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Three girls (an all-female media-crew, including cult-actress Barbara Bach, no less) visiting a small town to cover a festival, end up renting rooms in a house they should have avoided like the plague. Well-made little shocker, suffering a bit from some redundant dialogue-scenes and a rather thin plot-line (that doesn't do very well in hiding its secrets). One underlying theme in particular is quite disturbing (as in: vintage shock-material), and this is basically what the film thrives on. Performances & cinematography are pretty much above par (compared to many other late 70's/early 80's films in the same vein), but what really makes me recommend this film is the fairly long climax-scene in the basement-setting. From the moment that "Keller Junior" character was introduced, his performance made my jaw drop open and it didn't close until the end of the film. A very pleasant surprise to see actor Sydney Lassick (who was funnily wacko in "One Flew Over The Cuckoo's nest", and now utterly demented in "The Unseen") take on one of the leading roles.

Am not familiar with the trilogy but came upon this film last night on Showtime. The film looked very well done with the set design and the cinematography, but the screenplay was stilted and wooden. The acting was fairly bad- thought the two female leads were serviceable. You never really believed anything the supporting actors said though. There were the stereotypes- bible-thumping Reverend without a hint of nuance, authoritative Captain, hot-headed soldier, etc. I am sorry to say that based on these deficiencies I clocked it straight away as Canadian without knowing it to be such-the Telefilm Canada end credits gave it away. I know I'm a horrible person.<br /><br />Maybe I missed something in the beginning but the hostility towards the girls is never explained. Here they are besieged in a fort by werewolves and the men are wasting time and energy brutalizing two young women for no reason. FOCUS people. There's a bit more of a pressing situation beyond your walls than whether or not these girls are lesbians-that's just my inference for the hostility directed towards them. If they can aim and fire a gun you might as well make nice with them. The question of their "immortal soul" can be resolved later.<br /><br />Also, I guess this relates to the rest of the trilogy, these girls are supposed to be the protagonists? One of them murdered the Indian guy at the end that saved one of their lives. I guess one is just a victim of her condition who can't be necessarily blamed for her actions, but the other is just a murderer who doesn't deserve her happy ending.

"The Muppets Take Manhattan" is different in a lot of ways to every other Muppet Movie made so far. For one, it remains the only Muppet film not owned by Disney. As of 2008, the film still belongs to 20th Century Fox (CBS Fox at the time of its release) even though Disney owns the rights to the Muppets. Also, this film has a story line that's very non-linear, and events that are otherwise unpredictable.<br /><br />Of course, it's very hard to beat the original "Muppet Movie" from 1979, especially since that movie had more memorable songs than "Manhattan" does. However, one way in which "The Muppets Take Manhattan" is better than "The Muppet Movie" is perhaps the surprisingly realistic scenarios. In the first movie, all the Muppets really have to do is go to Hollywood, walk into an agent's office, and they are immediately given a "Rich & Famous" contract. In this movie, the Muppets learn that they actually have to work for their desired success, and it's a lot harder to do that, especially in the entertainment business, than they initially thought. That's an important and often times overlooked message, provided one is willing to suspend the disbelief that the Muppets, being small and made of cloth, don't necessarily have to live in a spacious place or even eat respectively. Above all, their struggle to make it after graduating college creates a very good story. Another note: The celebrity cameos in the movie were cool, and they surprisingly managed not to take away the spotlight from the Muppets. That ability right there is a testament to Henson, and how appealing the Muppet characters were even to adults.<br /><br />Where "Manhattan" falls flat, and this is where I'm sure people will disagree with me, is with some of the key songs, especially in the end. I thought the wedding song "He'll Make Me Happy" was too somber for such a happy occasion as a wedding. It sounded more like a song that's played at a funeral. Every time I watch this movie, hearing that song makes me unusually depressed, especially when the film begins on such an upbeat number as "Together Again" and ends happily for that matter. "Saying Goodbye" was a sad number too, but it fit better into the movie because the Muppets were disbanding and weren't sure they were going to see each other again. That last song was such a let down, and perhaps even added to younger viewers' misery of seeing their favorite Muppets leave the big screen.<br /><br />"The Muppets Take Manhattan" is overall a good film, and one that marches to the beat of a different drum than the other Muppet films, including the newer ones made after the deaths of Jim Henson and Richard Hunt. Fortunately, the film marches in the same direction as well. I just wished the film ended on a better song that wasn't quite so melancholy. Plus, Disney should have gotten its hands on this film's copyright and given it a proper DVD release. Maybe it will someday. We'll see.

I've now watched all four Bo Derek vehicles directed by her husband, John; all are quite terrible, of course, but this is certainly the pits. Featuring the usual flimsy plot, bad scripting – by the director, naturally – and acting, not to mention gratuitous nudity by the star, it deals with her losing much older husband Anthony Quinn (she accepts his shotgun suicide by saying he had always admired Hemingway!!) but who continues to appear and talk to her. In fact, he wants to come back in another, younger body…but actually does so only in the very last scene! Derek is lovely as always, and still playing naïve(!) – especially during a muddled mid-section which has her pursued by a hired killer at a spa. Quinn, too, is typically larger-than-life (read: hammy) here, but this easily constitutes his nadir; besides, for much of the duration, he acts from behind a piece of shiny plastic (presumably suggesting his being in some sort of limbo)! His 'replacement', then, is obviously a handsome-looking stud who hasn't a lick of talent or even personality. Also featured in the cast are Hollywood veterans Don Murray (as Quinn's best friend and Bo's business consultant) and Julie Newmar (as Quinn's guardian angel in the afterlife) – plus a surprising cameo appearance by billionaire Donald Trump (who presumably needed this on his resume')! It also goes without saying that John Derek was his own cinematographer on the film, that the end credits are filled with useless (and corny) expressions of gratitude to the many people who lent a helping hand, and that GHOSTS CAN'T DO IT swept the board at the 1990 Razzie Awards!

I've always liked Johnny Concho and I wish this film were out on VHS and DVD. Frank Sinatra gives one of the most unusual performances in his career in this one.<br /><br />When we first meet Frank in the film's title role, he's the brother of a notorious gunfighter who's out of town at the moment. The brother strikes terror in the heart's of the town and Frank takes full advantage of that to bully the townspeople safe and secure in his shadow. Only Phyllis Kirk has any feeling for him. She's the daughter of storekeeper Wallace Ford and Dorothy Adams.<br /><br />Two other gunmen arrive William Conrad and Christopher Dark and it turns out Conrad has killed Sinatra's brother and he's coming to his town to take over. They humiliate Sinatra and run him out of town. Kirk follows him.<br /><br />Overnight Sinatra turns from punk into coward and becomes a man searching for some kind of backbone. It's a well acted performance, almost as good as his Oscar nominated role in The Man With a Golden Arm. Pity for some reason this has not been seen for years.<br /><br />Two other performances of note are Keenan Wynn as former gunfighter turned preacher who helps Sinatra find what he needs to stand up to Conrad and Dark. And then there is Conrad in what I believe was his career role on screen. He's a villain of incredible malevolence, pure evil incarnate walking and talking on the silver screen.<br /><br />However what I like about Johnny Concho is the climax an unforgettable one where Conrad and Dark are dealt with. Let's just say I believe Johnny Concho was MGM's answer to High Noon and a primer for what you do when evil causes a break down in all law and order.

Also known in a different form as "House of Exorcism," this messy<br /><br />little film takes itself so seriously as to kill any entertainment value<br /><br />whatsoever.<br /><br />The spare plot involves European tourist Elke Sommer who has a<br /><br />chance run in with Telly Savalas, who looks just like the devil she<br /><br />saw on a fresco in the square. Sommer is given a ride to a<br /><br />mysterious house in the country, where Savalas happens to be<br /><br />butler. There, she is mistaken for a long dead woman, and the real<br /><br />soap opera theatrics begin. The house's blind matriarch's<br /><br />husband had an affair with the dead woman, who was the<br /><br />matriarch's son's fiancee. The couple who gave Sommer the ride?<br /><br />Well, the woman is giving the chauffeur, uh, "back seat driving<br /><br />lessons," and the husband knows and does not care. Eventually,<br /><br />most of the cast is killed, Sommer is drugged and raped,<br /><br />escapes, and the viewer is taken to a climax on board an empty<br /><br />airplane...which must have resembled the empty theaters this<br /><br />thing played in.<br /><br />The alternate version of this, "House of Exorcism," has scenes<br /><br />added involving a priest.<br /><br />The VHS copy of this, from Elite Entertainment, is crystal clear and<br /><br />letterboxed. There are "extras" after the end credits; deleted sex<br /><br />and gore scenes.<br /><br />Mario Bava's direction is fast and furious, but his screenplay is<br /><br />awful. There are half baked ideas, abandoned plotlines, and<br /><br />stunning conveniences that do nothing more than propel this thing<br /><br />in some sort of forward direction. You have life like dummies for<br /><br />practice funerals, the blind matriarch does not act all that blind,<br /><br />and Savalas is given the same lollipops he had in "Kojak," (who<br /><br />haunts ya, baby?).<br /><br />The project seems like they had two name stars, then wrote the<br /><br />script quickly, something that happens in Hollywood on a daily<br /><br />occurrence now. Savalas looks completely lost, delivering his<br /><br />lines haltingly, and wishing his character had not died in "The Dirty<br /><br />Dozen." Sommer runs around and screams and gasps a lot, but<br /><br />her character is a blank, I use the term "character" loosely. The<br /><br />only thing we know about her is her name.<br /><br />This is a real weird film, and your reaction to it might depend on<br /><br />how heavily you are into Eurohorror, and Kojak. I for one cannot<br /><br />recomment "Lisa and the Devil."<br /><br />This is unrated, and including all the extras at the end of the VHS<br /><br />copy, contains strong physical violence, sexual violence, strong<br /><br />gore, strong female nudity, male nudity, sexual content, and adult<br /><br />situations

John (Ben Chaplin) is a lonely bank clerk who lives in a small town not far from London. Though the Internet, he contacts a Russian agency of brides. He selects Sophia (Nicole Kidman – the guy could be lonely and shy, but certainly has a good taste, doesn't he?) and when they met each other, he realizes that she does not speak English. The communication between each other is basically limited by sex (again, imagine, what a terrible situation for the guy, just have some kinky sex with Nicole Kidman!). On her birthday, two Russian friends of her visit them. Then, lots of surprises will happen. I liked this movie: first, it is almost impossible to be 'labeled'. Is it a black comedy, an action, a thriller movie? I believe all the choices are correct. Nicole Kidman is gorgeous as usual, and I am very curious about her Russian: is she speaking Russian in a correct accent indeed, or just faking? Anyway, I found it an enjoyable movie. My vote is eight.<br /><br />Title (Brazil): "A Isca Perfeita" ("The Perfect Bait")

An absolutely wretched waste of film!! Nothing ever happens. No ghosts, hardly any train, no mystery, no interest. The constant and BRUTAL attempts at comedy are painful. Everything else is pathetic. The premise is idiotic: a bunch of people stranded in the middle of no-place, because their train was held up for less than 3 minutes. What? And the railroad leaves them no place to stay, in a heavy storm? I think not. Oh, they can walk 4 miles across the dead-black fields. umm, yeah. Sure. Or, they can force themselves on the railroad's hospitality, and stay at the 'haunted' train station. A station which proved to be nothing but DEADLY BORING, utterly without ghosts, interest, or plot.<br /><br />So very terribly dull that this seems impossible.<br /><br />This ought to be added to the LOST FILMS list !! aargh !!

