy or this mysterious hooded fellow she associates with mommy.<br /><br />Betty has a lot of deep-seated emotional issues. Her mind has for years been trying to block out the memory of what she saw her mother doing...but it keeps coming to the surface, manifesting itself in the form of horrible nightmares, skull-throbbing migraines, a dependence on relaxation techniques, and sexual frigidity She associates brutal violence/bloody death with sex on a subconscious level. There's an inner struggle between the part of Betty that has confused murder/sex and the part of her which believes these things to be wrong.<br /><br />After she's seen her boyfriend murdered by the hooded man...she calls the police, yet is unwilling to give her name. The part of her that thinks murder is wrong forces her to make the call, but the part that is ambivalent won't allow her to admit personal involvement. The ambivalent part of her takes control before she can go all the way. So she walks away from the phone in the rain...and when she's picked up by the director she's acting surprisingly calm, not as upset as you would think a 'normal' person would be...because the part of her that's been blocking stuff since she was a child is trying its damnedest to block the horror of what she's just witnessed.<br /><br />The state of affairs in her life all contribute to an impasse within Betty's psyche. Her singing career is starting to bear fruit...she's going to be a great opera singer like her mother was. But is she going to become like her mother in all ways? In the darker ways? Or will she be able to make her own path? Add this to the re-emergence of the hooded man murdering everyone around her.<br /><br />It's not until the hooded man kills Daria Nicolodi's character that Betty really takes an active role in defeating the killer. Here's someone who loves Betty, who's supported her wholeheartedly in her emerging career, who is in fact a maternal figure in Betty's life now since mommy's dead. Imagine how terrible it would be to lose your real mother and then to see the woman who is the closest thing you have to a mother get shot through the eyeball.<br /><br />I could go on...but I won't. The main gist of what I'm saying is that the character of Betty is a lot more complex than most of the reviewers on here have been willing to acknowledge.<br /><br />Opera is one of Argento's best...and not just for the visuals alone (although they are truly magnificent) and not just for the inventive murders (although they are). There is a depth here...and attention needs to be paid. | 0 |
When I reviewed the video for a local magazine, I called it 'the greatest achievement in the history of the American cinema.' That was not wholly tongue in cheek. TW&TL remains Milius' best work, and it's sad that he has so little opportunity to work anymore. However, TW&TL remains a striking exposition of what once was known as The American Character, largely on the strength of Brian Keith's superb portrayal of Teddy R. (Obviously Milius--and Keith--admired TR tremendously to make two films about him, including 'The Rough Riders.') It's hard to fault this film at any level: a splendid balance of action, levity, relationships, and the serious topic of America coming of age in the world. Furthermore, TW&TL has exceptional appeal across the board: note the stats showing it rates best with under-18 males, females 18-29, and over 45! Clearly Candy Bergen struck a responsive chord with women as well as men. | 0 |
B.B. Thornton proves to be a great actor in this little seen movie. Thornton really gets into his characters--literally. I caught this on cable one night and enjoyed it. Too bad it was released nationwide in theaters the same year as 'Fear and Loathing' and 'Half-Baked.' | 0 |
Den Brysomme Mannen is one of the better films of all time and is about a man trapped in a world where there are no senses, no feelings, no Love, no Truth and definitely no Freedom. A world where people become afraid when someone speaks their mind, expresses himself or show affection, a world where no one is Free and no one has any idea what the Meaning of any of this is. Just like the world we live in, the world in Den Brysomme Mannen is a world of lost souls trying to become fulfilled but focus on the complete opposite of what fulfills them, materialism, social acceptance and mediocre satisfactions.<br /><br />Den Brysomme Mannen deserves full attention by every human soul, because we could all use a fresh Wake Up call. | 0 |
In August Days/Dies d'agost Marc Recha has given us a sun-saturated Catalan documentary-style road movie that's mostly a meandering improvised meditation on brotherhood and reclaiming the dead. The beautiful sometimes large-scale, richly atmospheric 35 mm. landscape images, nice soundtrack and Catalan-language narration are enchanting as a mood piece, if one is content with a trajectory that hasn't much momentum and doesn't lead anywhere in particular. Filmmaker Marc Recha and his non-identical twin David are the stars and the narrative is voiced by their younger sister. Marc had been researching the life of Ramon Barnils (1940-2001), a socialist editor who had been a family friend. He felt he was saturated with information and had to take a break. The break turned into making this film, which seeks to capture the mood of the interviews with Barnils' associates, thoughts about the Spanish Civil War, the drought season they were experiencing, the rugged landscape, the Recha brothers' affection for each other, swims and suntanned nudity and whatever characters or stories they ran into as they camped out of their van. This leads to pursuit of a giant catfish and the temporary disappearance of one of the brothers. In the end David has to go back to Barcelona to be with his daughter and Marc has to return to his project, and there it ends. I found it fascinating to listen to an extended narration in the Catalan language with its blend of Spanish and French-sounding words (perhaps linked with Provençal?). This isn't a major film but it commands attention and makes sense as a film festival choice with its clean visual and auditory beauty and its way of playing around with genres and blending autobiography with fiction and documentary in a fresh and thought-provoking way.<br /><br />An official selection of the 2006 New York Film Festival at Lincoln Center. | 0 |
I saw this at the screening at GenCon in Indy. I had some time to kill and decided to check it out. It played to about 1000 people in a packed standing-room-only ballroom.<br /><br />Wow, what a ride! The script was tight. The action tense. The pacing perfect. The character exposition excellent. One thing I really appreciated was that you knew going in that this wasn't a big budget film. Yet it soon became obvious that the creators pushed their sets and effects as far as they could despite their limitations. And it was more than enough. <br /><br />It's true that this film was targeted at a certain audience - gamers/tabletop players - the creators make no effort to hide that. But other filmmakers could learn a lot from them. For in going for the jugular in scene after scene and not worrying about if Mom who happens to be watching will 'get it', they got the biggest laughs time and time again. But there's enough universality there that Mom will be laughing too, even if she's not in on every joke. I think too many times I see films that try so hard to lower the bar to the lowest common denominator so that they will appeal to the most people, but the movie just ends up suffering for it.<br /><br />But not this flick. Indeed, this film was so solid that it had the audience wrapped around it's finger from the opening credits. And, while the viewers around me *really* wanted to like the film, they weren't pushovers - gamers can be among the most critical niche out there. <br /><br />I'm so glad I got to see this in a big crowd. At least 10 times the audience was having such a good time that they erupted into applause at a joke or scene during the film. How often does that happen at screenings? It should be no surprise that there was a huge standing ovation when the closing credits rolled.<br /><br />For my own part, I can't wait for this to be released. After it ended, one of the producers said they were shooting for a simultaneous TV/DVD release. That date cannot come soon enough. | 0 |
For a fan series, I must admit that Hidden Frontier is not at all that bad. But, reviewing this series can not be based on whether it is a fan series or not. The initiative in itself is commendable. The creativity as well. I reckon these are people with ordinary jobs, and a big enthusiastic heart for Star Trek. But, doing all this work. Pulling all these resources. Taking all this time, and still all those flaws.<br /><br />First of all the acting, and the lines are awful. For most. The dialogs belongs in a 70's military show, not in Star Trek. The captain (Mr Squinty) looks like he is about to burst into laughter anytime. And most characters are just reading their lines. The directors should be aware of the fact that 'retake' is not just a word in the dictionary. But I also guess that the series are made in the manner of 'Two Takes Frakes', who directed many of the TNG episodes and movies Also, I could not help but think that most of the actors are typical Trekkies. Without going any deeper into that assumption.<br /><br />My biggest concern regarding the whole project, is the quality of the releases. When they first decided to spend so much time, and resources on this series - why didn't they make it available in decent quality? Using the quick time format, with low low resolution is a waste of talent. Even the 'higres' episodes is considered bad quality compared to the standard quality series are released in. Using Xvid codec, with a larger resolution and file size would have improved the experience massively. If band with problems was the issue, setting up a torrent tracker would have solved that.<br /><br />Let's hope the crew decides to brush the series up, and perhaps release it on DVD, giving it the quality the project deserves. | 1 |
I was fortunate enough to catch a midnight screening of this movie tonight. I must say, I was expecting a horribly cheap movie with bad acting and a mediocre plot. I was completely mistaken. This movie was not only incredibly entertaining, but everything about it I simply loved. Bruce Campbell was as amazing as ever. The biggest surprise was none other than Ted Raimi, you know, Sam's little brother. He played the mad doctor's henchman to the greatest extent. Somewhere between physical comedy and clever dialogue, he did nothing but shine. But i really cannot ignore the magic that is Bruce Campbell. Though I did think that Ted Raimi stole the show, Bruce did what he does best on the big screen. Somewhere between the sketchy nasty American business man and the tragic victim, he displayed the same energy that he has always shown to be incredibly attractive to audiences. The movie itself was often interrupted by applause from the viewers. The crowd was definitely excited with each little turn that the movie took.<br /><br />This movie may not be Oscar material, but my goodness, it was amazing. I would highly recommend this to any Bruce Campbell fan. Also, anybody that likes campy sci-fi movies, do yourself a favor and watch this. Can't wait till this makes it out to DVD.<br /><br />Take it as you want to....<br /><br />- the fed | 0 |
