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"The College Girl Murders" is my first acquaintance with the writing work of Edgar Wallace and generally my first real acquaintance with "Krimi" films in general and I can say that I'm moderately impressed. This stuff is really entertaining, although I never would have expected it to be so
goofy! The film has an exhilarating and nicely convoluted plot, with a healthy dose of humor, flamboyant twists and pretty inventive killings. There's some James Bond type of evil mastermind who always sits in the shadow and in front of a large monitor - recruiting prisoners to kill certain girls at a specific college with a new type of poison. There's also a villainous monk with a whip, dressed like a communist KKK member, getting rid of the leftover characters, like overly curious teachers and such, as well as a kooky police commissioner who persists on solving the case with a psychological approach. Seriously, if I had known sooner that these Krimi films were so colorful and crazy, I would have purchased a whole collection of them already. The pretzel plot actually raises more questions than it answers in the end, and the overload of comical gimmicks on the account of Scotland Yard Inspector Higgins are sometimes a bit much to swallow, but I don't care because it was sublime entertainment. Even the funky 60's soundtrack remained stuck in my head for a long time. It's like a variant on the Italian Giallo, but with slapstick elements. | This film is overblown, predictable, pretentious, and hollow to its core. The settings are faithful to the era but self-conscious in their magnification by prolonged exposure. The lingering over artifacts stops the action and cloys almost as much as the empty dialogue. Tom Hanks seems to be sleepwalking much as Bruce Willis did in Hart's War. Tom, you can't give depth to a character simply by making your face blank! The content did not warrant the histrionic acting by Paul Newman. This is a dud wrapped in an atomic bomb casing. | 1,600 |
After having seen "Marrying Mafia", I'd nearly lost my faith in Korean movie business. But this one brought my faith back.<br /><br />Leading female character who is university student forced to teach the spoiled, rich but charistmatic high school student guy. He is actually female character's age. Through some hilarious quarrells, these two end up being great friends.<br /><br />I was pleasantly surprised that newcomer kwan sang woo did his job with excellency. He was such a revelation!! Actress Kim ha nul was also charming as usual.<br /><br />This movie tried hard to avoid any cliches that can be seen in typical romantic comedies. And it didn't show us any unnecessary nude, sex scenes. It was brilliant, lovely , fresh, made me want to see it again.<br /><br /> | This movie is AWFUL. I haven't laughed so hard at a movie that was unintentionally funny in a long time. Leno should've stuck to stand up and late night tv. The cars in the movie were cool, but the movie by itself is the dumbest movie I've ever seen. it's pathetic, the acting is horrible, and the plot could've been written by a 4 year old. don't get me wrong, jay leno is hilarious, but not in this movie! | 1,601 |
I anticipated this movie to be decent and possibly cliché, but I was completely wrong! Charlie Cox (I had never heard of him until now) played an incredibly good leading man; he was so earnest and romantic, me and my friend that saw the movie with me totally fell in love with him.<br /><br />Claire Danes, who I did like before (LOVED her in Romeo and Juliet), made me enjoy her even more. Her acting was fantastic, I couldn't even tell that she was American. The chemistry between her and Charlie Cox was extremely good, the casting was quite perfect.<br /><br />Robert DeNiro and Michelle Pfeiffer were equally well-casted; DeNiro as that gay pirate...priceless, priceless. I laughed so hard at that one scene where Septimus comes on the ship...oh my god, wow. Pfeiffer played a decent villain, I liked her as the snippy mother in Hairspray. But she had the right amount of melodrama and snide comments throughout the movie. <br /><br />Overall, it was funny (but not slap-stick at all!), romantic, the special effects weren't totally frequent but when they were, they were great; the cameos from Ricky Gervais and Peter O'Toole were also well-placed. <br /><br />I totally recommend this movie to anyone who likes fantasy movies like the Princess Bride or even Lord of the Rings. It kept my interest the entire time and I will be buying the DVD when it comes out! | Some movies are repellent but still fascinating (Pulp Fiction); others are simply boring. This movie has an almost unique feature of being both utterly repellent and totally boring. By the end I didn't care about any of the characters, I just wanted all of them dead so I could get out of the theatre. | 1,602 |
This is arguably John Thaw's finest performance where he successfully shakes off any traits of his Inspector Morse character and brings a perfect adaptation of Tom from the pages of the book to the TV screen. This is a well made production which maintains its family viewing vibe despite some very mature themes like the outbreak of the second world war and the physical abuse suffered by the child.<br /><br />However it is the relationship between Tom and young Willie that is the heart and soul of this story. It is touching and beautiful to see this bond between the young boy evacuated from London and the grumpy old man he is left with develop - a real grandfather/grandson connection.<br /><br />It is a pity that this story wasn't made with a bigger budget with a more established director as it belongs on the big screen, not shown once or twice every ten years on a Sunday afternoon. Given the right guidance, John Thaw would be celebrated the world over and bestowed with many awards for his brilliant performance in this movie. A great actor and a great role that should have been honored more than it was at the time. | The original show was so much better. They should have left on a good note. This movie killed the whole idea. It was boring, over-dramatic, and the funny parts were too far in between to make up the slack. This movie really seemed like it was trying way too hard to be serious, and that was definitely not what I was wanting from this sequel. Not to mention, that for a long time it was just depressing about the same thing over and over again. So, sorry, Tyler Perry, but try harder next time. This movie is just kinda dull, and not that funny either. Sorry. 4/10 stars is it.<br /><br />Jay Addison | 1,603 |
I hadn't heard about Brashear before I watched this. This is the story of him and the man who trained him, helping him to become the first African-American US Navy Diver. A tale of will-power. The plot is well-written, and develops nicely throughout. This is what it seems, the typical underdog thing, and it doesn't hold too many surprises. It's also quite Hollywood, but hey, I don't know the actual man, maybe it's close to how it actually happened. Nevertheless, it gets the job done, with dramatic scenes and adversity along the way, and this is inspirational for anyone who's ever heard the words "no, you can't" be spoken about their life-long dream. The acting performances are all excellent. DeNiro and Gooding Jr. both shine whenever they're on-screen. Rapaport is marvelous, as well. The characters are well-written, credible and consistent. This is well-edited, and features good cinematography. The production values are high, and this does a fairly convincing job of transporting us back to the 50's. This is the only film I've seen by this director and the writer, though I may now consider looking into more they're responsible for. There is a moderate amount of strong language, otherwise no offensive material. I recommend this to anyone who finds the subject interesting, and/or fans of those who made it. 7/10 | MY BROTHER TOM <br /><br />Aspect ratio: 1.85:1<br /><br />Sound format: Dolby Digital<br /><br />Following an episode of sexual abuse at the hands of a trusted neighbor, young Jessica (Jenna Harrison) forms a relationship with a strange boy (Ben Whishaw) she meets in the woods. Unfortunately, Whishaw has secrets of his own, no less troubling and far more dangerous...<br /><br />Dour drama, sparked by brave performances by Harrison and Whishaw, in which two kindred spirits immerse themselves in a mutual love of nature after being traumatized by their experiences in the 'real world'. Unfortunately, their friendship unravels as harsh reality begins to intrude, leading to an inevitable tragedy. Directed by Dom Rotheroe and photographed in digital video format, the movie looks ragged in places (too many awkward close-ups and sloppy hand-held camera moves) and takes a while to find its feet, but the dramatic pay-off is quietly rewarding. | 1,604 |
DER TODESKING is not one of my favorite Jorg Buttgereit film - but still is an interesting film dealing with suicide and it's reasons and ramifications. Those looking for a gore-fest, or exploitation in the style of the NEKROMANTIK films or SCHRAMM will probably be disappointed. DER TODESKING is definitely an "art-house" style film, so those that need linear, explainable narratives need not apply...<br /><br />The basic concept of DER TODESKING is that there is an "episode" for each day of the week that revolves around a strange chain letter that apparently causes people to commit suicide, interspersed with scenes of a slowly decomposing corpse...<br /><br />There are some very well done and thought provoking scenes, including the man talking about the "problems" with his wife, and the concert massacre (which unfortunately lost some of it's "power" on me, because I was too busy laughing at the SCORPIONS look-alike band on stage...). But seriously - this is a sometimes beautiful (the scene that shows different angles of that huge bridge is particularly effective - especially if you understand the significance of the scene, and that the names shown are of people that actually committed suicide from jumping from the bridge...), sometimes confusing, sometimes silly (the SHE WOLF OF THE SS rip-off is pretty amusing), sometimes harrowing (I found the scene of the guy talking to the girl in the park about his wife particularly effective) film that is more of an "experience" then just entertainment, as many of these "art" films are meant to be. Still, I didn't find DER TODESKING to be as strong as NEKROMANTIK or SCHRAMM, and would probably put it on relatively even footing with NEKROMANTIK 2 in terms of my personally "enjoyment level". Definitely worth a look to any Buttgereit or "art" film fan. If you dig this type of film - check out SUBCONSCIOUS CRUELTY - in my opinion the BEST art-house/horror film that I've seen. 7/10 for DER TODESKING | wow! i watched the trailer for this one and though 'nah, this one is not for me'. i watched my husband and our friend's faces during the trailer, and knew this was a 'boy movie'. i mean, hallo! a bunch of chick barmaids that dance - another striptease?<br /><br />then, i started watching it, it didn't look all that bad. so i carried on watching. i watched it right to the end. what an awesome movie. if anything, this is a chick-flick. these girls have attitude. it is really a feel-good movie, and a bit of a love story. really leaves you with a nice feeling.<br /><br />basically, the story of a small-town girl making it big in the city, after going through the usual big-city c**p. there have been a couple of these, it is almost a new urban legend. but it also makes you think of your life, and what you have achieved. well, me anyway. i think it is because the whole working in a bar scenario is very familiar, not just for me, but for many people i know. Don't trust the trailers for this one - it is aimed at bringing the men in. | 1,605 |
A woman left alone after the death of her husband finds herself attracted to her son's friend and handy man. In a slightly twisted story, the woman begins sleeping with the handy man in an effort to revive herself. The twisted part? The handy man is also her daughter's on and off love interest.<br /><br />As if this wasn't strange enough, the mother manages to fall for this man and when her daughter finds out, she blames not only her dysfunctional relationship but also her messed up life on her poor mother.<br /><br />Though you may think badly of this woman, the truth is movie manages to portray her in a positive light. Beautifully played by Anne Reid, this character has dimension and portrays great emotion.<br /><br />A truly brilliant performance and an enjoyable film.<br /><br />8/10 | Kathryn Bigelow and Mark Boal are already preparing a sequel about a young US corporal in Afghanistan. He also happens to be a highly-qualified surgeon and is roaming freely around Kabul, operating on wounded NATO soldiers. On a particularly difficult mission, he casually picks up a sniper rifle and shoots Osama Bin Laden from a distance of about 3000 yards. He is then finally promoted to sergeant, but is unable to decide between a sniper and surgeon career, so he quits from the Army altogether. One year later, frustrated with civilian life, he joins the Navy and the last scene shows him proudly wearing a white uniform. | 1,606 |
This is a very good Spanish movie but I am worried that many out there will feel lost because many around the world have no idea what the Spanish Civil War was all about or when it was fought. Being a history teacher, I had a big advantage but could easily see how the film could be confusing until you piece together all the pieces. I doubt if this would be a big concern in Spain where this film was made, but for other audiences they may be a bit confused until later in the film.<br /><br />The movie begins with 12 year-old Carol and her mother returning to her mother's home town. Years have passed and you gather that they are coming to Spain from New York City. Despite the strangeness, Carol speaks reasonably good Spanish and much of the film is about how she adapts. As for why her and her mother are alone, I'll spill it now for those who don't pick up on the fact that Carol's father is fighting in the war on the side of the Republicans (who eventually lost in this very bloody conflict).<br /><br />The movie gets exceptional marks for its lovely camera work and music. The rather slow and rambling pace isn't bad provided you are someone who can accept films this way. I have seen several other Spanish films about this war and this compares pretty well to them--not better or worse--just a decent slice of life film about those who are left behind as well as a nice coming of age flick.<br /><br />PS--If you don't know which side is which, the Republicans were mostly Socialists and they were backed by the Soviet Union and Mexico as well as volunteers from many countries (including the USA). The Nationalists were led by Franco and were aided by Portugal and the Fascist states of Germany and Italy. | Cecil B. deMille's 1922 parlor-to-prison tearjerker Manslaughter finds the lovely Leatrice Joy as a good-at-heart but decadent young lady with more money than she knows what to do with. Her recklessness leads to imprisonment, which in turn leads to her regeneration. Thomas Meighan is the crusading district attorney who has made it his personal crusade to bring out the goodness and wholesomeness in Lydia (Joy) but he gets sidetracked by alcohol and once she is released, it is up to her to rescue him!<br /><br />If the plot doesn't sound too bad, you'll be floored by the woeful presentation. The quality of deMille's direction is very low, and he does not show any particular skill that is unique to him. The photography is standard and flat, and the editing is hardly more dynamic. One could easily classify it as a fashion show and be pretty correct. DeMille gets to dress Miss Joy up in so many different types of clothes (evening gowns, golfing costumes, motoring costumes, piles of furs) that it's subtitle could be 'Fashions of 1922'<br /><br />One thing more disappointing than the photography or editing or the direction is the acting, which is mostly flat and wooden. When it is not, it is merely routine silent gesturing, rolling eye balls, twitching eye brows and deliberate pointing and arm movements. What would have been enlivened for modern viewers by mugging and scene chewing of some of the worst silent films, is here merely dull to watch. The only member of the cast who succeeds in any form of excellence is Lois Wilson, who is not only beautiful but is able to play her role naturally. She is convincing and endearing in tearful close-ups, as long as you don't read the moralizing title card that follows once she opens her mouth to speak. Like I said, everybody else is droningly routine, Joy, Meighan, even Julia Faye. Her performance here makes a good argument for why she never attained true stardom.<br /><br />The worst and most amusing part of this movie is the heavy moralistic tone that carries through all of it. Meighan's character has plenty of intertitles where he drones on about how the youth of America is declining in it's moral stance, and going right back to the decadence of Rome. (insert absurd flashback) This movie's moralizing has been described as Victorian, but it's further than that. It has so little bearing in reality that I have a feeling audiences at that time didn't take it any more seriously than modern viewers could.<br /><br />This movie is exactly what the unknowing tend to think of as a 'typical' silent movie, with it's archaic moral structure, wooden acting and bad direction. DeMille shows that he could be a terrible director, with no sense of pacing, camera placement, or skill in handling either script or actors. I can't imagine anybody in their right mind taking it seriously. Boring, slow and idiotic, I recommend it to hardcore silent movie dorks like myself only. | 1,607 |
The Man in the White Suit is one of those delightful comedies that Ealing studies made so well in the 40's and 50's. The plot of this one follows a man that invents a cloth that neither gets dirty nor breaks. Of course, this is a huge breakthrough in the world of textiles. However, things are not that simple as the cloth will threaten the way of life of many people, including cloth manufacturers, the cloth mill's workforces, and even an old lady that does her washing every week. The Man in the White Suit is a film about scientific advances, and the way that they don't always help; as the old woman says at one point in the movie, "Why cant you scientists just leave things alone?"<br /><br />Like a lot Ealing comedies, this one stars Sir Alec Guinness. Alec Guinness is a fantastic actor; he has the ability to light up the screen with his presence (and he does in this film, literally), but he also manages to portray his characters in a down to earth and believable way. He is suitably creepy in this film, and he captures just the right atmosphere for his character; an intelligent and ambitious, but slightly naive scientist. Along with Guinness, The Man in the White Suit also features Joan Greenwood, the deep voiced actress that co-starred with Guinness in the simply divine "Kind Hearts and Coronets" and Michael Gough, a man that would go on to get himself the role of Alfred in the Batman films. The acting in the film isn't always great, but it is always decent, and it's fits with the film.<br /><br />The Man in the White Suit is an intelligent, thought-provoking and witty comedy with a moral. The comedy isn't always obvious, and it doesn't always work, but the film is not meant to be a film that provokes belly laughs, so that is forgivable. I recommend this movie, basically, to anyone that is a fan of movies. | It as absolutely incredible to me that anyone could make the comment that this film is not preachy. It is not only oppressively preachy, but absurd, stagebound, dramatically straight-jacketed, and painfully overwrought. Watching it, one feels like an 8 year old child being punished by having to write "I will not become a fascist" on the blackboard 100 times.<br /><br />Now I understand that it was made during the height of WW2, and was intended to be a brave condemnation of Hitler and the terrible suffering he brought about, (which anyone would whole-heartedly applaud) and I'm sure it accurately captured the mood of the day. But it is presented in such an immature, over-obvious, sledgehammer way, it fails abysmally as a work of art.<br /><br />The only good performances here are from Paul Lukas, who brings sincerity and intensity to his role as a quietly heroic anti-fascist; and Lucile Watson as the amusingly ill-mannered rich grandmother who slowly comes to realize how dangerous the world has become. Though their rootless upbringing has subjected them to all kinds of hardships, the children are ridiculously shown as robotically well-behaved little snips. They do not even remotely resemble real human beings. And Bette Davis, a great actress, here is so one dimensionally noble I cringed every time she was on screen. Her every word, her every gesture is meant to convey how SUPPORTIVE and UNDERSTANDING she is of the SACRIFICES her husband has to make and the great CAUSE he is fighting for, that she must've been wired to receive a painful electric shock if she dared allowed any hint of doubt or shading to surface in her portrayal.<br /><br />So yes, this is a very IMPORTANT film, just not a very good one. | 1,608 |
I can't believe how many people hate Hal Sparks! He was my favorite host of the show, hands down. I hate celebrity gossip and generally dislike talk shows, but when Hal Sparks hosted Talk Soup, it was must see TV for me. I rarely missed an episode during his run, and was saddened when the guest hosts started pouring in (although most of the guests still did a fine job). <br /><br />Anyway, for all the people who dislike Hal Sparks, I imagine they must have never seen the weekend specials. They were hour long episodes of Talk Soup that comprised the best clips from the entire week, and were padded out by sketch comedy bits. The original bits that Hal Sparks did were hilarious. In one he got possessed by a bad comedy demon, and in an exorcist like scene his head spun as he told dated jokes about airline food. One episode was dedicated to making fun of Multiplicity, as a bunch of cloned Hal Sparks kept multiplying through out the episode, over-running the studio.<br /><br />OK, maybe these don't sound as funny when I describe them, but all I know is that besides Talk Soup, the only other two shows I watched consistently during those years was The Simpsons and Late Night with Conan O'Brian. So if you like the comedy stylings of those shows, then you'd probably like Talk Soup during the Sparks years.<br /><br />That said, Henson and Tyler were both great hosts as well. All three hosts brought something different to the table but they were all fine comedians in my opinion. Of course, throughout the Tyler and guest star years, my interest in this show began to wane, but every now and then I catch The Soup, the show's spiritual successor, and sure enough, the new host can bring some pretty unexpected laughs from time to time.<br /><br />OK, I've wasted enough time talking about a TV show that isn't on the air anymore and on a channel that I generally despise. Go watch something else! | Within the first 17 minutes of director Bradford May's "Darkman III: Die Darkman Die", we have already been subjected to a silly recap and accompanying voice-over on the first two films, hilarious over-acting, about three minutes of footage simply ripped from the second film and re-edited slightly to seem like new footage, and a lengthy advertisement the scarred and tormented title character watches about Universal Theme Parks- Universal being the company that distributed this film. Yes, "Darkman III: Die Darkman Die" is quite the handful when it comes to cheap cash-ins on the success of a previous film.<br /><br />This time around, the disfigured anti-hero Peyton Westlake (aka, "Darkman"; portrayed by "Mummy" actor Arnold Vosloo) locks horns with evil crime-lord and lousy husband Peter Rooker (played in a brilliantly over-the-top performance by Jeff Fahey), and over the course of the 87 minute film grows to develop an affection for Rooker's wife and daughter, once again learning to care for another person.<br /><br />Blah. Blah. Blah.<br /><br />This film is basically just a silly way for the studio to make some more money off of Sam Raimi's original film, which I consider to be a great action-suspense film.<br /><br />Oh yeah, and there are also a number of silly sub-plots, including a villainess who supposedly was one of the original doctors to save Darkman following his scarring, and her seducing our hero into thinking she is an ally before revealing her nefarious plot to help Rooker create more super-human powered thugs like Darkman. Apparently, she can't just do the same procedure on the thugs that she performed on Darkman. Why? I can't really explain it, because the movie certainly doesn't.<br /><br />There's also an assassination sub-plot involving a District Attourney who is threatening to bring down Rooker's organization, and some other very silly things going on.<br /><br />But it doesn't really add up. This film feels like two or three episodes of a television show edited together more than an actual film. The direction alternates between pretty good and downright sloppy (a scene where Darkman rides his train-like vehicle and dodges a rocket-launcher is just plain silly), and the editing is a mixed-bag. The film just moves too quickly for anyone to really care what's going on. And without spoiling it, the final 15 minutes of this movie, and indeed, the entire series is just kinda... I dunno... Another 15 minutes of mixed-bag footage.<br /><br />In fact, commenting on the editing, one of my favorite things in this film is watching for footage re-used from the previous films, and then looking for footage within this film that is repeated multiple times. Yes, it's that cheap. It's one thing to do a re-cap at the beginning of the film, and maybe repeat a shot or two, but in the sheer volume they do it (minutes of footage repeated from previous films), it's just sloppy and amateurish.<br /><br />Also, I have to say that Darkman's psychedelic montage freak-outs are a bit overdone in this film. They are so stylized and overdone that they do work, but only in light doses and in proper context, as Raimi did in the original film. Here, there are at least four or five, and they feel very abrupt and out-of-place.<br /><br />That being said, the film is not without some good points. A few action scenes are well-done. The cliché story of Darkman yearning for a real life works suitably for a direct-to-DVD feature. Some of the acting is nice, particularly from Rooker's wife, portrayed by the beautiful Roxann Dawson. Also, while no Danny Elfman, composer Randy Miller composes some nice music that builds off of Elfman's original themes.<br /><br />But overall, the film is too quick, cheap and silly to be taken seriously. Arnold Vosloo seems alternatively bored and exuberant from scene to scene, and Fahey, while a joy to watch as an over-the-top villain, just doesn't quite fit in with the series.<br /><br />Like "Darkman II", I would recommend this to fans of the original, who will surely get a laugh. Otherwise, you need not apply. A four out of ten. | 1,609 |
According to the director this movie was popular in Asia. It is somewhat difficult to take these Mats Helge movies seriously since most of his films are shot on a very tight budget. Almost no USD at all. But it is fascinating to establish that Mats Helge eventually completes something which can be called an action movie. The Ninja Mission is - I think - the best one among all movies directed by him. Some special effects are quite enjoyable. This is not a "B" or "C" movie. It is a "Z" movie - but an enjoyable and fun "Z" movie! | I did not expect much from this film, but boy-o-boy, I did not expect the movie to be this bad. Chris Rock is not showing a good act here, you can't get the feeling that his caracter is real, I think the movie would have been a bit better if it's drama or romantic scenes would have been a less part of the movie and more/better humor was involved. The movie is like the film makers were having a bad hangover making it. In the "making of" they don't show a single smile. This is a very bad film! I gave it three out of ten because of few smiles it gave me, but I did never laugh! | 1,610 |
***SPOILERS*** ***SPOILERS*** Packed with memorable moments (such as the quote above, immortalized by Primus), Deliverance tells the story of four guys who take a trip to the wild woods to go white water rafting and get away from the big city for a while only to find that their fun soon takes a bad turn. This is not a Hollywood film. There are virtually no special effects whatsoever, the setting is extremely realistic, and nothing at all is sugarcoated or made pretty. The city boys look like city boys, and even the tough guy Louis, portrayed with precision by Burt Reynolds, is clearly at the mercy of the wild on this trip. This is a perfect example of a what-if film. What if a few friends went river rafting in an area of the woods that none of them were familiar with, and ended up desperately trying to avoid being tried and convicted for murders that they were forced to commit to save their own lives?<br /><br />There is clearly a very strong element of the film that deals with societal and class structure and the relationship (or lack thereof) between rural and urban peoples. When the four guys arrive in the woods early in the film, they clearly do not quite know how to interact with the people who live out there, and they speak to them as though they are unsure whether they will understand or be able to communicate. This communication block is most memorably illustrated in the dueling banjoes scene, in which they are trying to gas up the car and truck and get someone to drive the vehicles downriver for them. While Drew and the obviously inbred and probably mentally deficient boy on the porch are dueling with their guitar and banjo (one of the best scenes in the film), Louis is having some difficulty buying the gas, and Bobby makes a comment about genetic deficiencies and how pathetic it all is. When the boy turns away from Drew, who had offered to shake his hand after their stupendous jam session, Bobby tells him to give the kid a couple bucks, knowing that none of them are quite sure how to react.<br /><br />This is the kind of thing that we see in Deliverance that sets up so much of the tension that is to follow. This great scene where a lot of fun was had (including the funniest 'redneck dancing' scene until O Brother, Where Art Thou?) ended with everyone awkwardly unsure what to do around each other. These people are apples and oranges, and they live by completely different rules of life. The people that Louis, Bobby, Drew and Ed encounter in the hills grew up separated from modern society and modern laws, and live by the rules of nature, which do not include thou shalt not kill. Confused by their awkward behavior, the four friends set out on the river, hoping for the weirdness to end and for the adventure to begin.<br /><br />(spoilers) When they are briefly separated from each other and Ed and Bobby run into the hillbillies beside the river who quickly turn unpleasant, the uncertainty about the way that these people live - which was established by the scene above - comes into play to create the most tension during the scene. I think that a good sign of a quality thriller like this is that the tragic element of the film, namely the assaults and actual murders, takes up a very small amount of screen time but remain some of the most memorable parts of the film. There is no gratuitous violence here, it's all there for an obvious purpose and it achieves a startlingly powerful effect.<br /><br />The move is about the violent clash of two very different kinds of people, and what can happen when they inadvertently find themselves at war with each other. The trip down the rest of the river after the assault, which takes up the majority of the film, delivers some spectacularly effective tension, and keeps you on the edge of your seat while not bombarding you with so much happening that you become numb. It is surprisingly effective when we find out that Ed may very well have killed the wrong man up there on the cliff, and the tension in the film doesn't even let up when the three surviving members of the team reach the bottom of the river, because they deliver a questionable explanation to the police about what happened up there on the river and why the deputy's brother-in-law is missing.<br /><br />This is a very disturbing film, which is a testament to its success, because it's pretty obvious that a film like this is meant to shake people up a little bit. The hillbillies are the human (i.e. more realistic) version of the sub-human rednecks seen in childish but fairly similar films like Gator Bait and Gator Bait 2, neither of which could possibly ever be compared to a timeless film like Deliverance. When we follow these four men through their fateful weekend in the woods, the natural element is so real and we get to know the men so well and in such a subtle fashion that it's almost like we, as individuals of the audience, are really a fifth member of the team. It's not often that a film is able to come across that way. | This film was a yawn from titles to credits, it's boring to the point of tedium and the acting is wooden and stilted! Admittedly this was director Richard Jobson directing debut, but who on earth green-lit a script as poorly developed as this one? Looks like another money down the drain government project (Scottish Screen are credited surprise, surprise). I nearly fell asleep three times and my review will unfortunately have to be more restrained than this one. Please, please mister Jobson what ever you've been doing prior to directing this sedative of a film, go back to it! | 1,611 |
A fantastic Arabian adventure. A former king, Ahmad, and his best friend, the thief Abu (played by Sabu of Black Narcissus) search for Ahmad's love interest, who has been stolen by the new king, Jaffar (Conrad Veidt). There's hardly a down moment here. It's always inventing new adventures for the heroes. Personally, I found Ahmad and his princess a little boring (there's no need to ask why John Justin, who plays Ahmad, is listed fourth in the credits). Conrad Veidt, always a fun actor, makes a great villain, and Sabu is a lot of fun as the prince of thieves, who at one point finds a genie in a bottle. I also really loved Miles Malleson as the Sultan of Basra, the father of the princess. He collects amazing toys from around the world. Jaffar bribes him for his daughter's hand with a mechanical flying horse. This probably would count as one of the great children's films of all time, but the special effects are horribly dated nowadays. Kids will certainly deride the superimposed images when Abu and the genie are on screen together. And the scene with the giant spider looks especially awful. Although most of the younger generation probably thinks that King Kong looks bad at this point in time, Willis O'Brien's stop-motion animation is a thousand times better than a puppet on a string that doesn't even look remotely like a spider. 8/10. | Even though the plot was very well detailed,and the story line was understandable the fact that Steven Seagals voice was dubbed with some one else's through out most of the movie was distressing as you were unsure who was talking . There were many parts where he would start to talk in his deep raspy voice and then the next some one else's voice was doing the talking for him. I don't know the reason however if he had difficulty with his voice during production of the movie I think they could have re shot the events that did not contain his own voice when he had recovered. I have rated this movie 3 out of 10 based on the quality of the film. When one pays for a movie whether or not its at the theater or on DVD this movie was not worth the admission price that was charged. I have been a long time follower of Steven Seagal and all his movies that he has done over the past years.To date I think this is one of the worst ones we have seen yet | 1,612 |