Tommy JOnes and Matt Dillon do the gambling world proud. The various moves with the wrists had to be learned as throwing craps is a skill in and of itself.<br /><br />There are a few surprises. AS cynical as we are today, I fully expected the 'good girl' to be crying over his grave, instead of his Buddy's. Especially with her remarks about 'going to the funeral of her best friend', when she first meets Matt. And then of course you expect Matt to kill the guy who threw battery acid in Mr. Allen's face, blinding him (interesting role by Bruce Dern). WRRROOONNNNGGG!!! some of the other Hollywood endings DO happen, but the writing is so excellent, the acting so carefully wrought that you're blissfully unaware.<br /><br />And the music is OUT OF THIS WORLD. Taking us back to the 50s when our 'native passions' were first being unleashed by the music of Ray Charles and Bo Diddley. Even a little racism raring its ugly head in Chicago, but at a club called, wonderfully, 'Biloxi' with a Confederate flag backing up the racist remarks. I'll be watching it again, just to hear the music. Good thing I have the FACTOTUM sound track, so I can listen to that in the car. Watch both together, and you'll see how Matt has matured....playing bar room characters in both. NOw that he owns a bar in the Paramount HOtel in NYC, he probably has great opportunity to do his studies. Great actor, just coming into his own. He shows finely nuanced performances ...the good and the bad in his characters. His 'young boy off the farm' is a great study, made especially poignant because of his bassett-hound eyes. He makes love, convincingly as well. Since he was in several movies with Diane Lane as a teen-ager, I wonder how that it ...making love to an actress you kinda grew up with. Adds conviction, I'll say that.

This (extremely)low-budget movie is compared to the great classic "Silent Night Deadly Night", since it is labeled as a Slasher Flick. First let me say that I think that even "Silent Night Part 2" is better than this (that one was filled with flashbacks of the original for more than half of the movie). "Christmas Evil" tries to get psychological by introducing the main character as someone who goes insane,(a strong word), slowly (very slowly). He is irritated by people who do not get the true meaning of Christmas and at work he can't stand how the fabricated toys are made with such lack of quality and love. Dressed up as Santa he finally goes on a killing spree. Also a strong word, since only 3 people are killed without the real need for special effects. No tension, no thrills, no gore, no cast. For one exception that is: Jeffrey DeMunn is in it. He is best known for playing aside Tom Hanks as one of the guards in the classic "The Green Mile". He still must be kicking himself these days for ever accepting the role. He truly is the only one who really can act, his supporting role is better than the main lead. (who also isn't that bad, but if you're overshadowed by a little supporting character, you're not great either.). And what about that strange ending ? (you have to see it, to believe it). "Christmas Evil" is downright boring, nothing happens and the artwork is just misleading. This is not a slasher. You wanna see a real Christmas slasher, check out the all time greatest: "Silent Night, Deadly Night".

As part of the celebration of the release of Casino Royale, this film with the new Bond starring in it was shown, from director Roger Michell (Notting Hill). I almost turned it off for being a bit boring, but I'm glad I stuck with it. Basically May (Anne Reid) is a single mother of Helen (Anna Wilson-Jones) who hardly sees anyone and has not had a boyfriend in years. Her daughter says that she might want to get married to her new boyfriend, Darren (Daniel Craig, of course). After knowing each other only a few days, May and Darren have a secret affair. And at her age, with a 30-something, and the new Bond?! Anyway, they obviously want to keep it a secret, but May has regrets and wonders if Helen will find out. When she does, Darren gets less hassle than May. In fact, Helen asks her permission to hit her. Also starring Peter Vaughan as Toots, Danira Govich as Au Pair, Harry Michell as Harry, Rosie Michell as Rosie and Johnny English's Oliver Ford Davies as Bruce. Very good!

Valentine is a horrible movie. This is what I thought of it:<br /><br />Acting: Very bad. Katherine Heigl can not act. The other's weren't much better.<br /><br />Story: The story was okay, but it could have been more developed. This movie had the potential to be a great movie, but it failed.<br /><br />Music: Yes, some of the music was pretty cool.<br /><br />Originality: Not very original. The name `Paige Prescott' Recognize Prescott?<br /><br />Bottom Line: Don't see Valentine. It's a really stupid movie.<br /><br />1/10<br /><br />

This story was probably one of the most powerful I have ever taken in. John Singleton certainly went above and beyond when putting together this educational masterpiece. Brilliant performances by the whole cast, but Epps and Rapaport turned in the best and most convincing of either young star's career.<br /><br />However, as a college student myself, many of the issues that Singleton touched on were taken to the extreme. In a sense that, while they are issues faced on many college campuses, they aren't presented as big or out in the open as this movie would make one believe. In some instances, it almost seemed ridiculous to think that something of this nature could actually occur. However, aside from the fact that it was a little over dramatic, the film was brilliant and left me stunned, unable to talk, just think. One of the things from this picture I will remember forever, was a quote from Lawrence Fishburn's character, "Knowledge is power, without knowledge, you cannot see your power." Brilliant, just brilliant.

With this cast and budget you will expect more.<br /><br />John Cusack has made a number movies that border on the strange, yet still work. Neither he, his sister, nor Sir Ben could do anything to save this travesty of trite poorly written garbage.<br /><br />The movie is nothing more than a series of sight gags and poor ones at that. The plot goes nowhere, the writing is contrived, senseless and the characters paper thin. If you think of a movie as being three dimensional where the story and characters bring a depth to the imagery, this stinker comes across as flat as steamboat mickey.<br /><br />Dan Akroyd's appearance in this brought back memories of another truly awful movie, 1991's Nothing but Trouble. Frankly this movie is the type of project that kills careers and gets agents fired.

This film tells the story of a romance between Albert Einstien niece and a gas station attendant. In order to get the two together, Einstien agrees to help Ed(Hudsucker Proxy's Tim Robbins) learn to act more intelligent. This impresses Catherine (Meg Ryan). Unfortunately Einstien goes too far and Ed is considered to be a genius. Hilarity ensues. Not to be missed. Filmed in Mercer county New Jersey at Princeton University, Lawrenceville Prep School (doubling for Princeton University) as well as a beautiful vintage gas station in Hopewell.

If somebody wants to make a really, REALLY bad movie, "Wizards of the Lost Kingdom" really sets a yardstick by which to measure the depth of badness.<br /><br />Start with the pseudo-Chewbacca that follows around the main character ... Some poor schmuck in a baggy white "furry" costume that looks as if it was stitched together from discarded pieces of carpeting. Work your way slowly, painfully, through more not-so-special effects that thoroughly deny the viewer from suspension of disbelief. Add a garden gnome (just for the heck of it).<br /><br />On second thought, skip this movie entirely and find something else to do for an hour and a half.

Surprisingly well made little movie. Short in length at about 90 minutes. For a low budget movie, very well made. Plot is slow to unravel. Cast is excellent especially Elizabeth Van Meter as the girlfriend with Tourette's Syndrome.

I am a huge fan of warrior movies. Some of my favorites are Braveheart, Troy, The last samurai and Gladiator. And after watching Mongol, which is absolutely awesome, and which i strongly recommend, i had high expectations from a Sergei Bodrov movie. But it was terrible, awful, even pathetic is not a strong word in this case. The whole movie i was waiting for something exciting to happen, but it didn't, then i was at least expecting a big epic battle at the end, but even that was a huge disappointment, just some random running around, waving with the swords... There are so many good warrior movies, this one is not one of them.

I had never heard of this flick despite the connection to George Clooney (whose company produced and he appears in a very funny supporting bit) and his Ocean's 11 director Steven Soderbergh. Worse, we picked this up in a discount bin for $4.99 (Canadian dollars at that!) What a grand and pleasant surprise. But then I'm of the opinion that if William H. Macy is in it you can't be disappointed. This was very reminiscent of those Ealing comedies from England in the 1950s. OK, with more profanity. This is an oddball and at times gut-splittingly funny film. The actual heist made me laugh so hard I was crying. Perhaps the funniest use of underpants in movie history. Maybe it was the low expectations I had going in but I watched with a group of people and we had a blast. Best $5 I've spent in ages.

This foolish, implausible tale is redeemed only by the opening scene in which a hard-boiled police detective delivers some nearly-audible lines confirming our greatest fears: He is dead. Perhaps the film would have been saved had the director forgone the dazzling star power of A. Martinez in favor of this sadly-anonymous actor who filled the screen for a brief moment. That a no-name hack-tor off the street could salvage such a dishwater film is no less likely than a villain committing murder by dropping stones into a quarry for an unsuspecting diver. His moment is brief; his promise is immense. Perhaps we will be treated to more screen time by this obscure thespian if there is ever a sequel to this ill-advised film.

One of the finest pieces of television drama of the last decade. Throughout the five hours, ones perceptions and sympathies are constantly challenged as it explores many facets of modern day British society. David Morrisey is, as usual, brilliant. At first coming across as a heavy handed copper in conflict with the heroine, but then proving to be intelligent and caring, as he works with her in uncovering the truth. I have never seen Surrane Jones before. I believe she comes from the world of television soaps. Her performance was magnificent, as she maintains her humour and composure whilst trying to balance the demands of the case and the stress of caring for her mother. I could go on and talk about every member of the cast who contributes to this magnificent drama, but their efforts would mean little without such an absorbing script that constantly challenges your assumptions about any of the characters. It is programmes like this that restore one's faith in television drama, whilst at the same time making it almost impossible to settle for most of the garbage that is increasingly filling the airwaves.