What a stunning episode for this fine series. This is television excellence at its best. The story takes place in 1968 and it's beautifully filmed in black & white, almost a film noir style with its deep shadows and stark images. This is a story about two men who fall in love, but I don't want to spoil this. It is a rare presentation of what homosexuals faced in the 1960s in America. Written by the superb Tom Pettit, and directed by the great Jeannot Szwarc, we move through their lives, their love for each other, and their tragedy. Taking on such a sensitive issue makes this episode all the more stunning. Our emotions are as torn and on edge as the characters. Chills ran up my spine at the end when they played Bob Dylan's gorgeous, 'Ah, but I was so much older then, I'm younger than that now,' as sung by the Byrds. This one goes far past a 10 and all the way to the stars. Beautiful. | 0 |
This is the worst, and I mean THE worst computers based movie I have ever seen. The whole plot is totally unconvincing and full of stupidity. <br /><br />I mean...<br /><br />The guy in this movie can actually speak with computer as a real person. Now you probably think this must be some super cool high-tech computer, well , it is, but he does it also with other very poor and weak computer which does not even have graphic interface.<br /><br />and the main idea how to overload the 'super' computer by connecting to it via computer game on the net is really stupid. My mobile phone will shut the lighting down to preserve the energy but apparently this genius computer cant decide whether to use its resources to deal with national security threats or to load computer games.<br /><br />there are also some other bad things about it but I just don't have time for this.<br /><br />I just cant believe someone could actually record movie stupid as this | 1 |
Insignificant and low-brained (haha!) 80's horror like there are thirteen in a dozen, yet it can be considered amusing if you watch it in the right state of mind. The special effects are tacky, the acting atrocious and the screenplay seems to miss a couple of essential paragraphs! 'The Brain' takes place in a typical quiet-American town setting, where every adolescent works in the same diner and where the cool-kid in high school flushes cherry bombs down the toilet. It is here that a TV-guru named Dr. Blake and his adorable pet-brain begin their quest for nation-wide mind controlling. Under the label of 'independent thinkers', a giant cheesy brain sends out waves through television sets and forces innocent viewers to kill! How cool is that? Now, it's up to the Meadowvale teen-rebel to save the world! The funniest thing about the plot is that it never explains where Dr. Blake and his monstrous brain actually come from. There are obvious references towards extraterrestrial life but that's about it. Meh, who needs a background in a movie like this, really? There's not that much bloodshed unfortunately and the 'evil' brain looks like an over-sized sock-puppet. The only more or less interesting element for horror buffs is taking a look at the cast and crew who made this movie. Director Ed Hunt and writer Barry Pearson are the same men who made 'Bloody Birthday' (guilty pleasure of mine) and 'Plague'. Both those are much better movies and they wisely decided to resign the film industry. The most familiar face in the cast unquestionably is the great David Gale, whom horror fans will worship forever for his role in Re-Animator. A girl named Christine Kossak provides the nudity-factor and she's obviously a great talent
She has exactly 3 movies on her repertoire of which THIS is her 'masterpiece'. In her debut, she was credited as 'runaway model' and in '3 men and a baby', her character is referred to as 'one of Jack's girls'. I really wonder how she feels about her career as an actress
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This movie, supposedly a thriller, had about five sub-plots that developed simultaneously to climax at the end, but it ended up more as a yawn.<br /><br />The writing was trite, the pace was slow and disjointed and the characters were boring. George Clooney looks like he needs to get into a gym, Matt Damon hammed it up and the others seemed to read their lines from a teleprompter.<br /><br />The worst part of this movie was that it was carefully crafted to be politically correct and so it ended up saying nothing at all about big business, oil and the Middle-East. I have seen documentaries provide more excitement. Watch it only if there's absolutely nothing else to do. | 1 |
This is a pleasant film, even if the premise is silly. It was sort of a guilty pleasure to watch. Meg Ryan seems to be able to pull off roles in this kind of film (another example is Joe vs. the Volcano). That's what makes her a star, in part. Walter Matthau, of course, had that ability, too, and he really puts himself into the role, making an amusing, good-hearted Einstein. I suppose you could say they're both good at portraying loveable characters, though loveable in different ways (loveable young women vs. loveable curmudgeon). | 0 |
Anthony Wong plays Lok,a husband whose wife is seriously ill.Poor Lok-due to her illness he has been going without sex for a long time.That's why he is plagued by a series of sleazy nightmares featuring nurses and schoolgirls.'Erotic Nightmare' is a fun Cat III flick loaded with sleaze and voyeurism.There is also a bit of gore as the first part of the film shows some nasty killings committed by Wong character under the influence of the monk's mystical powers.The dream sequences are quite erotic and sleazy,so I'm not complaining.Of course those who expect gruesome Cat III horror in the tradition of 'Diary of a Serial Killer' or 'Red to Kill' will be disappointed,but fans of sleazy exploitation cinema should give this one a look.7 out of 10. | 0 |
'The Deer Hunter's' success with critics and publics alike led United Artists to give Cimino carte-blanche on 'Heaven's Gate,' an epic Western about the 1892 Johnson County Wars
<br /><br />The elliptical story, about the persecution of lowly European-born farmers by Wyoming's cattle-barons, was a muddled mixture of class-conflict, sumptuous pageant and underwritten, stereotypical characters
However, Cimino's fetish for authenticity and his sweeping sense of scale ensured that the film running at nearly four hours was rarely tedious
<br /><br />Its undeserved status as a cause célébre, with critics divided as to whether it was a masterpiece or a fiasco, derived from its inflated budget
Blamed for the studio's financial problems, Cimino became a scapegoat for Hollywood's general decline, and the film, edited into an incomprehensible short version after its initial release, was a commercial disaster
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I'd be hard pressed to say what is it that makes this film so important to me. While a very good movie, this is definitely not the most outstanding Fassbinder's film. Still along with the American Soldier it keeps making it into my personal list of favorites whenever I get to thinking about it. | 0 |
Godard once said a way to criticize a movie is to just make one, and probably the strongest kind that could be made about Ralph Bakshi's take on Tolkien's magnum opus the Lord of the Rings, has actually been made by Peter Jackson. The recent trilogy, to me, aren't even total masterpieces, but they are given enough room with each book to breath in all the post-modern techniques crossed with classical storytelling to make them very good, sweeping entertainments. <br /><br />But as one who has not read the books, I end up now looking upon the two versions, live-action (albeit partly animated in its big visual effects way) and animated (albeit partly done with actual live action as the framework) in relation to just the basic story, not even complete faithfulness to the books. And with Bakshi's version, it's almost not fair in a way, as what we do see is really not the complete vision, not what Jackson really had (probably final cut). Robbed of Return of the King's big climactic rush of the story, and with the other two parts becoming rushed, I ended up liking it more for what it did within its limitations, though as such those same limitations make it disappointing.<br /><br />What's interesting too, after seeing the Jackson films first- which I also slightly regret being that I might've reacted to this differently when I was younger and prior to five years ago- is that the basic elements of the story never get messed up with. Everything that is really needed to tell the Fellowship of the Ring story is actually pretty much intact, and if anything what was probably even more gigantic and epic in Tolkien's book is given some clarity in this section. The actors playing the parts of the hobbits and the other heroes, are more or less adequate for the parts, with a few parts standing out (John Hurt as Aragorn and William Squire as Gandalf). <br /><br />The lack of extra characterization does end up making things seem a little face-value for those who've not even seen the other films or read the books and can't put them into context. But there is some level of interest always with the characters, and here there's a more old-fashioned sensibility amid the large aura of it being more. This is not a garden variety Disney adaptation- warts and all, this is a Bakshi film, with his underground animation roots colliding with the mythical world of Middle Earth.<br /><br />And what Bakshi and his animation team bring to the film is one that ends up giving what is on screen, in all its abbreviated form, its hit or miss appeal. Along with being not totally complete as a film, or as stories, the form of the film is an experiment, to see if something can be entirely rotoscoped. The results end up bringing what seems now to be retro, but at the time of course was something that was a rough, crazy inspiration on the part of the filmmakers. Might it have been better with more traditional drawn animation? In some parts, yeah; it does become a little noticeable, as was also the case in Bakshi's American Pop, that the main characters move in such ways that are a little shaky, like some kind of comic-book form done in a different way. Still, there's much I admired in what was done. <br /><br />The orcs, for example, I found to be really amazing in they're surreal surroundings. They're maybe the best part of the combination of the animation on top of the live-action, especially during parts where there isn't battle footage (that's really the real hit-or-miss section, as there isn't continuity from the good and bad rotoscoping), and the chiaroscuro comes through with big shapes on top of horseback. It's creepy in a good way. And the backgrounds, while also very rough and sometimes too sketchy, are beautiful with the mixtures and blasts of colors together. It's almost something for art-film buffs as much as for the ring-nuts.<br /><br />So, how would I recommend this animated take on the Lord of the Rings? I don't know, to tell the truth. It's certainly a good notch above the other Tolkien animated film I've seen, the Hobbit (and I've yet to see the animated ROTK), and there is some real artistry going on. There's also some stilted dialog, an all-too-rushed Two Towers segment with the most intriguing character Gollum being reduced to maybe two scenes in all. And seeing something as fragmented like this ends up only reinforcing the completeness of the more recent films. <br /><br />If you're a fan of the books contemplating checking this out, I would say it's worth a chance, even if it's one of those chances where you watch for forty minutes and then decide whether to stop it or not. As for it fitting into Bakshi's other films I've seen it's an impressive ambitious and spotty achievement, where as with Lynch's Dune it's bound to draw a dark, mordor-like line in the sand between those who hate it passionately and those who don't. I don't. | 0 |