I absolutely loved this movie. I bought it as soon as I could find a copy of it. This movie had so much emotion, and felt so real, I could really sympathize with the characters. Every time I watch it, the ending makes me cry. I can really identify with Busy Phillip's character, and how I would feel if the same thing had happened to me.<br /><br />I think that all high schools should show this movie, maybe it will keep people from wanting to do the same thing. I recommend this movie to everybody and anybody. Especially those who have been affected by any school shooting.<br /><br />It truly is one of the greatest movies of all time. | I LOVE Don Knotts, let me just say that up-front! He is an enormous talent and the best at what he does, which is portray a nervous, lovably befuddled loser thrown into a position of authority. He is fabulous in this role as Roy Fleming, the Reluctant Astronaut, but the film is pretty dull, really, even though as a kid my brother and I delighted in watching this and his other films. It's still worth watching but really it's a film that is best enjoyed by children. I'd categorize it as 100% family-friendly and something you could sit down and watch with your kids on a family night.<br /><br />As with all of Knotts' films, there's a great cast of beloved character actors and you can't help but smile when Knotts gives one of his shaky, open-mouthed stares, no matter how old and jaded you are.<br /><br />From an adult perspective, one thing I think that is great about this film is how it captures NASA in the 1960s -- all the new modern buildings, the hope, the optimism, the future! And I was surprised at how suave and studly Leslie Neilsen was back then. Only complaint about the story is Roy's love interest, a rather threadbare, unlikeable woman who can't give him the time of day until he becomes a big shot -- if you're like me, you'll be hoping that he gives her the shove-off at the end. Beware -- you'll be whistling the theme tune for days after watching, it's that catchy. | 1,613 |
Tim Krabbe is the praised author of 'Het Gouden Ei', a novel that was put on the screen twice ('Spoorloos' and 'The Vanishing'). One of the Dutch writer's more recent works is 'De Grot', a psychological thriller about two totally different men, Egon and Axel, who meet at a youth camp and, surprising enough, become friends for dear life. Egon is a quiet, somewhat dull person, who spends his time studying and writing geography books. Axel, on the other hand, is a charismatic 'party-animal', a heavy drinking criminal whose everyday's concern is to get a woman into his bedroom. From the moment they meet, Axel has a strong influence on Egon, while the latter envies him because he has a good life without really doing anything (such as reading thick books like Egon); ultimately, Egon is even dragged by Egon into illegal practices himself, which leads to a fatal drug transport in a distant Asian country.<br /><br />After having read the book last year, I was surprised the critics were quite positive about it. In my opinion, the book suffers especially from the complex structure. While Krabbe presents the story as an absorbing portrait of an uncommon relationship between two people, the plot becomes more of a puzzle: the many episodes are not presented chronologically, so that two successive scenes are seldom in the same episode. Because of this, the story feels surprisingly remote: you often need to know a character's background to really care for him or her. Another complaint was the fact that the main characters, Egon and Axel, are a little stereotypical. Egon IS 'the' dull intellectual, while Axel IS his exact opposite. In real life, such one-dimensional people rarely exist; in books and films, they always seem to be there, taking away a lot of credibility.<br /><br />Despite all this, the film was a pleasant surprise, being much better than the book. The adaptation excels in its beautiful cinematography, humour and acting: Fedja van Huet (Egon) is one of the few Dutch actors who can make you forget he IS acting (which is, in my opinion, the highest an actor can achieve). The drawbacks of the film, however, are the same as the book's: mainly because the characters are one-dimensional, they are so predictable that it becomes annoying. Guess who wrote the script? Indeed, Krabbe himself. It is obvious that this talented director (that's what the movie makes clear anyway) is hampered by a deficient screenplay. Perhaps Koolhoven should just have chosen a better book.<br /><br />7/10 | I really wanted to like this movie a lot more than I did. That's because I love wacky foreign comedies--particularly the strange ones that catch you completely by surprise. However, although this one frequently caught me by surprise, these were almost never pleasant surprises. It reminded me of South Park in that nearly EVERY social norm was violated until the only ones left to broach were too sick to be funny. For example, after exploring adultery, drug abuse (of nearly every sort--ranging from pot, heroin, speed to glue sniffing), prostitution, S&M, suicide, murder, etc., the movie got to the hilarious(?) topic of pedophilia. Mom encouraged her one son (who looked about 12 years-old) to sleep with neighboring men. In fact, at one point in the movie she gives this boy to the dentist in lieu of payment for dental work! Funny?! You've got to be kidding. This movie just goes too far and delves into the "black hole of comedy". What should they make fun of next, cancer or rectal tumors? | 1,614 |
Paul Lukas played a Russian intellectual making his living as a waiter in<br /><br />"Grand Slam," directed by William Dieterle (1933). It is a surprisingly funny satire of the building up of celebrity. The waiter and the Russian restaurant's hat-check girl played by Loretta Young become America's sweethearts as bridge partners who do no squabble. With the aid of publicist and ghost-writer 'Speed' McCann (the wonderfully deadpan Frank McHugh) they become walking advertisements<br /><br />for the "Stanislavsky system," a "system" of bidding whatever one feels like<br /><br />(since bids are not rational, there is no basis for recriminations about their stupidity).<br /><br />A duel with displaced bridge guru Cedric Van Dorn (sounds close to Goren, no? and I suspect the choice of the character's name "Stanislavsky" was also a slam at another kind of system), a puffed-up charlatan played very well by Ferdinand Gottschalk, is broadcast on radio stations across America like a prize-fight by Roscoe Karns (another great fast-talking deadpan comic actor of the 1930s).<br /><br />The bridge players are even in a roped-off square, though the audience is<br /><br />above them, unlike in boxing "rings."<br /><br />The wide variety of American types prefigures the comedies of Preston Sturges, though for manufacturing celebrity, "Grand Slam" most calls to mind two better movies from the same (pre-Code) era with Lee Tracy playing fast-talking<br /><br />publicists: "The Half-Naked Truth" and "Bombshell," but "Grand Slam" has its<br /><br />moments, especially for anyone who has played bridge with serious point<br /><br />counters.<br /><br />Loretta Young was already a clothes horse. (To me, her face seems a bit long<br /><br />and horsey, too. Another era's notion of beauty, I guess...) The movie<br /><br />unfortunately all but drops Glenda Farrell, who plays McHugh's forgetful<br /><br />girlfriend. | 1st watched 12/26/2008 -(Dir-Eugene Levy): Corny comedy murder mystery with very few laughs. The movie appears to be based on an earlier Italian movie according to the credits but was re-written by two fairly popular American romantic comedy writers. But this one by Charles Shyer & Nancy Meyers does not cut it compared to their other efforts. The story is about a couple of down-and-out traveling Americans, played by Richard Lewis and Sean Young, who stumble upon a lost dog and hope to make a fortune in reward money after seeing an ad in the paper for the dachsund's return. Upon trying to return it, they see a hand sticking out of a garage door at the lady's residence that they believe is attached to the rest of the dead body of the woman who is supposed to give them the money. They freak out and instead of contacting the police and telling them the truth they make out like runaways from the scene expecting to be framed for the murder. The other characters in the film are met on a train prior to this and hang around a Monte Carlo gambling resort doing various things to be pulled into the story. The other cast members include character actors John Candy, James Belushi, Cybill Shepherd, George Hamilton and others. After the police find out about the death, they start questioning the main characters and, of course, they have to work thru their goofy lies to figure out what really happened. None of the character actors mentioned earlier can bring this movie out of it's mediocre state despite some funny moments mostly provided by the Belushi/Shepherd couple. This isn't a horrible movie, it just isn't that good. There are plenty of average movies out there and this is just another one for the pile. Try it, maybe you'll like it, probably you won't. | 1,615 |
This a Casper the Friendly Ghost short from my childhood, and I re-watch it on YouTube (Thank GOD! for You Tube); after that I love this short, and it is one of my favorite Casper shorts.<br /><br />I love how the short starts off spooky with Frank Gallop's haunting narration; until we get to see Casper sitting by his tombstone in the cemetery, reading. While every ghost rose from the graves to "boo" people, Casper decides to leave in search for a friend. But in trying to make a friend, anyone who sees Casper runs away. Poor Casper sat on a log and weep; until a little fox cub comes up an nuzzles him. Casper and the little fox quickly bond and he quickly names the cub Ferdie and considers him to be his very best friend. <br /><br />Casper and Ferdie's relationship is put in tremendous jeopardy however when Casper is not keeping a close eye on Ferdie while they are playing a game of Hide and Seek. While Ferdie is hiding a hunter and two of his hunting dogs come and try to kill little Ferdie and Ferdie is running as fast as possible until he is out of breath and starts panting. While the hunter is firing gunshots towards Ferdie Casper notices they are trying to kill him and flies in the hunter's direction and pleads that the hunter leaves Ferdie alone. And the hunter and dogs are terrified of Casper. Casper yells to Ferdie that the hunter and the dogs are gone and that everything is fine. But Casper sees Ferdie's body is not moving and asks if he is OK. When Casper sees Ferdie has died he starts mourning in pain because he lost "the only friend he ever had in his whole life." Casper returns back to the cemetery where he has buried Ferdie and has made a gravestone for him next to Casper's gravestone. Casper continues mourning in pain until he sees that Ferdie has resurrected as a ghost himself. Ferdie starts licking Casper on his cheek. Casper screams for joy because he has been reunited with Ferdie.<br /><br />Overall, it is a really good short; though surprisingly disturbing, showing death in a family-oriented cartoon. | Here we have a movie which fails in pretty much every way it is possible for a movie to fail. Terrible script, lousy acting, amateurish directing, laughable special effects...it's just an utterly awful movie. Not to mention the fact that when you get to the end you'll realize the whole thing doesn't make a lick of sense. After spending the whole movie wondering what in the world is going on here when things are finally explained you realize the story has been built on a foundation which is ludicrously impossible. In one of those hideous "villain explains the whole movie" sequences we are told that our villain has done something which quite simply can't be done and which makes absolutely no sense whatsoever. Oh, and after that we see that there also appears to be some kind of jell-o monster involved. I'm sure Drew Barrymore would very much like to pretend this movie never happened. If for some ungodly reason you are ever tempted to sit down and watch this movie may I suggest instead taking that time to bang your head against a wall for 104 minutes. That would prove to be a much more pleasurable experience than sitting through this garbage. | 1,616 |
Thanks to Warner Archive, I can once again see this mammoth variety show which throws in everything but the kitchen sink. (The bathtub, however is present.) This film gives screen time to every person who was under contract to Warners at the time. If some of the artists seem unfamiliar to some, it is because they were big in the silent days, and most faded with the popularity of the talkies. There are some truly remarkable artists from the vaudeville era as well. You will be most impressed with Winnie Lightner, who performs two numbers. Also there is that French star, Irene Bordoni who croons a love song in a sexy manner. Perhaps one of the biggest highlights is the two-strip Technicolor "Chinese Fantasy," which has been restored for this version. It is truly beautiful and it stars Myrna Loy and Nick Lucas. Finally, there is the massive "Lady Luck" finale which goes on for nearly a quarter of an hour. This is truly an epic of the early-talkie era. Any old-movie buff will love this. | No ,I'm not kidding. If they ever propose a movie idea, they should be kicked out of the studio. I'm serious. Their movies are exactly the same in every one, and they only consist of traveling to foreign locations, having a problem which they easily resolve, hoping to be popular, and getting new boyfriends. Think about it. If you have ever seen a movie starring them with a different plot, contact me and tell me its name. These "movies" are poor excuses to be on TV and go to other countries. There is a reason that the movies never go to theaters. I'm sure that when they were really young and made some O.K. movies, some studio boss bought all their rights for 15 years, or something, so that now that they're, what, 17, they can make movies in other countries whenever they want using the studio's money. Let me advise you, STAY AWAY FROM MARY-KATE AND ASHLEY! IT'S FOR YOUR OWN GOOD! | 1,617 |
If my expectations weren't exceeded, they were certainly met. "Nancy Drew" works both as a mystery and a comedy. It pays homage to the books it was based on and spoofs them at the same time. The movie starts with a close-up on a book shelf and an animated credit sequence resembling illustrations from the books. It then begins lampooning the books immediately. Writer/director Andrew Fleming seems to realize the idea of a teenage girl regularly breaking up crime rings in a small town is ridiculous, so he doesn't treat the idea religiously. He pokes fun at Nancy Drew's ability to do anything, such as ace every class in school, know which baked treat is perfect for converting any enemy to her side, make a bird house with twelve flying buttresses, and even perform an emergency tracheotomy at a party. Nancy'd always be in perfect style, if she were living in the wholesome 1950's instead of present day L.A. And she carries around a "sleuth kit" complete with fingerprinting dust, flashlight, compass, and magnifying glass. Preposterous, of course, but I seem to remember the Hardy Boys' access at any given moment to CSI equipment being a little too convenient as well. And if the perky pipsqueak private eye is a little younger than her literary counterpart, it's just more comedic exaggeration on the movie's part.<br /><br />The mystery of the movie is handled more seriously. Nancy and her lawyer father move from their small town to Los Angeles, where Nancy digs into a cold case involving the murder of a Hollywood movie star who lived in her new house decades ago. Nancy searches for clues in some pretty practical ways, such as surfing websites like Google and this one and watching old videotapes of the victim's movies. When she does something more out of the ordinary, you have to admire the girl's resourcefulness. Emma Roberts, an undeniably cute kid, plays the pint-sized amateur sleuth beautifully. She makes the too-perfect girl completely lovable, if not completely realistic. Tate Donovan is also great as the too-perfect girl's father, Carson Drew. He's an ideal father figure without being unrealistically perfect, and he shows reasonable concern for his daughter as she gets into danger. Less likable is Max Thierot's take on Ned Nickerson, Nancy's boyfriend. I much preferred George O'Hanlon Jr.'s portrayal in the 1970's TV series starring Pamela Sue Martin as Nancy Drew, in which Ned was a gawky, awkward kid with a little crush on Nancy. The character of Corky (Josh Flitty), a twelve-year old with a crush on Nancy, is much less annoying than Max Thierot's Ned. Amy Bruckner and Kay Panabaker seem appropriately cast as Nancy's gal pals Bess and George, but they only make brief cameos at the beginning of the film.<br /><br />Speaking of cameos, Chris Kattan (SNL), Eddie Jemison ("Ocean's 13"), and Bruce Willis all make surprise guest appearances, which just proves you never can guess which movie Bruce Willis will pop up in next.<br /><br />The movie does fail to live up to some potential. It's mentioned early on that the Drews' new house is heavily booby-trapped, but Nancy and her father are done with tripping over booby traps a few minutes after that. Also, Nancy describes the cold case she's about to investigate as a murder taking place at an extravagant party, which should yield plenty of potential murderers, but she only encounter a handful of suspects. And while there's some moments of real suspense during Nancy's adventures, the solution to the case comes out of nowhere, and in the end all possible plot threads are tied up too conveniently and who-cares-who-done-it. Ralph Sall's score adds to the movie's suspense, but the contemporary teenybopper songs woven into the soundtrack are lame. Still, I really enjoyed this film, and while the movie is aimed primarily at tween girls, people of any age and gender can enjoy it. | I still haven't gotten to see all of this; it's running on cable right now, and I seem to keep coming in on the middle of it. My main reason for being interested in it is that I'm a Bill Paxton fan; he's a pretty good actor, and has turned in consistently good work over the course of his career.<br /><br />The other thing is that, while never really a fan of the old series, I kinda liked Thunderbirds for the ships and effect work. Derek Meddings was quite possibly the best in the business during the sixties and seventies, and his designs for the International Rescue craft are wonderful. The current team has done a fine job of translating his work to the big screen.<br /><br />BUT...<br /><br />This is one lame story. The kids are asked to drive it, and while they do an okay job, it's hard to suspend your disbelief, especially when you have Brains' eight-year-old son flying T2, an enormous multi-ton transport with all the aerodynamics of a Buick. Everywhere you look, you see a Ford logo. Product placement is way over the top here, and it's annoying. Ben Kingsley does an good job as The Hood, but he can only do so much with a one-dimensional role. If you can accept the film on its very slim merits, Thunderbirds is a fun, enjoyable ride. Just don't look too closely at the machinery that drives it.<br /><br />ADDENDUM: I finally got to see all of this, and it's worse than I thought. The acting is fairly uniformly poor, and while the effects are fairly good, the story on multiple viewings has gotten cheesier. The overdone product placement for Ford is annoying, and the kids as central characters grate on my remaining nerves. As with The Avengers, if you ignore the source material, it's bearable. But not very. Watch the original show, and you'll see what I mean.<br /><br />And a word of advice to Jon Frakes. Take a refresher course at the Director's Guild. You can do better than this, old friend.<br /><br />Another footnote...<br /><br />I saw this again. Last night. On Telemundo. Dubbed in Spanish, with cheesy comedy sound effects. And yes, I came in roughly in the middle, with Ben, Ron and Sophia in their fight scene on Tracy Island. <br /><br />I didn't think it was possible for an already lame movie to be worse, but it was. It was embarrassingly bad. <br /><br />If this had been done straight, no kids-to-the-rescue, no tongue-in-cheek jokes, it might have worked. As it is, it's just another beloved childhood joy that's been ruined. | 1,618 |
When i was told of this movie i thought it would be another chick flick. I was wrong. This movie sends a powerful message about judging others. I was deeply moved. Everyone i have encountered, I have recommended this movie to. No one has come back saying it was bad. Busy, also did a great job with her role in this film. I don't know much about her acting career but wow, they way she pulled off the end of this fill was great.<br /><br />At the beginning it was a little slow. But after she went to the hospital....wow, the movie picks up again. i have no idea why this movie hasn't been spoken of in the movie world. My wish would be for this movie to be released again and advertised more...because it sends a powerful message in a mere hour and a half. | The problem is the role of the characters in the film. Man to Man shows a British anthropologist kidnapping two pygmies and taking them to Scotland and then realising that they are not animals or subhumans but actually equal to himself. The problem is the role of the pygmies in the film - two people who are kidnapped, treated like animals, and yet given such a shallow, stereotypical role within the film... The kidnapper (british anthropologist) ends up being the hero of the film because he 'manages' to relate to the pygmies... No notion of how the two hostages feel, of their point of view, of their ordeal... I find it is a shallow film, with a one sided fundamentally racist view... it never manages to move away from the 'white mans' view | 1,619 |
Rob Estes, Josie Bisset and a crap load of kids that look nothing like either of them.<br /><br />Basically, Rob and Josie have a shotgun wedding on a drunken night during a Vegas vacation. They each come home to find that their respective children already know of the nuptials due to tabloid-like not-so-fodder. They, Rob and Josie, move both of them and their eight kids into one or the other's house.<br /><br />Rob builds furniture, I think, which is close enough to Frank Lambert's (Patrick Duffy) construction job on the much similar Step by Step to warrant eternal mockage.<br /><br />Josie is some sort of cookie-making queen, though it doesn't look like she makes any of the cookies. Not close enough to Carol Foster's (Suzanne Somers)hairdressing job to warrant likeness mockage, but hilariously preposterous enough to warrant atrocity mockage.<br /><br />Unlike Step by Step, they were a couple before the vacation and actually knew one another's last names, or so one assumes if their serious enough about a relationship to take a trip together.<br /><br />Anyhow, there are eight kids; Moira, Sandy, Jeff, Lily, Daisy, Nathan, Andrew L. and Andrew B. I, personally, think they should've just called the younger Andrew 'Andy'.<br /><br />There's a lot of product placement, particularly for Soup at Hand (Which is disgusting) and Listerine Pocket Packs. There are also some stupid, senseless moments. It's also not a great film to promote happy families.<br /><br />But, hey! Rob Estes! This concludes my review of 'Step By Step... on some really bad drugs.' Watch it for Rob Estes and his pretty!eyes. There are some great pretty!eyes shots. | Sometimes I rest my head and think about the reasons why movies about killer sharks and/or crocodiles are still getting made these days. They've been making these lame "Jaws"-copies since the 70s, it's not like they're getting any more well-liked. The idea is still exactly the same. So we have an animal that starts murdering people. First it takes down some secondary characters, then it starts attacking the main characters, usually played by a couple of nobodies except for someone who used to be a bit more famous, who usually plays a specialist. One of the main characters usually dies before the others kill the animal somehow, usually with an explosion. Then, we usually get a last shot where we see that the animal is still alive, or has laid eggs, etc. etc. "Krocodylus" basically uses the same overused ideas, and does absolutely nothing to create even a tad bit of variation. Unless you count the fact that the "specialist" is a captain in this one variation, in that case your standards are pretty low. It's funny that he's played by Duncan Regehr though, he like totally used to be Zorro.Hell I'll give it a bonus point for that. | 1,620 |
I wouldn't go so far as to not recommend this movie, since the only problems I have with it are due to an overexposure to the plot devices used in the movie - the sort of things common to every kids movie ever made it seems. That doesn't make it bad, just not something I'd go far.<br /><br />It is a little saccharine, so I might say that for the most part anyone looking for something with a little more wit could be disappointed in an obviously for-kids movie like this.<br /><br />However, all of that goes out the window when that squirrel (the one in all the trailers) comes on-screen. His time is limited, but it seems apparent that the decision makers had the wisdom to tell these guys 'hey, could you stick in a little more squirrel?' every time it's getting intolerably dull. That doesn't save the movie, but you can leave saying 'at least there was one aspect where I couldn't stop laughing.'<br /><br />And of course, visually it won't disappoint, but that's almost a given with Pixar flicks. Of all of their stuff, I'd put this at the bottom...but that isn't in itself bad. | A group of models is seeking an apartment to live in, and are shown one by a local real estate agent. Unknown to the models and the agent, however, is that "hell's threshold" is in the apartment and when crossed, the demon "Dethman" is summoned to kill all those in his path. The story is told by Sam Bishop, a journalist who was accused of the murders.<br /><br />Although I am a champion of low budget, microbudget, and independent films, I cannot praise this movie. The creators take pride in their 24-hour shooting schedule and at least one actor boasts on the DVD of his acting prowess, but I cannot wrap my head around this. Why make a film in 24 hours if an extra one or two hours of editing would make all the difference? And why pride yourself on acting that is poor, nonsensical and results in the bad delivery of a handful of lines?<br /><br />Through much of the film, the models are being shown parts of an apartment by a real estate agent. The dialog is clearly ad-libbed because no scriptwriter could come up with such empty diction. The agent, also, clearly knows nothing about housing... she focuses on aspects of a home that no one could care about, incorrectly explains the heat source (didn't she see the radiator?) and says the vermin problem will be solved when they call "the terminator". Please, write a script -- some deviation is fine, but this was a mess.<br /><br />And why were the girls moving in models? Their careers had no point in the plot, and this seems like a forced situation. At one point, an actress breaks character and says something to the effect of "dude, they're going to be (upset)" which sounded more natural than any other line, though out of place because of the other bad dialog.<br /><br />The demon made no sense. I appreciated the attempt to explain how "hell's threshold" jumps to random places on Earth (including apartment fireplaces), but why not explain where the demon came from? His background involves a man whose love is killed by another man. How does this make you a demon? (Also, why did we need all these Victorian flashbacks with no dialog and glances across a field? It was overdone.)<br /><br />The dramatic pauses between lines was awful. The Sam Bishop character was by far the worst, with the interviewer not far behind. Does every question require a pause, a funny face and a response... followed by a pause, a funny face and a response? I was so frustrated. To me, the only point was to drag the time out... but I'd rather have thirty minutes of good delivery than an hour of horrible delivery (and then more time is wasted by rolling through the same credits twice).<br /><br />Who was the Sam Bishop character, anyway? Allegedly he "saw" all this and was accused of killing the girls, but yet at no point was he ever in the part of the tale with the girls. So how did he see them? And if he didn't, how did he know Dethman killed them? And if he didn't see Dethman, how does he know Dethman is the spirit of Apostoles? I was so lost... was there even an outline for a plot when this was written? <br /><br />The only part I found enjoyable in this movie was a scene with one of the models in the bathroom. Not that it was really important or anything, but it was the only break from boredom I was given. I wonder what director Felix Diaz was thinking. His music is very good (see the DVD behind the scenes for his impromptu playing), but I wonder about his movie making skills. Although, by far the best part of the DVD was the trailer for his "Superhero Excelsior" (the trailer alone was better than this entire waste of time).<br /><br />I am sorry I have to be so harsh. I'd like to think that this movie was a test of what can be done in 24 hours or maybe just an experiment for fun and the idea was never to make a quality film. But if "Superhero Excelsior" is any indication, Diaz can make quality... so why did he choose to avoid that here? Perhaps the world will never know. | 1,621 |
I sat down to watch this film with much trepidation and little hope. I didn't think it would be possible for this film to live up to its subject matter. But it absolutely did, and then some. First, I must say that Jared Harris did an extraordinary job as John Lennon. At times it seemed that Harris was channeling Lennon. The resemblance was often uncanny, and he clearly studied Lennon's mannerisms and vocal inflections. Aiden Quinn was quite good as McCartney, also bearing a striking resemblance to Macca, although he did occasionally trip over his Scouse accent.<br /><br />This work of fiction was well-written and well-directed. It was pure fantasy, of course, but sometimes I felt like a voyeur peeking through a keyhole at this reunion. The rooftop scene was especially moving, as McCartney told Lennon what he had never heard as a child--that he was worthy and important, and it could never be his fault that he was abandoned by his parents. I also enjoyed the scene in the park where the pair of them danced with absolute abandon to the reggae band!<br /><br />My one complaint would be this: I am not so sure that John was as caustic as he was portrayed in the film at this stage in his life. He had settled in to his domestic situation quite nicely, and he was actually known to be quite friendly when approached by fans. Only a few years later, he was very friendly when he was first approached by his assassin for an autograph on the day he was murdered.<br /><br />Mostly this film served to stir up those feelings again about what might have been had John lived a bit longer. I am quite sure the Beatles would have come back together at some stage. And I am quite certain that Lennon and McCartney would still be friends today.<br /><br />Well done, VH1. I will watch it again and again.<br /><br /> | There seems to be little in the way of middle ground where Watch On the Rhine is concerned. One either likes it very much, applauding its sincerity, its liberal point of view and fine acting, or else loathes its obvious propaganda, mediocre dialogue, cardboard characters and overall tendentiousness. I fall very much in the latter category, and found the film and play,--concerning the activities of European refugees in Washington during wartime--a crushing bore, worthwhile mostly for the acting, and even then only intermittently. That author Lillian Hellman was on the side of the angels is irrelevant. Her plays were written for people who shared her point of view, and she seldom explored ideas that weren't already held by the author and audience except to point out how dreadful the "other side" is. Even when I find myself in one hundred percent agreement with what she has to say,--as in Rhine--I still can't stand the way she says it. Her characters are unreal, and while her ear for dialogue shows a certain facility for the way people talk she possesses no real brilliance or originality. She really had nothing new to say. I thoroughly agree with the late Mary McCarthy's long overdue dismantling of Hellman reputation some years ago. For those who think the theatre is dead or in extremis and yearn for the good old days, I urge a peek at Watch On the Rhine, as bad in its way as Angels In America, which only goes to show that the theatre had one foot in the grave sixty years ago. | 1,622 |