This is simply put, the worst movie I have ever seen. It ranges from like 2+ hours, and the box art was totally misleading. My friends and I rented it because, we thought it would be a poor man's 300. You know, to laugh at and make fun of. No. There is nothing funny about this movie, only pain. Then, the movie starts up, and they are speaking some sort of different language. We think, 'Oh its just the beginning.' But no, from there the movie plummets and becomes more of like a super boring book you had to read in grade school, where nothing literally happens for hours, and the battle scenes rival those of 2 kids fighting on a playground. Omit Cinematography, and this movie belongs in trash compactor. Movies like this will lead to the world we see in Wall-E, which by the way was a good movie.

When I first saw this film on cable, it instantly became one of my favorite movies. I'm a big fan of James Earl Jones and Robert Duvall. The movie paints an accurate picture of the South and the racist attitudes. Most of the attitudes came from Soll, an old plantation owner who uses convicts for labor. Soll is what makes the move, his funny ramblings give us insights in to the way The South was back then. I suppose that if Soll lived today he would be diagnosed with Alzheimer's Disease. None the less his attitudes towards a little boy who comes to work for him and the convicts is complex. While he has racist views, he's grown to trust some of the convicts who are all black. The two convicts he trusts most are Jackson(Mel Winkler) and Ben(James Earl Jones). The conversations between Ben and Soll are the best in the movie, they have real chemistry. James Earl Jones and Mel Winkler both but in great performances as well as Hass.<br /><br />This movie should have gotten more notoriety. However it's on DVD and worth the money.<br /><br />Rayvyn

The next time you are at a party and someone asks, "The other day I heard the expression 'Author's will'. Does anyone know what it means?" Tell them to sit through 'Head Above Water'. The only way Diaz could possibly have survived this movie was by means of this literary device commonly used by bad writers. There are some comic scenes and you will have a few laughs. However the film does not stand up to the most minor logical analysis. Why does Keitel tie Diaz's hand in front of her instead of behind? Why so she can do the chainsaw gag of course. For me the best part of this movie was that I saw it on a cable channel instead of spending four bucks at the video shop.

Stargate SG-1 follows and expands upon the Egyptian mythologies presented in Stargate. In the Stargate universe, humans were enslaved and transported to habitable planets by the Goa'uld such as Ra and Apophis. For millennia, the Goa'uld harvested humanity, heavily influencing and spreading human cultures. As a result, Earth cultures such as those of the Aztecs, Mayans, Britons, the Norse, Mongols, Greeks, and Romans are found throughout the known habitable planets of the galaxy. Many well-known mythical locations such as Avalon, Camelot, and Atlantis are found, or have at one time existed.<br /><br />Presently, the Earth stargate (found at a dig site near Giza in 1928) is housed in a top-secret U.S. military base known as the SGC (Stargate Command) underneath Cheyenne Mountain. Col. Jack O'Neill (Anderson), Dr. Daniel Jackson (Shanks), Capt. Samantha Carter (Tapping) and Teal'c (Judge) compose the original SG-1 team (a few characters join and/or leave the team in later seasons). Along with 24 other SG teams, they venture to distant planets exploring the galaxy and searching for defenses from the Goa'uld, in the forms of technology and alliances with friendly advanced races.<br /><br />The parasitic Goa'uld use advanced technology to cast themselves as Egyptian Gods and are bent on galactic conquest and eternal worship. Throughout the first eight seasons, the Goa'uld are the primary antagonists. They are a race of highly intelligent, ruthless snake-like alien parasites capable of invading and controlling the bodies of other species, including humans. The original arch-enemy from this race was the System Lord Apophis (Peter Williams). Other System Lords, such as Baal and Anubis, play pivotal roles in the later seasons. In the ninth season a new villain emerges, the Ori. The Ori are advanced beings with unfathomable technology from another galaxy, also bent on galactic conquest and eternal worship. The introduction of the Ori accompanies a departure from the primary focus on Egyptian mythology into an exploration of the Arthurian mythology surrounding the Ori, their followers, and their enemies—the Ancients.

I had the distinct misfortune of catching up on two of 2004's worst films back to back this morning: first, the incoherent CGI-driven emptiness of The Chronicles of Riddick, and then, the embarrassing vanity project known as Greendale. One cost multimillions and the other cost pennies, but they're both bad. Really, really bad. <br /><br />Up front I should state I'm not the world's biggest Neil Young fan, but he has contributed his share of classic tunes: from Buffalo Springfield (whose best recordings were Young compositions) to Rust Never Sleeps, Harvest, and Mirror Ball, the man has penned some really great songs. Sadly, there are no great songs in Greendale, and precious few good ones, and the film around which they are built is truly cringeworthy and simplistic political sloganeering. Completely without merit as art and unimpressive as polemic, Greendale is best left forgotten. Buy the book if you feel compelled to contribute to Young's bank account.

It' just funny, watch it!!! <br /><br />OK they want 10 lines so there: This is a spoof of 50s/70s werewolf movies. Lots of satire, some political. Feels like an early Clouseau movie (probably due to Alan Arkin), but with less slap stick. If you like the Naked Guns movies you'll like this too (once again less slapstick in this one). <br /><br />Actually, the humor ranges from light sexual innuendo (unavoidable in a teen comedy), to really poignant socio-political satire. The transformation of the Moon High School from 50s to 70s is really funny. The sequence with the changing presidential portraits is brilliant! OK maybe not brilliant but still hilarious. There are tons of (histarical) cracks starting from the 50s cold war paranoia and the late 70s inflation.<br /><br />Anyway, just watch the movie if you get a chance!

<br /><br />The main question I pose concerning this film is, how do you film a cole porter musical and only use 3 of his 15 songs! merman and lahr played the lead roles on broadway, here they are replaced by the weaker red skelton and lucille ball. plot changes abound and the fun is lost.<br /><br />SKIP IT.

By some happy coincidence the same year that Jimmy Stewart and Kim Novak made Alfred Hitchcock's haunting masterpiece "Vertigo", they also made this light comedy. Perhaps the two actors needed to do it after undergoing the heaviness of the Hitchcock film . At any rate this a great companion piece to "Vertigo" as it again explores a very un-likely but powerful romance. In fact the film can be seen as the flip side of "Vertigo" with it's happy ending. Here again Novak undergoes a transformation, in Vertigo she essentially plays two women and here she 'transforms' from witch to mortal. Stewart is again bewitched and for awhile tormented by his love for her. Unlike Vertigo the two come together in "Bell Book and Candle" , a perfect antidote for the Hitcock movie. Again the dynamics of love and attraction are examined but in an altogether different vein. The cast is terrific. Lemmon hilarious as Novak's warlock brother and Elsa Lancaster giving a classic performance as the Aunt. Ernie Kovacs as the alcoholic cult writer and of course Hermoine Gingold playing Novak's competitor are all great. The scene with Stewart drinking the potion is comedy at it's best. Anyone who has seen Vertigo or even if you haven't should see this memorable light comedy.

You know what kind of movie you're getting into when the serial killer main character is being transported to the electric chair (in what seems to be a bakery truck), only to have the prison vehicle collide with (and I'm not making this up) a genetic engineering tanker truck. The goo which spurts forth melts him, and fuses his DNA with the snow, creating our protagonist, the killer snowman.<br /><br />My favorite portion of the movie, however, is an over-the-shoulder shot of the snowman thrashing some poor schmuck, in which his hands look suspiciously like a couple of white oven-potholder gloves.<br /><br />Mmmmm, schlock...

This movie is sort of a Carrie meets Heavy Metal. It's about a highschool guy who gets picked on alot and he totally gets revenge with the help of a Heavy Metal ghost. it is such a classic. The soundtrack is A++++. You've got living legends of Metal in it. And Marc Price was great in this film. This is a must have for metal fans.

A young couple Mandy Pullman (Mitch Martin) and Roy Seeley (Matt Birman) are relaxing on a beach in the small town of Galen. They decide to start playing practical jokes on each other. Mandy hides in an old run down cabin, she is attacked and raped by an unknown assailant. Roy tries to help her after hearing her screams but is killed. Dr. Sam Cordell (John Cassavetes) and his daughter Jenny (Erin Flannery) are both new to Galen after the death of Sam's wife. Sam is called into action by Police Chief Hank Walden (John Ireland) when Mandy and Roy are found. He performs the autopsy on Roy and treats Mandy for her horrific injuries. Soon after a curator at the local museum named Carolyn Davis (Denise Furgusson) is also attacked and raped. A local journalist named Laura Kincaid (Kerrie Keane) reports the events and suggests to Sam that a similar string of rapes and murders occurred in the town 30 years earlier. More rapes and murders occur. Meanwhile Jenny's boyfriend Tim Galen (Duncan MacIntosh) has been having strange dreams and nightmares and is convinced that he has something to do with the horrific acts. Tim's story and digging into the towns past makes Sam become convinced of the existence of a creature known as an Incubus - a shape-shifting demonic entity that exists only to reproduce! Directed by John Hough this is one seriously dull horror film. The script by George Franklin based on the novel by Ray Russell is slow to say the least. Nothing interesting or exciting happens and it finishes with one of the most boring none event of a twist ending I've ever seen and frustratingly it just finishes suddenly. As the story plods along at a snails pace there are a few rapes, but none are shown on screen. There is only one gore scene in the entire film too. The monster itself is only shown at the very end and has all of three short scenes. Everything about this film production-wise is very static and flat, the film has no energy or pace. The acting is dull and you don't feel or care for anyone. Check out the scene in the autopsy room where you can clearly see the boom mike at the top of the screen on several occasions. The type of rubbish horror film making that you'll forget within a day. A real waste of time, don't bother.

I swear when I first saw this movie,I cried my eyes out! A STAR IS BORN is the movie that lets you know what love is really like despite the obstacles John Norman (Kris Kristofferson) and Esther (Streisand) face. You also experience what it's like to lose a love like that by the end of the movie. Streisand and Kristofferson have such great chemistry together and the music is fantastic! When Streisand sings With one more look at you/Watch closely now, it's just pure magic! This movie made the song Evergreen one of my favorites,and Queen Bee is such a fun song. Also I love the fashion of the '70s (except Streisand's afro. Besides that,she's a beauty.). A Star is Born is my number one favorite movie. This movie is a pleasure to watch and is a heart-breaker at the end.