This is a good example a film that in spite of the low rating is more than worth watching. The story is engaging and it doesn't take long before the chemistry between Nicole Kidman and Ben Chaplin grabs your attention. The acting is first class and the characters are represented well. Sometimes it feels like the director couldn't decide himself between drama and romantic comedy. Ben Chiller's portrayal of the law abiding and shy Englishman with porn S.M. magazines hidden in the bedroom creates plenty of moments for laughs! As does the look in Nicole Kidman's eyes when she is offering John his first taste of intimacy in a long time... Other times the actors and especially Nicole Kidman give this comedy quite expertly a dramatic slant. | 0 |
Pictures that usually glorify a hero have meaning. As an example, Bonnie and Clyde glorified the dynamic bank robbers and you actually felt sympathy for them despite their evil deeds. Why? They were two people caught up in the depression when people were desperate to survive.<br /><br />This film has absolutely no substance. The Viggo Mortensen character soon emerges as a folk hero. Why? He speeds along an Idaho highway on the way to the hospital where his stricken wife has been taking. No one bothers to understand why he is trying to flee everyone. Even worse, when the realization becomes apparent that he is not a red-neck terrorist, no one in government wants to help him as they try to save their rear ends.<br /><br />Jason Priestley co-stars as a radio emcee who builds upon the story in support of our hero.<br /><br />The ending is absolutely unbelievable. | 1 |
A documentary filmmaker explores seemingly unrelated paranormal incidents connected by the legend of an ancient demon called the 'kagutaba.'<br /><br />From the looks of it, the film looks like one of those camcorder movies that have been popular these last few months, even one that's going to be released next week (PARANORMAL ACTIVITY)! However, unlike movies like CLOVERFIELD, REC, and BLAIR WITCH, where most of those movies are in complete chaos and mayhem with all of the shakiness, this one is basically shown in a traditional documentary style. It has TV excerpts and interviews and the scares are very subtle, well, excluding the last 20 minutes where we go into the chaos effect and where the fear factor is raised up tremendously.<br /><br />And it works. The film is very engrossing and it makes you think. Yes, you heard me right: It makes you think. You have to pay attention to those unrelated details given throughout the film and the payoff is great when, in course of the film, these things start to intertwine one another. The film is also very slow moving, which, in this case, is a good thing. We, as the audience, get to absorb the details shown on screen, however subtle or blatant they are.<br /><br />Above all, it's a frightening little film. I'm a person who is scared of ghosts and the paranormal more than killers who slashes away teenage victims so yes, the film gave me some nightmares. There are some images in here that are really disturbing to watch, including one closer in the end where it makes you go 'What am I looking at?!' Well, it's better left unanswered. There are around ten reoccurring characters in here, all of which gave authentic performances in their roles.<br /><br />The only thing I don't like about the film is the ending because most questions are left unanswered. The question 'That's it?' went though my mind. It left a bad taste in my mouth. However, the rest of the film is just engrossing and really frightening. Don't see this alone in the dark because you'll regret that choice. Also, I can see in a couple of years that Hollywood would remake this film. That will be interesting. | 0 |
This is the best picture about baseball since Redford whacked The Natural our way. Dennis Quaid and Rachel Griffiths light up the screen with a great story and a cast that seemed real enough to pull you into their lives. <br /><br />Laced with dreams - dripping in reality, the American Dream reignites after 9.11 with a true story about the Devil Ray's mid-life rookie, Jimmy Morris. Australian born actress, Rachel Griffiths, plays a native West Texan better than a lot of Texans I know; and Dennis Quaid was perfection
cast as the wannabe, gonnabe and humble winner with as much psychological baggage as the average viewer in the audience. It's real. The on-screen chemistry works. If you like baseball heart-warmers, you're going to love this film. The ingredients for Americana and apple pie were all in there. My popcorn became the a la mode'. <br /><br />And hey: buy the CD! The music rocks and carries the story magnificently! Syncing words and music pushes the story forward exactly the way it should, an area that disappoints me more often than not.<br /><br />Criticisms: I'd have given the baseball to somebody else. But Quaid has something to teach us all about character' and heart. St. Rita and the nuns were a nice decoration, but they never really found their place in the story to open and close around them. A little long. Worth every minute in the last analysis. 8 / 10. <br /><br /> | 0 |
Was this a comedy or was it a drama? I begin this review by asking this question because the film that I just witnessed, Hollywood Shuffle, was neither funny or rather dramatic. While it tried so hard to make a point, because of this lack of definition (comedy or drama), the clever themes and pointed remarks were lost. While I am a strong believer that there is too much racial profiling happening in Hollywood, even today, I do not believe that Townsend's directorial debut did much to stop it. Instead, I feel it only added more fuel to the fire. Townsend's comic timing in this film was disastrous due to the fact that the elements he was supposed to be making fun of, he was instead promoting and vice versa. The parts that were supposed to be serious were somehow destroyed by the poor lack of funny comedy. Townsend had a decent concept with this film, but sadly the execution is what ultimately hurt this film. If you watch the preview before the film (which I constantly do), you will immediately get the wrong impression of what you are going to see. The preview gives the impression of a very intelligent, comic film that prides itself on the intelligence of the viewers, but the actually film could not be further from the truth.<br /><br />The main problem with Hollywood Shuffle is not story itself (because it is lacking in elaboration); it is Townsend's direction. He had a wonderful concept with this film. Exploit the Hollywood that exploits our race. Decent idea, but why couldn't he execute it very well? The first reason is that his ideas are too random and sporadic. The structure of this film was like watching a heart attack on a monitor at the hospital, we are literally everywhere without any warning or map. It was obvious that Townsend had quite a bit to say, but only a short amount of time to do it in. So, instead of defining his characters, developing his themes, and actually creating a smart film, he just throws it all together and prays that it works. Sadly, it doesn't. Instead of a smart comedy, we have a hodgepodge of so many ideas, comedic skits, and underused actors that this film goes from decent to nearly unwatchable. What hurts Townsend the most are his brief, attempt to be funny, interruptions throughout the film. From battling a villain known as Jerry Curl to parodying Siskel & Ebert, Townsend's attempt to poke fun while speak a message about the film industry falters. This is because these small intermittent skits actually distract from the central focus of the film and actually destroy internally. While Townsend seems to be trying to make a joke about life in Hollywood, he actually is simply connecting to every stereotype and cliché in the book. What could have been beautiful satire transforms into simply generic humor that never quite stands apart from the rest.<br /><br />So, if you find yourself not laughing at the humor of this story, perhaps there is some comfort in knowing that some of the Wayans brothers are around to help spice up this dull story. WRONG! The Wayans are in this film, but Townsend demonstrates that he has the ability to even bring the worst out even in this entertaining family. Definitely in their pre-In Living Color moments, we see that comedy was something that all needed to constantly improve upon. Perhaps it was Townsend's direction, or just maybe this atrocious story, but these typically funny comedians were obviously underused and ignored when it came to critics of this film. I just thought that with the talent pool that Townsend had to pull from that Hollywood Shuffle would have been funny, bright, and a true stab at this obvious Hollywood dilemma. Sadly, it was none of the above.<br /><br />Finally, I would like to say that this was a workable film. There were some moments (while they were few and way far between) that had a smile on my face, the final product just didn't settle well with me. Townsend can be funny, but in this film it just felt like he was playing against himself, instead of through his personal experiences and troubles. I realize that he was probably speaking the truth, but it never came through as that. Instead, we are threaded through a weak story, which supports itself with idiotic flash clips that may have worked for a sitcom, but surely didn't work for this film. Even for those that comment that this was his directorial debut and that he was learning from this film, I would have to disagree. If you are starting fresh, either have a tight script or defined themes. Townsend had neither of these, and combined with the inability to control his actors, he just failed in a ball of flames.<br /><br />Overall, this was rather disappointing to watch. It reminded me of a grade school Spelling Bee where it is finally your child's time to spell. The word is tough, but as the first two to three letters come out, you think that it is going to work perfectly, but then there is that random 'P' and silent 'R' that forces your excitement to come tumbling down. That is how I felt with Hollywood Shuffle. At first, I saw the potential, I saw the theme and the motive behind the picture, but through fuzzy and inexperienced technique and after the first couple of scenes, I experienced that deep fall feeling. Townsend sank his own ship on this one, and I don't think Hollywood Shuffle will ever re-submerge as a pivotal moment of Hollywood cinema.<br /><br />Grade: * out of ***** | 1 |