Stage adaptations often have a major fault. They often come out looking like a film camera was simply placed on the stage (Such as "Night Mother"). Sidney Lumet's direction keeps the film alive, which is especially difficult since the picture offered him no real challenge. Still, it's nice to look at for what it is. The chemistry between Michael Caine and Christopher Reeve is quite brilliant. The dynamics of their relationship are surprising. Caine is fantastic as always, and Reeve gets one of his few chances to really act.<br /><br />I confess that I've never seen Ira Levin's play, but I hear that Jay Presson Allen's adaptation is faithful. The script is incredibly convoluted, and keeps you guessing. "Deathtrap" is an enormously entertaining film, and is recommended for nearly all fans of stage and screen.<br /><br />7.4 out of 10 | They're showing this on some off-network. It's well crap. While it is not as bad as the B-movies they show on the Sci-fi network on Saturdays but still a fairly large pile of crap. The acting is passable. The plot and writing are fairly sub-standard and the pacing is entirely too slow. Every minute of the movie feels like the part of the movie where they're wrapping things up before the credits - not the peak of the movie, the denouement. Also, large portions of the cast look way to old for the age range they're playing. The whole thing is predictable, boring and not worthy of being watched. Save your time. It's not even worth the time it takes to watch it for free. | 1,623 |
"Anchors Aweigh" is the product of the classic MGM musical production unit, and on the whole the film is every enjoyable good music by Jule Styne and others, excellent dancing by Gene Kelly (and even a passable job by Frank Sinatra), and a funny well-paced script. The only major element I would criticize would be the casting of Kathryn Grayson, whose presence in a film always means the audience will be subjected to endless pseudo-operatic warbling from the petite Miss.<br /><br />Kelly plays a naval serviceman named Joseph Brady, a man with a mythic reputation around the ship as a lover but whose Valentino-charms are constantly being subdued by the presence of his less cocksure friend with the improbable middle-American name of Clarence (Sinatra). Upon receiving 3 days of shore leave for saving Clarence's life, Joe reluctantly agrees to help Clarence find a girl based on the dubious premise that he owes him something for saving his life. They are drafted by a policeman (Rags Ragland), who needs them to help coax a precocious young boy (Dean Stockwell) who wants to join the Navy into returning home to "Aunt Susan" (Grayson). At first it is Clarence who is interested in wooing "Aunt Susan" but eventually Kelly's character emerges as the more likely candidate.<br /><br />There are several standout musical scenes but nothing to come close to Kelly's more famous work in films like "Singin' in the Rain" and "American in Paris". The closest we get is a gimmicky sequence with Kelly's character in a fantasy sequence dancing with Jerry, the mouse from "Tom and Jerry" (although he seems to be closer in size to a dog or cat here than to a mouse). It's a startling sequence for its time but doesn't have enough complexity or emotion to really stand the test of time. I actually enjoyed the parts of the sequence that took place prior to the animation, where Kelly was using semi-balletic moves to emphasize the transition into the fantasy world and where we see him dance down a tunnel that looks like something right out of "Alice in Wonderland".<br /><br />Eventually the characters find their way to Susan's favorite bar, a somewhat sanitized Mexican restaurant/bar in Tijuana. There the patrons happily allow Ms. Grayson to chirp her arias with abandon, and the management becomes very excited at the opportunity that Clarence and Joe have extended for her to sing with their "friend" Jose Iturbi (playing himself with a light humorous touch). Of course they've never met their "friend" Iturbi and they spend much of the film's length trying to reach him (in an amusing scene Sinatra's character meets Iturbi but mistakes him for a piano tuner and urges him to abandon tuning pianos and try a professional career), sneaking into the studio and the Hollywood Bowl, where Iturbi is rehearsing a surreal symphony comprised of dozens of young piano players you haven't seen anything like this outside of "1000 Fingers of Dr. T". Iturbi himself is a kind of a god-figure in the story he represents the opportunity for salvation from the drudgery of unfulfilling work and the possibility for fame and artistic achievement for the heroine. Everyone is 100% sure that as soon as Mr. Iturbi so much as hears Ms. Grayson, her operatic career will be a reality. The 3 primary characters are desperate to reach him and they think of him as some kind of remote and distant mythological figure a lot of the film's charm and humor comes from the contrast of this perception to the very down-to-earth "real" mannerisms of the maestro. And speaking of Iturbi's contributions to the film, he also provides a very stimulating musical moment with his orchestral interpretation of "Donkey Serenade".<br /><br />When all is said and done, this is a film that nobody who enjoys musicals will want to miss. The majority of the music was written for this film, a nice contrast to recycled soundtracks for other Kelly opuses like "Rain" and "American". Kelly is still at his early peak, adventurous and boisterous in both his dances and his interpretation of the character. Sinatra's voice was never in better form and he rarely had better songs to sing. Stockwell is a charming addition to the clan, and Grayson's character is endearing when she isn't posturing on stage. Iturbi adds that well-grounded but sophisticated tone that perfectly matches the atmosphere and style of the classic-era MGM musical. This is one of the better ones. | The plot is about a female nurse, named Anna, is caught in the middle of a world-wide chaos as flesh-eating zombies begin rising up and taking over the world and attacking the living. She escapes into the streets and is rescued by a black police officer. So far, so good! I usually enjoy horror movies, but this piece of film doesn't deserve to be called horror. It's not even thrilling, just ridiculous.Even "the Flintstones" or "Kukla, Fran and Ollie" will give you more excitement. It's like watching a bunch of bloodthirsty drunkards not being able to get into a shopping mall to by more liquor. The heroes who has locked themselves in, inside the shopping-mall to avoid being eaten by the hoodlums outside, are not better either. Even though they doesn't seem to be drunk, they give the impression of being mentally disabled. Save your money instead of spending it on this! | 1,624 |
A must see for anyone who loves photography. stunning and breathtaking,leaves you in ore. seen it twice once in a cinema and now on DVD. it holds up well on DVD but on the big screen this was something else.<br /><br />Took my two daughters to see this and they loved it, my oldest cried at the end.but she was the one who wanted to see it again tonight when she saw it at the video shop. its simple telling of a child's love for nature and in particular a fox is told well. in some ways it reminded me of the bear in its telling a story not documentary formate. which works for children very well. not being preached to is very important, you make your own mind up.<br /><br />But the star of this film is the cinematographers, how did they do what they did. amazing just amazing. | Hey everyone...<br /><br />There really isn't much to say for this movie at all. The basic plot is that a guy (Brandon) takes a few friends on a trip to his cabin in the woods for a weekend holiday away from work. After picking up a girl on the way there, things start going badly wrong for all of them.<br /><br />The storyline alone (written by the actor playing Brandon, I believe, although I could be wrong here) is unlikely and unconvincing, and is acted out accordingly. The "Clown Killer" himself is a rather a sad excuse for a psychotic killer. Far from being a dark, mysterious but most of all, intelligent predator, we are instead offered a rather clumsy, nursery rhyme-singing buffoon who appears to be going through a minor mid life crisis. The only thing that warranted the writing of this comment were the sex scenes and whatever gore there was in the film (the quality of the film led me to derive some enjoyment out of such things).<br /><br />In short, this film falls below every possible set standard. Admittedly, I was sharing a few beers with a close friend as I watched this, so we managed to scrape together some relative entertainment value out of this film and it is therefore only fair to mention that S.I.C.K did fall just shy of a two rating. However, in reality, (and with the benefit of hindsight) the one star rating is a more than legitimate score for this film.<br /><br />1 star out of ten. | 1,625 |
When I first saw this movie I was with my dad. He encouraged me to watch this movie because it was one of his favorites. After watching the movie it instantly became one of my favorites. <br /><br />A River Runs Through It is about two brothers who each take a different path in life. Norman Maclean (Craig Sheffer) is the older of the two brothers and he is set on the path of education. Paul Maclean (Brad Pitt) is the rebellious younger brother who travels on a path full of obstacles. The movie follows these characters as the each follow their own path.<br /><br />There is no downside to this movie. You will be entertained the whole way through. The acting, directing, and script is all perfect. The two things that are exceptional are the cinematography and the score. Both of which entrap you in the world Robert Redford creates for you. <br /><br />This is an all around great movie that is destined to be a classic. It sure is in my book. If you haven't seen this movie definitely watch it as soon as you can because it will stay with you forever. | Black guy becomes rich white guy, and rich white guy seems to embrace hip-hop culture, and most of the "funny" moments of this film play off of this. The problem I have is that it doesn't work and almost never works.<br /><br />OK, so no one would expect Lance to grab a body like that and suddenly start acting like Charles Wellington. That would be too much to ask. I'll grant that. But at the same time, it goes too far the other direction. I'm supposed to imagine a rich white guy singing rap and completely upending things, playing like he's a bastion of hip-hop culture, and people just *accept* him? And what about Sontee, who falls in love with him *as a rich white guy*, even though she doesn't care about his money or power? This is so completely unbelievable it's not even funny.<br /><br />I just couldn't suspend disbelief and I couldn't finish the movie. I added one extra star because it did make me laugh, even hard, a couple of times. But I just couldn't get get past the whole "white guy doing hip hop" thing that has never been well done in any movie I've ever seen that tries it. This was no exception. | 1,626 |
Both Robert Duvall and Glenn Close played their roles with such believability, I simply cried. Glenn Close's role as Ruth, showed her wanting to deal with the situation, but she was under the domination of her husband. "Let him think about what he did," Robert Duvall's character, Joe, said staunchly. The story depicted a rural family dealing with an accidental death of a son by his brother, called "The Stone Boy," meaning he was so distraught and overwhelmed by what he did, he became emotionally paralyzed. Then towards the end when Jason Presson's character, Arnold, let it all out to a stranger, I was so broken hearted for him, that I actually thought of some of the terrible things that I did in my life. I personalized and identified with his character. Frederick Forrest's and Gail Youngs' roles, did NOT add not much to the film. I thought of Frederick Forrest, who played Ruth's antagonistic, womanizing brother, Andy, as a jerk who did nothing to try to help the situation. His wife, Lou, played by Gail Youngs, acted like a crazy-lady smacking Arnold around out of frustration with her own problems without pity and blaming him for her troubles. I could NOT really feel sorry for these two. Though Lou tried to keep her marriage together, she was unsuccessful. Both did NOT deal with their problems effectively. They really did NOTHING for the film and were totally ridiculous. Wilfred Brimley's minor role as the grandfather was, touching for he was the only character that showed Arnold any attention. I felt his role should have been elaborated. The players were just doing what they felt was adequate and sufficient. However, I really liked the ending so much, I actually smiled and cried tears of joy. I felt good. The Hillermans were a family again. I actually wanted to be a part of this family. They were so realistic. | I read Tom Robbins' EVEN COWGIRLS GET THE BLUES as a teenager. I loved every word. It was sexy, funny, and full of glamorous scenery and beautiful writing. But when I saw the movie, I could not believe what a dull, sour, joyless piece of junk it was. How did this happen? I think someone in Hollywood read this book and filed it under "GAY PRIDE -- WOMEN -- LESBIANS." (That's the Library of Congress subject heading.) Now anyone over 12 who reads the book will know it has NOTHING TO DO with real lesbians, any more than STAR WARS is about real space travel. The book was obviously -- and I do mean OBVIOUSLY --written by a heterosexual male who loves the IDEA of lesbians (in the nude, all the time)but has never really met one.<br /><br />Still, someone in Hollywood said, "uh oh, better give this to a Gay director or Gay People will make trouble." So they handed it to Gus Van Sant. Nothing against the man, but -- however Gay he may really be -- he has not a clue as to how to make a funny film. Gus Van Sant took a straight man's playful fantasy of guilt-free girl/girl action and male voyeurism turned it into a dull, literal-minded Lesbian Power Recruiting Poster. It's like turning an Oscar Wilde comedy into an Arthur Miller tragedy. Not pretty.<br /><br />The main clue that Gus Van Sant had absolutely no idea what to do with the source material is the riotously bad casting. His clout allowed him to hire the very best. His ignorance of the novel's real subtext (a straight man's fantasy, not a gay pride recruiting poster)caused him to make choices that were not only bad, but bizarre.<br /><br />Let's meet the cast of EVEN COWGIRLS GET THE BLUES.<br /><br />PAT MORITA as "THE CHINK" Okay, there are few name-recognition Asian actors. And Pat Morita, in HAPPY DAYS, was fairly funny. But casting him as THE CHINK was wrong, wrong, wrong. Pat Morita has no idea that the Chink is a very funny man. (Gus didn't tell him.) Pat also doesn't seem to know that the Chink is . . . well, SEXY!!! In the book he's not wise old Mr. Miyagi. He's more like Hugh Hefner! He's a randy old goat and he knows A LOT about pleasing the nubile and responsive Sissy AND Bonanza Jellybean. (You see, in the book, they aren't REALLY lesbians. Do you get that this is a straight man's fantasy yet?) <br /><br />JOHN HURT as "THE COUNTESS." Okay, he's a gay friendly man. But he is a SERIOUS, SHAKESPEAREAN ACTOR!!!! You need someone who is fun, and camp, for this role. For John Hurt to be cast as a goofy guy like the Countess is tragic and sad. I kept expecting Paul Scofield to wander in all dressed up as Thomas More, and sadly shake his head. "Now, Richard, you know you've lost your soul entirely. For shame, my former student!" And yes, John Hurt was funny (and pretty gay) as Caligula. But that was BLACK humor, not playful and breezy humor like the book.<br /><br />RAIN PHOENIX as "Bonanza Jellybean." No talent, no training, no problem. Except that in the book Bonanza is funny, playful, cheerful, (mostly) heterosexual, and loving. In the movie she's sullen, passive, expressionless, and dull. As for her taste for women, Robbins in the book puts it like this. "God knows I love women, but nothing can take the place of a man that fits." Uh, Gus? Did you read this book? <br /><br />UMA THURMAN as "Sissy Hankshaw." This is a tough role. In the book Sissy really is an unusually passive and timid heroine. Still, a more accomplished actress might have manufactured a twinkle in her eye, or a sway in her walk, to imply some sort of hidden strength or hidden enjoyment of her adventures. Uma doesn't pull it off, probably because Gus never told her Sissy is supposed to ENJOY being a hitch hiker with a beautiful body and giant thumbs. Uma plays it more like she's in a TV movie about a girl dying of leukemia. <br /><br />This movie is sour and dull. And I accuse YOU, Gus Van Sant! | 1,627 |
This is one of the finest films to come out of Hong Kong's 'New Wave' that began with Tsui Hark's "ZU: Warriors of Magic Mountain". Tsui set a tone for the New Wave's approach to the martial arts film that pretty much all the directors of the New Wave (Jackie Chan, Sammo Hung, Wong Jing, Ching Siu Tung, etc.) accepted from then on as a given; namely, the approach to such films thenceforth would need more than a touch of irony, if not outright comedy. "Burning Paradise" put a stop to all that, and with a vengeance.<br /><br />It's not that there isn't humor here; but it is a purely human humor, as with the aged Buddhist priest at the beginning who somehow manages a quick feel of the nubile young prostitute while hiding in a bundle of straw. But this is just as humans are, not even Buddhist priests can be saints all the time.<br /><br />When irony is at last introduced into the film, it is the nastiest possible, emanating from the 'abbot' of Red Lotus Temple, who is a study in pure nihilism such as has never been recorded on film before. He is the very incarnation of Milton's Satan from "Paradise Lost": "Better to rule in Hell than serve in heaven!" And if he can't get to Satan's hell soon enough, he'll turn the world around him into a living hell he can rule.<br /><br />That's the motif underscoring the brutal violence of much of the imagery here: It's not that the Abbot just wants to kill people; he wants them to despair, to feel utterly hopeless, to accept his nihilism as all-encompassing reality. Thus there's a definite sense pervading the Red Temple scenes that there just might not be any other reality outside of the Temple itself - it has become all there is to the universe, and the Abbot, claiming mastery of infinite power, is in charge.<br /><br />Of course, fortunately, the film doesn't end there. Though there are losses, the human will to be just ordinarily human at last prevails. (If you want to know how, see the film!) Yet there is no doubt that, in viewing this film, we visit hell. Hopefully, we do not witness our own afterlives; but we certainly feel chastened by the experience - and somehow better for it over all. | This was a truly insipid film. The performances are third rate, and the dialogue is so stilted that at times it seemed to have just rolled over and died. My reason for renting this was simple: Find a movie with scriptwriting. I needed a visual aid for my presentation, so I figured why not use a clip? Boy was I wrong. After searching my local video store, I came upon this, where it was suspiciously titled "Starstruck". I thought, "What the hey", and decided to give it a try. Well, I was very unhappy with my results. There was maybe one scene I could use, and meanwhile, I was practically falling asleep because of the sheer banality of the flick. So.....I took this back and picked up Ed Wood. There's a movie I can use as an example. Then again, anything would be presentable compared to the drivel that is "Starfucker". | 1,628 |
This movie is the first of the six infamous Guinea Pig Movies and is one of the best. At the same time, it looks realistic and unrealistic, just knowing that the movie is fake. The story is about a woman who got captured and is tortured in a lot of different ways. A man in the beginning of the story receives a letter without a return address, and it includes a manga video, showing the torture. The men who capture her are testing the limits of a human before they die. Some scenes are shocking, such as the eyeball scene and others are not shocking like the girl being punched 100 times, because you see punches in nearly every movie. This movie has a lot of gore so I would recommend this to people 17 or older.<br /><br />9/10 | This movie was amazingly bad. I don't think I've ever seen a movie where every attempt at humor failed as miserably. Let's see...the acting was pathetic, the "special effects" where horrible, the plot non-existant...that pretty much sums up this movie.<br /><br /> | 1,629 |
This is a very rare film and probably the least known from Shirley Temple as it isn't on any of her collections.The reason why is probably because it doesn't have a happy ending,unlike all her other films.Its also not a musical,although she does belt out one song called' The world owes me a living'.The film was made in 1934 and originally in black and white,the version i have is in colour and on VHS,i would say they have done a fine job as the colour does look realistic,unlike i would say the colourised films of Laurel And Hardy which are dreadful.The film is good for its age and the story hasn't dated at all,I'm surprised no one has tried to do a remake.At times the film is a little bit to talky as some of the scenes with Gary Cooper and Carole Lombard seem really dragged out, in some scenes they seem to take fifteen minutes to say what they could have said in five.Although don't be put off by this because this film does have some genuinely good moments in it,especially when {Jerry}Gary Cooper steals a necklace,and hides it in Shirley's teddy bear.The tension and slow build up to his actions,{while at the same time his daughter is singing to an audience in another room}is very well directed.Gary and Caroles edgy facial expressions when they are put under scrutiny are also very good.In all this is a good film from the early 30's,accept it for its age. | Everybody knows that Gregory Widen's original "The Prophecy" didn't really require a sequel, but you also don't need a degree in rocket science hanging above your chimney to realize that further cash-ins on this profitable horror concept were inevitable. Part two is a very prototypic example of a straight-to-video sequel, meaning the creative and convoluted plot of the original has been simplified a lot in favor of more action, more witty one-liners and a lot more eerie religious scenery. The only good news is that the producers managed to keep Christopher Walken for the role of Gabriel, and he delivers another gloriously brazen performance that promptly justifies the price of a rental. If it wasn't for Walken's performance (and perhaps a couple of players in the supportive cast like Brittany Murphy and Glenn Danzig), "The Prophecy II" surely would have disappeared into oblivion straight after its release. The movie begins with Gabriel literally getting spat out of hell to proceed with his ongoing War of Heaven here on earth. The purpose of his battle this time is to prevent the baby of nurse Valerie Rosales (Jennifer Beals) from getting born. For you see, her unborn child is the first ever hybrid between a heavenly angel and an earthly "monkey" and the birth of such a superior being would imply the downfall of Gabriel's evil dominion. Thus, just as in the first movie, he engages a suicidal accomplice to assist him and hunts Valerie all the way down to the Eden for the final showdown. "The Prophecy II" is an endurable and occasionally even entertaining movie as long as you don't make comparisons with the original and as long as you manage to overlook the multiple plot holes and errors in continuity. Whenever the storyline becomes too tedious, the makers luckily enough always insert a near-brilliant Christopher Walken moment to distract you. His interactions with the rebellious Izzy and particularly his ignorance regarding modern earthly technologies often result in worthwhile and memorable sequences. On a slightly off-topic note, I often felt like "The Prophecy II" ambitions to look similar to "Terminator II"
Gabriel's resurrection looked somewhat like the teleportation of a futuristic cyborg and the Eden location, where the final battle takes place, looks very similar to the steel factory where "Terminator II" ended as well. Coincidence, I guess? Overall, this is an inferior and passable sequel but still worth checking out in case you're a fan of Christopher Walken's unique acting charisma (and who isn't?). | 1,630 |
I have seen this movie. This movie is the best according today's need. Dowry in marriages is the major problem nowadays. In stating this problem this movie is the best. In this movie, the Indian values are stated very well. Today's youth must understand this problem. There is less population of girls. And due to this problem of dowry , the girls committed suicide. If this problem continues, then the day when there is no girl child, is not far away.So, keep in mind this statement ,today's youth must understand that we can not take dowry in marriages.We have to learn from this movie that the dowry should not be taken.And if we understand this problem then we can see the new trend in the society. This is the major change in the society. | Somewhere, on this site, someone wrote that to get the best version of the works of Jane Austen, one should simply read them. I agree with that. However, we love adaptations of great literature and the current writers' strike brings to mind that without good writers, it's hard for actors to bring their roles to life. The current version of Jane Austen's PERSUASION shows us what happens when you don't have a good foundation in a well-written adaptation. This version does not compare to the 1995 version with Amanda Root and Ciaran Hinds, which was well acted and kept the essence of the era and the constraints on the characters (with the exception of the bizarre parade & kissing in the street scene in Bath). The 2007 version shows a twitty Anne who seems angst-ridden. The other characters were not very developed which is a crime, considering how Austen could paint such wonderful characters with some carefully chosen understatements. The sequence of events that made sense in the novel were completely tossed about, and Mrs. Smith, Anne's bedridden and impoverished schoolmate is walking around in Bath - - twittering away, as many of the characters seemed to do. The strength of character and the intelligence of Captain Wentworth, which caused Anne to love him in the first place, didn't seem to be written into the Rupert Penry-Jones' Wentworth. Ciaran Hinds had more substance and was able to convey so much more with a look, than P-J was able to do with his poses. All in all, the 2007 version was a disappointment. It seemed to reduce the novel into a hand- wringing, costumed melodrama of debatable worth. If they wanted to bring our modern emotional extravagances into Austen's work, they should have done what they do with adaptations of Shakespeare: adapt it to the present. At least "Bride & Prejudice" was taken out of the historical & locational settings and was fun to watch, as was "Clueless". This wasn't PERSUASION, but they didn't know what else to call it. | 1,631 |
Who knew they could be so funny?? Christopher Meloni and Janel Moloney are known more for their outstanding work in some of television's hottest dramas. ("Law & Order: SVU" and "The West Wing") Put them together on the big screen and what you get is an engaging romantic comedy with plenty of laughs.<br /><br />The actors develop the story's ongoing relationship with impressive skill, leaving the audience bound to fall in love with Barry Singer (Meloni), despite the fact he's a standup comic who also happens to be a mean-spirited, sexist jerk.<br /><br />You'll be rooting for him even as he takes all his insecurities with the opposite sex and chases Thea (Moloney) halfway around the country in hopes of winning her heart. They have so little in common...but when Barry finally opens his heart, you'll wonder why Thea keeps running away.<br /><br />The Souler Opposite is a wonderful movie with an incredible cast and a gifted writer. Well worth your time.<br /><br /> | Back (again) in Scotland, Lassie is (again) on trial for her life. Because the faithful dog sleeps on her master's grave, she must be put to death, according to law. Oddly, it is also explained that Lassie had no "legal" owner, which is, apparently, also against an old Scottish law. If, after three days, no owner is located, dogs must be destroyed. Edmund Gwenn (as John Traill) pleads Lassie's case, which leads to an extended flashback, showing Lassie's adoption by Donald Crisp (as John "Jock" Gray).<br /><br />Although it's based on an interesting, original story ("Greyfriars Bobby"), "Challenge to Lassie" revisits several earlier Lassie situations; and, it does not improve upon them. Comparatively speaking, this one is sloppy and unexciting; and, it's a disappointing follow-up to "The Sun Comes Up" (1949) *******. Geraldine Brooks (as Susan Brown) and several of the other performers may be charming, but can't elevate this one. Little Jimmy Hawkins (from "It's a Wonderful life") is among the notable children supporting Lassie; much later, he will grow up to marry "Dark Shadows"' bewitching "Angelique" (Lara Parker). | 1,632 |
Erich Rohmer's "L'Anglaise et le duc" makes a perfect companion piece to Peter Watkins' "La Commune (Paris 1871)." Both films -screened at this year's Toronto International Film Festival- ironically illustrate how history is shaped to by the tellers of the tale. Ironic, given the tragic events that were taking place in the U.S. during the festival.<br /><br />Set in Paris during the French Revolution, the movie, based on Grace Elliott's (Lucy Russell) "Memoirs," is a first-hand account of how she survived those heady but dangerous days. She also details her relationship with The Duke of Orleans (played by Jean-Claude Dreyfus), who, in contrast to herself, is a supporter of the Revolution.<br /><br />True to form, you don't know whose side of history Rohmer is going to come down on. One of the earliest of the French "New Wave" filmmakers, Rohmer has often been criticized for being too conservative. After all, in the midst of the rebelling-youth-Viet-Nam days of the late 60s and 70s, he was filming romantic little confections like "Claire's Knee." But don't sell the old boy short, folks, he's always been a student of human nature, not an ideologue, and "L'Anglaise et le duc" continues to bear this out.<br /><br />Rohmer's characters are never the "bad guys" nor the "good guys'; they are first and foremost human beings who are capable of exhibiting a full range of human potentialities -and limitations. That's why his movies are always provocative, and this film is no exception.<br /><br />Now for the technological nuts and bolts.<br /><br />Rohmer, though making his way into his 80s, is still on the cutting-edge of cinematic innovation. The look of "L'Anglaise" is like something you've never seen before. You guessed it, the old guy -like several of the festival's directors this year- has gone digital.<br /><br />All of the movie's exterior scenes look as though they are taking place in their original 1780s Parisian settings. As a matter of fact, you may get so distracted from marveling at the authenticity of the film's look you may have to go back for a second screening to catch the subtleties of the film's psychological -and yes, I'll say it- political insights.<br /><br />Toronto features some of the world's edgiest young filmmakers this year, as well as some of the world's oldest. And the old masters are standing there on cinema's cutting-edges right alongside the young ones.<br /><br />Long live youth. Long live old age. And long live Erich Rohmer.<br /><br /> | The Vampire Bat is set in the small German village of Klineschloss where Gustave Schoen (Lionel Belmore) the Burgermeister is holding a meeting with Inspector Karl Brettschneider (Melvyn Douglas) from the local constabulary about all the recent murders, six victims have been discovered in as many weeks all drained of blood & bearing the same two puncture wounds on their necks. Brettschneider doesn't have a single clue but the superstitious elders of the village believe the deaths to be the work of a Vampire. Brettschneider isn't convinced but the scared villagers keep telling tales of seeing a large Bat, meanwhile the latest victim Martha Mueller (Rita Carlyle) has been found. Brettschneider comes under increasing pressure to solve the murders but can he really believe that a giant Vampire Bat is responsible & if it is how's he going to stop it?<br /><br />Directed by Frank R. Strayer The Vampire Bat was a cheapie from Majestic Pictures to cash in on the success of it's two stars Atwill & Wray & their success in the previous years Doctor X (1932) & is more of a murder mystery rather than a horror as the exploitative & enticing title may have lead you to believe & quite frankly it's rather dull. The script by Edward T. Lowe Jr. takes itself rather seriously & sets up the basic story that something is killing local villagers & that something could possibly be a Vampire, then for most of it's duration the film focuses on Brettschneider & his incompetent investigations which are, not to put too fine a point on it, boring. The Vampire Bat also has a bit of an identity crisis as it doesn't quite know what it wants to be, the title would suggest a horror film while the majority of it could easily be described as a thriller with the final few minutes descending into silly sci-fi. There is no Vampire Bat, the attempts to fool you are pathetic, all the character's are broad stereotypes & you can tell the villain of the piece straight away & as a whole there is nothing particularly exciting or entertaining about The Vampire Bat. I know it's old but that's not an excuse as cinema has moved on a lot since 1933 & a bland, flat, dull, boring & misleading film such as The Vampire Bat just doesn't cut it these days, just look at the original King Kong (1933) released the same year & how brilliantly that still holds up today. I didn't like it & I doubt many modern film-goers would either, it's as simple & straight forward as that.<br /><br />Director Strayer doesn't do anything special but this is a case in point where I can cut the film some slack because of it's age, as a whole it's pretty much point, shoot & hope for the best stuff. There isn't much in the way of atmosphere or scares although some of the sets which were already existing ones taken from The Old Dark House (1932) & Universal's European set on their back-lot are nice & add a certain ambiance to things.<br /><br />Technically The Vampire Bat can't compare to anything even remotely modern, for the age of it it's alright I suppose but again I draw your attention back to the original King Kong. Speaking of King Kong it's star Fay Wray has a role in this as does horror icon Lionel Atwill, I'll be kind & say the acting is OK.<br /><br />The Vampire Bat will I imagine fool a lot of people into thinking that it's a horror film about Vampire Bats when in fact it isn't, personally I thought the whole thing was a bit of a bore. It's short & it tells it's story reasonably enough but I must admit I'm not a fan. | 1,633 |