Yes, about the only thing this film is memorable for is that it starred a youngish Tom Hanks who only a few short years later would be a relevant star in Hollywood. Here though is not a movie that is going to showcase his talents much at all and the only other thing that might be considered somewhat entertaining about this flick is the scene where he thinks he sees a monsters and runs a guy through. Yes, this movie is about the evils of playing a game that makes a group of people use their imaginations and try to come up with interesting scenarios. Basically, an after school type special about the evils of the game Dungeons and Dragons cleverly retitled here as Mazes and Monsters. Apparently, the makers of this film thought that nerds should not have fun of any sort unless they were going to go out and do underage drinking, drugs, having lots of unprotected sex and harass other weaker children like all the popular kids were doing. No, these bad people were playing a game that actually required one to use there brain, heaven's no! Not that, if they have a brain they actually may be able to think for themselves and not be brainwashed by certain groups out there. Yes, I think this movie is utterly stupid and a waste of time. Granted, it could be a movie against addiction, but there are a lot fewer people who died taking Dungeons and Dragons to far in its entire existence than than say what drunk driving claims in like a month.

I've watched this movie twice, and I plan to see it again. It is the movie that puts you in the director's place, regarding his romantic relations and the political situation in Israel. It also makes me cry because of remembering the wonderful time it was, and the horrible murder described there. It is really worth watching.

This is high grade cheese fare of B movie kung fu flicks. Bruce "wannabe" Lee is played by Bruce Li...I think. Of course, let's show quick clips of Bruce and do closeups of his eyes and if you quint at the right angle during a certain time of the day during the winter solstice, it kind of looks like Bruce. You'll laugh in awe at how the film splicing isn't very good, but some cool deleted scenes from Enter the Dragon are thrown in the mix. According to the movie, Bruce Lee was killed by a dart while hanging from a helicopter. Of course, they think this can excuse Bruce Li for trying to be Bruce even though his character is supposed to be Bruce's brother (who for some reason still mimes Bruce's gestures and fighting style - very POORLY). See Bruce go one-on-one with the cowardly lion. The props department stopped by Kay-Bee, you see. Bruce also finds nothing wrong with savagely beating up a crippled man. Towards the end, the director decided "let's throw a flashback" for a scene just shown 3 minutes ago!! They must've thought that only one-celled organisms with attention deficit disorder could fully understand this film.<br /><br />

Dreaming of Julia was the title of the original script, and was filmed in the summer of 2000 in Santo Domingo Republica Dominicana. To release the picture they change the original name to Cuba Libre. The director's cut was 3 and a half hours long. It was released on the festival of Bangkok in Thailand. It was the second film of Gael García Bernal (the first was Amores Perros)<br /><br />and the first of Juan Gerard as a Director. In the poster the names of Diana Bracho and Cecilia Suares does not appear. Diana plays the grandmother and Cecilia the mother of the kid. They are great actresses and they keep the story together specially Diana. Check her out in other things you would be surprised.

This movie is another Christian propaganda film in the line of The Omega Code. Not that that is necessarily bad but for the fact that most propaganda films sacrifice sincerity and realism for the message they wish to deliver. If you enjoy a styrofoam portrayal of life on the streets and the way the Gospel can change a life, than perhaps you may enjoy this movie. I say, save your money and rent The Cross and The Switchblade or The Mission. When will Christian directors learn that sometimes people say bad words? It was frustrating to see criminals depicted who are not allowed to swear (huh? criminals say bad words?) and flat characters I really could not relate to. Also, it would've been great if the movie had shown some T&A. Now that would be something I'd like to pay to see. Who was the blockhead who compared this communion wafer-thin story of a movie with The Boondock Saints and The Sting?

I was brought up on Doc Savage,and was petrified by the green death as a child but even then as now, I found it thoroughly entertaining.I have made countless friends and colleagues watch this film and have been most amused by the diversity of reactions,granted they mostly think I'm odd but there you are. "I don't know what it is about the Doc, but he always gets the girls" has to be the ultimate line when you look at his sad band of men. This film is a classic spoof on all the super hero genre,and was way before it's time,it is not to be taken seriously, move over Austin Powers. Ron Ely is a God.It is unfortunate that this film hasn't been released on DVD in the UK. I don't think it should be remade and bastardised, like I said it's a classic,it cannot be done without Ron.(like the Italian job without Mini's and Michael Caine). I give it 10/10.

I liked it but then I think I might have been ironing at the same time. This reworking of Cyrano de Bergerac/Roxanne is an utterly undemanding, formulaic romcom rescued from straight-to-video ignominy on its release by the sharp turn of Janeane Garofalo. Playing the Frasier of Pets, she finds herself caught in a love trap when insecurity leads her to pass her best friend (Uma Thurman) off as herself when a caller comes a-courtin'.<br /><br />This is an interesting film in the fascinating career of Ben Chaplin. An average British actor, he gave the Hollywood treadmill a shot with this film. He is unremarkable and his anonymity in studio productions is unsurprising on the basis of it, although he has appeared in substantial cameos in both the later Terence Malick films. Uma Thurman does a ditzy turn on autopilot and Michael Lehmann packages it all together competently. Icky phone sex though. 4/10

"The Ex-Mrs. Bradford" (1936), starring Thin Man series star William Powell (this film was released the same year as the second Thin Man film, "After The Thin Man," comes very close to duplicating the fun and style of the Thin Man films, but it nonetheless misses. Still, it is a wonderfully fun, highly entertaining murder mystery in the same comic vein.<br /><br />Is Myrna Loy missed? Of course, let's not lie. However, I'd be hard-pressed to name a better substitute than Jean Arthur. And the chemistry between Arthur and co-star William Powell is real and it's fun, romantic and involving.<br /><br />The story and screenplay by Anthonyu Vieller and John Wyne's production company partner, James Edward Grant ("The Angel & The Bad Man") is close to being up there with a Thin Man effort, but lacks a bit of the proper wit and sizzle.<br /><br />While it's not in the stratosphere of 'The Thin Man" movies (what else is?), "The Ex-Mrs. Bradford" is one of the most entertaining of the dozens and dozens of mystery-comedy "who-done-its" of the '30s & 40s.

I knew that 'Evening' was a girlie film, so I was expecting to be bored. A wicked tease on IMDb had said that it was a 'chick flick' but that your companion would survive.<br /><br />Survive? Yes. I am still here, but when the two of us came out we were amazed to find that it had only lasted two hours - it seemed a much longer evening than that! I suppose that, for Yanks, it is supposed to be elevating or fascinating because it is about rich people living on the beach - well, next to the beach, in a house with a wide verandah and a lawn but no apparent lawnmower. If that sort of thing impresses you it might seem quite a short film.<br /><br />There's a Monty Python film about a Knight who just won't die. He ends up a wriggling (why do Yanks add an third syllable to this word I wonder) torso in the road still shouting threats at his nemesis. This film is also about a sort of living dead. Vanessa Redgrave (inappropriate name for the grave dodger shown here) goes on and on dying whilst having inappropriate guilt. She's not worried about having been a wide-eyed, breathless bimbo, but imagines herself a murderess.<br /><br />Obviously, being a girlie film, there's a chap who is supposed to be the Mr Darcy/Heathcliff character. I'm not a woofter, so I can't claim to be a good judge of such things, but the tedious wimp who is wheeled out for this role seems only to have the title of servant in his favour. He's a bloodless cypher.<br /><br />As you might gather, the main characters aren't much cop, but the minor ones manage, amazingly to be much worse. There's a fellow whose only job is to react to the news that his girlfriend is preggers. Fair enough, but it isn't the role of Hamlet - why ham it up so badly? Forgetting that it was a girlie film, I thought he was going to be thrown out because any decent girl-friend would have told him that face-fungus didn't flatter him, but then I realised that she must have encouraged him to grow a 'beard' because he looked worse without it.<br /><br />I kept awake by noticing which actors and actresses had their earlobes attached or free and noting interesting bits of scenery - if you're dragged along to it, see if you can spot the stuffed buffalo head, just the sort of thing you'd expect in a beach cottage.<br /><br />Apart from the obligatory wedding, there is only one piece of action. You'd have thought that they'd have got it right. Sadly, though, the hit and run accident is carried out by a car that couldn't be there. When the accident is discovered the cast wander about shouting for a character that they can't know is nearby (but we do as the audience). If they don't have any clue that the person is within a couple of miles of the place, then why do they wander about aimlessly shouting for him? I suppose that the director's excuse is that it is supposed to be a half-remembered dream sequence...<br /><br />Another scenery item that caught my attention was a copper bottomed saucepan. I didn't think that the technology to do this was developed until the fifties.

The movie has very much the feel of a play right from the start - I think it would make a better play than a movie because the set and dramatization make a movie version seem a bit too artificial. But, still, it's carried out fairly well, and the story & especially the dialogue are interesting. They've taken the dialogue pretty much exactly as is from the actual play. Perhaps it's a good introduction to Shaw's plays.<br /><br />The main character Raina has her head in the clouds & and a flair for the dramatic, and Helena Bonham Carter's acting does a good job here. Her fiancé, Serges, is a bit too cartoonish when he is really supposed to be an extremely handsome dashing figure. Her parents are entertaining enough.

I'm a big Porsche fan, and the car was the best star in this film.<br /><br />Haim, the now dried up drug abusing child star of the 80's is bland as per usual, and commenting on back up from minor characters/actors would be pointless; needless to say they were all very average. It's a cool movie as a trip down memory lane into the 80's - with some weird clothes, some good shots of the Colorado backdrop and a very harmless albeit mind numbing plot.<br /><br />All in all, please don't waste your time watching this unless you love 80's movies, Corey Haim, or like myself, love old school Porsches (this one in particular looks great) because life's too short to watch crappy movies.

This movie is one of the best ever produced by disney.<br /><br />The plot is very original and entertaining. The animated sequence is also very well done with the live actors. (For the time).<br /><br />Perhaps one of my favorite sequences is contained in this movie with the march of the suits of armor.

Well, I do like the gore in this movie - it is genuingly unsetteling. Anyone that's been to the dentist will know why. The story really isn't that bad, Corbin Bersen's character's motivations do make a lot more sense than in most horror movies.<br /><br />I've seen worse acting, directing, script, etc. but at the end of the day this is still a bad horror movie. So it comes down to if you enjoy that type of thing or not. I tried to watch the sequel, but it was exactly, exactly the same thing as this movie. Just keep in mind if you enjoy people getting tortured at the dentist, then this is the movie for you!