Bestselling writer George Plimpton(Alan Alda)takes on an assignment for Sports Illustrated. He is to go incognito to the Detroit Lions training camp and try out for a position as third string Quarterback. He is quickly found out by the team members featuring Alex Karras and Mike Lucci. The entire team finds it amusing to cause stumbling blocks in the writer's determination to Quarterback for a series in a real game.<br /><br />This movie is Alda's debut and also helped Karras leave the gridiron for acting. Besides the 1968 Detroit Lions, the cast also includes 'Sugar Ray' Robinson, Roy Schieder and Lauren Hutton.<br /><br />Alex March directs this story based on Plimton's book. | 1 |
Birthday Girl doesn't know what it wants to be - is it a comedy,, is it a drama...it just doesn't know. What could have been a very funny or touching film ends up in no-man's land. The premise is original enough to have warranted a script full of interesting scenarios but hardly delivers any and ends up petering out. This is a real shame if you look at the cast - it's very solid all the way through but they don't get the chance to shine. Very disappointing. | 1 |
Yes, this is one of the greats of the black action genre. Confusing mixture of racist comedy and racist violence (at times reaching a disturbing pitch, even for a fan of the genre) this movie isn't your Shaft in the park. Wonderful bits of Rudy Ray Moore comedy stand up that don't seem funny, at least not to a white boy like me, but great in context. Much better than its dissimilar sequel, 'The Human Tornado' | 0 |
That was one of the worst movies I've ever seen. Why would someone make a movie about getting away with murder!?! Mr. Allen again plays the only type of character that he's able, the sexually stunted man who can't get the girl. Get a clue, Allen, there's a reason that's the only character that you can successfully portray. Stir clear of this movie! It's a waste of time, unless you want to know how to successfully murder someone. I feel sorry for the actors who say 'yes' to Woody Allen. Look at his cast, and tell me how many of those people are still working. My respect for all of the actors, who work for him, immediately goes down, because they chose to participate in the film. | 1 |
Entertainment Tonight has been going down hill for the last few years, but as of last night (Aug 17th 2006) they reached a new low.<br /><br />In an effort to try to hype up their broadcast, they decided to post actual photos of JonBenet Ramsey's body in their teasers last night ...saying 'Pictures from the case you have never seen before'. The two photos were graphic and very disturbing. One was of the side of her face and head/neck and you could clearly see the cord that was used to strangle her around her neck, and bruising on her face. This was so hideously awful, I could not believe it. How has this got to do with ANYTHING remotely related to Hollywood Entertainment?? Nothing!! They have dropped their level of dignity and values to a new low....and it shows. This used to be THE premiere show to watch...and it's just garbage now.<br /><br />I will watch Access Hollywood from now on. | 1 |
I think this is Pauly Shore's best stuff, he played the part perfect. I really enjoyed this movie, Patrick Renna is really funny as Zack the annoying little brother. Son In Law is a good comedy worth your time, but the only thing I wish Tiffany Thiessen was the farm chick instead of the one they had. | 0 |
This is one of those movies that they did too much promoting for. If you watch T.V., then you might as well not watch the movie. Almost all the funny scenes are spoiled in the previews, except one which just happens to be Jennifer Annisten being the funny one. It is typical Jim Carrey humor and it is really funny. Just don't go see this movie expecting to be surprised. All in all, if you like Jim Carrey or comedies this is a must-see, otherwise just watch the previews and you'll be just as satisfied. | 0 |
As a cinema fan White Noise was an utter disappointment, as a filmmaker the cinematography was pretty good, nicely lit, good camera work, reasonable direction. But as a film it just seamed as predictable as all the other 'so called' horror movies that the market has recently been flooded with. Although it did have a little bit of the 'chill factor' the whole concept of the E.V.O (Electronic Voice Phenomena) did'not seem believable. This movie did not explain the reasonings for certain occurrences but went ahead with them. The acting was far from mind blowing the main character portrayed no emotion, like many recent thriller/horror movies.<br /><br />Definitely not a movie I will be buying on DVD and would not recommend anyone rushes out to see it. | 1 |
By the end of the first hour my jaw was nestled comfortably between my feet. The movie never, and I do mean never, lets up in action. It may be mild action but it's action. Once again every member of the cast fits perfectly. The explosions were realistic, the chase scenes were feasible, and the fighting was incredible. Matt Damon will forever be Jason Bourne.<br /><br />All I really have to say is that every Bourne movie gets better and this is no exception. The action, the stakes, the plot. How they do it I will never know. I applaud the man who wrote the screen plays to every one of these movies. Because if he hadn't done such a great job with the first movie, we wouldn't have this one to talk about.<br /><br />So don't go see it in theaters, go experience it in theaters if it's still out where you live, but if not December 11th Bourne comes home to you! | 0 |
during eddie murphy's stand up a women from the audience yells at eddie and a man from the audience responds. what is said is,, women - DO MR ROB (this is a character from Saturday night live), the man responds with SHUT UP BITCH. unlike the previous post saying the women yelled do gumby, this is incorrect, although the post-er said he was there they must have a hearing problem! despite what the post-er says about not being able to here it on DVD have a close listen as you actually can hear it on the DVD - DO MR ROB!!!! i hope this helps anyone curious out the outburst cheers gaz!!!!!! !!!!!!!!! !!!!!!!!! !!!!!!!!! !!!!!!!!! !!!!!!!! !!!!!!! !!!!!!!!!!! !!!!!!!! !!!!!!! | 0 |
This is not a commentary on the actual movie, but on the RUSCICO DVD release for North America. I don't know if there have been different releases and updates, but the disks we rented had a 2000 copyright on them, if that means anything. Anyway, the sound mixing on these DVD's was absolutely horrible. The levels often yo-yo-ed up and down; when the scene cut to a battlefield panorama, the orchestral track would thunder so loudly that I didn't know which would blow out first -- my eardrums or my speakers. When it was time for dialog, the volume would usually drop to something barely audible. Occasionally, the orchestra and Foley-work would stay loud while the dialog was superimposed at a much lesser level. My wife and I found that the only way we could watch this movie at all from these DVD's was if one of us kept a hand on the remote to continuously modulate the volume. And, like another user has already commented, when we selected English audio the dialog kept switching back and forth between Russian and English; and occasionally when the characters spoke in French on the native track the dubbing was in Russian, so you're SOL if you understand neither. Ultimately, we gave up watching after the first disk. Before you fork out $50+ for this movie on DVD for your own library, I'd heartily recommend getting your hands on a rental copy to see whether you can really enjoy this epic flick when burdened by such bad sound, particularly if you've never read the book and really want to understand the storyline. | 1 |
I love special effects and witnessing new technologies that make science fiction seem real. The special effects of this movie are very good. I have seen most of this movie, since it's been airing on HBO for the past couple of months. I must admit, I MAY have missed a few scenes, but I'm usually drawn into movies, and have seen some scenes more than once. But every time I see some of 'Hollow Man,' I feel depressed, almost like a 'film noir.' I'm not sure why; perhaps it's that I don't want Kevin Bacon to be evil, and there's disappointment in that. But I think it's witnessing just HOW relentlessly evil he becomes. Regardless, I can recommend this movie for excitement (although some parts move slowly), but I do NOT recommend for youngsters under the age of 14 (perhaps 12, if they are mature). | 1 |
May be I don't get it right. I mean the movie. It does not make me happy or whatever has to do . Maybe because of my mood. Anyhow this one is a simple family movie with kids for actors. Just admit that - all movies of that kind cannot pass the barrier of 4 out of 10 never mind who is playing in the movie(example Antonio Banderas was playing in that kind of movies... two or three of them cant remember the exact count). I got bored. I almost fall asleep just because the topic is so cliché and the actor play was so predictable. But I am sure that my kid will love this movie when he grows up... Hey Im not a monster I found some hilarious or good moments in the movie. The owls in the movie were sooooo cute. The trick with the painted police car windows and the hits that the kid received in the head by a golf ball... | 1 |
I'm a 55-year-old fairly jaded gay white man. Since I don't watch TV, I watch at least 250 films a year, most on DVD. I keep notes on all the films I see and rate them. Since December 2003, I have seen only five films as great as EIGHTEEN. So, I've rated EIGHTEEN better than at least 700 other recent films. Mr. Bell is far too modest in his film commentary. EIGHTEEN is a Great Film. And, it also resulted in two 'firsts' for me.<br /><br />I watched the film, the first time, and I was riveted throughout and weepy during the last half hour, something that's only happened to me three times before. (Five minutes into the film I knew it was going to be very good.) When Jason began reciting Whitman, I lost it, and then... The Kiss. Well, that is one of Film's great kisses, and that scene among Filmdom's most poignant and unforgettable. When Pip blows out the candle at the end and the credits rolled, I clapped. I cheered. I love happy endings. I wept.<br /><br />Then I watched the trailer and the TLA previews and thought, 'Okay, is this $800,000 or so Indie really that Great?' So, I immediately watched EIGHTEEN again, something that's only happened three times before. And, EIGHTEEN blew my socks off yet again, even more so. Then I watched 'The Making of EIGHTEEN' documentary and was completely charmed by the cast and Mr. Bell.<br /><br />So, I thought I'd watch EIGHTEEN again with the Director's Commentary. I have never before watched a film three times in one night. After the third time, at 3:00 AM, I knew I had just experienced a Great Film; EIGHTEEN now ranks #10 on my Top Twenty Films of all time. And, in the very small universe of great gay or gay-subtext film, there is Brokeback Mountain, EIGHTEEN, Mulholland Drive, and Maurice.<br /><br />Thank you Mr. Bell! EIGHTEEN is brilliant and fully-realized, with a magnificent cast, a wonderfully moving, understated score, excellent cinematography, an entertaining, touching, totally appropriate and hummable song. I can go on, but I won't gush too much more.<br /><br />This film should have received Oscar nominations, certainly one for Best Picture. The performances, without exception, were all wonderful. Ms. Gill's lovely, sultry voice was a surprising epiphany. And Sir Ian McKellen? 'Nuf said. Awesome.<br /><br />EIGHTEEN is the reason I slog through over 200 mediocre to utterly horrendous films (some in the $150 million plus range) a year, to find that one treasure, that one exquisite, magical, unique and enchanting, perfect 'Faberge egg' enfolding an unforgettable heart.<br /><br />Finally (I promise), my second 'first' -- I've never before posted a commentary on any film I've seen.<br /><br />Thank you again, Mr. Richard Bell! Breathtaking genius. Give this man $100 million for his next film! He made $700,000 US into one of the top 50 films of all time. If I had the cash, I'd grant him $75,000 a year living expenses and match any funds raised for his next film. Mr. Bell is already a great director at 31-years old. Can you imagine him at 45-years old?<br /><br />Wise and witty, tender and brutal, poised, poignant, understated yet edgy, chilling and thrilling, mesmerizing, haunting, unforgettable: EIGHTEEN, THE MASTERPIECE. | 0 |