I saw this film when I was a young child on television (thank-you Canadian Broadcasting Corporation) and had nightmares about it for years afterwards.<br /><br />Trnka was one of the mentors for Bratislav Pojar, one of Canada's National Film Board's best animators. Pojar was, in turn a mentor and collaborator for the great Drouin. If you like Trnka you should see "Night Angel".<br /><br />The symbolism is obvious, but deftly used. The oppositions of beauty and life (the plant) are placed in opposition with the anonymity of the gloved hand. The poor puppet hero is condemned despite a lack of political agenda.<br /><br />What I most remembered was the feeling of oppression in the decor. The small room where the action takes place is the character's entire world. The invasion by the hand is a complete violation of that world.<br /><br />Beautiful and haunting film. I found a copy of this and other wonderful shorts by Trnka at the public library and showed it to my own kids. A must see. | December holiday specials, like the original Frosty, ought to be richly-produced with quality music and a wholesome, yet lighthearted storyline. They should have a touch of the mystical magic of the holidays. Basically, they should look, sound, and feel...well, "special" and they should have a decent and appropriate December holiday subtext.<br /><br />So when I saw Legend of Frosty the Snowman in the TV listings, I got my kids (6 and 8) pumped up for it by telling them the story of the original Frosty and passionately relating how much I enjoyed it as a kid. As my wife and kids cozied up on the couch to watch the movie the expectations were high, but 10 minutes into it my kids were yawning and my wife and I were giving each other "the look" and rolling our eyes. After 35 minutes my kids were actually asking to go to bed -- I guess they were fed up with the insensitive language and pointless, disconnected segments. I was actually embarrassed about their (and my) disappointment with this movie.<br /><br />Unfortunately, Legend of Frosty the Snowman is more like a bad episode of Fairly Odd Parents crossed with a worse-than-normal episode of Sponge Bob than a classic holiday movie. Don't get me wrong...those shows are fine and I like them as much as the next guy, but when I watch Fairly Odd Parents or Sponge Bob, my low expectations (for mediocre, off-color, zero subtext, mind numbing episodes) are always satisfied.<br /><br />We picked out some good books and spent the rest of the evening reading together. A much better choice than the embarrassingly bad Legend of Frosty the Snowman. | 1,634 |
These two stars are the only iconic heroes/villains i know that got a good TV series, so let's compare.<br /><br />Freddy - 7 movies Robocop - 3 movies<br /><br />Freddy - 1 TV series, 2 seasons, about 40 episodes Robocop - 1 TV series, 1 season, about 22-23 episodes<br /><br />Freddy - 2 extra films (Freddy Vs Jason, Freddy Vs Ghostbusters) Robocop - 4 extra films (Robocop: Prime Directives: Dark Justice, Meltdown, Crach & Burn, Resurrection)<br /><br />Freddy - 1 upcoming film Robocop - 1 upcoming film<br /><br />Who's had more screen time? Well they've both had 7 movies, 1 TV series, and 1 upcoming film. But Freddy wins it thanks to his 2 extra films (one being a fan film) & 17-18 TV episodes.<br /><br />Since this is a comment for the series, between Freddy's Nightmares - ANOES: The Series & Robocop: The Series I would personally choose Robocop... | "Mad Dog Time"..."Trigger Happy" whatever you wanna call it...simply doesn't hit the mark. Maybe its just me, maybe i just don't like Gangster comedies ( as i thought Oscar , Johney Dangerously and Mafia also sucked ) It's probably more "witty sharp wordplay" than all out Comedy, only its not as witty and sharp as it ( or the other reviewers )Make it out to be. <br /><br />The Rick , Mick , Vic Thing was old to begin with making it a running gag was at times painful to watch. <br /><br />There wasn't enough Changes of Location or Feel for the period they were supposed to be in. The Majority of the film was either set in "Dreyfus's Club" or a variety of Offices /dim rooms... ( what was with that Sit down Gun stand off thing Goldblum kept winning ?) <br /><br />The supporting cast was... on Paper excellent ( great to see Silva & Drago)but characters were killed off before they had time to develop. and Richard Pryors cameo was a Joke ! The Romance and Love element of the film also bogged it down.<br /><br />4/10 I don't think i'll return to it anytime soon. | 1,635 |
Pandora's Clock is among the best thrillers you will ever read and this is one of the best thrillers you will ever see. A highly faithful adaptation of John J. Nance's novel ,which had a frightfully real scenario in the novel,is made even more so here. <br /><br />Despite being made for TV, this is first rate entertainment. The cast is great and slips into characters from the novel so well that you would think they were reading the novel. Richard Dean Anderson steps way outside the shadow of Macgyver and gives the best performance of his career to date. Jane Leeves is great her role as an ambassador's assistant in a role that proves she can be a fine dramatic actor. Daphne Zuniga is great as Dr. Sanders and despite the character being a man in the book, it works incredibly well. Robert Loggia, Edward Herrmann, Robert Guillaume, and the rest of the supporting cast are top notch and fit their novel counterparts tot he letter.<br /><br />There are changes to the story of course (including and a slight change in the ending) but those changes are for the better when compared with the novel. The plot is realistic and very see to believe in the way its presented making this the best airplane set movie since the original Airport movie. The production values are high and though the special effects might look as good as they did a decade or so ago, they work fine. Sets are great, especially CIA HQ and the Oval Office showing that the filmmakers spent a lot of time to make this work.<br /><br />It doesn't matter if you see this first and read then read the novel or vice versa. Just do both and you won't regret losing four hours to this film and however long it takes to read the novel. This will leave you breathless. | A wealthy Harvard dude falls for a poor Radcliffe chick much to the consternation of his strict father (Ray Milland).<br /><br />Syrupy, sugary, and most of all, sappy story about a battle of the 'classes' when rich-kid Ryan O'Neal brings home a waif of a librarian for his snobbish parents to ridicule. Ali MacGraw is the social derelict with the filthy mouth while John Marley plays her devout-Catholic father, but no one in the film is more annoying than O'Neal himself with his whimpering portrayal as Harvard's champion yuppie.<br /><br />Followed 8(!) years later by 'Oliver's Story'. | 1,636 |
Most war films made in the US during WWII were great fun to watch but suffered from severe gaps in realism because they were being produced more for propaganda value to raise the spirits at home than anything else. I am not knocking these films as many of them are still very watchable. However, because they so often lack realism they are prevented from being truly great films. A perfect example was the John Garfield film Air Force--in which a B-17 nearly single-handedly takes out half the Japanese air force! However, Pride Of The Marines is a welcome departure--scoring high marks for portraying a true story in a reasonably accurate manner. When I first saw this film, I thought it was NOT a true story as it seemed way too improbable to be true. However, after researching further I found that it was in fact rather true to the amazing story of two men who did so much to earn the Medal of Honor. This is one case where real life seemed too incredible to be true! | Oh dear. I was so disappointed that this movie was just a rip-off of Japan's Ringu. Well, I guess the U.S. made their version of it as well, but at least it was an outright remake. So, so sad. I very much enjoy watching Filipino movies and know some great things can come out of such a little country, so I can't believe this had to happen. Claudine and Kris are such big names there, surprised they would be affiliated with plagiarism. To any aspiring movie makers out there in the Philippines: You do not have to stoop this low to make money. There are many movie buffs that are watching the movies Filipinos put out and enjoying them! | 1,637 |
Don't mistake "War Inc." for a sharply chiseled satire or a brainy comedy full of inside jokes for news buffs. It isn't.<br /><br />This is an old-fashioned screwball comedy, with ridiculously coincidental plot twists, stock characters (given some depth in fun performances by John Cusack, Joan Cusack, Marisa Tomei and Hillary Duff) and a straightforward approach to the political content.<br /><br />You see, the filmmakers' political points are things nearly all of the country already knows are true. Yeah, we understand that the corporations profiting off the war are corrupt, inept pigs, the political leaders in charge of it are even more inept buffoons, and American imperialism has never looked crasser and more out of touch than it does right now -- but none of that is the point.<br /><br />Here, all of that noise is the setting that they lampoon -- sometimes in genius ways -- as the backdrop for a silly romp, as John Cusack's character (the hit-man with a heart) tries to change his life with the help of the do-gooder journalist who doesn't trust him (Tomei) and the young Middle Eastern starlet who wants to call off her marriage (Duff). Cusack's sister, Joan, plays his assistant with an almost cartoonishly enthusiastic quality. Ben Kingsley seemed to me wasted in his smaller part as a ruthless CIA boss.<br /><br />That's all, and it works. It's simple fun, but if somehow you can't see reality and you think the war is going well and everyone involved with it is doing a good job and there's no corruption and people in the Middle East wish our Western culture would supplant theirs, then you might not find it as funny.<br /><br />For all the rest of us, it was a light comedy with a political edge. | Hopelessly inept and dull movie in which the characters stand around in rooms or a rocket ship and talk endlessly. You might think things would perk up when they explore Mars but these scenes are filmed through a heavy red/orange filter which makes everything very murky. The Martian landscape/vegetation consists mainly of drawings and the monsters are entirely unconvincing. There are echoes of 'Bride Of The Monster' when the heroine carefully winds the octopus like tentacle of a flesh eating plant around her before weakly thrashing about, the difference being that the Ed Wood film is a hundred times more entertaining. Better wear earplugs when watching otherwise the 'sci-fi' music score, repeated endlessly, will drive you insane. If you find yourself unable to sleep one night just slip this one into the VCR and your insomnia will be cured in no time. | 1,638 |
Sunny, a cocktail waitress in the D.C. area, is a bit dim, to put in mildly. She drives an old clunker and rents a tiny room from a gay male couple. However, she saves the life of a prominent Arab, by taking a bullet in the behind that was meant for the official. She charms the national press with her zany remarks and her sweet looks. Sniffing an opportunity, Presidential aides get her installed in the protocol department for the U.S. government. Even then, she messes things up at times, but she tries hard and learns a lot. She even grabs the romantic attention of a State department official. But, is there another sinister plot in the making, involving an Arab man who wishes to take another wife? A blonde one? LOL, LOL, LOL. This movie features Goldie as pretty as a picture and as dumb "as a fox", as they say. Sunny learns her way around the jungle of the U.S. government very, very well. She even has important things to say about honesty and the lack of it in her protocol surroundings. Perhaps, the Arab community would be less than thrilled with this work, but for those who like to laugh, rent this today. | Tenants Two writers struggle to complete their books in an all but empty apartment house. They at first help each other and then slowly the tension between them begins to build.<br /><br />This is based upon a Bernard Malamud novel and unfortunately everyone speaks as though they are in that novel. Very little of the dialog is natural, its purple and brimming with shades of meaning. Its as if a college English major with a head full of pretensions wrote the script. It's awful and I found myself instantly immune to anything the film had to say, which is a shame since the film is populated with great performances from top to bottom. Snoop Dog on down are fine form, unfortunately none of them can over come the falseness of the words and the premise.<br /><br />I can't really recommend this movie. While not really bad, its very preachy and pretentious to the point of making you want to walk away. I lost interest less then a third of the way in and had to struggle to get to the end. If you're interested I'd try it on cable, but I wouldn't lay out good money to see it. | 1,639 |
Well, I have finally caught up with "Rock 'N' Roll High School," almost 30 years after it first became a midnight movie sensation in 1979. (Latecomer that I am, I will probably first see this summer's new documentary "Patti Smith: Dream of Life" sometime around 2040!) And no, the film doesn't feel dated one bit, and yes, it was worth the wait. This is a very high-energy comedy that features loads of great music and some surprising moments. It tells the story of Riff Randell, adorably played by P.J. Soles, and the battle that she and her fellow students at Vince Lombardi High wage against their new repressive principal, Miss Togar. (Danny Peary, in his book "Cult Movies," quite accurately describes Mary Woronov's performance as an "evil Eve Arden.") A typical teens vs. Establishment story line is beefed up here with some absurdist humor (those exploding mice, that giant mouse, the Hansel and Gretel hall monitors) and some truly rousing tunes. Riff is, of course, the #1 fan of that original punk band The Ramones, and that band dishes out a baker's dozen of its greatest songs during the course of the film, including five at a concert that is a total blast. Indeed, the sight of Riff furiously dancing to "Teenage Lobotomy" at this blowout may be the picture's funniest moment. And the initial appearance of Joey, Johnny, Dee Dee and Marky in their Ramonesmobile, and later slinking down a street singing "I Just Wanna Have Something To Do," is quite exhilarating. The film ends with an explosive confrontation that is, I would imagine, every high school kid's wet dream. Fun stuff indeed. On a side note, The Ramones were one of the loudest bands that I have ever seen in concert, so I was very amused to note that the DVD for this film comes with optional English subtitles for the hearing impaired. How many aging punks out there found these subtitles necessary, I wonder.... | This was one of the lamest movies we watched in the last few months with a predictable plot line and pretty bad acting (mainly from the supporting characters). The interview with Hugh Laurie on the DVD was actually more rewarding than the film itself...<br /><br />Hugh Laurie obviously put a lot of effort into learning how to dance the Samba but the scope of his character only required that he immerse himself at the kiddie end of the pool. The movie is based on the appearance of a lovely girl and great music but these are not sufficient to make good entertainment.<br /><br />If you have never seen Rio, or the inside of a British bank, this film is for you. 2 out of 10. | 1,640 |
So, neighbor was killing neighbor. Reminds me of Iraq. As I watched the American flag (50 stars in 1864?) being dragged behind the horse, I realized why burning that piece of red white and blue doesn't upset me as much as our destruction/indifference to the Bill of Rights. I'm a Southerner, and must have some historical memory.<br /><br />Watching the Tobey McGuire character learn to respect the dignity of a former slave, as he looks at the scalps of blacks and Germans (his ethnic background) being wagered at a poker game.....was interesting. Many twists in this movie. The wife, who is forced into her marriage, shows both lust and a strong will, characteristics we're not used to seeing in 'respectable Victorian southern belles'.<br /><br />The crazy wacked out renegade southerner gave me some insight into why my cousin, head of the Copeland Horse-thieving Gang, Inc. in Mississippi, was hung about that time. Bands of homeless men were roaming the countryside, armed. Remind you of Iraq? And how similar we are underneath the facade of religion and ethnic background? And why southerners are STILL fighting that civil war today.<br /><br />Too bad we can't use that same knowledge in our handling of the country we've just invaded and are occupying, fomenting civil war everywhere. That's Mesopotamia, now called Iraq, who happen to have the misfortune to sit on oil. The wild-eyed killers in Missouri, raiding Lawrence, Kansas could as easily be the insurgents we're fighting now with no success.<br /><br />Another anomaly was the father's tribute to the Yankees who move into Lawrence and erect a school "even before they erect a church. And for that reason, they'll win." Huh????? I was taught history in Birmingham, Al and we were taught that the North was much more industrial and richer.....that's why they won. Course, they also LITERALLY had God on their side. As you see here, when the freed slave indicates that he's cutting out to free his mother, sold into slavery in Texas. God, what a horrible legacy slavery gave us.<br /><br />Acting pretty good, lots of blood and gore as the warriors ride gleefully into battle (but didn't hear any rebel yells, so reminiscent of football games in Alabama). You also get a real feeling for how stupid the war was, as the bushwackers and jayhawkers gather their forces for another raid. They have lost sight of why they're fighting, and so do we. Just more mindless slaughter.<br /><br />You're also brought up to date with the limbless kids coming home from Iraq, as the bushwacker (ahh, what connotations) first has his arm seared shut, trying to save it, then has it amputated, and then dies. So much suffering for such a stupid cause.<br /><br />The cinematography is fantastic. Now I have to get back to the DVD and get the production notes, one of my favorite parts of any movie. I suspect that this movie was written by a Gore Vidal, as the spoken language is of a type you would associate with that era, if you knew History. The dialogue is definitely thought-provoking. Not your ordinary blood and guts war movie, by any means. You see the wounded but still active-duty soldiers, still fighting cause they have nothing else to do. You see the southern raiders, living off the land, stealing indiscriminately. Yet, at the beginning, you've seen the battle stop, so the women could be evacuated from danger. As I read the escalating number of women and children dying in Iraq, I'm thinking, "Where did we lose our sense of honor as a people?" I have forgotten why I sought this movie out and bought it after 20 years, but some book somewhere lauded it. With good reason. Tobey at his best, pre-Spideyman. Buy the DVD or rent it. And tell me why others laud this, not just liberals cest moi. | Okay, when I came on the board for this movie, I was really expecting people to be making fun of it. I was surprised to see that people over the age of 7 liked it. I enjoyed the movie... but only b/c me and my little sister (who is, in fact only 10) made fun of the whole thing.<br /><br />I am sorry Jordan, but that acting was awful. You know a movie is headed for the toilet when the lead cannot act. And it didn't even have a good script or plot to redeem it. I also thought that the character of Pamela was very very lame... border-lining pathetic.<br /><br />Even with that being said, I thought there were a few good actors, such as gorgeous Spencer, Hollywood, and Ronnie. Still, not enough to redeem the movie.<br /><br />Two things about this movie that I just can't get over:<br /><br />1.) That that Spencer guy would fall for her. Okay, eww. I looked up the dates and while in reality, he is only about four years older than her, the difference in "Go Figure" seemed much larger. Jordan is a very pretty girl, but in GF, she seemed like 10 or 12... she seemed like a little kid! Jake Abel (Spencer) seemed like a college student.<br /><br />2.) That there is any way that Kristi Yamaguchi would come just to skate for one girl. I mean, I know that Katelin is good and everything, but it still just seemed kinda unlikely that Kristi would go to a boarding school that didn't even have scholarships for skating, or that a school would have employed a skating coach with such connections.<br /><br />That all being said... it wasn't the worst movie ever known, but it wasn't very good even by DCOM standards, which I consider quite low. | 1,641 |
Somewhere near the bottom of the film studio ladder you can find companies like U.F.O, Troma and beneath them lie Seduction cinema.<br /><br />Seduction is a direct to video production company that specialize in lesbian themed, non-hardcore erotic movies. It has developed a very dedicated fan base that purchase each new title as they are released but sadly the company has become too closely associated with frequent star Misty Mundae. I say sadly because recent mainstream interest and her appearance on the show Masters of Horrors has caused her to set her sights a little higher than the zero budget S.C efforts which forces the company to find a new identity. But back in their glory days they released this film on a very appreciative world.<br /><br />The gorgeous Misty Mundae is forced to attend a boarding school at the request of a absent father. At the school she meets her absurdly hot room-mate played by Ruby Larocca who immediately has designs on her but the headmistress (Barbara Joyce) has other plans. In typical S.C style the movie stops every ten minutes for a extended sex scene but unlike most of their efforts this one has a somewhat interesting story and a couple of good performances. Ms. Larocca appears to be having a great time as the sexual predator who views Misty as a tasty meal and Darian Caine makes a welcome (though brief) appearance as Satan. This is the sort of film that Jess Franco would crank out in the 70s (although this one does not have the hardcore sex that Franco was always willing to throw in for foreign sales) and fans of that madman's work would be wise to give this one a go.<br /><br />To me, as a long time zero budget cinema fan (and Troma worshiper), I came across the Seduction cinema films through their parody films (Playmate of the apes, Who wants to be a erotic billionaire) but I actually prefer their more original works. You either see past the low budget and occasionally weak acting or you get hung up on these things and just hate all of these films. For me the most obvious thing that unites these no-budget movies is a real sense of fun. These low budget companies are able to create their own unique style which gives the viewer something very different from the bland, by the numbers, studio efforts that load up the multiplexes.<br /><br />If you have never seen a Seduction cinema film either this or Sin Sisters (featuring both of the Mundae sisters) are excellent choices to begin with. This one is a fun, fast paced film (although the frequent exterior shots of the school do get a little old) and the DVD is totally loaded with extras including a ton of previews of other company offerings, a great behind the scenes featurette and some deleted scenes including a alternate opening. I do recommend you pass on the disc's bonus feature, the first film by director, as it is quite weak and not really worth viewing. | The Lives of the Saints starts off with an atmospheric vision of London as a bustling city of busy, quaint streets and sunshine. I was hoping it would maintain this atmosphere, but it gets bogged down in a story that goes pretty much nowhere.<br /><br />Othello works for big, fat Mr. Karva, his crime-boss step-dad (at least I think that is what he is supposed to be because it's never really defined, but he does drop kittens into deep fat friers, so trust me, he's a prick) doing scrappy little errands while his skanky girlfriend gives daddy hand-jobs. One of his colleagues is Runner, a black dude who is always dashing from A to B. Until the day he comes across almost mute homeless child who grants him his wish of being able to stop running. Runner dumps the lost boy in Othello's flat, where he promptly starts granting more wishes. Keen to have some of his own desires fulfilled, Karva has the boy kidnapped. But he isn't sure of what would really bring him happiness. Is it the innocence of being a child again or is it another hand-job? Either way, I don't want to see the little boy grant him the second.<br /><br />It just takes ages to get going and there are loads of repetitive scenes. The ending tries to be shocking but since there's hardly any back-story on investment in any of these characters it only serves as a release for the bored audience.<br /><br />Writer Tony Grisoni, a favourite of Terry Gilliam, tries to blend in some kind of religious allegory which ends up being pretentious as all hell, ironically. If he gave us something more accessible or at least had better explanations for the characters suddenly acting all weird then it would have been a more enjoyable film. As it is, we are introduced to a bunch of annoying loudmouths who then miraculously seem to develop intelligence when confronted by the mysterious boy. Who's origins are never revealed. That's just plain irritating! <br /><br />Aside from sporadic moments of atmosphere and a moody score, this film has little to recommend. | 1,642 |
When I saw that this film was only 80 minutes long, I thought we were in trouble. Condensing the gigantic W. Somerset Maugham novel down to a movie that clocks in at under an hour and a half seemed like a disaster waiting to happen. But you know, the movie's not half bad, and it even manages to retain much of what makes the book resonate so much with its readers.<br /><br />I've heard many film buffs complain that Leslie Howard was a wet noodle of an actor, and he was, but I can't think of anyone more suited to play the role of Philip Carey than a wet noodle, for that's certainly what Carey is. Howard plays him well, which means you want to shake him and slap him upside the head repeatedly, then finally take him out and buy him a spine.<br /><br />Ah, and then there's Bette, as the girl with whom Carey is obsessed and who brings his world crashing down around him. I didn't know what on earth the appeal of Mildred was in the book, and the movie stays true to that detail. But as played by Davis, she does become the most fascinating character in the story, and if she's nasty and unlikable, she's at least the most dynamic person on screen at any given time. Davis's performance here is credited with changing the course of screen acting, much as Brando's would do nearly 20 years later when he screamed out "Stella!!" in that little-known Tennesee Williams play, and it's not hard to see why. Davis is intense to the point of scary. She makes no effort to wring any sympathy from the audience, and she allows herself to look ugly and most unglamorous. Her appearance when Carey walks in on her late in the film to find her dead or nearly dead of an unnamed disease (though not much care is taken to hide the fact that it's an STD) is shocking. Of course, it helps that this movie squeaked out just before the Production Code went into effect; if it had been made a year later, you can bet things would have been a bit different.<br /><br />Yes, much of the novel, and many of its most interesting parts, are left on the cutting room floor, and the story really does become about Carey and Mildred and not much else. I found that to be the least interesting and most tedious part of Maugham's novel, but it is the part that gives the novel its title and seems to be the part that readers are still drawn to now, so it strikes me as a wise decision on the part of the film makers that they chose to adapt the novel the way they did.<br /><br />Grade: B+ | There are exactly 2 good things to be said about "Fantasies" (both mentioned by a previous reviewer as well): <br /><br />a) Bo Derek's extraordinary, poetry-inspiring beauty. She has shots in this movie where she gives even Catherine Zeta-Jones a run for her money, and that's a high compliment indeed. Her nudity is brief and discreet, but just looking at her face is enough.<br /><br />b) The Greek island setting, with its sun and crystal-clear blue waters.<br /><br />Other than that, there is no story, the dialogue is abysmal and at times unintentionally funny ("He touched you where you're a woman!"), and Peter Hooten's character is a slimy jerk. Bo overplays the naivete of her character, but then again when you have to work with dialogue this bad it's unfair to blame the actors (the fact that she kept saying the name "Damir" in almost every sentence is a major irritation). Oh, and although the film is set on a Greek island, there is hardly a Greek word to be heard - apparently everyone there, from kids to old people, speaks English the whole time. (*) | 1,643 |
E! TV is a great channel and Talk Soup is so funny,in a flash you can view the episodes change. We want more funny writings by the best writer ever Stan Evans.. The patron Saint of the mindless masses... He is a truly talented, gifted writer, actor, comic, producer,director, and creative consultant.Anna Nicole loved him , but he was not a $$$$Billionaire so he left him for a Billionaire. Many super stars wanted to make films with the actor Stan Evans, who has a "Humphrey Bogart" {Clark Gable}acting style. He should make many more movies. Maybe with Stephen Spielberg, or perhaps many other talented producers.We wish him a moment of FAME with a great fortune to gain. Has he produced any mock-U-dramas? or perhaps any docudrama??? A project about Bernie Madhoff would be a great TV movie written by STAN EVANS. How many screenplays has he written?? Is he under $$$$$$$$$$$$billion contract with Disney?? He should earn more than $50 Million... He could also write a TV movie about the late KING OF POP.. Michael Jackson. We want to view a lot more of and by Stan Evans in the movies and on TV. Thank you so very much. Elvis has left the building!!!!! | An uninteresting addition to the stalk 'n slash cycle which dominated the horror genre in the 1980's. This was filmed as Pranks but released as The Dorm That Dripped Blood which is an obvious steal from the 1970 horror anthology The House That Dripped Blood. Daphne Zuniga is the only recognisable face in the cast and this was her first horror movie (she has also appeared in The Initiation and The Fly II). | 1,644 |