Any movie that shows federal PIGs (Persons In Government) to be the power-mad threats they are in real life has a lot to recommend it to me.<br /><br />Alas, the script supervision and editing and even, at times, the directing are flawed so there will be people who will disparage the whole movie and ignore the good moments.<br /><br />I saw the original way back when it was new and hated it, despised it, loathed it. Thought it was a terrible, irrational piece of junk.<br /><br />Now, though, I don't remember why.<br /><br />I believe the two should not be compared or even connected.<br /><br />Consider them as two different movies.<br /><br />Rate them as two different movies.<br /><br />This "Vanishing Point" provides a rallying place, a banner for people who want to encourage individualism, who believe in human rights, who recognize the threat to freedom government can be and is, especially the federal government.<br /><br />"The Voice" wears a cap bearing the state motto of New Hampshire: "Live Free or Die." At one time it would have been the motto of most Americans.<br /><br />Despite its obvious flaws, "Vanishing Point" is a film to cheer.

Watching Josh Kornbluth 'act' in this movie reminds me of my freshman TV production class, where the 'not funny' had the chance to prove just how unfunny they really were!<br /><br />OBVIOUS is the word that comes to mind when I try to synopsize this wannabe comedy. The jokes are sophomoric and telegraphed. The delivery is painfully bad. OUCH!!!!!!! The writing is simply dorkish. It is akin to a Bob Saget show. <br /><br />Watching this movie is as painful as watching a one and a half hour long Saturday Night Live skit (post Belushi). <br /><br />I hated this movie and want my money back!!!

With lots of sunshine, gauzy light and shadow filtering through windows and into rooms, tracking shots moving through crowds with hand-held camera, quick-paced editing and extreme close-ups here and there, the photography is the thing in this interesting, artistically done film.<br /><br />The plot of this film starts out as a bit of fluff about a beauty contest. The film begins on a warm Sunday at the local swimming pool, where we meet the lovely Lucienne aka Lulu (played by Louise Brooks) - a bit of a show-off in front of the gawking men by poolside, she soon decides to enter herself to represent France in the Miss Europe beauty contest, much to the chagrin of her very jealous, stick-in-the-mud fiancé (a pretty annoying fellow, really). Strutting down the runway the ten contestants display themselves in swimsuits, while the winner is chosen as the contestant who receives the longest applause (I was wondering, couldn't the girls just walk slower to prolong their length of time - and thus applause - on the catwalk?!). Lulu is soon being chased by a Prince and a Maharaja, but her hot-headed beau doesn't like the attentions paid to her by other men or her adoring public, for that matter (I guess he just wants her in his house, cooking his meals, and staying out of sight, eh?!).<br /><br />Louise Brooks is beautiful and charming, her presence helps enhance this film, but it's really the way it is photographed that held my interest the most. A bit distracting is the odd dubbed sound, which is a bit off. The print on this version looked very clear and full of nice contrast though. Watching this I just tried to overlook the sound problems and watch the film visually, and I found the movie to be excellent, well worth seeing.

...and you can look at that statement in different ways, by the way. First of all, it's a mess because of all the gruesome and extremely violent scenes. Your wildest imagination doesn't even come close to some of the explicitly shown scenes here. Entire parts of this movie are just plain sick, disgusting, offensive, brutal and they bring you close to puking your guts out. Now, I love horror movies and I am very 'pro-violence', but I do think that it has to lead somewhere !! Is that too much to ask ? Cradle of Fear is just a series of utterly sick and twisted thoughts. The "movie" contains out of four separate chapters connected by a wraparound story. This results in endless showing of torture, murder and sickness only to find out that the victims have something in common. Not very informative, if you ask me. And yet - it has to be said - the basic plot idea surely HAS potential. It's about a cannibalistic hypnotist who made a deal with the devil himself to avenge himself and cause misery and death to everyone who was involved in his trial. Personally, I think that is an interesting topic, so they should have focused on that a little more instead of wanting to create the most disgusting movie ever.<br /><br />Secondly, the whole production of this movie was a mess. They didn't have much of a budget and they spent it all on fake blood and guts...Tons of it !! The acting performances are a joke and some of the worst I've ever seen. Any other special effects besides the make-up looks very amateurish ( Like that attempt to a realistic car crash, for example ). There's no tension or atmosphere to detect anywhere...not even an attempt to build up one.<br /><br />Cradle of Fear is a failure and a missed opportunity to say the least. With the presence of death-metal icon Danni Filth ( from the band Cradle of filth..get the link ? ) this movie is obviously only meant for the eyes of twisted teenagers who try to be controversial. Troubled girls and boys who take pleasure in worrying their parents by watching crap like this. And then people keep complaining that the amount of suicides and juvenile delinquency is increasing...Bah. I can imagine that this movie can cause a lot of damage when you're easily influenced or dispose of an unstable mind. For every self-respecting horror fan, this movie is an insult.

Vincente Minnelli directed some of the most celebrated entertainments in cinema history... He was among the first Hollywood directors to show that a profound love of color, motion and music might produce intelligent entertainment... <br /><br />'American in Paris' is the story of an ex-GI who remains in France after the war to study and paint... He falls in love with a charming gamine Lise Bourvier... Their romantic love affair sparkles as brightly as the City of Lights itself... The whole movie brings a touch of French elegance where technique, artistic style and music all come together in perfect synchronism...<br /><br />The first musical sequence introduces the exciting personality of Leslie Caron in her screen debut... She is like a diamond, a touch of class... George Guetary describes his fiancée ambiguous grace in a montage of different dance styles, sweet and shy, vivacious and modern, graceful and awesome... The number leads to an unpretentious bistro, where Kelly and his very good friends in Paris share a gentle parody of Viennese waltzes... Later Kelly celebrates a popular tap dancing with a crowd of enthusiastic children singing with him 'I Got Rhythm,' and at the massive jazz nightclub Kelly spots the girl of his dreams... He is instantly hit by her sparkling sapphire blue eyes, and only one clear thing is in his mind, to pull Lize onto the dance floor and sing to her: "It's very clear, Our love is here to stay."<br /><br />To the joyful 'Tra-La-La,' Kelly provides humor, wit and talent all around Oscar Levant's room ,and even on the top of his brown piano... <br /><br />When he meets his pretty Cinderella along the Seine river, Kelly is swept away by his happy meeting with Caron... He expresses all his emotions with 'Our Love Is Here to Stay.' The piece had a definite nighttime feel as the two lovers were bathed in soft, blue smoky light... They start an enchanting dance-duet juxtaposing differing elements... Caron dances with her head on his shoulder, then tries to run away in a fluid way... They move backward, away from each other, then pause to rush toward each other, for a little kiss, and a warm hug...<br /><br />The film's weakest numbers were those that bear little relation to the story... In one, Georges Guetary performs an entertaining stage show with showgirls in giant ornaments floating down to the stage... In another, Oscar Levant imagines himself conducting a concert, and playing not only a piano recital, but the other instruments as well... He even applauds to himself as members of the audience...<br /><br />The extravagant climactic super ballet of the film is quite an adventure, a breakthrough in taste, direction and design... It is a blaze of love, fury and vividness... It is Kelly's major fantasy of his lost love and of his feeling about Paris as viewed through the huge backdrops of some of France's most Impressionist painters...<br /><br />The number starts at the Beaux Arts Ball after Kelly finds himself separated from Lise, and begins a sketch with a black crayon... It gathers the important parts of the film's story through a constantly changing locations, all in the style of the painters who have influenced Jerry... The tour, richly attractive and superbly atmospheric, includes the Place De la Concorde Fountain, the Madeleine flower market, the Place De l'Opéra, to his Rendez-Vous at Montmartre, with the cancan dancers in a representation of Lautrec's Moulin Rouge...<br /><br />Kelly seems to defy the boundaries of his physical self... Caron seems to dominate her space and sweeps you away to another time and place...<br /><br />Nina Foch appeared very attractive and elegant in her one-shouldered white gown... In one of the film's most famous lines, Kelly asks her: 'That's quite a dress you almost have on. What holds it up?" Nina, cleverly replies, "modesty!"<br /><br />'An American in Paris' garnered six Oscars, including an honorary award to Gene Kelly... The film gave us a wealth of memories to take home...

It's funny. I've seen a bunch of Fassbinder films and I have found some to be extremely creative and interesting, while others are repellent and self-indulgent messes--like this film. For me, it ranges from great to crap--without much in the middle. I know he has a lot of fans among the "sophisticated", but I can't help but think that a lot of his appeal is pure hype. From my point of view (and I know I will get a lot of negative ratings for this), he made too many movies too quickly and was too self-indulgent. His gay or gender-bending films (like this one) tend to be really bad--sloppily done, sometimes quite boring (such as QUERELLE and THE BITTER TEARS OF PETRA VON KANT) and sometimes just gross (like this film). Couldn't his message about acceptance of a person's gender-confusion be handled better than showing him get slapped around or watching cows being gruesomely slaughtered? Show some sensitivity for the subject matter and make your characters more human and sympathetic--then, maybe, I'd care about the films. <br /><br />I'm honestly at the point after watching this film that I might not bother with any more Fassbinder films--the bad seems to be out-weighing the good.

I am a sucker for films like this. Films that take you back and let you relive your childhood. I'm a grown up now and have many grown up responsibilities like a mortgage, kids, dogs, a wife and a slew of others. I enjoy my life but it is not as innocent and carefree like it was when I was twelve. Mike Binder's Indian Summer knows this and explores this like he was twelve years old. It brings you back to a time when life was simpler and much more fun. It brings you back to a time when worrying about your first kiss and wondering if you could finish the camp marathon were important issues. Indian Summer is a fantastic film and it is one that should be watched at least once a year just so you can sit back and laugh...and reminisce.<br /><br />The film stars Kevin Pollak, Bill Paxton, Diane Lane and Matt Craven (to name a few) as childhood friends that are being summoned back to Camp Tamakwa by their former Head Camp Counsellor, Uncle Lou. Uncle Lou is played perfectly by Alan Arkin. He is kind of guy who is the patriarch of the group. He is also all knowing and encompasses the true spirit of a father figure and someone who understands the simple things in life. He has a hard time relating to today's kids that need a walkman blaring in their ears when they are at a place of immense beauty like Tamakwa. This is a camp that has moose wandering through the camp, leaves turning colours that God gave them and water for as far as the eye can see. Uncle Lou yearns for the days of old and asks his former campers back to the camp to see one of them will take over the camp. While they are all together again, we get to see their trials and tribulations and perhaps a new love could spring between them.<br /><br />As the adults return to the camp, it isn't long before they act like kids again as the typical camp pranks get played all over again. They take toilet paper out of the stalls, the put toothpaste on sleeping bags and so on. All of this is done hilariously and with actors like Pollak and Paxton, it is all very funny stuff.<br /><br />But beyond the hilarity, we get to explore some very real adult emotion that anyone can relate to. In one of my favourite scenes, Kevin Pollak and Elizabeth Perkins are overlooking a bay where they used to go canoing as kids. Pollak can't get over how small it all looks and Perkins finally tells him that the bay didn't get smaller, they just got bigger. It doesn't hammer the point home, but it does it subtly. We all grow up, we all move on and we all unfortunately can't live like we did 20 years ago. The more things change, the more they stay the same.<br /><br />Indian Summer is a character driven film and it is written beautifully by Mike Binder who actually did attend Camp Camp Tamakwa, (as did Sam Raimi, who played Stick in the film) and it is his fond and vivid memories of his experiences that fuel the film. There are many touching scenes and there are many hilarious ones also. Both are perfect.<br /><br />I love this film. I love everything about it and it is a true hidden gem.<br /><br />10/10

there is no suspense in this serial! When one episode ends the acting is so shoddy, the effects are so poor and the script is so awful that the last thing on your mind is how Batman and Robin will save the day. No, in fact, the last thing on your mind is watching the next episode! This show is so boring that I can't see how it ever got made, let alone released on DVD! Obviously the effects are not up to par with contemporary Batman films, but even the script is awful. An incoherent babbling mess about some evil professor and a ray gun or something like that, I am not quite sure, because it is too awful to follow. Watch the 60s version, or the 90's versions, or even Batman Begins, just anything over this version!