<br /><br />`The Last Frontier' is a superior western that overcomes numerous deficiencies in weaving its tale of trappers Jed (Victor Mature), Gus (James Whitmore) and Mongo (Pat Hogan) and their relationships with the army, particularly Captain Riordon (Guy Madison), Colonel Marston(Robert Preston) and Corrina Marston, colonel's wife (Anne Bancroft). Hired as scouts after losing their supplies to the Indians, Jed, Gus and Mungo adjust to living the `civilized' life within a fort on the edge of the `last frontier.' Jed, who has been raised by Gus, both inspires and looks up to the `older' Gus and Mungo, and has an especially difficult time dealing with `civilization.' His real problems start after he becomes strongly attracted to the colonel's wife, Corrina. Colonel Marstonis a reckless man, who endangers every one around him with his dreams of ruthless victory over any opponent. Corrina, a woman repressed by her station and sense of responsibility, loves her husband for what he could be and Jed for what he is. Caught in the middle is Captain Riordon, a brave and likeable man torn among his duty to the army, his strong friendship with Jed and his fear of the likely disastrous consequences of the colonel's recklessness. <br /><br />What makes this movie so interesting (as well as entertaining) is that, in most cases the weaknesses and the strengths of `The Last Frontier' are EXACTLY the same elements (forget the insipid title and dated music)<br /><br />First, the screenplay. Almost all of the subplots (particularly, the reckless Colonel) have been done better elsewhere, but have rarely been assembled with such eccentricity. Just when you THINK you know what is going to happen next, this one takes off in a DIFFERENT direction. POSSIBLE SPOILER: `The Last Frontier' being a `Production Code' movie (back in the day the word `virgin' was taboo), it's very surprising that the adultery factor was handled in such a mature, tolerant manner. I expected either Jed or the colonel's wife to reap some retribution for their sin. I was surprised and a little disappointed the movie didn't exploit that expectation to create a less predictable ending.<br /><br />Second, the casting. Mature is at least ten years too old to play the part of Jed, the wild-eyed innocent raised in the woods'. James Whitmore, who plays Gus, `the man who raised Jed' is actually five years younger than Mature. Nevertheless, Mature is very endearing, playing a character who is innocent of civilization but is in no way stupid. Although there were several actors who could have played the role at the time (most notably, Burt Lancaster and Kirk Douglas), none could have played Jed better. Preston (also Mature's junior) plays Colonel Marston, missing the tics and affectations one would expect from such a driven man. However, Preston perfectly captures the sense of honor someone must have seen in Marston to promote such a reckless fool to colonel's rank. Bancroft is an especially shrewd choice as Corrina. Bancroft's dark hair has been died blonde, and this achieves the same effect as it did for Winona Ryder (`Edward Scissorhands') and Christina Ricci (`Sleepy Hollow'). That is, I felt conflicted about the character without knowing exactly why; I believe the answer is that blondes and brunettes have considerably different skin tones and eye shades. Further, Bancroft has always projected a toughness that borders on hardness (here the blonde hair softens her up a bit, though). This enables the 24 year old Bancroft to stand toe to toe with both the 40 year old Mature and the 37 year old Preston; yep, she could be a colonel's wife. Madison walks a careful balancing act as Riordan, handling a complex role and sometimes ackward dialogue.Playing a role similar to that of John Wayne in `Fort Apache' Madison does a more skillful job at it.<br /><br />This movie has a `Silverado' type camaraderie. That alone makes it worth seeing. It also has memorable performances, beautiful scenerary and great action and direction. I just hope a letterbox version is available (many have been lost), because this movie takes full advantage of that format. | 0 |
1939 is universally accepted as the greatest year in Hollywood history, with more classic films released than in any other, and John Ford directed three of the best, 'Stagecoach', 'Drums Along the Mohawk', and this beautiful homage to frontier days and a young backwoods lawyer destined to eventually save the Union, 'Young Mr. Lincoln'.<br /><br />With the world plunging into a war that America dreaded, but knew it would be drawn into, Abraham Lincoln was much on people's minds, in 1939, as someone who had faced the same dilemma in his own life, and had triumphed. On Broadway, Robert E. Sherwood's award-winning 'Abe Lincoln in Illinois', with Raymond Massey's physically dead-on portrayal, was playing to packed houses (it would be filmed in 1940). Carl Sandburg's continuation of his epic biography, 'Abraham Lincoln: The War Years', was published, and quickly became a best seller. President Roosevelt frequently referred to Lincoln in speeches, and the Lincoln Memorial, in Washington, D.C., became the most popular landmark in town (a fact that Frank Capra made good use of, in 'Mr. Smith Goes to Washington').<br /><br />All this was not lost on Darryl F. Zanuck, at 20th Century Fox; as soon as he read Lamar Trotti's screenplay of Lincoln's early days as a lawyer, he designated it a 'prestige' production, and assigned John Ford to direct, and Henry Fonda, to star.<br /><br />Fonda did NOT want to play Lincoln; he felt he couldn't do justice to the 'Great Emancipator', and feared a bad performance would damage his career. Even a filmed make-up test, in which he was stunned by how much he would resemble Lincoln, wouldn't change his mind. According to Fonda, John Ford, whom he'd never worked with, cussed him out royally, at their first meeting, and explained he wasn't portraying the Lincoln of Legend, but a young 'jackanape' country lawyer facing his first murder trial. Humbled, Fonda took the role. (John Ford offered a different scenario of the events, but the outcome was the same!) Obviously, they found a chemistry together that worked, as nearly all of their pairings would produce 'classics'.<br /><br />Unlike the introverted, melancholia-racked Lincoln of 'Abe Lincoln in Illinois', Ford's vision was that of a shy but likable young attorney, who made friends easily, and misses the mother he lost, too young (resulting in a bond with a pioneer mother that becomes a vital part of the story). Injustice riles him, and he speaks 'common sense' to quell violence, interlaced with doses of humor. Both productions play on Lincoln's (undocumented) relationship with Ann Rutledge; in Ford's version, the pair are truly in love, and committed to each other. After her death, Lincoln would frequently visit her grave, to share his life with her 'spirit' (a theme Ford would continue in 'She Wore a Yellow Ribbon').<br /><br />A murder trial is the centerpiece of the film, and shows the prodigious talents of the star and director. Fonda deftly portrays Lincoln's inexperience, yet earnest belief in justice tempered with mercy, and Ford emphasizes the gulf between the big-city 'intellectuals' (represented by pompous D.A. Donald Meek, and his slick 'advisor', Stephen Douglas, played by a young Milburn Stone), and the informal, rule-bending country sense of Lincoln. With Ford 'regular' Ward Bond as a key witness, the trial is both unconventional, and riveting.<br /><br />With the film closing as Lincoln strides away into the stormy distance, and his destiny (dissolving into a view of the statue at the Lincoln Memorial), audiences could take comfort in the film's message that if a cause is just, good would ultimately triumph.<br /><br />'Young Mr. Lincoln' is a truly remarkable film, from an amazing year! | 0 |
Is there any question that Jeffrey Combs is one of the true horror greats? This movie seriously doesn't suck and is sort of funny... Watching a young Combs at work is great but I wish he had had more lines. Look out for Beyond Re-Animator. It's going to kick some azz. | 0 |
Lately I have been watching a lot of Tom Hanks films and old Chaplin films and even some of Rowan Atkinson's early Bean performances, and it seems that all of them have their own unique charm that permeates throughout their work, something that allows them to identify with audience members of all ages, in a way that just makes you feel good. A Bug's Life has that same charm, it has a connection with real life that allows us to easily suspend disbelief and accept a lot of talking insects, because even though they talk, they still ACT just like real bugs. It's like the team that made the movie found a way to bring us into the mind of a child and allow us to think like them, to imagine bugs the way a young mind does.<br /><br />Honey, I Shrunk The Kids was one of my favorite films when I was younger, and to me, A Bug's Life is like a more realistic version of that movie, if only because the animation is so breathtaking and this style of story-telling just opens up so many more narrative possibilities. I try not to compare it to something like Toy Story (which I still maintain is the best computer animated film ever made), because the story of A Bug's Life is not quite as good as Toy Story's, but then again, almost nothing is. The important thing is that it is still wonderful fun. <br /><br />The story concerns a colony of hard working bugs who have an impressively developed society, mostly geared around building a harvest of food, most of which will go to the tyrannical grasshoppers, vastly superior in strength and general meanness, and hopefully still leave enough left over for the bugs to make it through the winter. We are treated to some visits from the grasshoppers, who make it clear that if the bugs provide an unsatisfactory quantity of food, the consequences will be dire. And incidentally, the similarities between this crippling level of food extraction is strikingly similar to Mao Tse-tung's vicious forcing of food from his own people during the 'Great Leap Forward