OK, I overrated it just a bit to offset at least one of those grumpy reviews. But I did enjoy it. I didn't laugh out loud, but it held my interest and pulled me along without dropping me at any point. The story built. Yeah, you knew it would have an happy ending--this genre always does. Meantime, it was quirky with sight gags you could miss, so pay attention when you watch. Stiller and Black delivered expertly yet again. Good team. They should work together more. Don't know that it will be a cult classic, but it was certainly a fun ride. Not as good as WHAT ABOUT BOB, or DIRTY ROTTEN SCOUNDRELS but what is? It is still worth going out of your way a little to get and watch this movie. | Spoilers of both this and The Matrix follow.<br /><br />I liked the original Matrix a great deal. It was not a deep movie, despite Fishburne's attempts to philosophize, but it was fairly well paced, fun, and I have a soft spot for Hong Kong fights.<br /><br />In the original, Neo was the secret life of the rather unhappy cube worker Anderson. By day, corporate drone, and by night, brave hacker. Eventually, he eventually is forced to choose between these lives by his actions - does he become an outlaw fighting the machine, or does he go back to the safe, forgettable world he started in. Interestingly, he discovers that once one is shorn of illusions, life rather sucks. He has his girl by his side and his boon companions, but he eats processed swill, dresses in sweats, and lives in a truly skungy bit of machinery. Still, the truth makes him free.<br /><br />At least part of the fun of that first movie lay in the "what if it were me" questions raised in the viewer's mind. What if _I_ were capable of the impossible? What if I were "The One". It does not even matter that much what you are The One example of, with a cool title like that.<br /><br />Further, agent Smith made a wonderful bad guy, as he embodied all of the fear of authority that we carry with us. He was as unstoppable as a terminator, and as merciless.<br /><br />At the end of the Matrix, Neo must return to the Matrix to share his good news of freedom.<br /><br />This movie fails to completely to carry through on the ideas of the original movie, and it does so with such lack of gusto, such poor scriptwriting and such poor editing that I cannot believe they had planned these changes. When the dialog is at a fifth grade level, with various long words dropped in randomly, I find it hard to believe that they understand what they are saying.<br /><br />My short list of characterization failures:<br /><br />The Oracle goes from mildly helpful, if deceitful to utterly obstructionist without any real reason.<br /><br />Major "personalities" of the matrix are introduced without need - the keymaster, for example, was a cute idea, but just not that interesting a character.<br /><br />Fishburne loses his "advisor" role, and gets nothing to replace it with.<br /><br />The people of Zion are not particularly likable, nor would you really _want_ them running the world.<br /><br />Special effects problems:<br /><br />The fight scenes are pointless and intermitable. In The Matrix, you felt Neo could lose, and that he had to become something greater in order to survive. In The Matrix Reloaded, he is merely the viewpoint character of a particularly poorly plotted video game.<br /><br />The fight on the freeway looked quite fake, and not that interesting.<br /><br />Pacing problems.<br /><br />As I mentioned above, the fight scenes were interminable.<br /><br />The rave went on too long - everyone in my row at the theater was looking at their watch. Not because we mind good dancing and good orgies, but because we did not know about the people pictured, nor did we care.<br /><br />Whatever hack wrote the creator's soliloquy should be blacklisted from the business. It meandered, used words that the scriptwriter clearly did not understand, and was a waste of time and a pacing killer. The creator's speech could have been done in a tenth the time, and with more peril as "Zion exists to give rebels a place to go so they do not destroy the Matrix. There are now too many people who do not believe; the matrix is in danger of crashing and killing every person hooked up to it. Further, the earth cannot support even the people in Zion, let alone these others. You may choose one person from Zion to form the new Zion, while I wipe the memories of the people currently in the Matrix."<br /><br />Instead, we got a long, drawn out bunch of twaddle. If someone argues that it is deep, ask for a transcript, and try breaking down the sentences. Each one is too long by several clauses, and uses words with clearer, shorter synonyms.<br /><br />So, in summary, not worth seeing.<br /><br />I have seen the third one, and despite what a number of reviewers have said, skip it. It does not save this turkey.<br /><br />The reviewers who feel that the second and third movies were "deep" should go see some truly deep movies. Perhaps read a book or two on rhetoric and debate, and perhaps a bit of philosophy. This movie is just not hard to understand, but it is hard to stomach.<br /><br />Scott | 1,645 |
John Waters has given us a genuinely enjoyable film. This certainly isn't without its shocking Waters-esque moments, but it is tamer than his older culty stuff, such as "Pink Flamingoes". "Pecker" harkens back to John's early mainstream stage in that it reminds the viewer of the same kind of humor that was evident in "Polyester". Overall, a really fun comedy with some great moments! | Although this seems to be quite an old show (2002), I watched my first ever episode last night and I have to say it has to be the worst show . . . ever.<br /><br />I am not one for placing comments but I was so shocked that a show could exist that blatantly tries to pander to, and I am only assuming that this was their target audience, children under 12 years old or people with a less than average IQ.<br /><br />The episode I was subjected to last night contained so many disjointed story lines, tried to include EVERY possible plot summary imaginable and all the while trying to preach about friendship, family, religion and politics !!!.<br /><br />Basic story that they covered in the episode: Frat House hazing gone wrong wrong with too much alcohol - Death Turns out to be Senators son who wants FBI to investigate. Death is actually murder by peanut allergy Senator thinks it could be his sworn enemy and childhood best friend who did this because Senator was taking money for his votes for legislation but eventually got a conscience and said 'no' to mean mulit millionaire. Everybody a suspect but all have the usual alibi (ex-girlfriend student shagging a married teacher so had to lie, disgruntled student who was reported by victim actually had life changing experience, Senators enemy did not pay desperate student to kill sworn enemies son, he gives money freely to lots of broke students). All the while the heroine of this dribble has her niece staying who is 'at that age' and has a crush on a boy, who she eventually gets the courage to talk to with the assistance of her aunty, but only to dump him because the 'in' girls says he is not good enough and so to keep in with them she dumps him. Don't worry, she gets back with boy after she learns the truth about life and the 'in' girls drop her, Aunty also explains that God is the only one who truly she can rely on (I was almost sick at this point).<br /><br />This 'drama' gets even better when Sue and her FBI team find out who the killer is . . . your gonna laugh at this, i sure did . . . <br /><br />It is one of the Frat boys who only a year ago found out he was adopted and that his real dad is an International terrorist and he is trying to impressive real daddy by killing boy and planting bomb at funeral . . . . . . . <br /><br />The characters are cardboard the acting is cardboard the continuity is cardboard the story is cardboard Anybody who says that they love this show has cardboard for a brain<br /><br />Why the writers of this show have tried to pack in EVERY eventuality into the one show means that they obviously have no faith in the character development or actors capability to carry off a simple plot line. Watching this show is like watching 'Last Action Hero' with Arnie killing 5'000 people with a tooth pick, except Arnie is a better actor (wow, never thought there would be a day that i would say that !!)<br /><br />In the words of the Simpsons beloved character 'comic book guy' . . . . <br /><br />WORST TV SHOW . . . . . EVER. | 1,646 |
The story is being told fluidly. There are no interruptions. The flash backs are woven into the present seamlessly. Casting was superb. Young Ya'ara looked very much like Ya'ara would have looked at that age. Her portrayal of a blind person was done convincingly. Director Daniel Syrkin have done a superb job in getting the various actors to work together in this story. The Cinematography is very good. You feel like you are with Ya'ara and Talia walking toward the ocean to the edge of the cliff. The English subtitles follow the Hebrew script very closely. It is interesting to note that even though "Out of sight" is not a direct translation of "Lemarit Ayin" Both names are very appropriate to the story. | This movie is a joke. I mean a "ha ha" funny joke. Why? Because the only redeeming thing about it was the good laugh I got at the sheer ridiculousness of nonsensical, inane plot and horrible acting. Wow!<br /><br />Within this movie there are so many unanswered questions... for example; why do these women become zombies and how? Why are there four black women who are zombie's "caretakers" and what is their purpose? Since when does 6 people make up a "nation" of Zombies? And is smeared black eye mascara "scary" to anyone, anywhere? Even a 2 year old?<br /><br />And lastly; Why was this movie made at all? Why? why? why? No answer? That's what I thought.<br /><br />On the demand channel they actually issued this comment after the synopsis of the movie: We apologize for this movie in advance" LOL. At least they had the decency to do this much! | 1,647 |
Excellent movie, albeit slightly predictable. I have to comment on Nicole Kidmans acting in this movie. Some of her other works haven't shown the amazing talent this woman has, but Birthday Girl doesn't suffer from this in the slightest. Even without words Kidmans acting shines through. | Americans have the attention span of a fruit fly and if something does not happen within the span of a typical commercial, we tend to lose interest really fast.<br /><br />I found out an exciting fact from this film: someone has to paint high tension utility poles and do it on a schedule! And guess what, they really would like to be doing something else (the viewer has similar feelings).<br /><br />Surprisingly, when I was bored watching late night infomercials and decided to actually watch this film, I found the characters to be interesting and highly engaging.<br /><br />I just don't usually watch that much late night TV, so I can't recommend this film, unless watching paint dry is your idea of an exciting two hours out of your life. | 1,648 |
When I saw this movie a few days ago, my eyes were completely fixed to the screen. Its greatness held my attention to such an extent that I focused all of my attention on it for its entire duration. I would recommend seeing it not just to fans of anime, but to anyone who likes great movies period (or who likes really weird stuff). The style of art is beautiful, the sound is perfect, and the symbolism within it is breathtaking. I've heard complaints about the weird insertion of English text in the movie, but I think the way its done is complementary to the strange style of the movie. The self-attributed description of "Hello Kitty on acid" doesn't do justice to this film of absolutely epic proportions. I'd like to find more works by whoever made this, and see them. | Boring, long, pretentious, repetitive, self-involved this move felt like a bad date. Worse, the tedious art-school direction -- with a heavy-handed use of the whirling shot that gets so overdone it almost made me throw up - is constantly screaming to be noticed. Add the thinnest of plots and virtually no dialogue, and the film begins to feel like a four hour epic about 30 minutes in. It gets worse: instead of dialogue there are poorly written voice-overs AND quotes and songs that comment all too obviously on the characters. Really loud opera music too. Blame it all on the director.<br /><br />The actors are all quite good. The lead actor Miguel Angel Hoppe is particularly suited for film stardom. He and the other actors have some tender erotic moments. Even these start to get boring after 5 minutes however, and one wonders if the director is auditioning for a Bel Ami porn job. The stunning college campus architecture as a location in Mexico City is inspiring. How come universities in the US are so bland (SFSU, UC, etc.)? But wait for the DVD on this film. You'll want to use the fast scan button a lot. | 1,649 |
This video was my first exposure to Eddie Izzard. We had several friends over one night and for some reason or another had channel-surfed to HBO during the course of the evening. Someone by the name of "Eddie Izzard" was on.I tried not to laugh too loudly at the first few jokes. I didn't want to be held "responsible" for the rest of the group's enjoyment of something that was obviously killing me. After holding in my laughs for more than was healthful, I let go--as did the others of us(we were not stoned, by the way, nor talking of insurance and pensions...). We were asphyxiated after that. The story lines, the plot, the bizarre yet ingenious connections throughout the sketches are nothing short of brilliance. I have since been addicted to every Eddie-Izzard-piece-of-comedy I can get my hands on. His work is sheer genius. His comedy appears effortless. He seems more like that hysterically funny friend hanging out at your house and rambling on about this or that...It's convulsively funny. He gives you the impression that the joke is between you .. and himself, the only true aficionados of humor, after all. If you are disappointed in this video, you have no sense of the penultimate in humor--or humour, as they say in the UK. | This movie was amusing at times, hell sometimes it was even downright funny.<br /><br />The underlying message I got from the film though, was that women are responsible for all of the troubles of man. Every time a woman is depicted in the film, she is being lazy, being slutty or lambasting some poor guy for no apparent reason. I don't think the message involved is good for women or gay men.<br /><br />But, it is a comedy, and a piece of art, so it is simply someones point of view. Even if I don't agree with it, they are still entitled to it.<br /><br />An amusing film, but some of the comments others have made are just plain stupid. Best film ever my foot. | 1,650 |
"Shore Leave" is mostly an average Star Trek adventure. Nothing wrong with the episode, though. I simply think that this is not the best representation of what the show had to offer to fans. It is lightweight entertaining, nothing more. However, I'm glad to see that a TV show of this type had enough good sense to take a break from serious intergalactic conflicts. In this episode, Kirk decides to grant his crew some time off, and a landing party is beamed down to a planet that looks like the perfect place for a vacation. As usual, the planet is not as peaceful as it appears to be. There are some action and tense moments, but most of the story is played for laughs. Good, but unexceptional. | The film is severely awful and is demeaning to rape victims. On the surface, it may be a daring film about rape but if you dig beneath the surface, what lies is a not-so-positive message about rape. Aishwarya the rape victim is shown to be a helpless victim who cannot cope all because she is a WOMAN. She needs a MAN to help her. When the society makes jibes about her and throws comments at her, she does not stand up for herself. It is all left to Anil Kapoor to do all the talking while Aishwarya does all the crying.<br /><br />The director (Satish Kaushik) went down the wrong path by portraying a rape victim as weak and submissive. What would have been more effective is portraying a strong woman who rebels against her enemies in a courageous way. The director is famous for being chauvinistic. His films are usually full of weak women but he tries to hide them in controversial roles. He needs to learn that just because the role is controversial, it does not mean that the character herself is strong.<br /><br />The most degrading scene in the film is when Aishwarya 'cleans' herself after just being raped. She does it to please her father who thinks that she is now dirty. Though it is commendable that Shah shows the stigma against rape victims in such a stark light, what he does not show us is whether Ash's father was wrong for making his daughter do such a thing. Thus we are left with a confusing message about rape.<br /><br />The comedy too is not needed in a strong subject film like this. Even more so, the comedy is simply not funny. Ash is wooden in her role while Anil Kapoor does nothing but shout. The music is mediocre except for the title track, which is beautifully picturised (the only bright point of this film). Sonali Bendre's role is disappointing and pointless. Overall, what could have been a great movie to remember ends up being an awful mish-mash that will give some viewers severe indigestion. | 1,651 |
The sopranos was probably the last best show to air in the 90's. its sad that its over, its was the best show on HBO if not on TV, not everything was spelled out for you throughout you had to think, it was brilliant. the cast was excellent. Tony (James Gandolphini) is a great actor and played his character excellent, as well as the others. Each character had flaws thats what made them so real and allowed the viewers to connect with them and thats one reason it lasted so long. The last episode was good, I'm not sure how to take it many different things can be construed by the ending id like to think that tony didn't die but meadow walked in and sat down with them and that the blackout was just for suspense. Tony will have to go to trial and deal with that hopefully is not dead thats how i feel... Long live the Sopranos and Tony Soprano....... | I saw this in the summer of 1990. I'm still annoyed by how bad this movie is in 2001.<br /><br />Implausible plot. You'd have to be a child to think this could happen.<br /><br />I'm just really annoyed by it. Don't see this. | 1,652 |
Here Italy (I write from Venice). Why cancelated? The ABC should have given it a chance to build an audience. The cast (w/Hope Davis, Campbell Scott, Erika Christensen, Zoe Saldana, Jay Hernandez and Bridget Moynahan) is one of the best I've seen in recent. We need more shows like this that makes viewers feel like they are intelligent individuals not mindless drones. I hope that ABC will reconsider its decision or another station will pick it up. Please sign online petition to Abc: http://www.PetitionOnline.com/gh1215/petition.html Please sign online petition to Abc: http://www.PetitionOnline.com/gh1215/petition.html | 1914 was an amazing year for Charlie Chaplin. It was his first year in films and he appeared in more than 30 films! While most of these films weren't particularly good, they did give him a chance to slowly evolve his screen persona. However, by this film, the familiar "Little Tramp" character was still in development. Sure Charlie looked the part, but his character still lacked the sweetness and decency that he later developed. Instead, Chaplin often hit, kicked or did other nasty things to people for seemingly no reason at all.<br /><br />As for this very slight film, it is interesting to watch for the cast. While they are not familiar today, Chaplin stars along with Mabel Normand, Chester Conklin and Mack Swain--all exceptionally popular stars with Keystone Films. The problem with this film is that while it has a few nice scenes, the plot seems very vague and improperly developed. Chester and Mabel got to the race track (a very common theme in Keystone productions--it must have been located near a race track). Charlie and Mack show up and sneak in. Mack is chased by the police for doing this while Charlie slaps Chester around and steals his girl. In the end, for no apparent reason, the cops take Chester and Mack away--leaving Charlie with Mabel (who, oddly, didn't seem put off by Charlie's boorish behaviors).<br /><br />Unless you are a huge silent comedy buff or film historian, this is a very forgettable film that is only important in the evolution of Chaplin. What he and the other actors actually do on stage, while not unusual for a Keystone film, isn't particularly funny when seen today. | 1,653 |
This is not a good movie but I still like it. The cat Clovis is gold in a jar as well as the premise of the cats themselves - intrinsically opposed to the evil Sleepwalkers. I think there is more to this movie than people realize, basically it is very harsh, but this brusqueness can sometimes be good. It's got the corny lines, the abrupt ending and a comedic element conveyed by the bumbling policemen.<br /><br /> Did anyone find the incestuous element a bit disturbing? Ultimately this movie is casually and randomly acrimonious, which is quite effective, I liken it to Psycho - the relationship between the mother and son, the changing of protagonists. I think the abruptness works also, this is not a movie that you want them to lengthen, it only works if it's short.<br /><br />I'm still not sure whether the director lacked depth, or whether he did these things with purpose, we know Stephen King has ability, yet I haven't even read his books, only seen some of his movies.<br /><br />Anyway, I liked it. If you like harsh corny movies with 80's overtones just watch it. but don't expect too much. It really is so bad its good. | I believe in keeping religion out of government and out of the movies. When I want a sermon, I'll go to church, but I don't want one from a movie. I don't mind some supernatural themes, (after all, religion is about as supernatural as you can get!) but this movie had so much preaching in it that I was really annoyed. The landlady reminded me of witches that of seen in other movies. The bad guy even looked like he had horns. <br /><br />And what a silly ending: the hero went into the meeting and yelled at all of those old men, and that broke the spell. If only life were that simple. I think that when movies are that stupid, they ought to be distributed with a warning: DANGER! PREACHING CONTAINED HEREIN! | 1,654 |
A year or so ago, I was watching the TV news when a story was broadcast about a zombie movie being filmed in my area. Since then I have paid particular attention to this movie called 'Fido' as it finished production and began playing at festivals. Two weeks ago Fido began playing in my local theater. And, just yesterday, I read a newspaper article which stated Fido is not attracting audiences in it's limited release, with the exception of our local theater. In fact, here it is outdrawing all other shows at The Paramount Theater, including 300. Of course, this makes sense as many locals want to see their city on screen or spot themselves roaming around in zombie make-up. And for any other locals who haven't seen Fido yet but are considering it, I can say there are many images on screen, from the school to city park to the forbidden zone, that you will recognize. In fact, they make the Okanagan Valley look beautiful. That's right beautiful scenery in a zombie movie! However, Fido itself is a very good movie. Yes, despite its flaws, it is better then most of the 20 other movies playing in my local market. Fido is best described as an episode of Lassie in which the collie has been replaced by a member of the undead. This is a clever premise. And the movie even goes further by taking advantage of the 1950's emphasize on conformity and playing up the cold-war paranoia which led to McCarthyism. Furthermore, it builds on the notion that zombies can be tamed or trained which George Romero first introduced in Day Of The Dead.<br /><br />K'Sun Ray plays a small town boy who's mother (Carrie-Ann Moss) longs for a zombie servant so she can be like all the other house wives on her block. However, his dad (Dylan Baker) is against the idea as he once had to kill his own 'zombie father'. Eventually, the family does acquire a zombie named 'Fido' (played by Billy Connolly), and adjusts to life with the undead. Billy Connolly was inspired casting. He is able to convey Fido's confusion, longing, hatred, and loyalty through only his eyes, lumbering body, and grunts. Connolly shows that he can play understated characters better than his outrageously comedic ones. This is his best role since Mrs. Brown.<br /><br />Fido follows in the footsteps of other recent zomcoms such as Shawn Of The Dead and Zombie Honeymoon. Being someone who appreciates Bruce Campbell and Misty Mundae movies more than Eli Roth and Jigsaw ones, I prefer humor over gore in my horror. However, I understand the criticism of those horror fans who feel there is not enough 'undead carnage' in Fido. Yet, I am sure patient viewers will be rewarded by the films gentle humor.<br /><br />The movie does break down in it's third act. It's as if the writers were so wrapped up in the cute premise of domesticated zombies in the 1950s, they forgot about the story arc. However, given my interest in horror comedies and my appreciation for seeing the neighborhood on screen, I rate Fido 9 out of 10. | While the premise behind The House Where Evil Dwells may be intriguing, the execution is downright pathetic. I'm not even sure where to begin as I've got so many problems with this movie. I suppose I'll just number a few of them: <br /><br />1. The Acting When you see that Edward Albert, Doug McClure, and Susan George (and her teeth) are the stars of your movie, you know you're in trouble? Not that it matters much to me, but these are hardly A-List names. Susan George may have been in a couple of movies I enjoy, but I've never considered her the greatest actress I've ever seen. And in this movie, her acting is embarrassing. As for the other two, the less said the better.<br /><br />2. The Ghosts The ghosts or spirits or whatever you want to call them reminded me quite a bit of the ghosts in the haunted mansion ride.at Disney World. And, they are about as frightening. And why did they have to be so obvious? Subtlety is not a characteristic of The House Where Evil Dwells.<br /><br />3. The Plot How predictable can one movie be? The outcome of this movie is painfully obvious once you meet the three main characters. If you couldn't see where this movie was headed after about 15 minutes, you need to see more movies.<br /><br />4. The Convenient Priest What are the chances that the haunted house you buy just happens to be across the street from a group of Japanese monks? Not to mention that one of them knows the history of your house and comes over, knocks on the door, and asks if you need help removing evil spirits. Absurd is a word that comes to mind.<br /><br />5. Everything Else It's very difficult for me to think of any positives to write about. I suppose I'll give it a point for the opening scene and a point for the house's architecture. That's a sure sign of a winner noting the architecture as a highlight of any film doesn't say much about the actual movie.<br /><br />I'll stop. You should be able to get the idea from what I've already mentioned. And, I haven't even mentioned the annoying little girl or the Invasion of the Crabs or a multitude of other problems. Be warned, this thing is horrible. | 1,655 |
"Moonstruck" is a movie that I liked the first time I watched it. I really liked it the second time. I loved it the third time. Now it is one of my all time favorites.<br /><br />The humor is subtle but really good. The film offers a lot of warmth humor. the story takes place in a old school Italian neighborhood in NYC. Cher's search for love is enjoyable to watch. This film is, by far, the best job Nicholas Cage has done on film. The old man character is fantastic. He lights up the screen without saying a word. The scene with his dogs howling at the moon was fantastic. But, perhaps the best character is the one played by Olympia Dukakis.<br /><br />The film's climax is a scene where the main characters have it out over a breakfast of oatmeal in the family kitchen. Exceptional direction and wrap up. | This was far and away the worst movie i've ever seen in my entire life. It was slow, boring, not scary, not funny, not dramatic, not entertaining.<br /><br />Sarah Michelle Gellar was up to her old playbook of empty expressions of fright and shock. She couldn't sell her character nor could anyone else in the picture.<br /><br />For those who thought the Grudge was 'kind of alright' then don't go see this unless you get enjoyment out of wasting your time and your life.<br /><br />I saw this movie for free by the way so I don't want this to come across as a rant from a guy that lost 8 bucks on a terrible movie. It was free, it still sucked, I hated it.<br /><br />Avoid. | 1,656 |
The Fury of the Wolfman is a very good film that has a good cast which includes Paul Naschy/Jacinto Molina, Perla Cristal, Verónica Luján, Mark Stevens, Francisco Amorós, Fabián Conde, Miguel de la Riva, Ramón Lillo, José Marco, Javier de Rivera, and Pilar Zorrilla! The acting by all of these actors is very good. The Wolfman is really cool! He looks great and he sound like the Looney Tunes character the Tazmainian devil! There are some really hilarious scenes in this film! The thrills is really good and some of it is surprising. The movie is filmed very good. The music is good. The film is quite interesting and the movie really keeps you going until the end. This is a very good and thrilling film. If you like Paul Naschy/Jacinto Molina, Perla Cristal, Verónica Luján, Mark Stevens, Francisco Amorós, Fabián Conde, Miguel de la Riva, Ramón Lillo, José Marco, Javier de Rivera, Pilar Zorrilla, the rest of the cast in the film, Werewold films, Horror, Sci-Fi, Thrillers, Dramas, and interesting classic films then I strongly recommend you to see this film today! <br /><br />Movie Nuttball's NOTE: <br /><br />I got this film on a special DVD that has Doctor Blood's Coffin, The Brainiac, and The Fury of the Wolfman from Vintage Home Entertainment! See if you can find this winner with three bizarre but classic films on one DVD at Amazon.com today! <br /><br />If you like Werewolf films I strongly recommend these: Werewolf of London (1935), The Wolf Man (1941), Frankenstein Meets the Wolf Man (1943), House of Frankenstein (1944), Abbott an d Costell Meets Frankenstein (1948), The Curse of the Werewolf (1961), An American Werewolf in London (1981), Silver Bullet (1985), Werewolf (1987), The Monster Squad (1987), My Mom's a Werewolf (1989), Project: Metalbeast (1995), Bad Moon (1996), Werewolf (1996), Dog Soldiers (2002), Underworld (2003), and Van Helsing (2004)! | Rural family drama--with perhaps a nod to "Ordinary People"--concerns a young boy who withdraws into himself after fatally wounding his older brother in a shooting mishap. Despite downbeat subject matter (given mercilessly glum treatment by director Christopher Cain), there are some dynamics in this sad story worth exploring. Unfortunately, the isolated farming atmosphere and the reluctance of the adult characters to take charge of the situation render the film a stultifying experience. What with Robert Duvall, Glenn Close, and Wilford Brimley in the cast, the movie is nearly a small-scaled reunion of "The Natural". Too bad this project didn't get the necessary talent behind the camera to really eke out a gripping, memorable picture. *1/2 from **** | 1,657 |
The plot:Kurt Harris (Jeff Wincott), a bitter, ex-cop goes undercover in the "Peacemakers" after his friend is killed by their leader. While there, he discovers that the woman wants to run for mayor, and will do anything to achieve this goal, even murder.The cast is good(Jeff Wincott is a good martial artist and good actor)...Brigitte Nielsen plays a sexy antagonist together another bad guy plays Matthias Hues also him good martial artist.The direction is good(the fight scenes also).The rest is OK, with Tony Burton who plays a friend of Kurt killed from Nilsen,and Cyndi Pass plays a bad girl.From producers of another action/martial arts film(Bounty Tracker with Lorenzo Lamas)a good action film.The best film of Martial Law series. | I'm beginning to see a pattern in the movies I give a 1 to. They are almost all movies that my wife made me watch. Maybe I should stop having faith in her taste in movies. Anyway, this is typical drivel aimed at pre-teen girls but done even more poorly than usual. Once again, the writer broke the cardinal rule of any movie. He/she made the main character unlikable. She starts off by being a complete b*tch to her friend at the beginning, and then finds out when she becomes 30, that she's basically a sh*tty person (having affairs, etc.). Why the F would we feel for this person? OK, let's say we can get past that. Jennifer Garner is about as far from attractive as you can get without having some sort of deformity. I don't know if it's her or the writer's fault, but her character goes well beyond my threshold for annoyance. Here's a tip for future filmmakers: 13 year olds are NOT entertaining, they're annoying. Far and away the most embarrassing moment in the movie came when they danced to "Thriller". Holy crap that was painful. It showed her practicing that dance at the beginning. That explains why she knows it, but an entire club full of people?!? Argh!!! The Macarena would be more believable! All of a sudden she's completely incompetent and has no clue how to do her job and no one notices? At least Tom Hanks' character on "Big" had a job that made sense to a child. These body-switching/child becoming adult overnight movies are really getting out of hand, and this is by far the worst one yet. | 1,658 |