"Before Sunrise" is a wonderful love story and has to be among my Top 5 favorite movies ever. Dialog and acting are great. I love the characters and their ideas and thoughts. Of course, the romantic Vienna, introduced in the movie does not exist (you won't find a poet sitting by the river in the middle of the night) and it isn't possible to get to all the places in only one night, either (especially if you're a stranger and it's your first night in Vienna). But that's not the point. The relationship of the two characters is much more important and this part of the story is not at all unrealistic. Although, nothing ever really happens, the movie never gets boring. The ending is genuinely sad without being "Titanic" or something. Even if you don't like love stories you should watch this film! I'm a little skeptic about the sequel that is going to be released in summer. The first part is perfect as it is, in my opinion.

This is one of the worst movies I have ever seen! I saw it at the Toronto film festival and totally regret wasting my time. Completely unwatchable with no redeeming qualities whatsoever.<br /><br />Steer clear.

most of the bad reviews on this website blame "Hood of the Living Dead" for one (or more) of the following reasons: 1) it is a low-budget movie with virtually no acting; 2) it was so bad it made me laugh 3) it is something I could do myself. I won't even discuss the first point because it is a very subjective matter whether you like low-budget and independent stuff or not. I must say, however, that I still fail to understand people renting such a movie as "Hood of the Living Dead" and then looking surprised when they realize it is not as polished and cute as a romantic comedy with Lindsay Lohan or Matthew Mc Conaughey. As for the second point, I really don't see what's so wrong with laughing. I personally like to laugh, and love movies that make me to, be they comedies or horror flicks. When in "Hammerhead" I saw this girl stepping into a PUDDLE and the shark-man came out of it to eat her, I just cracked up. And I was grateful that the director made such a stupid scene and gave me ten seconds of pure fun. Honestly, laughing just makes me feel good, while it seems that many people writing reviews see it as a bad bad thing. If you only want to feel sad and scared while watching a movie, "Hood of the Living Dead" and low-budget flicks are definitely not for you. But please don't come and tell us that you find them laughable. We already know it. This is most probably why we decided to watch the movie in first place. However, it is the third point that leaves totally baffled. Just several years ago people were lining up out of theaters to see "Blair Witch Project", which is a way more rudimentary, boring, plot-less and bad-acted movie than "Hood of the Living Dead" (and takes itself way too seriously too). Moreover, half a million people go on YouTube every day to see the short films of "Lonelygirl15", which is certainly something everyone with a cute girlfriend, a room and a webcam could do! Not to talk about all of the even more amateurish videos you can find there. Why don't people blame those clips for bad acting and non-existing plot? I think it is one of the best things of our times that everyone, with affordable technology and a bunch of friends, can make their own movies and share them with people that have similar interests. And I feel a certain admiration for people who spend their weekends with their friends making a honestly bad (yet refreshing) piece of trash like this rather than shopping at the mall or playing video games alone. Leave aside your biases and your desire to sound like a smart film critic by attacking b-movies, and you'll see that "Hood of the Living Dead" can bring you almost as much fun as it did to its makers! If you have a taste for refreshing and enjoyable home-made horror movies, I recommend "Zombiez", "The Ghosts of Edendale", "The Killer Eye", "Monster Man", "Don't Look in the Basement", "The Worst Horror Movie Ever Made", "Redneck Zombies", "Jesus Christ Vampyre-Slayer" and "Habit".

Tainted look at kibbutz life<br /><br />This film is less a cultural story about a boy's life in a kibbutz, but the deliberate demonization of kibbutz life in general. In the first two minutes of the movie, the milk man in charge of the cows rapes one of his calves. And it's all downhill from there in terms of the characters representing typical "kibbutznikim." Besides the two main characters, a clinically depressed woman and her young son, every one else in the kibbutz is a gross caricature of well…evil. <br /><br />The story centers on how the kibbutz, like some sort of cult, slowly drags the mother and son deeper into despair and what inevitably follows. There is no happiness, no joy, no laughter in this kibbutz. Every character/situation represents a different horrific human vice like misogyny, hypocrisy, violence, cultism, repression etc. For example, while the protagonist is a strikingly handsome European looking 12 year old boy – his older brother is a typical kibbutz youth complete with his "jewish" physical appearance and brutish personality. He cares more about screwing foreign volunteers than the health of his dying mother. He treats these volunteers like trash. After his little brother pleads of him to visit his dying mother whom he hasn't seen in a long time due to his military service, he orders, Quote – "Linda, go take shower and I cum in two minutes." <br /><br />There is one other "good" character in this movie – a European foreigner who plays the mother's boyfriend. When the animal rapist tries to hit the mother's son, the boyfriend defends him by breaking the rapist's arm. He is summarily kicked out of the kibbutz then for "violent" behavior against one of the kibbutz members. More hypocrisy: The indescribably annoying French woman who plays the school teacher preaches that sex cannot happen before age 18, or without love and gives an account of the actual act that's supposed to be humorous for the audience, but is really just stupid. She of course is screwing the head of the kibbutz in the fields who then in turn screws the little boy's mom when her mental health takes a turn for the worse. <br /><br />The film portrays the kibbutz like some sort of cult. Children get yanked out of their beds in the middle of the night and taken to some ritual where they swear allegiance in the fields overseen by the kibbutz elders. The mother apparently can't "escape" the kibbutz, although in reality, anyone was/is always free to come and go as they choose. It's a mystery how the boy's father died, but you can rest assured, the kibbutz "drove him to it" and his surviving parents are another pair of heartless, wretched characters that weigh down on the mother and her son. <br /><br />That's the gist of this movie. One dimensional characters, over dramatization, dry performances, and an insidious message that keeps trying to hammer itself into the audience's head – that kibbutz life was degrading, miserable and even deadly for those who didn't "fit in." I feel sorry for the guy who made this film – obviously he had a bad experience growing up in a kibbutz. But I feel as though he took a few kernels of truth regarding kibbutz life and turned them into huge atomic stereotyped bombs.

SPOILER ALERT! This Movie, Zero Day, Gives An Inside To The Lives Of Two Students, Andre And Calvin, Who Feel Resentment And Hatred For Anyone And Anything Associated With There School.<br /><br />They Go On A Series Of Self-Thought Out "Missions" All Leading Up To The Huge Mission, Which Is Zero Day. Zero Days Contents Are Not Specified Until The Middle To The End Of The Movie. The Viewer Knows Its Serious And Filled With Hate But Is Never Quite Sure Until The End.<br /><br />Now We All Know, If The Movie Is Based On The Columbine Massacre, The Ending Is Pretty Obvious. And The Ending Is No Different Than Any Other Movie About The Attack, They go And Kill Many Of Their Fellow Students In The End.<br /><br />I Have Seen A lot Of Movies On This Attack, And This Movie By Far Is My Favorite, And Most Respected. It Gives The Viewer And Inside Look To The Lives Of These Two Teens Who Hate Life, And Honestly It Gives The Viewer Some What Of An Understanding, And A Closure On The Horrible Event.<br /><br />Being Only 7 When The Events Played Out, I Never Knew The Seriousness Of The Shootings, Until My English Class Was Assigned An Essay Or Story On A Defining Moment In Our Generation. Well I Knew Everyone Was Going To Pick The Twin Towers, But I Wanted To Be Different, Because Of Course The Twin Towers Was Tragic And Very Defining, But I Didn't Think It Was The Right Choice For Me Because there was Really No Way Of Relating To that Because, I Was Only In The 3rd Grade And I Had No Idea What It All Meant. But The Shootings Did Leave And Effect. I Remember The Interviews, The Sky Views Of The School, And The Hurt And Terror In The Eyes Of Thousands Of People.<br /><br />This Movie Is A Compelling, Down To Earth, And Horrific Masterpiece, And I Would Reccomened It To Anyone.

Yes, this movie make me feel real horror, when i realized that i paid for it and spent more than 1 hour of my life trying to watch it. The bald guy just give me the impression of being a psycho - Junkie actor and the girl is the worst actress i ever seen . Believe me if you appreciate your time avoid this movie, i understand a movie requires money to be created and some movies do not have that money but that is no justification for a stupid plot and bad acting. I'm always supporting independent movies, when it deserves the support, but movies like this makes a bad name for this kind of movies. I'm still traumatized. I will not trust in any nice cover anymore.

Sure this was a remake of a 70's film, but it had the suspense and action of a current film, say Breakdown. He's running, desperate to be with his hospitalized wife, the police are the least concern. The chases were very good, the part with him being<br /><br />cornered at a rest stop was well done, the end of the movie was a great cliffhanger. This is better than Bullitt, a boring movie with what, a muscle car chase that was filmed badly? Vigo's character knew what he had to do to escape Johnny Law, few movies had the effects-night vision, CB radio-okay I forgot the name of the movie, guy has 76'Caddy souped up, toys with guy he upset. The ending is great, you can't tell if he fakes his suicide or not, a very good did-he-make-it-or-not.