'<br /><br />The fun and excitement begins when Flik, the main character, sets off on a quest to find a gang of appropriate warrior bugs to come back and help defend the colony against the grasshoppers. You see, he spilled all of the amassed food and placed everyone in great danger, so he feels it's his responsibility, but he inadvertently ends up hiring a struggling group of insect circus performers. Great for the audience, not so great for the safety of the clan. <br /><br />The movie was released back in the late 90s, when so many films seemed to have been coming out in twos, like Armageddon and Deep Impact, Independence Day and The Arrival, A Bug's Life and Antz, etc. Comparisons between A Bug's Life and Antz are inevitable, although it seems clear to me that A Bug's Life is by far the superior film, and not only because it doesn't star Woody Allen stuttering and whining through the lead role. This is great family fun! | 0 |
In World War II, a badly burned amnesiac known only as 'The English Patient' is found in the African desert and is transported to Italy, where he joins a convoy of medical troops and others at an abandoned monastery. Among them are Hana (Juliette Binoche), a Canadian nurse whose lovers generally meet unpleasant ends; Kip (Naveen Andrews) and Hardy (Kevin Whately), two explosives experts who search the monastery for bombs; and David Caravaggio (Willem Dafoe), a Canadian soldier-of-fortune who knows the identity of the English patient and has a score to settle.<br /><br />Through flashbacks we learn the story of the Patient: he is Laszo Almasy (Ralph Fiennes), a Hungarian explorer who, in the late '30s, falls in with a group of British cartographers, including Geoffrey Clifton (Colin Firth) and his wife Katharine (Kristen Scott-Thomas), while mapping the deserts of North Africa. After Clifton leaves them on government business, Katharine and Clifton fall in love with each other in the desert, resulting in an affair that, naturally, has a less-than-happy ending.<br /><br />If one is able to overlook the illogical parts of the story line (such as, why would a patient found in Africa be sent to what is essentially the front line of the war in Italy?), then you can appreciate 'The English Patient' as a throwback to the intelligent, layered, sweeping epics of David Lean in the '60s. Much more than 'Titanic' or other epic romances of late, this movie puts one in mind of 'Doctor Zhivago' and 'Gone With the Wind' - an epic love story set against a huge historical backdrop. You shouldn't expect a war film, though there are some striking (if all-too-brief) scenes of violence that stand out more than the romantic sections, as is usually the case (Caravaggio's interrogation by a sadistic SS officer (Jurgen Prochnow) in particular).<br /><br />The movie is very ambiguous, in regards to pretty much everything. The central question of the film is: How far are you willing to go for love? As critics of the movie are fast to point out, Almasy is, on the surface, a far-from-likable character - he has an affair with a married woman and betrays his country by giving maps and intelligence to the Germans, causing the death of his friend Madox (Julian Wadham) and the torture of Caravaggio, and actually killing a British soldier who has him under arrest at one point. The fact that Almasy is in many ways reprehensible is kind of the point - he's in love with Katharine, and sees the world narrowly in terms of his love that loyalty to country (or anything else for that matter) is secondary; as Almasy says, he hates 'Ownership. Being owned.' The two engage in a rather bold love affair (shagging within ear shot of hundreds of people at a Christmas party) and it's clear that Katharine is more drawn to the mysterious, exciting Almasy than the comparatively boring Geoffrey.<br /><br />The 1944 subplot is somewhat shaky and seems superfluous; the romance between Kip and Hannah is never completely believable, and I feel the film could have done without it. But those sequences do add an interesting texture of mystery and complexity to the film, so I won't complain too much.<br /><br />Like the epics mentioned above, the film is able to convey time and place through simple devices like crowd scenes, strategically placed posters, and military presence. We do not need to dwell on the fact that it's 1938 in Cairo, but it's helpful to know. The direction of Anthony Minghella and the desert cinematography by John Seale are absolutely gorgeous; the sand dunes, sand storms, and haunting caves of the desert are captured in beautiful detail. Gabriel Yared's score is haunting and atmospheric.<br /><br />The acting is generally solid. Fiennes gives a very layered performance as a character who is mysterious, complex, and haunted. The difference between the Almasys of 1938 and 1944 are remarkable; one exciting and somewhat carefree, the other haunted and reflective. Kirsten Scott Thomas is effective as Katharine, the female explorer looking for adventure, and Colin Firth gives one of his best performances as Geoffrey, who realizes early on that he's no competition for the exciting Almasy. Willem Dafoe does nice work as Caravaggio, the shifty, hunted thief-turned-spy driven by revenge. Jurgen Prochnow gives a performance reminiscent of Jose Ferrer in 'Lawrence of Arabia' (and a similar character too): very brief, but more memorable then some of the major characters. Some of the 1944 actors are unremarkable: Juliette Binochette is nothing special, while Naveen Andrews is good but unremarkable. Kevin Whately, as Kip's ill-fated partner, does what he can with a rather smallish role.<br /><br />'The English Patient' is not a perfect movie by any means, but the vituperative attacks on it by much of the movie-going public are not deserved at all. Maybe it's a show of how film sensibilities have changed since the era of the Leans and Kubricks, or maybe people were expecting something simple to understand. Complex to fault, brilliantly directed and shot, 'The English Patient' is a wonderful modern-day epic.<br /><br />8/10 | 0 |
This movie had the potential to be far more than it was. But it not only fails to deliver, it brings up nauseous self righteous preaching at the same time.<br /><br />John Cusack is even flatter than he was in Midnight of the Garden of Good and Evil. The difference is that this time he is supposed to have an southern accent, which he noticeably loses several times each scene.<br /><br />Al Pacino does his shtick but seems to be walking through this film and collecting a paycheck. He's good as usual but hardly standout.<br /><br />Supporting cast -- throw in female romantic interest which added little, if anything, to the story. Speaking of the story, a convoluted 'who really cares' tale where Cusack is the self-righteous Mayor's boy who just has to search for 'the right thing' to be done.<br /><br />People don't act this way. Cusack's character loses all credibility at the end, of which without revealing it, is preach and nauseous. The final scene makes the penultimate silliness seem profound. It's also completely inaccurate but I won't get into law.<br /><br />This is a bad, by the numbers movie. It seems interesting for the first 40 minutes and then it's really a preachy, proselytizing, self-righteous film for the last hour. Better off with mindless crap than this pile of junk. | 1 |
The family happiness is crumbling when, the from the beginning rich father Ward (Michael Ontkean), gets poor and cannot support the family any longer. Then the mother Faye (Jaclyn Smith) has to take the role as the breadwinner in the family and starts to work in order to support the family and at the same time, periodically alone, has to manage the family life. Not always that good, but as good as she can. The family life hardly gets easier when the father learns that the son Lionel (Joe Flanigan 'Stargate Atlantis') is gay and is living together with his lover John (Joel Gretsch 'The 4400') also an old family friend, resulting in that the father makes clear to Lionel that he is no longer welcome in the family. Lionel is the one who meant the most to his sister Anne (Leslie Horan) during her up-bringing, since the family neglected her. Anne cannot stand the fact that their father have cut the cords with Lionel and therefore she run away from home. As this wasn't enough, the son Greg (Brian Krause 'Charmed') enlists in the marines and is sent to war. The storyline in this film can on some occasions feel a bit thin, in spite of that it still has a lot of realism in it, which makes it well worth seeing. Since this film illustrates many sensitive relations and situations, I would believe that it is best appreciated by a mature audience even though it wouldn't hurt for teenagers to see it and get something to think about before adulthood. | 0 |
This is a movie that will leave you thinking, is he or isn't he? While many people have complained about the ambiguous ending, it gives room for the audience to think and interpret it from the signs. This is my interpretation and theory, and I believe it is very sound. <br /><br />First, here is the plot. One day, Prot (Kevin Spacey) suddenly appears in the midst of a busy train station. After attempting to help a woman from muggers, he is arrested and sent to Bellevue, and later transferred to Dr. Mark Powell's (Jeff Bridges) hospital. Prot freely talks about how he came from the planet K-Pax and is here to do a report on Earth. Naturally, he is classified as a looney and is locked up in a low security level ward. He befriends the other patients and quickly convinces them of his story. In fact, he tells them he can take one person back with him. Soon Dr. Powell is beginning to question Prot's insanity and as the plot progresses, it is harder and harder to prove Prot wrong. <br /><br />In the end, Dr. Powell learns that Prot is Robert Porter, a smart man who worked in a slaughter house in New Mexico, when his wife and daughter were murdered. Prot claims that he plans to leave for K-Pax at a precise time on the fifth anniversary of the murders. The time comes and goes, and Powell finds Prot or Robert in a catatonic state. One of the patients is missing and is never found again. <br /><br />On to my theory: Prot is not crazy. Prot is from the planet K-Pax. Robert Porter is a friend of Prot's. On one of Prot's previous visits to Earth, Robert was a child, learning about the constellations from his father. Prot and Robert became best friends. After the death of his family, and Robert slaying the murderer, Robert decides to commit suicide. Prot is on K-Pax at the time, but he rushes back (in multiples of light speed) to stop Robert. So Prot takes over the thinking of Robert, taking over his body so to speak. Awhile later, Prot (still inhabiting Robert's body) comes to New York and is locked up. When he leaves for K-Pax on July 27, he takes Bess with him, but he must leave Robert's body behind. Hence, we now have the catatonic Robert.