Another demonstration of Kurosawa's genius, his first colour film is a darkly surreal look into the tragic lives of Tokyo slum dwellers, essentially a series of interweaving vignettes depicting several groups of people eking out a perilous existence in a harsh and uncaring post-war shanty town. Swinging from comedy to tragedy and back, this film shows how people deal with the worst kind of life each in their own way, mostly retreating into themselves and living in the fantasy worlds of their own heads, withdrawing emotionally from those around them or drowning themselves in alcohol. Mixing kitchen-sink realism with Kabuki-esque theatrics, Kurosawa toys expertly with the emotions of his audience, drawing tears and laughter with equal deftness. A wonderful, draining experience. | Such a long awaited movie.. But it has disappointed me and my friends who had gone to see the movie on the first day.. From the trailers it looked like a action movie, but it turned out to be a out & out comedy(a bad comedy). But one thing that deserves appreciation is the acting by these professional actors, they've done their part of the movie very well. Good acting, but i don't think that can save the movie.. India has been shot beautifully. Kerala, Rajasthan, (Ladakh?) were all saturated with color, alright. Nevertheless the way the intrinsic beauty of these places was shot made me want to find out exactly where those places were and when I could go there ;-)<br /><br />Action sequences were shot very shabbily, no one could make out head & tail of the stunts, they've used Akki(akshay kumar) very well but could've been done much much better..<br /><br />Animation is the worst i've seen in recent movies(90's movies had better animation scenes i guess(initial scene where the car is falling off 'flying should be better word' the road into lake).<br /><br />And the movies name has been mentioned nearly every 20 to 30 mins, just to make sure audiences don't forget the movie name i guess.. | 1,659 |
"Fear Of A Black Hat" is everything the (much weaker) "CB-4" SHOULD have been. Rusty Cundieff's satirical eye is ruthless, as he folds, spindles, and mutilates every aspect of hip-hop trends and culture. Does "FoaBH" resemble Spinal Tap? Yes, a bit. Is it derivative of Spinal Tap? No, not really. The aim is more focused, the satire is better focused, and to be honest, it's funnier. | the author of the book, by the same title, should not have let her name be used for this movie. if you have read the book, this movie takes such a liberal interpretation of the actual events in the book and its spirit that the movie and book seem to have quite little in common except the title and some superficial details. the movie adds nothing, in terms of artistic merit, to the book's own literary achievement.<br /><br />for those who have not read the book: you will also be disappointed. not only does the plot move at an incredibly slow pace, it doesn't offer anything more while it is moving slowly (like character development, for example). some viewers might be entertained by some of the graphic lesbian love scenes later on in the movie, but you might as well watch a showtime special for the stuff they show in therese and isabelle--its fairly tame and not imaginative at all. | 1,660 |
This film is one of the best shorts I've ever seen - and as I make it a point to be at all the major film festivals, I've seen a lot, especially of what the industry considers "the best." I'm not a fan of Monaghan. His acting generally tends to be overdone and uninteresting to me, his only decent performance being in Lost, so I generally try to avoid his films. I did, however, happen to see this at a film festival a few years back and was completely awed. This director really knows what she's doing. Of course, you are going to get the trolls (or just ignorant people) who don't understand what constitutes a good film and rip on low budget work because they have no idea what went into it. But luckily, from what I've seen, they are in the minority when it comes to this gem.<br /><br />Let's not deny that the film was working on no budget, and that a couple of the supporting actors could still use work, because that's certainly true. The production value is very low, but what can you expect for a first real film from someone still in high school? Pretend for a moment that the budget doesn't matter. If you take away a bit of the acting, the sound quality (which actually wasn't the fault of the filmmaker; I saw this at a festival and the sound was fine...I guarantee whoever made the DVD itself screwed up), and the fact it was shot on mini-DV, then what are you left with? The story, the visual composition and the soul of the film, which are indisputably flawless.<br /><br />Nanavati can tell a story. That much is clear. She can write substance-heavy, engaging scripts better than most people in Hollywood, create a shot list that perfectly compliments that story, and bring it to life in a fascinating, creative way that, were this higher budget, might have won awards. Give it more experienced actors, better sound post-production, and 35mm instead of mini-DV and even the trolls couldn't complain. This girl is incredible, and keeping in mind that Insomniac was made a good few years ago, she's done some amazing work since. The trailer for Dreams of an Angel shows that, and I can't wait to see the higher budget stuff she's done. 9/10 stars, this is one hell of a movie from one hell of a filmmaker. | I don't quite get the rating for The Amati Girls and I think I was REALLY kind giving it a 4 out of 10. What could otherwise have been a wonderful story with actually a set of more or less decent actors became a total farce in my eyes. There are so many clichés in that flick, the women's hair is just awful and most of the scenes are more than unrealistic or seem fake. There's no real passion in this movie but a bunch of actors over-acting over any limits that it hurts. It's not funny enough to be a comedy, it's too fake-sad to really touch, so in my eyes it's just not good. Watching it I couldn't believe how something like that made it to my TV set in my living room in Switzerland. But.. maybe it still was OK and it just got lost in translation? Who knows. Definitely one of the oddest movies I've ever seen and this certainly not in a good way! Sorry. | 1,661 |
The Clouded Yellow is a compact psychological thriller with interesting characterizations. Barry Jones and Kenneth More are both terrific in supporting roles in characters that both have more to them than what meets the eye. Jean Simmons is quite good, and Trevor Howard makes a fascinatingly offbeat suspense hero. | I do not believe all the praise for this movie. The play and movie were a ripoff of Sleuth. Michael Caine wishes he were Olivier, and Reeves wishes he were Caine. Caine even had the nerve to do a remake of Sleuth with Jude Law playing his original part. Jude Law? You mean the one that did the remake of "Alfie"? <br /><br />This movie was made during a period of Caine's career when it was obvious he needed to pay off gambling debts. He would do anything for money. He would star in such award winning movies such as this, and "Beyond the Poseidon Adventure". What seems to be driving the praise for this movie is Reeves death. He deserves better than to be remembered for this lousy movie. And so does Caine. This movie can be found in the $5.97 bin at Walmart. Along with gems like "The Island", and "Blame it on Rio". | 1,662 |
Master director Ching Siu Tung's perhaps most popular achievement is this series, A Chinese Ghost Story 1-3. Chinese Ghost Story stars Leslie Cheung in some distant past in China as a tax collector who is forced to spend a night during his "collecting trip" in a mysterious castle in which some strange old warriors fight and meet him. Beautiful actress Joey Wang/Wong is the ghost who lives in that castle and is under a domination of one powerful demon, a wood devil who collects human souls for herself/itself with the help of her beautiful ghosts. Leslie and Joey fall in love, and even though ghosts are not allowed to live with humans, they decide to break that rule and live happily together for the rest of their lives. This is not what the wood devil thinks and our protagonists have to fight for their lives and their happiness.<br /><br />This film is no less full of magic than other films by Ching Siu Tung. His masterpieces include Duel to the Death (1983) and the Swordsman series, which all have incredible visuals and kinetic power in their action scenes. Ghost Story is full of brilliant lightning and dark atmosphere, which is lightened by the strong presence of the beautiful and good willing ghost. The effects are simply breath taking and would work at their greatest power in the big screen. The camera is moving and twisted all the time and it adds to the fairy tale atmosphere this film has. There's plenty of wire'fu stunts, too, and even though some think they are and look gratuitous or stupid when used in films, I cannot agree and think they give motion pictures the kind of magic, freedom and creativeness any other tool could not give. When people fly in these films, it means the films are not just about our world, and they usually depict things larger than life with the power of this larger than life art form.<br /><br />The story about the power of love is pretty touching and warm, but the problem is (again) that the characters are little too shallow and act unexplainably occasionally. Leslie and Joey should have been written with greater care and their characters should be even more warm, deep and genuine in order to give the story a greater power and thus make the film even more noteworthy and important achievement. Also, the message about love and power of it is underlined little too much at one point and it should have been left just to the viewer's mind to be interpreted and found. Another negative point about the dialogue is that it's too plenty and people talk in this film without a reason. That is very irritating and sadly shows the flaws many scriptwriters tend to do when they write their movies. People just talk and talk and it's all there just to make everything as easy to understand as possible and so the film is not too challenging or believable as it has this gratuitous element. Just think about the films of the Japanese film maker Takeshi Kitano; his films have very little dialogue and all there is is all the necessary as he tells his things by other tools of cinema and never talks, or makes other characters talk too much in his movies. This is just the talent the writers should have in order to write greater scripts.<br /><br />Otherwise, Chinese Ghost Story is very beautiful and visually breath taking piece of Eastern cinema, and also the song that is played in the film is very beautiful and hopefully earned some award in the Hong Kong film awards back then. I give Chinese Ghost Story 7/10 and without the flaws mentioned above, this would without a doubt be almost perfect masterpiece of the fantasy genre. | I would have rated this film a minus 10 but sadly it is not offered.<br /><br />Why I didn't walk out in the first five minutes of this movie I cannot say. I should have gone with my instinct and left immediately!! Several people in our theater did and sadly I didn't follow them out.<br /><br />The story lacked all criteria for a movie. NO plot. Awful acting! Even Robin Williams was so disappointing that I may never see another film he is in. Not a single relationship in the story went beyond parlor talk. I did like the tazer scene. Too bad it didn't shock some meat into the senselessness of the plot. Someone needs to tazer the writer and director of this film! | 1,663 |
This film was released the year I was born and will be, like me, 70 in 2007. I watched it again last night having not seen it since high school. While it was full of 30's sentiment and the acting was a bit stereotyped, nevertheless, it was superb. Pearl S. Buck's story did come alive through the magic of the chemistry of Luise Rainer and Paul Muni. The novel which earned Ms. Buck the Nobel Prize for literature comes alive under the baton of Sydney Franklin which along with an excellent script recounts the story of peasant farmer, Wang Lung, whose father obtains a bride for him, a slave girl from the kitchen of a local landlord. In Buck's story, Wang's success is underwritten by his willingness to listen to his wife, most of the time, and the love of the land. In the end he comes to realize that his wife, like the land, is the source of his wealth, happiness and immortality. Buck's stories always had strong women cast in a critical spot to influence the outcome of events in the pre-feminist world. The German-born Luise Rainer brings a tentative but determined Peasant Chinese woman to life in her portrayal of Olan. Muni likewise captures the naive but honorable Wang, eventually caught between the two worlds of the wealthy and the peasant. Other classic characters include Charlie Grapewin, Dorothy Gale's Kansan Uncle Henry from the Wizard of Oz, Walter Connelly as the mewing, conniving uncle and Keye Luke as Number One Son-- but this time, not Charlie Chan's.<br /><br />A classic might be defined as a movie you can watch time and again and never tire of. If that's indeed the case, this film is a classic, no doubt whatsoever. | I wont take too much time here, just wanted to state that Darkman 3 is awesome. I have all 3 on DVD, added these to my collection of DVD movie sets. Darkman ranks up there with the best, like Indiana Jones, Aliens, Star Wars, Die hard, you get the point. There isn't too many good horror, thriller, sets out there. Many thanks to the whole crew, and set for giving us the Darkman trilogy. By the way if your wondering how I came across this one on DVD. I purchased it through the internet, it is however region 4, as you know most US DVD players are region 1. If you own a Sony Playstation 2, you have the best DVD player since it is an all region player. Just go to set up then choose witch region setting you want ( 1-9 ). | 1,664 |
I still liked it though. Warren Beatty is only fair as the comic book hero. What saves this movie is the set, the incredible cast and it offshoots a mediocre script. I really expected something more substantial in the terms of action, or plot but I got very little. The main reason to watch this movie is to watch some of the biggest stars in Hollywood at the time in such an unusual film. <br /><br />The one person who did a terrible job and did not even belong in this film was Madonna. She did not belong in this movie and her acting job was pretty bad. The movie at some points just stood still. You expected something more and you got nothing. Al Pacino plays a really bad dude and he does pretty good. He and Beatty do make an excellent good guy and bad guy. <br /><br />It is also interesting to see Dustin Hoffman, and Warren Beatty in a film other than Isthar. I did not see Ishtar but I heard bad things. The thing about this movie is it is good, but it could have been so much better. I liked it as a child because I thought it looked cool, and visually the movie is amazing, the sets are incredible, the writing is only fair, and with such a cast in the movie I would expect a little better anyway. <br /><br />SPOILER<br /><br />I especially thought the finale was not big enough. It was interesting but for such a grand scale film I just thought it could have ended with a little more of a bang. The reason to watch this movie is the atmosphere. The movie only uses the 7 comic book colors making it all that more excellent visually anyway.<br /><br />The costumes and makeup were flawless as well. The facial makeup for the villains was great. Beatty is just not up to such a bigger than life character. Still, this is a good movie that could have been much much more. It is to me better than Batman, the other comic book adaptation that came out close to the same time. Of course that movie was much bigger in terms of gross. | I was expecting a B-Movie French musical. After all, Dhéry, Blanche, DeFunès were superstars of low budget French films of that time. And it is in color! But I have hallucination in this unbelievable one hour 30 of pure mediocrity. Musical numbers are awful, and comedy is absolutely boring and stupid. And the songs? What songs? This is just a succession of bad numbers, one after another. The only one very rare thing about that thing is the nudity of women. It was not familiar at that time. In fact, some numbers are just there to show us topless women. It adds to the mediocrity! And try to find young Michel Serrault, the future great actor of French cinema, in a bit part as a musician, in his very first movie. Good luck! | 1,665 |
Theodore Rex is possibly the greatest cinematic experience of all time, and is certainly a milestone in human culture, civilization and artistic expression!! In this compelling intellectual masterpiece, Jonathan R. Betuel aligns himself with the great film makers of the 20th century, such as Francis Ford Copola, Martin Scorcese, Orson Welles and Roman Polanski. The special effects are nothing less than breathtaking, and make any work by Spielberg look trite and elementary. At the time of it's release, Theodore Rex was such a revolutionary gem that it raised the bar of film-making to levels never anticipated by film makers. The concept of making not just a motion picture featuring a dinosaur, but adapting an action packed, thrilling detective novel, co-staring a "talking" dinosaur with a post-modern name such as "Theodore", and an existential female police officer changed humanity as we know it. The world could never be the same after experiencing such magnificent beauty. Watching Theodore Rex is much akin to looking into the face of God and hearing Him say "you are my most beloved creation." This is one of the few films that is simply TO DIE FOR!!! | On the 1998 summer blockbuster hit BASEketball (1998): "This is one of those movies that is usually seen on the big jumbo-tron screen in a sports bar during the day - when everyone is quite drunk. Unfortunately, I was sober when I saw this movie."<br /><br />So quoted the late Gene Siskel for this lame-brained, supposed yukfest that came out two weeks after the far superior "There's Something About Mary" in a one-upmanship game during July of 1998. "Mary" was a gross-out fest, but in addition to the many gags, it had a lot of heart, which is why it was the highest grossing comedy of that memorable summer.<br /><br />"BASEketball" tried to outdo Mary, but it fizzled in more ways that one. You take the creators of "South Park," Trey Parker and Matt Stone, who are fortunately not behind the movie but in front of the camera, the only member of ZAZ David Zucker helming the picture in desperate need of a paycheck, and the other two Jim Abrahams and Jerry Zucker clearly stayed out or probably warned him against the picture, a small bit by now 90 years young Ernest Borgnine, wasting his precious time in his distinguished career, dying on a hotdog and singing "I'm Too Sexy" as he videotapes his will, Jenny McCarthy, who has little screen time as Borgnine's not-too-weeping trophy widow young enough to be his granddaughter, a bigger female part by Yasmine Bleeth as a dedicated social worker whose charges are underprivileged youngsters, and the only interesting and meaningful player in this turkey, Robert Vaughn as a corrupt archrival, and pointless cameos by "Airplane!" alumni Kareem Abdul Jabaar and the late Robert Stack who seemed nostalgic for the 1980 masterpiece and it's much fresher humor created by the ZAZ family. What do all these people make up? A desperate cast and crew trying to replicate "Airplane!" humor and mixing it up with the crudity of "South Park," but failing in every way.<br /><br />To make this long 100-minute movie short, "BASEketball," a real game invented by David Zucker and his friends in his hometown of Milwaukee, is about two lazy losers (Parker and Stone) and their pint-sized mutual friend who invent baseball and basketball (hence the title) together on the driveway of one's house. After Borgnine dies, he bequeaths the ownership of his BASEketball team, the Milwaukee Beers to Parker and Stone. Sure enough, the game goes national, and archrivals Vaughn and McCarthy want to take away ownership of the Beers team from them. But Bleeth is in love with both men, particularly Parker, and one poor, sick charge in need of a liver transplant goes ga-ga over them. Those are the characters, not strongly developed.<br /><br />Now witless gags ensue. Blood, electroshock hair, egg-throwing and screaming are among them. Parker and Stone nearly kill the youngster in the hospital, but he pulls through the liver transplant. Borgnine sings and rubs ointment on his chest in the videotaped will. McCarthy, who seemed to get over Borgnine's death by choking on a frank right away, quickly massages Vaughn in the next scene. Cheerleaders dance in skimpy outfits. There is plenty of music on the soundtrack that is played for the hard of hearing. And David Zucker forces the parodies of "Riverdance" and "Titanic." Parody forcing is nothing new to ZAZ, post "Airplane!" and "The Naked Gun" series.<br /><br />And like Siskel, I was sober as well, but I was also getting sleepy. This movie should be played over and over to coarse-mannered barroom patrons who enjoy it as they chug down beers, but will they remain alert and awake, or pass out during the unfunny parts? If they pass out, then they won't realize that they are luckily missing stupidity and absurdity. Hats off to them! | 1,666 |
In Christian Duguay's movie, Hitler: The Rise of Evil, Hitler's early years in life and politics is shown in a successful way with some minor historical errors and some exaggeration. It is quite natural for a Hollywood movie to contain such things as the main purpose of production is the income that they will get from the movie. Even though such errors may disappoint some members of the audience who believes that everything should be done by the book, I believe that most of them fits well with the rest of the movie, making it more interesting. We should not forget that this movie is not a documentary. Who cares how did his dog died anyway.<br /><br />Throughout the movie, Hitler is portrayed as a psychologically unstable figure that gets angry very easily and is very passionate about his ideals. But he was not portrayed as a super-villain but more like an ambitious politician. I believe that this is a nice perspective as the movie is not contaminated by tons of negative emotions and this made the movie somewhat objective. Yes he was a little mad, and his methods were rough but he was still a human not a totally insane figure as portrayed in "Inglorious Bastards". I believe it made the movie more realistic even with some inaccuracies in the historical facts.<br /><br />The flow of history is nicely reflected to spectators. Even though the movie's focus was around Hitler we also had chance to see what is happening in the country as a result of these actions via newspapers, discussions of people and the songs in a Jewish cabaret. Also society's reaction was also reflected to movie but it was very limited. Struggles of journalist Fritz Gerlich and ironic plays that are played in the cabaret was amusing and interesting but that was all. Mostly we only saw his followers rampaging the streets and cheering him.<br /><br />Another thing that was missing in the movie is information about the origins of his hatred for Jews. In the beginning of the movie, some ideas about this is given but they were quite superficial. All of a sudden he was a politician who is giving speeches about necessity of extermination of Jews.<br /><br />In conclusion, Hitler: The Rise of Evil cannot be considered as an excellent movie that everyone will like but it is not unsatisfactory at all. If you can stand directors that change history for cash, it is an interesting movie reflecting Hitler's personality in a successful way. | The dubbing/translation in this movie is downright hilarious and provides the only entertainment in this otherwise dull and derivative zombie flick. I haven't laughed so hard in my life as I just did watching Zombi 3 (and I've seen some really bad dubbing in my life, believe me). Seriously, the filmmakers could re-edit this movie and release it as a comedy and make millions of dollars. It's just that funny.<br /><br />But... If falling off your couch laughing at the dubbing in a Fulci zombie movie isn't your cup of tea, then AVOID THIS AT ALL COSTS. | 1,667 |
Narratives whether written, visual or poetic epics generally try to avoid too may characters; readers and viewers, after all, can be too easily overwhelmed by trying to keep track of who exactly is who. This is especially true in film, I think, simply because we cannot easily go back to refresh our memory in a cinema. Viewers like myself, however, don't have that problem because we see all our films on DVD or VHS.<br /><br />A year ago I was introduced to Audrey Tautou, a French actress, whom I first saw in The Fabulous Destiny of Amelie Poulain (2001) and later in A Very Long Engagement (2004), both of which were finely crafted and complex stories with a large cast of characters. This earlier offering exceeds the others in both ways: more characters and more complexity.<br /><br />Now, other directors have used those techniques before: Robert Altman with The Player (1992), Short Cuts (1993), Gosford Park (2001) and others; Paul Thomas Anderson did the same with Magnolia (1999). Stanley Kramer did it with A Mad, Mad, Mad, Mad World in 1963, a comedy of almost epic proportions. The difference with this film is, first the director lets us 'see' inside the head of some of the characters and second, some scenes are repeated as means to refresh the viewer's memory as the story flip-flops between different time periods.<br /><br />The basic the core, so to speak story concerns a young woman, Irene (Tautou) who is told, by a fellow commuter on a train, that she will meet her true love on that day. This occurs in the first few minutes of the film. The clever irony at this point is that Irene doesn't realize that the young man opposite (Gilbert Robin) may be that 'one true love'. And, nor does he...<br /><br />They go their separate ways with neither realizing the potential significance of their close encounter. However, chaos results throughout the rest of the day, not only for the two young people, but for the rest of the characters who appear in a series of cleverly constructed and interwoven vignettes that all seem to be going nowhere, and yet...<br /><br />If the story were simply that, it could tend to be boring, and even quite predictable. Not so. The script and the director rip into our expectations with a host of innovative scenes that are all too commonplace, but which are turned into believable, extraordinary events that allow the two possible lovers to meet again. For example, the next time some bird poo from the sky drops onto a book or paper of yours, consider your alternatives; two characters make an obvious choice that must occur before Irene and her man of destiny meet again. Or what about a stone chip flying onto your windscreen? Consider again what would happen...<br /><br />All of that is interesting enough. What was more interesting for me was assessing each new man who came along and trying to decide whether this guy was THE ONE for Irene, or whether it was, in fact, the young man on the train. That kept me guessing for a while.<br /><br />I'll let you think about that, should you see this delightful romp.<br /><br />Recommended for all. | All of the X-Men movies were great. And I mean all of them, including the long hated X-Men 3. They had solid characters (Magneto and Xavier were the best ones, in my opinion), and a good story arch.<br /><br />I was all excited when I heard this movie was on production, and my expectations grew bigger and bigger until I saw the movie. I was so disappointed.<br /><br />Hugh Jackman is not a bad actor (his best movie is The Fountain, although you won't hear about this movie when they talk about the actor), and his acting is not what screws the movie up.<br /><br />The whole film is plagued with lots of meaningless characters that add nothing to the plot (like Blob or Gambit), which were tossed there to make fans believe that the film makers had read the original comics.<br /><br />I am a fan of XMen, I have read many, many of their stories and this movie respected none of them. None. Not even the continuity. It doesn't respect Weapon X project, or the relationship between Wolverine and Sabretooth, or Emma Frost, the motivations for wolverine are plain stupid and seen in millions of movies: Revenge for the death of a loved one.<br /><br />Oh. What I was expecting the whole darn movie was a Berseker moment for Wolverine similar to the one he has in X2 in the school when Stryker men come in and he alone decimates the enemy forces, but hey, this is Fox, this a family flick and you will not see explicit violence from the most violent and gruesome Marvel hero.<br /><br />Besides, I had a feeling of constant dejá vù with this movie because Wolverine's Origins are already explained in X2, we already know how he got his adamantium skeleton so it kind of does not make sense to make a movie of something we already know.<br /><br />I personally believe that wolverine is one of those few characters that does not need a solid back-story because mystery is the nature of the character. Do we really want to know how the Joker got his scars? | 1,668 |
Maybe one of the most entertaining Ninja-movies ever made. A hard-hitting action movie with lots of gore and slow motion (eehaaa!). Made in ´83 and still the greatest swedish action movie made so far! And we can hardly wait to see the upcoming sequel, Ninja mission 2000 - The legacy of Markov! | The over-heated plot of "Bonjour tristesse" is taken from a juvenile first novel by Francoise Sagan, which became a best-seller, though God knows why. For teenagers wanting to get rid of a potential step-parent it may have a certain appeal. Don't be taken in by the fact that David Niven plays the playboy father and Deborah Kerr the step-mother-in- prospect. Unfortunately, too much rests on the frail shoulders of Jean Seberg. She's beautiful and easily fulfills the image of a spoiled teenager. The problem is that she can strike poses but she can't act. Anyone who saw her as Joan of Arc in Otto Preminger's St. Joan -- Seberg's first film -- knows she was incapable at 19 of carrying a film. This movie, also by Preminger, fulfills the "promise" of the first. It was her second movie; she was now 20. What was Preminger thinking? That Niven and Kerr could compensate for Seberg's lack of acting capacity? Not a chance? Seberg's character is at the center of the story and, pretty though she is, convincing though she may be physically as a 17 year old, she can't meet the emotional demands of the role. I don't know if she ever became a successful actress in her short life because she did not have an impact on my consciousness in her later pictures. But anyone who thinks this film is better than mediocre needs a taste check. In spite of Niven and Kerr, this remains a juvenile story executed in juvenile fashion by a beautiful young girl who badly needed acting lessons. | 1,669 |
It's hard for me to criticize anything that Mitzi Kapture does. She just radiates beauty and grace on the screen and is a phenomenal actress. That notwithstanding, yes, the plot was predictable. I think perhaps if Jill HAD slept with Richard then it may have made him a little crazier than he already was, which would have added more to the suspense. It would have also been nice to see Jill and her husband find out about Richard's little problem with his ex-wife, maybe a bit more back story. I was a little disappointed with the ending of the movie. I would have liked to have seen more closure with Zack's death and possibly closure with her husband. I do have to say though, I will never be able to look at a flare gun and not picture her standing there. It was a very fitting end for Richard. Of course, Mitzi ROCKED! I am so looking forward to her future projects. | Firstly, there are some good things about this film, but it's all cliche slasher stuff combined with a teen movie. In the advertising of this movie, that I've seen, a large emphasis was on the fact that Denise Richards is in it, but she's a poor actress, and not as good looking as people try to make her out to be (not that that has anything to do with the movie). And what's with that look she gives everyone? Perhaps it's part of the character, but like I said, the acting... Still, the writing is fine. You know who it is all throughout the movie, and you can almost predict what is about to happen, but not in an irritating way. I think the book it's based on is probably good, judging by the plot line, but next time I'll read the book to find out rather than watch this. | 1,670 |
Mitchell Leisen's fifth feature as director, and he shows his versatility by directing a musical, after his previous movies were heavy dramas. He also plays a cameo as the conductor.<br /><br />You can tell it is a pre code movie, and nothing like it was made in the US for quite a while afterwards (like 30+ years). Leisen shot the musical numbers so they were like what the audience would see - no widescreen shots or from above ala Busby Berkeley. What I do find funny or interesting is that you never actually see the audience.<br /><br />As others have mentioned the leads are fairly characterless, and Jack Oakie and Victor McLaghlan play their normal movie personas. Gertrude Michael however provides a bit of spark.<br /><br />The musical numbers are interesting and some good (the Rape of the Rhapsody in particular is amusing) but the drama unconvincing and faked - three murders is too many and have minimal emotional impact on the characters. This is where this movie could have been a lot better. | This film's premise is so simple and obvious that only a Texas millionaire high on oil fumes and whiskey would have a problem understanding it if someone shouted it across the proverbial parking lot. In summary: the oil business is in cahoots with The Government (or Gummint if you prefer), the Gummint is in cahoots with Middle Eastern despots, and the CIA is a singular festering pool of double dealing sons-of-(insert word) willing to toe any line that comes their way. The only people that get done over are the good ones, like Mr Clooney ("Bob"). Oh, and terrorism is a result of the poverty which globalization creates when wicked multinationals stalk the world looking for a tasty takeover or three . That really fits to the profiles of the well-heeled 9/11 perpetrators.<br /><br />In Syriana this facile tissue of political half-truths and Hollywood holograms is stirred up in a repugnant vermicelli of story strands that twist, turn and whirl through the gloopy circumlocutions of their own insignificance until the poor viewer is left alone with the conclusion that: <br /><br />1. the "director" (good joke) should never be let near a camera again <br /><br />2. people like Clooney and Hurt might know how to act, but they sure don't know how to pick a script <br /><br />3. if you want to see a film that deals with corruption in big business and the state, go and see Claude Chabrol's "L'ivresse du pouvoir", which is insightful, funny and brilliantly acted. <br /><br />Empty, doom-laden sententious piffle spun out to evening-ruining length. | 1,671 |