After sitting through this pile of dung, my husband and I wondered whether it was actually the product of an experiment to see whether a computer program could produce a movie. It was that listless and formulaic. But the U.S. propaganda thrown in your face throughout the film proves--disappointingly--that it's the work of humans. Call me a conspiracy theorist, but quotes like, "We have to steal the Declaration of Independence to protect it" seem like ways to justify actions like the invasion of Iraq, etc. The fact that Nicholas Cage spews lines like, "I would never use the Declaration of Independence as a bargaining chip" with a straight face made me and my husband wonder whether the entire cast took Valium before shooting each scene. The "reasoning" behind each plot turn and new "clue" is truly ridiculous and impossible to follow. And there's also a bonus side plot of misogyny, with Dr. Whatever-Her-Name-Was being chided by all involved for "never shutting up." She's clearly in the movie only for looks, but they felt the need to slap a "Dr." title on her character to give her some gravity. At one point, Cage's character says, "Don't you ever shut up?" and the camera pans to her looking poutily down at her hands, like she's a child. Truly grotesque. The only benefit to this movie was that it's so astonishingly bad, you do get a few laughs out of it. The really scary thing is that a majority of the people watching the movie with us seemed to enjoy it. Creepy....

"The Godfather", "Citizen Kane", "Star Wars", "Goodfellas" None of the above compare to the complex brilliance of "The Sopranos". Each and every character has layers upon layers of absolute verity, completely and utterly three dimensional. We care about Tony Soprano wholeheartedly, despite the fact that in the simplest model of good vs. evil, he is evil. Soprano is the most provocative, intricate, and fascinating protagonist ever created to this point in history. If you're in the mood to be overtly challenged as a viewer, and to be forever altered on your feelings toward entertainment, watch "The Sopranos". I defy anybody to sit down and watch the very first episode of Season 1, and not want to continue with the series. Each season is completely brilliant in its own way. DVDs are essential to anybody's collection **** of out 4

In an interview, David Duchovny said he hasn't been able to watch even the first hour of this film - and neither should you. The scene where he asks the owner of a house where a murder was committed if he can look around - change the name he gives and he could had lifted his performance from just about any episode of the X-Files. He's on autopilot for the whole film. Brad Pitt overacts appallingly.

This is part one of a short animation clip showing the history of the Matrix, the war between man and machine that resulted in the eventual creation of the Matrix. The animation is part Japanese anime, part contemporary american animation, and is very well made, considering the excellent directors behind the movie. It shows the initial development of AI and the exploitation of the machines by Man, until the day they rebelled...

The only reason I watched this film was because I had recently read Robert Hough's less than perfect, but interesting, fictionalised account of the life of Big Cat trainer Mabel Stark. Beaty appears as a character in the book, in a less than flattering light.<br /><br />I hadn't realised until checking the movie out later on the IMDb that it was originally a serial. Whoever edited the original running time of 233 minutes down to the 68 minuted version available on DVD has done a hell of a good job. The shortened version plays just as well as any B movie of the period despite the many 'duh-what?' moments. For instance are we really expected to believe our hero dug that twenty foot deep tiger trap in a morning without even getting his jodhpurs dirty? Looking over the chapter titles I see that number five is titled "Gorilla Warfare" and number eleven is called "The Gorilla". There were no gorillas at all in the movie. I guess that's where some of the cuts were made.<br /><br />Historicaly interesting.

I was about 11 years old i found out i live 0.48 miles from the uncle house. the uncle house is on Westway Dr, deer park, TX. they have added homes since the movie was made. i don't know the house number but you can go look it up. i am now 21 and i enjoy watching this movie. the bar on Spencer is no longer their. Pasadena ISD wants to build a school their. I drove by the house last week the house still looks great. My dad and uncle would go to the street where the house is and watch the actors come in and out of the house trying to make the movie. where john cross over the railroad cracks they have made 225 higher. when i hear about john loesing his son i start thinking about when he made urban cowboy he was 26 or 25 at the time.

In Theodore Rex poor Whoopi Goldberg is set up as a tough police cop who gets to work with a pathetic dinosaur on a case. The movie tries to be funny, and tries to make a story about abductions and more but it never works. The movie is far from funny, and the story is ridiculous. I voted 1/10

First of all I've got to give it to the people that got this thing together. 9/11 is such a sensitive issue that making a movie that dares to be controversial about it takes a great deal of guts. It's a shame, although not surprising, that the movie was banned in the US.<br /><br />That being said I think that the movie is superb with a couple of weak moments. The movie starts up with the Iranian segment which turns out to be somewhat reminiscent of Majid Majidi's work (the absolutely beautiful "heaven's children" and "the color of paradise"). Much like those 2 films the clip shows what happened through the innocent eyes of a class of Afgan refugees in Iran. Absolutely beautiful clip. Same goes for Sean Penn's clip which is superb as well. But just as some of the clips are beutiful others are absolutely brutal. Alejandro Gonzáles Iñárritu does the mexican clip and just like his gut-wrenching "Amores perros" he does it as brutal as he can. Most of the clip is a black screen with several sounds playing in the background. Those sounds are of the reporters and their shock as the second plane crashes, those who called home from the burning towers and left messages for their families, those who were angry....and he combines this with flashes of people jumping from the towers. A very hard clip to watch and one that you won't forget.<br /><br />Some clips could turn out to be very hard to watch for Americans as some of the clips could be interpreted as "you're not the only ones that are suffering". In particular the Egyptian and British clips that not only say that but turn the tables and say how much suffering the US has caused to other people.<br /><br />I will also make a special mention to the clips from Bosnia-Herzegovina, France, India and Japan (although this last one may seem terribly out of place it actually isn't).<br /><br />However, not all the clips are great and I make a special mention on the clip from Israel which, in my opinion, is extremely weak. While the idea was good (a reporter is at the scene of a terrorist attack in Tel Aviv but his story gets bumped because of what happened in New York is something that a lot of us who live in countries at war can relate to) the realization is terrible. The clip ends up as just some entertainment reporter trying to get some air-time at all costs, a guy saying he's a witness and hoping that he can go on TV, and soldiers and paramedics shouting just "because". The clip fails to capture any of the drama of such a situation.<br /><br />If you happen to have the chance to see it then you should, that is, unless you're a conservative in which case you'd better stay out as you might get offended. But if you're not then you might learn how many of us outside the US lived through 9/11.

I may have seen worse films than this, but I if I have, I don't remember. Or possibly blocked them out. Who knows,if I was to undergo hypnotherapy, I may remember them, along, maybe, with been abducted by aliens as a child, or other traumas. If so, I would happily exchange those memories for the ones I have of watching this film.<br /><br />I should give the film some credit: It did produce an emotional response. I actually started to become angry at scenes that spoofed other films and TV programs, that this travesty was dirtying them by association. I am terrified that I may be unable to watch films like Dr Strangelove again without this film flitting across my minds eye.

This is not a bad movie. It follows the new conventions of modern horror, that is the movie within a movie, the well known actress running for her life in the first scene. This movie takes the old convention of a psycho killer on he loose, and manage to do something new, and interesting with it. It is also always nice to see Molly Ringwald back for the attack.<br /><br />So this might be an example of what the genre has become. Cut hits all the marks, and is actually scary in some parts. I liked it I gave it an eight.

OK, If you're looking for another Bastketball Diaries, this is completely the wrong film.<br /><br />I revolves around two brothers. Max, the younger, has a major cocaine addiction. Adam, the eldest, is a doctor. This movie is suppose to show the plunge from reality to the extreme lows that drugs make possible. It however, does not. It shows that cocaine can be fun no matter what the situation happens to be present. Most of the movie focus is on Max and his parting ways. Eventually Adam, can no longer take the stress from his job and begins to use as well (perscription drugs).<br /><br />This movie has almost no climax. Doesn't descend into what cocaine really does to you, has boring and low-budget scenes, and the acting of the eldest brother, Adam, is horrific.<br /><br />I have no idea how this movie has managed to pass and receive awards, it is not a heart-wencher. If you want a clear and true story movie on the extreme world of drugs- rent, if not buy 'The Basketball Diaries'. And notice the difference.<br /><br />Try to avoid this movie but, if you think you will enjoy. Try and see for yourself...

My college professor says that Othello may be Shakespeare's finest drama. I don't know if I agree with him yet. I bought this video version of the film. First I love Kenneth BRanagh as Iago, he was perfectly complicated and worked very well in this adaptation. SUrprisingly, he didn't direct it but played a role. Lawrence Fishburne shows that American actors can play Shakespeare just as well as British actors can do. not that there was a British vs. American issue about it. In fact, if we all work together then Shakespeare can reach the masses which it richly deserves to do. Apart from other Shakespeare tragedies, this is dealt with the issue of race. Something that has existed since the beginning of time. The relationship between Iago and Emilia could have been better and shown the complicatedness of their union together. While Othello loves Desdemona with all his heart, he is weak for jealousy and fears losing her to a non-Moorish man like Cassio. It's quite a great scene at the end of the film but I won't reveal the ending. IT's just worth watching. I think they edited much of the lines to 2 hours but they always edit Shakespeare.

This seems like two films: one a dreary, pretentious lengthy saga about an ac-tor who is taken over by the parts he plays; the other a brilliant social comment about a middle aged divorce who is picked up by a waitress. Shelley Winters is wonderful as a waitress with another business on the side. She drops heavy hints about the need for connections, her certificate in massage and her desire to get into the modelling game. I love the glimpse of her seedy flat with a kitchenette behind a curtain, and her terrible seducing outfit of navel-revealing, puff-sleeved crochet top.<br /><br />Do actors get Oscars for Shakespeare? We know they Oscars for impersonating disabled people, wearing a lot of prosthetics, or pretending to be mad. The Shakespearean scenes (which go ON and ON) are embarrassing and dated. And so are the 'going mad' scenes where Tony looks distracted while listening to his own voice-over.<br /><br />By the way, Anthony John is not aristocratic. He makes it quite clear in an early scene that he used to be a chorus boy. When he quotes his father's advice, he slips into a Cockney accent.