<br /><br />Explanations or clues:<br /><br />PROT'S KNOWLEDGE OF THE PLANETS AROUND LIBRA: As Prot says, any child knows about their own system. Only a few people on Earth had an inkling about the system, and Prot added to their knowledge. Robert Porter, while smart and knows his constellations, was no astro-physicist. <br /><br />DR POWELL FEELS CHOSEN BY PROT: It's true. Prot could've left the institute at any time, but chose not too. Prot's last words to Dr. Powell are, 'Now that you've found Robert. Take care of him.' Prot was probably staying there to ensure a place for Robert when he left. <br /><br />SUPER-HUMAN ABILITIES: It was a proven fact that Prot had a significantly higher sensitivity to sunlight and could even see UV rays. Prot provides his usual K-Pax reason, but there was no Earthly reason given. It was also mentioned that Prot was given extremely high doses of medicine with no effect.<br /><br />HELPING THE PATIENTS: Throughout the movie, you see Prot helping the other patients (or the patients discussing Prot's suggestions) to a better sane world. While the psychologist balk at Prot's help, Dr. Powell talks at the end of the movie about the new lives the patients are leading.<br /><br />THE SPRINKLER SCENE: The sprinkler is associated with Porter's home in New Mexico (which is ironically where Roswell is). Does Porter associate the sprinkler with the death of his family? Is her trying to protect Powell's daughter from that horrible fate? I have a different point of view. It is assumed that Porter had committed suicide in a river. Indeed, Prot (under hypnosis) is greatly concerned about Robert. I believe that Prot associates the danger with the water, not the sprinkler. He is trying to protect the girl from watery death, like he did Robert.<br /><br />HYPNOSIS: Dr. Powell feels that under hypnosis he can uncover Prot's true identity, but while Prot gives plenty of information, he never gives up his Prot persona and claimed homeland of K-Pax.<br /><br />THE SECURITY CAMERA: Why would the camera just give out for no apparent reason? <br /><br />MYSTERIOUS DISAPPEARANCES: First, Prot disappeared for a few days to his trip up north. Funny, the patients are not at all alarmed. Indeed, they try to reassure the doctor. Sometimes I think they understand better than the staff. Naturally, the most telling disappearance is of Bess, the winner of the essay contest. Not only does she disappear at the approximate same time, but the only remaining clue is her winning essay.<br /><br />This is only my humble theory. You can conclude what you want. You can take Dr. Powell's theory, that Prot was merely a persona taken up by Robert Porter to mentally defend himself from reality, but that would be giving up too many plot holes. | 0 |
This is an irredeemably stupid, boring, unimaginative, lazily put together piece of garbage. When watching a direct to video slasher pick, it is only fair to expect the film to be trashy on some level, but this goes beyond trashy. It is just horrible on every level, with a cliché ridden script that manages to be both incredibly stupid and incredibly boring at the same time, a cast of no name over actors, and some of the worst special effects I have ever seen. Even fans of slasher movies won't be able to find anything here that would make this film a worthwhile use of an hour and a half. <br /><br />The plot focuses on your usual group of young people who decide to spend the weekend at a remote farm in West Virginia that one member of the group has recently inherited. Unfortunately for the teenagers, the inherited land was once owned by a farmer who made sacrifices in order to help his crops grow, or something stupid along those lines, and now some evil scarecrows are out to kill everybody. I don't know anything about writer director Paul Moore, but I am assuming he is over ten years old, and therefore he ought to be able to come up with something more original than killer scarecrows. Honestly. <br /><br />The special effects bringing the scarecrows to life are laughably poor. They often look like hardly more than Haloween costumes on sticks. Special effects such as these would have been considered rather rather poor twenty years ago, but by todays standards, they are nothing short of embarrassing. <br /><br />This is a total waste of time for all viewers, whether or not they are into horror movies. If you must watch a slasher film, rent any one of the 'Friday the 13th' or 'Halloween' movies. Most of them aren't very good, but are certainly superior to crap like this. | 1 |
I waited almost 25 years to see this movie, thinking it might be an underrated work, from a period animation was no longer of the quality it had once been. It starred one of the best film villains of all time, was based on a beloved series of children's books, and was a Disney Studios production. What could possibly be wrong with it? As it turns outs, almost everything.<br /><br />Well, not everything. Vincent Price as Rattigan and Henry Mancini's swanky score are the movie's two saving graces. Price is wickedly enjoyable, and Mancini more professional than the material deserves. They bring class to a project that otherwise belongs in obscurity. <br /><br />Meanwhile the rest of the movie, while filled with inappropriately adult situations, still suffers from a completely dull script, blandly generic voice work, terrible songs, and lazy animation that wouldn't have been out of place on any of Disney's mid-1980s Saturday morning TV shows.<br /><br />This was a complete disappointment to me. It's amazing that this movie was nearly contemporary with The Secret of NIMH. Costing a fraction of this, an independent studio produced something with more creativity in its trailer than GMD has in its endless running time.<br /><br />The extra star that keeps this from being 'awful' goes to Price and Mancini. | 1 |
This is a low grade cold war propaganda film crossed with a soapie. It may have some long-term significance as a snapshot of 1950s US thinking, but there is little else to commend in the mawkish storyline, wooden acting and grating style. There are some interesting photos of long-gone aircraft, but that was not enough for even this aircraft enthusiast to leave it on the screen for the full length. | 1 |
After a humiliating experience on an airplane, Nashawn Wade (Kevin Hart) sues the airline and uses the money he wins to start up his own full-service airline. What makes his different is that it has sexy stewardesses, an on board dance club and no less than Captain Snoop Dogg in the cockpit.<br /><br />Soul Plane is a very racist comedy except it is only occasionally funny. Soul Plane has been described as an 'urban' version of Airplane. The problem is that Soul Plane doesn't even come close to achieving the laughs of Airplane. The jokes in Soul Pane are too offensive and they are mostly unoriginal. I would be lying if I said I didn't laugh since there were some funny moments. However, I was expecting more and I left the theater disappointed.<br /><br />I would compare Soul Plane to Airplane 2. The latter was just a rehash of the first film while the former is just a rehash of outdated, crude jokes. There is really no creativity behind the movie and there are only a few fun spots. However, I don't think Soul Plane is 'bottom 100' bad. Right now, the movie is ranked at number 82 and that's a little harsh. I'm not saying this is a good movie but it isn't a terrible on either. The running time is only 86 minutes long so it isn't too much of a pain to watch. For stupid comedies, you can do a lot worse.<br /><br />No one in the cast is very good but they all seem to be having fun and this helps. Kevin Hart was very annoying as Nashawn. He had a few funny lines but he is a very poor leading man. Snoop Dogg, who was mildly funny in Starsky and Hutch, completely flunks here. Tom Arnold was actually tolerable and that was the film's biggest surprise. The most annoying person in the movie was Ryan Pinkston. He was not funny at all and he will never be funny. The funniest cast members were Missi Pyle and Mo'Nique. They gave the best lines and they made me laugh the most. In the end, Soul Plane may fit the bill if you're looking for a stupid comedy but it would probably be better if you just skip the film. Rating 4/10 | 1 |
Spanish director Luis Buñuel career spanned almost 50 years, from 1929 to 1977. Arguably, his best films were those he made during his exile in Mexico - from the late forties to the early 60s. There he had to deal with very cheap budgets, and work in an industry interested mainly in churning commercial movies to unsophisticated audiences, yet he somehow managed to make interesting, thought provoking movies that have stand the test of time. This movie is based on a novel by Spanish author Benito Perez Galdos - and the adaptation is quite faithful, even if the setting is now early 20th century Mexico instead of early 20th century Spain. The protagonist, Nazarin, is a priest who tries to live a life that is as faithful as it can be to the one prescribed by Christ. The question many would ask is whether such endeavor would be possible, without incurring in the hostility, incomprehension and mockery of your fellow human beings. As it happens, he suffers a lot of indignities, yet he remains stubborn (until the controversial final shot) to this objective. I think Buñuel wanted to show Nazarin as a somewhat ridiculous figure, but perhaps inadvertently, his stubbornness (at least to this viewer) comes out as admirable. In any case, a great film. | 0 |
An anonymous film which could have been directed by anyone at all.Where is Anthony Mann,the director of such classics as 'El Cid' ' the naked spur' or 'the man from Laramie'?<br /><br />There are marvelous shots of planes in the clouds,lovingly filmed.The story is very trite ,and almost completely devoid of dramatization.The couple lives an almost routine life and the user who complains about June Allyson's choice for the wife ,IMHO,totally misses the point.With her less-than-attractive look,her hoarse voice,she was the perfect housewife the screenplay needed.At the time,women were barefoot and pregnant:there 's not one single woman among the base staff,even in the desk jobs -.All they had to do was worrying about their hubbies ,who were fighting for democracy and against an Enemy whose name we never hear ,but in 1955,it was not hard to guess it.<br /><br />One wonders why a young person who has never seen a Mann movie should choose this one among all the great movies he made. | 1 |
The third, and final installment of 'Hanzo the Razor' is the most concrete of them all. The 'training' even gets completed within the first five minutes of the film. Not for everyone, this film details Hanzo's investigation of loan sharking being performed by an order of blind monks. It also makes a historical comment on the prideful refusal of old Japan to incorporate Western technology. Where the first Hanzo film was just a funny and gory ride with little connection to it's plot, 'Hanzo 3: Who's Got the Gold' manages to connect everything, and brings it all home in the end. Definitely the perfect finale. Oh yeah, Hanzo still has a lot of sex, and there's a lot of needless blood and violence (it *is* Hanzo the Razor after all). | 0 |