Don't mistake "War Inc." for a sharply chiseled satire or a brainy comedy full of inside jokes for news buffs. It isn't.<br /><br />This is an old-fashioned screwball comedy, with ridiculously coincidental plot twists, stock characters (given some depth in fun performances by John Cusack, Joan Cusack, Marisa Tomei and Hillary Duff) and a straightforward approach to the political content.<br /><br />You see, the filmmakers' political points are things nearly all of the country already knows are true. Yeah, we understand that the corporations profiting off the war are corrupt, inept pigs, the political leaders in charge of it are even more inept buffoons, and American imperialism has never looked crasser and more out of touch than it does right now -- but none of that is the point.<br /><br />Here, all of that noise is the setting that they lampoon -- sometimes in genius ways -- as the backdrop for a silly romp, as John Cusack's character (the hit-man with a heart) tries to change his life with the help of the do-gooder journalist who doesn't trust him (Tomei) and the young Middle Eastern starlet who wants to call off her marriage (Duff). Cusack's sister, Joan, plays his assistant with an almost cartoonishly enthusiastic quality. Ben Kingsley seemed to me wasted in his smaller part as a ruthless CIA boss.<br /><br />That's all, and it works. It's simple fun, but if somehow you can't see reality and you think the war is going well and everyone involved with it is doing a good job and there's no corruption and people in the Middle East wish our Western culture would supplant theirs, then you might not find it as funny.<br /><br />For all the rest of us, it was a light comedy with a political edge. | if.... is the cinematic equivalent of Sgt. Pepper's: Revered by baby boomers as the pinnacle of creation, and viewed as rather a silly bit of business by preceding and subsequent generations. Now that the children of the middle classes the world over are seemingly super human due to the internet, and view the prospect of boarding school as a wonderful opportunity thanks to the Harry Potter books/films, the relevance of if.... couldn't be further from modern concern. In fact, many scenes appear so alien and exaggerated as to hint at an inspiration for Pink Floyd's The Wall.<br /><br />One should never hold personal bias against a film while reviewing, and the cemented date of this film aside, there are a few flaws which others have overlooked. Lindsay Anderson was known to be a fan of Luis Buñuel, on top of generally being too smart for his own good. And despite a straightforward narrative through the first and second acts, the latter portion of the piece it taken hostage by cod Buñuel surrealism and strained attempts at symbolism. Anderson wasn't capable of this feat due to his over-intelligent cynicism, failing to see that Buñuel was jovial in his work. I have not found a critic whom champions the 'Chaplain in a drawer', and am almost certain it still gets sideways looks from those who adore this film. The ending is not so much a concise punch to the established class/values system, as a wet slap on a moving target.<br /><br />The British public school system was firmly for the middle classes (the upper crust being educated at home by private tutors). And the modus operandi of if.... was to check the boxes of public school life which Lindsay believed had been unexplored in film, thereby savaging middle class pretense. Homosexuality, generational cutlery, cold showers et al. In reality, such issues HAD been covered in many other great British films, if.... merely brought them to the fore. The Browning Version was a more oblique damning of such pomp, to name but one.<br /><br />if.... is oddly quaint, and simply can not be viewed with modern (especially American) eyes. Kudos to Anderson for avoiding Mick and Kieth in favour of African chant, and a few brownie points for the latent homoerotic overtones. Points deducted for pretension, establishing characters who disappear, and inciting a glib revolution which came to naught. | 1,672 |
One of my favourite films. It has everything - rocking soundtrack, courtesy of Eddie Clark, ex Motorhead, loads of action, loads of laughs, totally ridiculous plot and the most wonderful '80's stereotypes as characters. Eddie, the put-upon nice guy, who just wants to be left alone to be different, Leslie (about as wet as they come), Nuke (the rock burn-out), Eddie's Mom (pathetic), Roger (the geek) and Ozzy as the preacher (surely he exists in America?). Then there are the boys (rich, vicious and stupid) and the girls (vacant, vain and stupid). What more could you ask for?<br /><br />Well, first of all, there's Sammi Curr, the rock star, an amalgam of every '80's badass rocker you can think of. What about that rocket firing guitar? Then there's the scene where Sammi pulls the old lady through the TV screen and smashes her up. And what does Roger do? Why, hoover her up, just like a good geek would. My favourite scene is where Tim Hainey gets his long overdue reward from Sammi via the wet finger in the plug - magic!<br /><br />If you were into rock in the '80's or just love ridiculous films like I do, then check this one out. It's available on DVD and very cheap so (trick or)treat yourself. | the characters at depth-less rip offs. you've seen all the characters in other movies, i promise. the script tries to be edgy and obnoxious but fails miserably. it throws in some hangover meets superbad comedy but the jokes are way out of left field, completely forced, and are disreguarded almost completely after they are cracked. the hot chick is old and has no personality, shes just some early thirties blonde chick with a few wise ass non-underwear wearing jokes who is less than endearing. the attraction between Molly (the hot chick) and Kirk (the dorky love interest) is barely communicated. the attraction in no where to be found its a completely platonic relationship until they awkward and predictable seat belt- mishap kiss occurs. afer this they are in a full on relationship and its just incredibly lame. the main focus of this movie is not the relationship, but a failed attempt at making a raunchy super-bad-esquire movie with a semi appealing plot. I could compare this to the hangover, in its forced nature. i wont get into that. i could keep going but its just pointless. just don't pay to see this movie. | 1,673 |
This movie feels like a film project. As though the filmmakers picked out a cross section of society with no experience and got to work. Characters are kind of uninvolved and naive though. Despite this amateurish feel, the movie is effective. It's like a cross-section of life with neighborhood kids trying to realize or nurture their honest sexual feelings. Being raised by a grand-parent, of course from that generation there is shame associated with sexuality. This provides for some predictable but well done conflict. Probably most enjoyable was the way the main character grew a little bit in his Romantic relationship realizing a greater depth to sexual feelings. A good watch but nothing stirring.... | Just a regular Jason lee movie, There were some parts of the movie that were funny. The undertone of the move is to live life on the edge I guess. These are the types of movies that I think 14 year old girls watch at slumber parties. It was an all right movie. It is kind of one of those movies you have on in the back ground and look up every now and then to when something catches attention. I think That Julia stiles and Selma Blair are a good combination and would like to see them in a movie with a good story and plot. Its just kind of a boy meets girl movie. This is that perfect movie they would show on comedy Central. I am glad that I didn't see this movie in the theater, I would have been angry. But I guess that's why I didn't see it in the theater. | 1,674 |
I think the opening 20 minutes of this film is perhaps one of the most exciting filmed, with the brilliant music score working to build tension to a shattering climax. What cinema goers made of this in the 30s, I can only imagine. The 'Times' said at the time, 'A miracle has come to the screen.' Watch it and marvel. | I must say that I was disapointed with this film. I have never been a huge BNL fans, I find their songs kind of childish and obsessively nostalgic (this is me in grade 9, if i had a million dollars, shoe box of life etc). However, I have seen clips of their live show and I really like the improvisational and goofy nature of the show. I was hoping that this movie would highlight this which is, unfortunately, the most interesting part of the show because their music is well played yet somehow bland and not that compelling (there is a standup bass solo in the middle which was completely pointless and boring, despite how much Jim Creegan was digging himself). The film does not and shows only a few minutes of it (and you know they've had better moments, as in the Afgahnistan concert "Koffee Anan, he's the man in charge, my name's Steve Paige and I'm really large") .<br /><br />BNL are kind of like when I went to Europe a few years ago and heard that godawfull "Blue" song by Effeil 99 or whatever every 2 minutes, I came back to Canada and then a month later that song was all over the place *again*, I nearly chewed off my own arm. BNL is like that, years ago I remember many a fond memory of sitting around campfires in Canada listening to people play "If I had a million dollars". BNL was a cult phenomenon in Canada, and much of their humour has a particular Canadian slant to it (Kraft Dinner is a staple for many students up here, and the name "Gordon" is quintessentially Canadian) a few years went by where they slipped into obscurity and I was somewhat gratefull. Then all of a sudden they become huge in States, and everyone down there thinks they are this brand new band (yeah, they're brand new, but they're all in their 30's!) while the rest of Canada is going "Oh geez, I thought those guys folded years ago, do I have to listen to 'million dollars' again?"<br /><br />The concert footage is not bad, but I would have liked to have seen more of their stage routine, the shooting is not that great, and things like clips from their massive free show in Boston are glazed over much too quickly. The interviews are surprisingly dull for such a funny bunch of guys, I think they're all old and they have families and houses and stuff and have settled down a bit. There are times when they go into Spinal Tap type of material, where they deliver deadpan satire, then they break into laughs and giggles that kind of ruins it. The interviews with Moses Znaimer (a Canadian media mogule) and Terry David Mulligan (Music dude) are extremely pretentious and verge into Tap territory unintentionally.<br /><br />This movie doesn't really document very much either, I mean, it's basically one show and at the start of the film, they are already huge and have a massive touring entourage, it's not like we see them rising from obscurity and "surprise" they are popular, it's a methodically planned out event, so in the end it's rather lifeless, kind of half live concert, half documentary, and not much of either.<br /><br /> | 1,675 |
To me this was more a wake up call, and realization that most all we see, hear, read and think about most anything, is dependent on what the media feeds us. This is a classic example of high level spin doctors attempting to control the masses through controlled information. It is also an excellent example of how people that have a constitution that they freely bought in to, will not be swayed by this media control or any attempted mis-information. Once again this shows that at the end of the day the needs of the many will in fact outweigh the needs of the few. It is also enlightening to see that in in a country where there is no religious civil war going on, that democracy is not a real hard thing to implement. | this movie had a fairly good sounding plot, but the paste was very slow... very slow indeed. even if someone thinks this is a cult classic, i think that there are a lot better films from that era to be watched.<br /><br />the cinematography is not excellent, but not the worst either. the sounds are OK. lighting OK.<br /><br />i still wouldn't recommend this to anyone else than maybe a film-student.<br /><br />the movie does not contain music, and the horses having sex don't make it a good one either. and the woman masturbating on the edge of the bed was plain stupid.<br /><br />no winnings here, skip this utter boredom. i've seen worse believe me, but this is just waste of time, and i don't get the good reviews here. especially the high ratings... | 1,676 |
Dominion Tank Police is without a shell of a doubt, one of the most amazing shows ever produced, but not just in the field of animation. While the first part (Acts 1 and 2) mostly consists of action and fun, the second part is more serious and one should not treat the second part in the exact same way as first part. The subtleties are truly out of this world and the characterization is beyond brilliant. You must have an extra degree of intelligence to appreciate the intricacies of the second Part (Acts-3 and 4). I do have some complaints though. In the first part, the Tank Bonaparte quite literally jumps over a tank shell and it did not make any sense at all. One might also question the plausibility of Bonaparte jumping on the wing of Helicopter Gunship even though it was cool. Buaku rules. | This esteemed production has it's fans. But to paraphrase the classic bad review of 'Mary Reilly,' Moby Dick is like a painting, only slower.<br /><br />This is because the philosophical grounds for a movie "production" are never to make a great film, rather it's to substitute the lack of a strong guiding idea (in this case for a books transference to film) with a list of hopelessly atomized, undynamic but dazzling conceits in an effort to trick viewers into thinking they've seen greatness. As viewers & critics are apt to fall for this, Oscars follow, feeding the whole dumb equation.<br /><br />I don't share in the pleasure all these reviewers found. Moby Dick is stunningly uninvolving. Actors dutifully recite essays about Jonah, Moby Dick, the ocean, Moby Dick, Moby Dick... all things that can't respond, and not one of which is absorbing in the slightest. It's dramatically inert. It doesn't build. In narrative terms Moby Dick (as a movie) is little more than a foregone conclusion in search of an actual story. After half an hour I was muttering "Oh terrific... another oath ...another 4 minute soliloquy!"<br /><br />In the failed effort to involve you, it's a pretty campy overacting showcase. A lot of grey hair here. Starbuck is supposed to be a golden god. (!)<br /><br />One knows one is looking at a great director when he makes the medium his own rather than trying to replicate the feel of someone else's paintings & palette, or reverently embalming a classic as Huston does here. Paintings and books are nice but they're a different mediums. A movie like this fails to grasp that an honestly enjoyable piece of crap (Village of the Damned) is better in most respects than an insufferable piece of culture. This is the Eat Your Vegetables school of film-making.<br /><br />One appreciates the work that must have been done to make the movie, but not the narrative. Only a few segments reflecting maritime research are interesting; the recording of shanties as a means of structuring work & various sea efforts; and the technology of whaling. And that doesn't call for a two-plus hour movie. | 1,677 |
A kid with ideals who tries to change things around him. A boy who is forced to become a man, because of the system. A system who hides the truth, and who is violating the rights of existence. A boy who, inspired by Martin Luther King, stands up, and tells the truth. A family who is falling apart, and fighting against it. A movie you can't hide from. You see things, and you hear things, and you feel things, that you till the day you die will hope have never happened for real. Violence, frustration, abuse of power, parents who can't do anything, and a boy with, I am sorry, balls, a boy who will not accept things, who will not let anything happen to him, a kid with power, and a kid who acts like a pro, like he has never done anything else, he caries this movie to the end, and anyone who wants to see how abuse found place back in the 60'ies. | This movie was terrible. Throughout the whole movie, I was puzzled and did not see any point to it. I had to go to this site and read the review to finally understand what it was about. This movie is not worth watching at all. Not only is it sick and revolting but totally STUPID! Please don't watch unless you are one of those that likes to watch bad movies. If this movie questions Japanese society and their values and roles, than this is a country that i would not like to visit or bother to know. This is a totally sick movie!!!!!!!! I did not enjoy it because it made no sense. My boyfriend and I sat there waiting to see if it was a horror because that is what it was listed under. It was total disappointment. | 1,678 |
I thought this was an awesome movie. The theme song is sweet! :) Anyway, the only thing that somewhat bothered me was in the beginning, when everything should have been normal. It was very weird and unrealistic. The big cable company is mainly what I'm talking about. Apart from that, the movie was very creative. I think that all the acting was well done, the actors acted out their characters' personalities perfectly. Everything fit together well. It really is a shame that their isn't a soundtrack. That would have been great! Because this is a Canadian film, and because it is one of my favorites, I give this movie a 10 out of 10! | Major Payne was really not very good at all. Despite being funny here and there, the story was ridiculous and the acting was poor. Major Payne's voice and temperament were especially annoying. The idea was ridiculous and the things that the boys had to do in that film were even more ridiculous. I would not recommend this film to anyone. | 1,679 |
Mario is invited to Princess Peach's castle for cake. When Mario gets there, he finds out that Bowser has kidnapped her! Mario must save the day again. Unlike the 2-D games, Mario can explore anything he wants to. He can just roam around, climb trees trying to look for 1-Ups, find secrets in levels, and more. You can spend four hours in one level. No time limits. There are 16 worlds, with a number of stages, and there are star doors, which you need a certain number of stars to get into. Once you get in these star doors, you must go through a stage and fight Bowser at the end of the stage. To get to certain worlds, you need a number of stars to get in. You enter the world by going through a painting. There is so much stuff to do and so many hours of gameplay, I don't see how anyone could dislike this game. It's great. This launch title is the game that insured gamers that the N64 would have a good life. Every 3D plat-form game we know of has something in common with SM64. Banjo Kazooie and Banjo Tooie are examples that are commonly used. Super Mario 64 is one of the greatest games in the history of 3D games. 10 out of 10. If you have an N64, buy this game. It's hard to find used, because no one's selling this baby for 5 bucks at the pawn shop. A perfect 10. | I never much liked the Myra movie, tho I appreciate how it pushed the Hollywood envelope at the time. Certainly Miss Welch's costume became an iconic image, though I have to wonder if many people who recognize the image really saw the film and know what it was all about -<br /><br />I rewatched Myra on FMC a couple of years ago and didn't think it had aged any better thru the years. There's a segment about it in the Sexploitation Cinema Cartoon History comic books, where it's given proper credit for putting such big stars in what was then an outrageous production. However, IMHO, the movie is too bitter to be charming, too silly to be a turn-on, and so busy trying to shock that it fails to inform, engage, OR entertain --- | 1,680 |
I've seen hundreds of silent movies. Some will always be classics (such as Nosferatu, Metropolis, The General and Wings) but among them, my favorite is this film (it may not be the best--but a favorite, yes). In fact, when I looked it up on IMDb, I noticed I immediately laughed to myself because the movie was so gosh-darn cute and well-made. Marion Davies proved with this movie she really had great talent and was not JUST William Randolph Hearst's mistress.<br /><br />The story involves a hick from Georgia coming to Hollywood with every expectation that she would be an instant star! Her experiences and the interesting cameos of stars of the era make this a real treat for movie buffs and a must-see! | JUDAAI was a bold film by Raj Kanwar at it's time In 1997 when such a topic was damn out of the box<br /><br />To give him his credit he does succeed in showing how greed changes a person and to what extent the person can go to get what she wants<br /><br />The film however is damn melodramatic, many places ridiculous<br /><br />One wonders why Anil doesn't buy a TV for his wife? when he earns so much Just to show how poor he is?<br /><br />The twist is well handled but the handling is straight out of 80's The Johny- Paresh comedy which entertains here and there stands out as a sore thumb as it doesn't fit in the story<br /><br />Even there are several cringeworthy scenes<br /><br />Direction by Raj Kanwar is adequate though at times too melodramatic Music is okay but most songs look forced<br /><br />Anil does his part well Sridevi is excellent in her part Urmila is decent Amongst rest Kader Khan is as usual Johny Lever is funny, Paresh irritates Farida is decent | 1,681 |
I saw this film premiere Friday (1/19) night in Park City for Sundance and was incredibly moved. Sitting in a theater and hearing first-hand the anguish soldiers go through was almost more than I could bear. Others in the audience were equally moved and while we wanted to turn away, the least we could do was bear witness as these men and women shared their experience with us. Robert Acosta, Paul Rieckhoff, Sean Huze, and Herold Noel, all veterans of the war in Iraq and featured in the film, were present. While they may be home now, you can tell this war is still inside them and probably always will be. Whether you support the war or not, it is OUR duty to support the troops with something other than a bumper sticker. See this film! | In the Comic, Modesty is strong. Alexandra Staden who plays Modesty Blaise looks more like an anorectic fashion model. She does not either have the moral or personality that Modesty have in the comics. Modesty would never give a woman an advice to show more skin to earn more money. I cannot see any similarities with my comic books with Modesty and this movie. Its like a Mission Impossible movie would be about Ethan Hunt locked in the detention room in high school talking with the janitor about when he went to junior high school and Hunt would have been played by DJ Qualls (in Road Trip). Soo if you are an Modesty fan do not see the movie you will just get angry. If do not know much about the Modesty comics rent an other movie do not wast your time with this one.I cannot understand how Quentin Tarantino can put his name on it. I will ask for a refund at my DVD rent store tomorrow. | 1,682 |
I'm writing this 9 years after the final episode was aired and I am still reeling from the impact Wildside has had on me.<br /><br />It has effectively gone where numerous other cop dramas have gone and succeeded. But it took it further and didn't stray from the realism of the streets, often portraying life events and characters down to a T.<br /><br />I am sorely missing this series, instead we have are given the stupid "Underbelly" which is over dramatised and acted creating a whole load of American-esquire garbage.<br /><br />Wildside stayed true to the uniqueness of Sydney and for that I am truly indebted to this wonderful series. The acting was A-grade and it's a shame to see only a few actors have furthered their career whilst others have faded into obscurity.<br /><br />I don't want Australia to forget this wonderful piece of their television history, thus I ask the ABC to release the complete series on DVD, not the first three. Give this series the ending it deserves. | Because that's all she does through out this whole movie,is get naked for no good reason.When Tarzan is bitten by a snake,she suddenly removes her clothes.Since when is a boa constrictor poisonous?How did Tarzan get poisoned by the way ? This whole movie is screwed up.They couldn't get the species of animals for this movie right.Whats an Orangutang doing hanging around those chimpanzees?He must have wandered off the set of a much better film.The group of cannibal tribe's men look caucasin.Why?And why was Bo and her dad painted,if they were going to be eaten later?It was probably just a lame excuse to show her breasts and curves again.Her dad while hunting, approaches and acts stupidly around a bull elephant while standing too close to it.Any real African bull elephant that wasn't from the circus,would've stomped this moron's butt.Any smart hunter would've started shooting the minute he saw it.And I can't help but wonder if the camera was on LSD,because it kept showing various scenes that went in slow motion, for no good reason.It didn't make good sense at all.The boa constrictor that Tarzan wrestled with in the water,looks like one of those 12 Ft rubber snakes you can buy at a local Spencer Gifts.Tarzan was strangly speechless in this film,maybe from Bo flashing herself so much.I'm sorry,but this is a rip off of a classic Black and White Tarzan movie,with a similar but better story.Not To mention plotting .There's one scene in that I saw that everyone forgot to mention.*(SPOILERS ALERT)*The scene where he is trying to rescue Jane and her dad,has him standing too close to a running water spout.It made it seem like he's urinating on someone below him.Eww!Also, him and Jane are fooling around on a beach,with perverted monkeys jumping and clapping.She sure did take her dad's death real well.*(END OF SPOILERS)*There should be a Surgeon General's Warning on this film.That seeing Bo naked too much in this movie,will make you go blind. | 1,683 |
The most important thing about this movie is the brilliant performance by Daniel Day-Lewis and Hugh O'Conor as Christy Brown, guineas artist and fighter who despite of her physical condition overcame all the odds. As a person who did work with patients with cerebral palsy, I can assure you that their performance were shockingly convincing. The enormous support that Christy got form his family, low-income, working class Dubliners, encouraged him to do the impossible and this picture depicted this support brilliantly have not read the book, but the dialogs were written wisely to capture Christy Brown's witty arrogant personality. I do recommend this movie to everyone, especially to classic movie-lovers. | Don't waste your time on this film. It could have been good, but the ending was one of the lamest I've ever seen. I seriously have to wonder how the people involved with the making of this film could've looked at that final scene and thought, "yeah! now there's an ending!" and patted themselves on the back about it. To me it seemed more like they just ran out of ideas! They built up the final scenes to have a cool twist, but instead just let the whole build-up fall flat on it's face. When the last shot faded to black and I heard the credit music starting I was in shock - I could not believe what I was seeing and that someone could even call that an ending. The best thing anyone could do with this film is rewrite the end and give it some substance. Seriously, I'd really love to get whoever came up with that one in a room, look them in the face and say - WTF??!!!! | 1,684 |
it's hard to tell you more about this film without spoiling it. I enjoyed it because I wasn't expecting what I was seeing, but an ordinary sex-drama so.... It's a pscyho-sexual thriller, in which nothing is what it seems. It features Emmanuelle Seigner, no stranger to the genre (and to nudity) in which her husband, Polanski, had directed her. And a creepy performance (did I say creepy/yes CREEPY) from Toreton (Bernard Tavernier's actor). It looks like a Pascal Bruckner meets Roman Polanski (better than Bitter Moon), like a Chabrol gone astray or Clouzot thriller (I have seen someone mentioning Les Diaboliques), but closer to Georges Franju's Les Yeux sans Visage (Eyes without a face, the godfather of Dr. Phibes and more). A gem ! I am just afraid they will blow this into a Hollywood remake like they did with Nighwatch and The Vanishing. | You should know that I am the type of person that watches even the worst of movies to the finish, often out of sheer morbid curiosity. I even watched Leprechaun to the end before giving in to the temptation of tearing out my eyes and stamping on them. You should also know that this movie was in my VCR for less than half an hour before I made a frantic leap for the stop button and dashed back the rental store just to put as much distance between me and it as possible. | 1,685 |
I for one have shamelessly enjoyed every episode of Pushing Daisies this season, and hope that the writers' strike won't brutally end the beginnings of a very good show. Ned is a pie maker who owns a restaurant in the middle of town and has a secret talent. Emmerson is a private investigator with his own unique quirks like his love of knitting. Charlotte (Chuck) is the once-dead-but-not-anymore childhood friend and sunny spot of Ned's life. Olive is the jealous but good-hearted waitress. Oh, and add the dog. Jim Dale brings all the characters together with his wonderful narration of the show. Chuck, Ned, and Emmerson along with Olive and occasionally the dog solve multiple murder mysteries with the assistance of Ned's special gift of bringing dead people back to life. The show is funny, clean, and romantic in a very cute and good-hearted way, and I'd recommend it to anyone. | Pathetic... worse than a bad made-for-TV movie. I can't believe that Spacey and Freeman were in this flick. For some reason Morgan Freeman's character is constantly talking about and saying "pussy" when referring to NSync boy's girlfriend. Morgan Freeman calling women "pussy" is just awkward... What the hell were the people behind this film thinking? Too many plot holes to imagine combined with the horrid acting, confusing camera angles, a lame script and cheap background music made this movie absolutely unbearable.<br /><br />I rented this flop with low expectations.... but... well... it really sucked. | 1,686 |
"Dragonlord" sees Chan returning to his role of "Dragon" from "The Young Master". Not much has carried over from the first film though. "Tiger", his older brother, is nowhere to be seen; neither is the Marshall, his daughter or his son played superbly by Yuen Biao in the original film. Dragon does have the same master though - presumably all the other students have moved on to other things. (Dragon's laziness at training is portrayed heavily in this film, so maybe he's still studying!) <br /><br />Originally titled "Young Master In Love", this film sees Dragon (for the first sixty minutes at least) pursuing a villager girl in various idiotic and slapstick ways. His rival for her affection is his friend (inappropriately named "Cowboy") played comically by the longtime Chan Stunt-team member Mars. We see various scenes where their silly schemes backfire. It is one of these scenes that we (thankfully) find "Dragon" in over his head.<br /><br />This film is notorious in that it failed expectations at the box office. That said, I'm sure the expectations were pretty high, and I feel that this film has never had a fair judgment based on it's own merits. But even when I try to do this, I still feel that there is a problem with the film. It seems quite unfocused, sometimes rushed, and I think the action is too sporadic and not as brilliant as Chan's other work from this period.<br /><br />The thing that really saves the film is the ending sequence. As in "The Young Master", there is a fantastic final reel that it full of incredibly exhausting action - you really feel every blow. And again, Chan goes up against the same rival from "The Young Master" (is it the same character?), and the timing and energy here is brilliant. Chan's style of using every last bit of his environment to help defeat his opponent - not just relying on pure physical ability - is as apparent here as anywhere else. The barn they fight in is full of clever little prop gags and improvisations. This is an absolute highlight of the film and one of Chan's incredible career.<br /><br />It's not necessary to see the prequel before seeing "Dragonlord", in fact, it might even raise more questions than what it hopes to answer. But it must be said that the original film is the superior film, and "Dragonlord", with it's focus on girl-chasing and team-sports does seem baffling. Luckily, the few fight scenes it offers (plus a fantastic shuttle-cock scene) push it over the line as a must-see film in this genre. | Daraar got off to a pretty good start. The first scene really left me at the edge of my seat wondering what would happen next. Other than that, the first half of the movie is a total BORE. All the first half of the movie is about is Rishi Kapoor falling head over heels in love with Juhi Chawla. By the way, don't you think he's a little old for her???<br /><br />Things finally start to spice up towards the middle of the film when Juhi tells us about her previous husband; and wow what a lunatic is he! He was an over-protective, neat-freak with a really HOT TEMPER! He used to beat up poor Juhi for no good reason! One of the reasons I really don't like this movie is because I can't stand to see Juhi (my favorite actress) get so abused. This film in general has WAY too much abuse and bloodshed; I find it so sickening!!!<br /><br />Anyway, all I'm trying to say is if you're thinking about renting Daraar, you should put it right back on the shelf where you found it and pick something else! | 1,687 |
Many critics have felt offended that R.W. Fassbinder has portrayed both protagonist Wilkie and the Nazis in this movie in a human-like manner. Connoisseurs of other Fassbinder films, however, will realize that "Lili Marleen" (1981) belongs to Fassbinder's "women movies" like "The Marriage of Maria Braun" (1979) and "Lola" (1981). Fassbinder was convinced that "stories can be told much better with women than with men", because, according to Fassbinder, while men usually fulfill their determined roles in society, "women are capable of thinking in a dialectic manner". Dialectics, however, means that there is not only a thesis and its antithesis like usually in our black-and-white world, but a synthesis where the oppositions coincide. Moreover, dialectic means that because of the third instance of synthesis the absolute opposition of the difference between thesis and antithesis is abolished. Concretely speaking: Starting from a dialect point of view and portraying the fascist state, the underground fighters must necessarily use the basic means like the rulers do, and between offenders and victims there is thus a chiastic relation, so that every offender is also victim and every victim is also offender. Fassbinder has illustrated this abstract scheme, that transcends classical logic, in his play "The City, the Garbage and the Death" (1975) which was filmed by Daniel Schmid under the title "Shadow of Angels" (1976).<br /><br />Therefore, approaching an a priori controversial topic like Nazi Germany, in a dialectic manner, the depiction of this time in the form of a movie gets even more controversial, especially for people who cannot or do not want to see that our recognition of the world is by far not exhausted with a primitive light-switch schema, but needs the third instance of synthesis as controlling instance of its opposite members thesis and antithesis. The mutual relationship between offenders and victims has to scrutinized, since it is simply not true that the offenders are the bad ones and the victims the good ones. In a synthetic viewpoint, the bad ones participate on the goodness as the good ones participate on the badness. They are mutually related. In a world-view based on classical logic, a relation between good and bad cannot even been established, and in an ethics based on this insufficient system of logic, the bad conscience of the survivors of Nazi Germany, feeling (illogically enough) responsible for the deeds of their ancestors, exclude the possibility of a relationship between the two extremes and thus a synthesis in the form a new evaluation based on this relationship as well. From Fassbinder's dialectic viewpoint, it follows that neither Lili Marleen nor Lola nor Maria Braun can be condemned for their "misuse" of the ruling system for their private purposes, because they don't misuse them, they just use them. In the opposite, since victims must repeat the actions of the offenders as the offenders must repeat the actions of the victims, because "good" and "bad" are no longer simple mirror images of one another like in two-valued logic, their strategies are legitimated by the chiastic structure of a logic that describes our world, that is not black and white at all, much better than a black-and-white logic. | If it wasn't for the bad dialogues and script. I mean, the direction was really in touch with it's subject. The actors were doing good at bringing their characters to life. But in the end, the thing that was really missing was a solid script to hold all the pieces together. I would highly suggest not to watch this. Unless you're a Al Pacino enthusiast like I am and will watch everything he is playing in. Even if the result lately are rather poor. This is, after S1m0ne, a second very bad movie for this actor that once knew how to choose roles. | 1,688 |
Though structured totally different from the book by Tim Krabbé who wrote the original 'The Vanishing' (Spoorloos) it does have the same overall feel, except for that Koolhoven's style is less business-like and more lyric. The beginning is great, the middle is fine, but the sting is in the end. A surprise emotional ending. As you could read in several magazines there is some sex in the film, but it is done all very beautifully. Never explicit, but with lots of warmth and sometimes even humour. It is a shame American films can't be as open an honoust as this one. Where Dutch films tend to go just over the edge when it comes to this subject, 'De Grot' stays always within the boundaries of good taste. 'De Grot' tells an amazing story stretched over more than 30 years. When you'll leave the cinema you'll be moved. What can we ask more of a film? Anyway, this film even gives more.... | ***SPOILER*** Do not read this, if you think about watching that movie, although it would be a waste of time. (By the way: The plot is so predictable that it does not make any difference if you read this or not anyway)<br /><br />If you are wondering whether to see "Coyote Ugly" or not: don't! It's not worth either the money for the ticket or the VHS / DVD. A typical "Chick-Feel-Good-Flick", one could say. The plot itself is as shallow as it can be, a ridiculous and uncritical version of the American Dream. The young good-looking girl from a small town becoming a big success in New York. The few desperate attempts of giving the movie any depth fail, such as the "tragic" accident of the father, the "difficulties" of Violet's relationship with her boyfriend, and so on. McNally (Director) tries to arouse the audience's pity and sadness put does not have any chance to succeed in this attempt due to the bad script and the shallow acting. Especially Piper Perabo completely fails in convincing one of "Jersey's" fear of singing in front of an audience. The only good (and quite funny thing) about "Coyote Ugly" is John Goodman, who represents the small ray of hope of this movie.<br /><br />I was very astonished, that Jerry Bruckheimer produced this movie. First "Gone In 60 Seconds" and now this... what happened to great movies like "The Rock" and "Con Air"? THAT was true Bruckheimer stuff.<br /><br />If you are looking for a superficial movie with good looking women just to have a relaxed evening, you should better go and see "Charlie's Angels" (it's much more funny, entertaining and self-ironic) instead of this flick.<br /><br />Two thumbs down (3 out of 10). | 1,689 |
This movie has been poorly received and badly reviewed. The book by Rebecca West was written in 1918, soon after WWI, when shell shock and trauma-induced amnesia were not clichés, as the reviewers call it many books and movies later. It is difficult to go back in time and live, as the characters lived, the realities of the time: the war and the horror of the experience of the first war to use lethal gas, the British class system the wife thought all-important, the hopeless spinster, and the lover from the past still seen with the eyes of love being as young and as beautiful as she was 20 years ago.<br /><br />Alan Bates as the amnesiac soldier who "will die" if he isn't allowed to see Margaret, the girl of his youthful dreams, builds on the devotion his character showed in "Far From the Madding Crowd". Having seen that performance, it is possible to sense his strong romantic attachment to the girl who didn't live up to the family's and society's expectations. Margaret says, "We quarreled, and as you rowed away, you turned your face away from me." So we know that the breakup was something that he instigated, that it brought him shame, but that he forgot the shame in his memory of his time with Margaret. I haven't seen all his films, but in the ones I've seen, he imparts a strong masculinity, which shines through even in this role as the disabled soldier.<br /><br />I didn't even recognize Ann-Margaret at first and feel that her performance has been underrated. Not having read the book, I wondered whether the child who died was the result of acting on a borderline incestuous feeling between Jenny and Chris, though Jenny does state that she "is a cousin". The way Kitty keeps Jenny in the nursery in the hair-drying scene, the fact that Kitty says she always dries her hair in that room seems more a way for Kitty to keep the coals of anger hot than the orientation of the room to the sun, or sentiment about a lost child, and the statement she made that she wished Chris hadn't felt it necessary to preserve the room exactly as it was when the child was alive made her seem uncaring toward the memory of the child. Also, Jenny is shown as living in the house in a subservient role, as high society would have done to a fallen member at the time.<br /><br />Having recently been the recipient of the intense fantasy of a lover (non-sexualin keeping with the mores of the time) from 50 years ago, I couldrelate to Margaret's and her husband's dilemma. I, too, was cast aside because I wasn't good enough for his family, and upon his rediscovery of me via the internet, I was burdened with helping him deal with his still very horrifying Vietnam experiences and a marriage to a woman above his class whom he didn't believe he loved. My husband, like Margaret's was very understanding, but the strain was very real. The lover was finally able to reconcile his real-life situation with his fantasy of loving only me.<br /><br />I thought that it was a good decision to show very little of the reliving of the war experience that was happening in Chris's mind. I thought of "Mrs. Dalloway" with the WWI soldier who acts out very violent memories and commits suicide versus Chris's joy in his fantasy of Margaret. In contrast, the actiona of the soldier in "Mrs. Dalloway" seems overwrought.<br /><br />Showing that the psychiatrist understood very little of what was happening to Chris underlines what a major problem the whole group faced. Everyone seems to get their life back, but was it the right choice? | From the blocky digitised footage to the acting that makes Keanu "I'm so wooden I could be a Plank me" Reeves look like an Oscar winner this film bites (pun not intended). The best thing about it is the box of eRATicate in the 2nd segment (which out of the three seemed to be the strongest piece in terms of storyline and 'twist'). Wish I'd spent the £3.99 it cost me on something else, like erm.... Natural Born Killers: Directors Cut. If you do buy this, you're really in for a disappointment, do yourself a favour and avoid it like the plague. If you're looking for something amateurish and with actors that are more wooden than a 2x4 then go ahead. However if you want some quality werewolf action look elsewhere, like Dog Soldiers, Wolfen, Romasanta:The werewolf Hunt. | 1,690 |
Curl up with this one on a dark and stormy night and prepare to be alternately amused, irritated and frightened. The creaky old plot about about a phantom train that's said to run through the lonely English countryside at dead of night may be implausible, but it's a lot of fun. There are some wonderful old cliches like "THE ACCIDENT" which the locals can remember but won't talk about. But primarily the movie's a vehicle for comedian Arthur Askey to showcase his particular brand of vaudeville style humour in between the scary bits. Askey's corny humor is not very trendy these days but if you just let it wash over you it can be fun. This is probably the best of Askey's movies. | This snarky, homophobic thing was dated in 1976. It seems particularly mean-spirited now, filled with gay stereotypes, and characters that are meant to be laughed at, rather than with. Redd Foxx does his standard schtick, Michael Warren at least tries to bring humanity to a one dimensional character, and Pearl--Pearl what were you thinking--? Pearl Bailey deserves far better. | 1,691 |
When the Grinch came out I was excited though I thought it was going to be a happy go lucky film and it was. Though it did have a little Nightmare before Christmas touch to it. You know kind of dark and spooky. I loved this film because it helped fill people with the Christmas spirit. So mostly the Grinch saved Christmas. And what happened then well in Whoville they say that the Grinch's small heart grew three sizes that day. MERRY GRINCHMAS! | One-note comedy that probably sets modern day feminists' teeth on edge. Department store clerk Betsy Drake is in love with the idea of babies and marriage, pinning her hopes on women's magazines until she spies super-bait in the form of sleek bachelor Cary Grant. The rest of the film plods from one ploy to the next as the relentless Drake pursues her quarry. I guess the word "perky" just about sum's up Drake's approach to the role. She does have a charming smile, but after 20 minutes of memorizing her dentures, I began to overdose. Grant's role is basically secondary and minus his usual flair. There is one scene, however, that almost salvages this slender exercise. Drake queries the hapless Grant following his lecture to a roomful of respectable ladies. Here her perky manner has an unforced freshness that is really quite remarkable, and had the production not rubbed our noses in that upbeat grin for 90 minutes, the film might have amounted to more than a girls' camp day-dream, circa 1948. | 1,692 |
I love this show. I watch all the reruns every day even though I have seen all of them like 6 time s each.<br /><br />It's about two sisters, Holly (Amanda Bynes) and Val (Jennie Garth), who live in New York. Holly goes to live with Val when their dad is transferred to Japan. Val has the perfect life, she has a boyfriend and a perfect apartment of the Upper East Side.<br /><br />The show basically shows all the problems Vall and Holly go through. the main problem is guys but also is about being responsible and other life choices.<br /><br />Holly is 16 and is a total free spirit while Val is the complete opposite. She is the organized has to have a plan to do anything kind of person.<br /><br />The other characters are Henry, Vince, Gary, Lauren, and Tina. | Four Eyed Monsters follows the relationship of a shy, reclusive videographer and an equally estranged struggling artist, who, both living in the Big Apple, develop an unlikely romance with the help of an internet dating site. This in itself is not so unusual, but what is, is their method of communication. Foregoing the verbal, they take to writing notes and later communicating through video.<br /><br />The film is based upon the creator's (Arin Crumley & Susan Buice) own relationship, who besides writing and directing, take to acting as the lead characters as well. With elements of avant-garde, anti-plot, and docudrama, the film scatters itself to the wind with an undecided structure nestled neatly between narcissism and self-indulgence.<br /><br />As the movie wears on, a brief separation and deterioration of their once intriguing form of communication grow old as the couple face the hardship of reality. Focusing solely on inner conflict, or the woes of relationship, the film struggles through a stagnant narrative that is neither original, nor poignant. This could have been easily circumvented with the addition of subplot and external conflict, and a third act, to which there is none - just a montage of melodrama that leads nowhere.<br /><br />What is even more aggravating is the film's descent from story into reality that abruptly concludes with an open ended and unsatisfying finish. This would have been all fine and dandy, but there is no question asked and no meaning to be discovered or pondered.<br /><br />(On a side note, the film contains beautiful animation and a vivid and moving soundtrack, one of the more interesting aspects of the production.)<br /><br />But as always, watch the film and decide for yourself. | 1,693 |
Home Room deals with a Columbine-like high-school shooting but rather than hashing over the occurrence itself the film portrays the aftermath and what happened to the survivors, their trauma, guilt and denial.<br /><br />*Spoilers* The shooting itself is treated as a foregone conclusion, with no action footage other than the reaction of an almost teenage SWAT commando after shooting the high school killer. The film has three protagonists; the detective investigating the crime of which no guilty parties are left to convict and two teenage girls surviving the incident, played by a very young Erika Christensen and Busy Philipps.<br /><br />The two girls having nothing in common besides the shooting are put together because of it and the drama ensues.<br /><br />Erika Christensen, though only 24 has been around the block so much that film viewers are pretty much acquainted with her solid and reliable style of acting. Busy Philipps, three years older than Christensen and altogether unknown to me, blew me away with her overwhelming dramatic strength and screen presence. This girl was the part.<br /><br />It's a great movie and it connects to you with its intimate focus on the fragile yet growing relationship between the two traumatized girls. Gus van Sant's Elephant (2003) though good, seems almost superficial and paltry compared to Home Room when it comes to dramatic flair and acting. What I can see this film got very little screen time and exposure - so much more a loss for an equally traumatized America.<br /><br />Ten out of Ten | I admit the problem I have with the much-celebrated Ealing films I've seen so far could be mine. To my taste, either they are black and rippingly funny, or so light in tone to be unsatisfying as comedies or stories. That's a self-important way of saying I wanted to like "The Man In The White Suit" but found myself struggling to sit through its short run time.<br /><br />Textile worker Sidney Stratton (Alec Guinness) may be meek in manner, but he is doggedly committed to progress in the form of his attempts to invent a strand of fabric that can't be broken or made dirty. Using a factory lab for his latest experiment, he toils against limitations both material and human - the latter being the benighted mill bosses who don't understand what he is up to, then figure it out and become even more committed to stopping him.<br /><br />"It's small minds like yours that stand in the way of progress," Sidney complains, practicing in the mirror what he struggles to say to the Man.<br /><br />One problem with "Man In The White Suit" is that Sidney's vision of progress is awfully small-minded, too, more so even than that of the bosses or the laborers who also resent his work. My problem is more elemental: For a comedy, "White Suit" is not funny. It's a rather earnest script which too often tries to mine its feeble attempts at humor from spit-takes, double-takes, triple-takes, and dizzy takes.<br /><br />The best joke is the sound of the machine Sidney toils at, going "Bleep-Blop-Bleep-Bop" endlessly and fetching queer looks from every visitor until Sidney either extracts his miracle from it or blows it up trying. Like every other bit of stray humor that functions decently in this film, it's leaned on too long.<br /><br />I've never seen Guinness less affecting in a movie, even though he looks impossibly young and earnest (though actually in his mid-30s). He seems so bloodless, even more so than the wax-faced general he played in "Doctor Zhivago" He's the same cold fish whether he's ignoring the sad affections of the affecting mill girl who offers to give him her life savings when he loses his job (pan-faced Vida Hope as Bertha) or the more sultry charms of young Daphne Birnley (Joan Greenwood), his one real ally in his fight against "shabbiness and dirt", as she puts it, making those words sound as impossibly sexy as only Greenwood could.<br /><br />Supporting players make "White Suit" work as well as it does. Ernest Thesinger of "Bride Of Frankenstein" fame plays a singularly nasty captain of industry who looks like Nosferatu and makes a laugh like a death rattle. Howard Marion-Crawford as another factory leader is as memorable here as he was playing a blinkered medical officer in "Lawrence Of Arabia". Then there's the undeniable charm of Mandy Miller as a little girl who steals her few moments on camera right from under everyone else.<br /><br />But most of the scenes are played so straight that one wouldn't think director Alexander Mackendrick had ever worked on a comedy before (his previous Ealing comedy "Whisky Galore" doesn't reverse that impression, alas). Roger MacDougall's play posits the notion of scientific progress as potential disaster, but fails to present dull Sidney in anything other than the most blandly pleasant of lights.<br /><br />Ealing comedies are remembered for capturing the human side of comedy. Yet the Ealings I've seen never seem to do this, working only when they play aggressively against our own sympathies. "Kind Hearts And Coronets" and "The Ladykillers" (Mackendrick again, go figure) are classics this way. "White Suit", on the other hand, is a pointless ramble that falls apart when it should cohere, just like that unfortunate suit. | 1,694 |
I've heard nothing but great things about the 2006 television mini-series, "Planet Earth," narrated by my childhood idol David Attenborough. Nevertheless, whether it was screened down here in Australia or not, I never caught up with it, and when I happened upon the opportunity to see 'Earth (2007)' a feature-length compilation of the same nature footage on the big screen, I jumped at the chance. The theatre was basically empty; just one other patron sat in the row ahead of me, and it was as though I had, not only the big screen to myself, but, indeed, the entire planet Earth. For 90 minutes, I was lowered into the beauty and perils of the isolated wilderness, amongst some of the most beautiful living creatures ever captured on film. Awesome in its scope, and yet painfully intimate at times, 'Earth' is a heartfelt plea from the filmmakers to recognise the delicate balance of life on our planet, and how the intrusion of humans has placed countless glorious animal and plant species on the brink of extinction.<br /><br />Though the film, directed by Alastair Fothergill and Mark Linfield, obviously argues for the conservation of the wilderness, it refrains from beating us over the head with propaganda, and the puzzle that is politics is ignored altogether; indeed, there is not a human in sight. Instead, we are simply taken on a breathtaking journey into the majesty of the natural world, to experience the resilience, and also the fragility, of life on Earth. I hear that the original mini-series, which ran for eleven episodes, delves a lot deeper into the scientific background of world ecosystems, but I think that, here, the filmmakers made a wise decision to replace information with emotional impact: I can't remember the last time that I felt so inspired, and yet utterly heartbroken at the same time. By establishing an emotional link between the audience and a select few individual animals, anthropomorphising them to an extent, we are suddenly able to appreciate the "human side" of each species, and their hopeless plight for survival becomes less a statistic and more an unacceptable tragedy.<br /><br />'Earth' is basically comprised of a selection of dramatic episodes, whether it be the struggles of a female polar bear to lead her young cubs to the Arctic ice, or the tramp of an elephant herd towards the life-saving seasonal floodwaters of the Okavango Delta. The documentary demonstrates the delicate balance between life and death, most heartbreakingly exhibited in the desperate ballet of predator-prey interactions. Though occasionally, perhaps to cater towards a younger audience, the footage cuts itself short at the crucial moment, I regularly shed at tear at the inevitability of death in nature, and the raw instinct that fuels these animals' final, hopeless efforts at survival. There's even a haunting beauty to be found in the hunt, both in the slow-motion footage of a cheetah bringing down its prey {the result of a single fateful misstep}, or the majestic mid-air leap of a Great White Shark as it engulfs a hapless sea lion. It is this frail balance that has been fatally disrupted by the selfishness of our own species.<br /><br />Aside from these main stories, we are also treated to brief snippets of wildlife from around the world, including the birds of paradise of Papua New Guinea, and the autumn migration of the demoiselle cranes. Of course, entire films might have been dedicated to these species alone, and an inevitable consequence of having to sift through so much footage is that some interesting ecosystems are glossed over far took quickly. By choosing to focus most closely on the polar bear, elephant and humpback whale tracing their lifestyles, via some astonishing high-definition time-lapse photography, throughout a calender year the filmmakers were able to avoid any structural problems that might arise from having so much to show, and only 90 minutes to show it. Consequently, 'Earth' left me thirsting for more, and, fortunately, I now have approximately eleven hours more, as soon as I can track down a copy of the DVD box-set for "Planet Earth." Uplifting and tear-jerking, awe-inspiring and heartrending, 'Earth' is a truly magnificent documentary experience, and it might just be my favourite film of 2007. | This is a candidate for the single most disappointing movie experience of my lifetime. Cool title, excellent director (I saw "To Die For" and "Drugstore Cowboy" before this), and hey - Uma Thurman in the cast. How can you go wrong? Well, that is a question that throbbed in my temples for hours after I watched this turkey.<br /><br />Disjointed and unfunny in an attempt to be offbeat, this is a dead-zone of a movie that should be avoided at all costs. Its critical lambasting was well deserved. You have here one of those rare films that does not contain a single redeeming quality. Zero out of ****. | 1,695 |
I was lucky to see "Oliver!" in 1968 on a big cinema screen in Boston when I was a young teenager. Later, during the summer of 1969, I was pleased to see this film was still playing at a prominent cinema in Leicester Square, London, after it had won the Academy Award for Best Picture of the previous year.<br /><br />Th success of "Oliver!" on both the stage and screen reminded me that not all talent begins on Broadway and ends in Hollywood. This legendary story by Charles Dickens, which is part of the literary heritage of all English-speaking people, was admirably brought to the London stage by Lionel Bart of Great Britain. His charming musical then became a hit in New York and throughout the world. The film adaptation was made in England during the summer of 1967 and then released in 1968. The sets and musical numbers are mind boggling. The song "Who Will Buy?" required hundreds of actors and the British film director truly deserved his Oscar for putting it all together in a seamless manner. Some Canadian and American talent is also part of this wonderful production, but mostly it is a tribute to the fine craftsmanship of the British film studios, such as Shepperton. Good show! Other film studios at Elstree, Boreham Wood, Bray, Denham, and Ealing have also given the world many films to treasure over the years. | Elizabeth Taylor never could act at all and she was just her usual annoying, untalented self in this film. This was before she got so fat but she still looked very short and dumpy. Rock Hudson was OK as Bick Benedict but clearly an actor with more range like William Holden would have been better. James Dean certainly proved he knew how to mumble his way through a movie. The whole film is incredibly slow and goes on for far too long. The actors were all too young and lightweight and none of them aged convincingly due to the poor make-up. Hudson looked ridiculous just being padded out and Dean and Carroll Baker were obviously the same age.<br /><br />0/10. | 1,696 |
It's a colorful slasher movie. That's about it.<br /><br />It has the mystery element that SCREAM made so popular in slasher movies, but I never care for such things. Figuring out who's the bad guy is not that interesting considering the clues are all misleading anyway.<br /><br />The death scenes were inventive and gorey, bringing back memories of 80's horror movies like Friday the 13th. <br /><br />Another nice thing about this movie is that it's hard to pinpoint the surviving girl, unlike in SCREAM and IKWYDLS where it was obvious. <br /><br />People who don't like slasher movies won't like this movie. As simple as that. I truly enjoyed it and I plan to watch it again while waiting for more of the same. <br /><br />--MB | The first 30 minutes of Tinseltown had my finger teetering on the remote, poised to flick around to watch something else. The premise of two writers, down on their luck, living in a self-storage-space "bin" was mildly amusing, but, painfully bland.<br /><br />The introduction of the character, played by Joe Pantoliano - the big deal movie guy, that lives in the park and sleeps in a lavatory, offered hope and I decided to give it a few more minutes. And then a few more until Kristy Swansons introduction as a budding film director & borderline nymphomaniac, added a bit of spice. Her solid acting performance raised her presence above and beyond just a very welcome eye-candy inclusion.<br /><br />Ultimately, the obvious low-budget impacts on the film with poorly shot scenes, stuttured pace and slapstick handling of certain moments. Some of my favourite movies of all time have been low budget, Whithnail & I being one that also deals with 2 guys with a dream, but down on their luck.<br /><br />However, for my money, the actors save Tinseltown from the "Terrible movie" archives and just about nudges it into the "could have been a cult movie" archives. I laughed out loud at some of the scenes involving Joe Pantoliano's character. In particular, the penultimate scenes in the terribly clichéd, but still funny, rich-but-screwed-up characters house, where the story unravels towards it's final moments.<br /><br />I can see how Tinseltown was a great stage play and while the film-makers did their best to translate this to celluloid, it simply didn't work and while I laughed out loud at some of scenes and one liners, I think the first 30 minutes dulled my senses and expectations to such a degree I would have laughed at anything.<br /><br />Unless you're stuck for a novelty coffee coaster, don't pick this up if you see it in a bargain bucket. | 1,697 |
Brando plays the ace jet pilot, just back from shooting MiGs down in the Korean War. On leave, he discovers his Madame Butterfly, falls in love. The lovers both see the folly of racism and the cruelty which conservative cultural norms can bring to human relations.<br /><br />This film is an excellent romance with a nice twist which rejects the racist, conservative standards, dominant at the time it was made in 1957. "Sayonara" will make you laugh and cry. Beware though, sometimes the musical background will make you wish it was not there, although, Irving Berlin's title song will entice your memory for a very long time after your theatre lights come on again. | Weak plot, unlikely car malfunction, and helpless fumbling characters. At first I thought this movie was made during the seventies, since the picture quality, as well as the storyline and drama seemed taken from an old Kojac episode. When I checked and found that it was really made as late as -97 I was astonished. This is by far one of the worst and least (thriller) movies I have ever seen.<br /><br />If you read this, be advised, if you see it you waste time when you could have done something more exciting, like watching paint dry. | 1,698 |
A number of contributors have mentioned the age difference between Stewart and Novak. She was 25 and he was 50 when this movie was released. I think that the difference didn't matter for a suspense drama like Vertigo, but it does matter for a romantic comedy. We can easily understand, that is, why his character would be attracted to hers, but it's less clear why hers would be attracted to his.<br /><br />Still, the movie works as a light romantic fantasy. The scene where she stares at him across the cat's head, with her dark painted-on eyebrows flaring and the sounds of her humming and the cat purring, is true magic. It's a little jarring, therefore, when the scene shifts to the top of the Flatiron Building, and we see the age difference very sharply. As he embraces her, she reaches up to run her fingers through his hair, but stops that motion and just brushes her fingertips lightly against his toupee. | This version is likely available at your local dollar store on DVD. The print is not great, nor is the sound, but if you have $1.00 and 90 or so minutes to spare, you'll get your money's worth (which is not saying an awful lot). Anna Neagle is extremely vapid as Nanette. Whatever her charms may have been back in the day, they are not evident in this film. A great number of fine character actors appear in this film (Helen Broderick, Zasu Pitts, Even Arden), but the material falls remarkably short of their talents. Still, it is interesting to see how such accomplished performers make the most of the weak writing. The musical numbers (there are really only two) are quite horrible. Clearly the studio did not feel compelled to cash in on the rich musicality of the original "No, No, Nanette". For what it's worth, the DVD can be had for $1.00. It's worth that much just to say you've seen it. | 1,699 |
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