- SMALL SPOILER HEREIN! - <br /><br />When I looked at the votes for 'Creep' today, I was surprised about so many IMDb-users rating this movie '1'. I am wondering: what do people expect of such kind of movie? Are there so many people watching a movie without knowing anything about it?<br /><br />'Creep' is a HORROR movie and it is a pretty good one! This automatically means: it has a absurd story full of holes, outrageous hazards and simple one-side-characters. So why complain about it? Just take some popcorn and coke, make yourself comfortable in your seat and then... ...enjoy to be scared to death! The first 60 minutes when there is almost nothing else than Kate and a lonely subway station are incredibly scaring. There is suspense and fear in every corner of the screen and you will give some jerks just because of a sudden sound of a blinking neon lamp in the back of you. (In my opinion the sound editor did the best job in this movie.)<br /><br />When Kate meet her pursuer the quality of the movie drops but it still doesn't become a bad movie. The second part of the movie is not scary at all, but the gore effects are well done and the story is quite well developed. (...as long as you keep in mind that it is a horror movie you are watching and not the Discovery Channel!) So, if you want to make yourself a very, very scaring hour. Just watch the first hour of 'Creep' and then leave the cinema or turn of your TV. You know the rest of the story anyway, don't you? The bad guy will die and Kate will be the only survivor. But even if you watch this movie up to its end, you will not be disappointed.<br /><br />...and if you want to push anxiety to the next level, do what I did after watching this movie: leave the cinema by dark night, go to the next subway station and take the last train home... | 0 |
And a rather Unexpected plot line too-for the era: there is Plague in the City of New Orleans-and only Richard Widmark can stop it! Elia Kazan's trademark subjects: waterfronts, working men, crowds, fugitives, blue collar folk, violence on a backstreet-are all showcased here.<br /><br />Jack Palance is quite effective as the ice-cold mobster out for a big score, Zero Mostel as Dom Delouise somewhat miscast but certainly watchable as his go-fer. I enjoyed Barbara Bel Geddes as the stalwart, cool wife-I thought she and Widmark were a believable couple.<br /><br />He himself always reminds me somewhat of Sinatra-in the face and in the intense quiet manner-and that is meant as a compliment if anything. I'd never even heard of this movie, and yes, you have to admire Widmark's performance. I also enjoyed Paul Douglas-he seemed to play this role many times, they make an unlikely but effective team.<br /><br />The plague itself is a McGuffin-and you gotta know it's not exactly done the way it would have been in Real Life-rather small-scale at the least no?-but I found it carried the plot along nicely.<br /><br />Check this out. It's good. *** outta **** | 0 |
As usual, Sean Connery does a great job. Lawrence Fishburn is good, but I have a hard time not seeing him as Ike Turner. | 0 |
I'm studying Catalan, and was delighted to find El Mar, a movie with mostly Catalan dialogue, at my art-house video store.<br /><br />Hmmm... not so delighted to have seen it.<br /><br />Yes, as other reviewers have said, it's well-made, and beautifully photographed. Although the opening sequence of the children is shockingly violent, it's well-acted and convincing. (For the most part, that is... Would the Mallorquins strip a corpse in preparation for burial right in the middle of the town square, in full view of the dead man's 10-year-old boy?) Oh, well... minor detail. Up to this point, it had something of the feel of a non-magical Pan's Labyrinth, also set in the Spanish Civil War.<br /><br />Fast-forward, and the three children who survived the opening incident have come of age. Francisca is a nun working at a tuberculosis sanatorium and the two boys, Manuel and Ramallo, both are patients. I know, but hey, coincidences happen.<br /><br />The problem, as with so many Spanish movies (apologies to Almodovar fans), is that with one exception (Francisca) the characters are just so dang *weird*. Their motivations, personalities, and dialogue are often simply incoherent.<br /><br />What's more, it descends into some horrific wretched excess. Be prepared for LOTS of pain and LOTS of blood. The reviewer who called it a 'potboiler' is quite on track. If it had been made 40 years ago, the poster would've said: SEE FORBIDDEN LOVE!! RAPE!! MURDER!! MUTILATION!! FANATICISM!! ANIMAL CRUELTY!! BETRAYAL!! <br /><br />The opening sequence is not nearly enough to make the personalities and relationships of the characters believable. To work, this should have had multiple flashbacks to flesh out the characters. As it is, it seems a bizarre and depressing cross between 'Brother Sun, Sister Moon' and 'Pulp Fiction.' If that sounds like something you've got to see, by all means, enjoy. I think I go with something that doesn't make me feel I need to take a shower to wash off the gore and gloom.<br /><br />As for the Catalan, it's the Mallorqui dialect, fairly different than the Barcelona dialect, though I was surprised by the comment that said that even Barcelonans apparently needed Catalan subtitles to understand it. | 1 |
I think the majority of the people seem not the get the right idea about the movie, at least that's my opinion. I am not sure it's a movie about drug abuse; rather it's a movie about the way of thinking of those genius brothers, drugs are side effects, something marginal. Again, it's not a commercial movie that you see every day and if the author wanted that, he definitely failed, as most people think it's one of the many drug related movies. I, however, think something else is the case. As in many movies portraying different cultures, audience usually fully understands movies portraying their own culture, i.e. something they've grown up with and are quite familiar with. This movie is to show what those 'genius' people very often think and what problems they face. The reason why they act like this is because they are bored out of their minds :) They have to meet people who do mediocre things and accept those things as if they are launching space shuttles on daily basis. They start a fairly hard job and excel in no time. They feel like- I went to work, did nothing, still did twice as better as the guys around me when they were all over their projects, what should I do now with my free time. And what's even more boring? When you can start predicting behavior not because you're psychologist, but instead because you have seen this pattern in the past. So, for them, from one side it's a non challenging job, which is also fairly boring sometimes, and from another they start to figure out people's behavior. It's a recipe for big big boredom. And the dumbest things are usually done to get out of this state. They guy earlier who mentioned that their biggest problem is that they are trying to figure out life in terms of logic (math describes logic), while life is not really a logical thing, is actually absolutely right. | 0 |
I came across An Insomniac's Nightmare while looking for offbeat independent films, and glad to say it did NOT disappoint. This crazy half hour ride had me wondering all the way through, and the ending was excellent - one of those NOOOOO moments that really stays with you. I've shown it to a number of people and everyone seems to agree hands down. The little ghostie girl was very talented and I think her performance stole the show. She creeped the heck out of me, I can say that much. Nanavati did a great job putting this short together. All the pieces just fell into place and you can tell that she's a great writer from what she did with this script. SO well written. It's undoubtedly the strongest part of the film. The directing was great and the acting was enjoyable, but the most important factor here is the strength of the screenplay. Good job to this girl, I can't wait to see more! | 0 |
At the surface COOLEY HIGH is a snappy ensemble comedy masquerading as a period piece (set in the early 60's, complete with a flawless Motown soundtrack). But there's SO much more to this film - it gets better every time I see it. The cast of unknowns (at the time) is excellent, and it is notable as an all-black-cast film that doesn't fall into any Blaxpoitation clichés - at times COOLEY HIGH almost feels like an updated, urban neo-realist film, with lots of edgy humor added in. At times, the rather tight budget does show, but the constraints actually serve the film well - there's a grit and honesty of emotion here that lends the film an immediacy lacking in most similar-minded films (like Schultz' later CAR WASH, which was more popular, but largely pointless) Warm-hearted but also true-to-life, this might be one of THE sleepers of the 70s - celebrated at the time, it seems that few film freaks know about this one today. Their loss - this is a fine, fine film.<br /><br />The bare-bones pan-and-scan DVD (no widescreen!?!) is testament to just how little cared-for this excellent film is. | 0 |
Looking and sounding like a cheap porno without the sex, this is the first in an impressive string of stinkers from producer (or in this case director) Geoffrey Reeve.<br /><br />And it's a doozy. Laughable on just about every level.<br /><br />Some government agents (I think) are 'professionally murdered' in Amsterdam and a considerably less-than-charismatic, block-of-wood Interpol agent (who I assure you is not named Louis Salinger) is sent in to investigate by walking around a lot to ensure the tax-dodge financiers get their money's worth for the plane tickets to shoot on location.<br /><br />The wannabe-hard-hitting attitudes to drugs and depiction of prostitution must have looked laughably outdated even before the celluloid dried, but the script at least is very obliging in that it explains exactly what's happening regularly in horribly contrived direlogue ('Were you followed? Oh no of course not. No one outside Washington even knows you're here!') yet despite this the plot somehow remains confusing. By the time a sinister Vladimir Putin lookalike Priest (no less than Kronsteen from From Russia with Love) swaggers up to his pulpit to deliver a sermon your brain will have switched off, which is unfortunate because you'll miss our hero - pinned to the ground during a fight - struggling to reach for a plank of wood only to later realise he is in fact sitting on a loaded pistol, and him shouting 'You bastaaaard!' at his friend's murdered corpse, and the leather-bound, moustachioed go-go boys, the morris dancing and the hilarious torture sequence - all of which provide ample laughs. Only the climactic boat chase impresses. It's an exciting, well-directed sequence that really has no place in this movie. Such a glaring anomaly is explained when the credits roll - Reeve had nothing to do with that sequence! Thankfully everything goes back to business as usual for the ridiculous, spit-out-your-drink twist and warehouse shootout.<br /><br />Unless such a wretched thing as a Geoffrey Reeve completist exists - and you're one of them - I wouldn't bother with this instantly forgettable nonsense. | 1 |
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