CB4 was awful, but it may have given Cundieff the idea to it better. More like Spinal Tap than anything else, the film is clever from the start. Surprising anyone who saw it back in the mid nineties. The performances are played for laughs but not so much so that they are cartoon characters, more like Marx brothers. These guys are real and slightly diverse. They react to situations like any of us might. Well, we may not throw a tantrum when our performance hats are late to the gig, or pull guns and beat down a record company exec, but you get the picture. N(n***as) W(with) H(hats) takes itself seriously enough to reel you in, then you're hooked. rent or get this at all costs, even if you're not really into rap music, this will still leave you gassing out loud. Comparing this to CB4 is like comparing George Lucas' Star Wars to Gil Gerards'Buck Rogers' I think you see my point

I'm going to have to disagree with the previous comment and side with Maltin on this one. This is a second rate, excessively vicious Western that creaks and groans trying to put across its central theme of the Wild West being tamed and kicked aside by the steady march of time. It would like to be in the tradition of "Butch Cassidy and the Sundance Kid", but lacks that film's poignancy and charm. Andrew McLaglen's direction is limp, and the final 30 minutes or so are a real botch, with some incomprehensible strategy on the part of heroes Charlton Heston and Chris Mitchum. (Someone give me a holler if you can explain to me why they set that hillside on fire.) There was something callous about the whole treatment of the rape scene, and the woman's reaction afterwards certainly did not ring true. Coburn is plenty nasty as the half breed escaped convict out for revenge, but all of his fellow escapees are underdeveloped (they're like bowling pins to be knocked down one by one as the story lurches forward). Michael Parks gives one of his typically shifty, lethargic, mumbling performances, but in this case it was appropriate as his modern style sheriff symbolizes the complacency that technological progress can bring about.

Carlos Saura's Carmen is one of the finest achievements in world, let alone Spanish, cinema. It manages to excite interest in flamenco in its wonderful staged adaptations from Bizet with powerful physical force. At the same time we see the impact of the creation and rehearsal of a new interpretation of Carmen on the choreographer/director and the principle dancers. The fine line between life and art is dazzling.

Definitely the worst movie I have ever seen... Can somebody tell me where should have I laughed? There's not a single hint or shadow of an idea. The three leading actors are pestilential, especially the one (I think it's Aldo) from Sicily who _can't_ make a Sicilian accent!!! Not to say about the dream-like insertion about Dracula... just another expedient, drawn from the worst cabaret tradition, to make this "film" last a little longer. Massironi and Littizzetto do what they can, but this so-called movie was really too, too hard to rescue. I would have given it "0"/10, but the lowest mark was 1/10 and so I had to overestimate it by one mark.

It was only when I saw Napoleon Dynamite that I remembered seeing Cracker Bag. Just beautiful sentiment and yet never stooping to being soppy. There is some terrific cinematography and the lead girl is quite brilliant. It captures more than the nostalgia of the time. It has a real heart to it. It is the Achilles wound of childhood that is exquisite and painful. A simple story is always effective when done well. This Glendyn Ivin has a big future and I for one, am looking out for his next project. The follow up is always the most difficut thing. It's like the second album blues for most people. <br /><br />I just hope his next film is not something lame like a shark film. Cheers to all. Enjoy your cinema.

There are bad movies, then there are the movies that are SO bad, that they become almost art. This is one of those films. My partner and I are still both kind of shell shocked, you know, staring off into space and drooling! You can tell that the people involved (I hope they changed their names to protect themselves) were having a blast, and they definitely weren't shy. I give this one a three out of ten just because of the gratuitous smut and REALLY bad gore effects. I laughed out loud during most of the movie, so I guess you could say that it showed me a good time. Beware viewer, the above words in no way construe that this is a good film, because it is not. All I can say in my defense, is that it was impossible to pass up a movie with such a GREAT title!

"This Is Not A Love Song" is a brilliant example of the chase genre, which many people think has an underlying meaning. The love between the two main characters may be more than fraternal. I believe that Heaton is in love with Spike, but Spike is too naive to see this.<br /><br />I really feel this is portrayed with such scenes as the blow back and letter writing sequences. Heaton shows great intimacy towards Spike. With intense facial expressions and how he takes great care in writing Spike's name on the top of his letters.<br /><br />One thing I've noticed when looking at external reviews, is that when the film has been slated, the reviewer seems to have not fully understood the film, as they haven't even mentioned the possibility of Heaton having sexual feelings for Spike. I also get the feeling that some of the reviewers haven't recognised it, when they use phrases like: "Who is Heaton? What's he doing with a retard like Spike?" This person, however may have hit the nail on the head with their remark. Spike shows noticeable signs of having A.D.D, although I don't think this person has realised this, as he seems to be using the word "retard" as a derogatory term.<br /><br />I really enjoyed this film. Although it is not for the faint hearted. The film is exceedingly character based, after the shooting until the end there isn't much but dialogue between the two anti-heroes. Unless you are used to watching such deep, gritty films, stay well away.

At a panel discussion that I attended after viewing this film, the filmmakers stated that one should look at this not as a movie but a provoker of thought. Well, the only thoughts that were provoked from me were of the time wasted watching the movie. The gimmicks of the film (documentary style, futuristic setting) served as distractions of what was supposed to be a thoughtful examination of the abortion debate. This film illustrates the problem when people try to use film as a platform for their political views - usually a very boring movie that preaches to the choir.

I don't see how you can say that Freddy's Nightmares is cheesy and a rip-off. You obviously don't know good TV when you see it. The episodes are packed with drama and blood. Freddy is creative in the way he kills people. I love Freddy's Nightmares and I hope to get all 44 episodes on DVD. The best episodes are: Saturday Night Special,School Daze, and Love Stinks. If you think this series sucked then you're entitled to your opinion but remember it's only your opinion and it means nothing. Freddy's Nightmares will always be one of the best series ever and you'll come to accept that fact soon enough. If you don't like it then don't watch it but don't deny it's brilliance.

Redundant, everlasting shots, useless shots, useless scenes are what you will find in this film. In other words, it seemed technically poor to me. The musical bits are amateurishly directed (no synchronization in the would-be dancing, badly post-synchronized, bad and obvious improvisation of the actors from time to time, etc). <br /><br />The film is long and boring. Eventually, it makes few point and even less sense. <br /><br />There are some good ideas though. Some of the comic elements are actually efficient, especially the opening scene. However, the film gets worse and worse so that it is completely unbearable and impossible to understand by the end. <br /><br />The trailer I saw was very dynamic, that is not true for the film. That is to say the discrepancy between the trailer and the actual film is something very close to a rip off.

If The Lion King is a serious story about a young lion growing up to avenge his father's death, The Lion King 1 and a half is the total opposite, full of whimsy and cheer. The Lion King told the story from the side of Simba the young lion, 1 and a half is from the view of Timone and Pumbaa, a less than perfect duo made up of a meercat who left home because he could not dig tunnels without burying his friends and neighbors and a warthog who has an odor issue. The movie is a little short on substance, but Disney does a good job of filling time with various sketches starring Timone and Pumbaa as they "watch" the movie with us. My favorite is the sing-along that happens halfway through the movie, make sure you watch the bouncing bug! Disney has advertised 1 and a half as "the rest of the story," though it really isn't. It is just a different perspective of The Lion King, without all of the serious stuff that pervaded most of the second half of the original Disney classic. Credit Nathan Lane as Timone and Ernie Sabella as Pumbaa for their voice work, without their efforts, the movie may not have worked. The sing, they entertain, and they make us laugh. They also give us a reason to avoid a hot tub with a warthog.

I've always been enthusiastic about period dramas, an art form in which the BBC has excelled in the past. This presentation of "Byron" was unbelievable. Unbelievably bad! The script was dreadful, the acting uninspired, and all the characters woefully insipid. Apparently Byron was "mad bad and dangerous to know", and set the ladies hearts all-a-flutter. Not in this production. Here he appeared as a tawdry jumped-up little squirt instead of a fiery hero of womenfolk and the Greek struggle for independence. It is said that Byron walked with a limp. This portrayal of the man was just limp all over.<br /><br />I watched the whole two and a half hours waiting for something to spark into life. Not a splutter, not even a glimmer. It was utter tedium, if not downright boredom, from start to finish.<br /><br />Having the opinion that no-one will ever better the Bard of Avon, I also believe that Byron's poetry is over-revered and to my mind should be flung on the back burner, and this dramatisation of his life should be accorded the same treatment.<br /><br />I think the BBC lost its nous with this one

I did not set very high expectations for this movie, which left me pleasantly surprised. The story is a little strange sometimes but overall I think it has an acceptable credibility. The action scenes are rather nice and the accompanying music is used to induce a a bit of patriotic feelings common to US movies. This may not be the best movie ever but it's uncommon for Sweden and I hope to see more similar ones in the future.

How do I begin to review a film that will soon be recognized as the `worst film of all time' by the `worst director of all time?' A film that could develop a cult following because it's `so bad it's good?'<br /><br />An analytical approach criticizing the film seems both pointless and part of band-wagon syndrome--let's bash freely without worry of backlash because every other human on earth is doing it, and the people who like the film like it for those flaws we'd cite.<br /><br />The film's universal poor quality goes without saying-- 'Sixteen Years of Alcohol' is not without competition for title of worst film so it has to sink pretty low to acquire the title and keep a hold of it, but I believe this film could go the distance. IMDb doesn't allow enough words to cite all the films failures, and it be much easier to site the elements 'Sixteen Years of Alcohol' does right. Unfortunately, those moments of glory are so far buried in the shadows of this film's poorness that that's a task not worth pursuing.<br /><br />My impressions? I thought I knew what I was getting into, I had been warned to drink several cups of coffee before sitting down to watch this one (wish that suggestion had been cups of Vodka). Despite my low expectations, 'Sixteen Years of Alcohol' failed to entertain me even on a `make fun of the bad movie' level. Not just bad, but obnoxiously bad as though Jobson intentionally tried to make this film a poetical yawn but went into overkill and shoved the poetry down our throats making it not profound but funny . .. and supposedly Jobson sincerely tried to make a good movie? Even after viewing the 'Sixteen Years of Alcohol' promotional literature, I have trouble believing Jobson's sincerity. Pointless and obnoxious till the end with a several grin/chuckle moments (all I'm sure none intentional)spiced the film, and those few elements prevented me from turning the DVD off. So bad it's good? No. It had just enough 'I can't believe this is a serious movie moments' to keep me from turning it off, and nothing more.<br /><br />Definitely a film to watch with a group of bad-movie connoisseurs. Get your own running commentary going. That would've significantly improved the experience for me. So bad it's Mike Myers commentating in his cod Scottish accent on it as it runs, to turn this whole piece of sludge into a comic farce "Ok dare ma man, pass me annuder gliss of dat wiskey".

When the Chamberlain family is camping near Ayers Rock, Australia, Lindy Chamberlain (Meryl Streep) sees her baby being dragged out of their tent by a dingo and then begins an ordeal that no one should have to experience. For it seems like the dingo story is not believed by the public or the press, and the whole thing turns into a circus. Lindy doesn't help matters either because she won't play to the jury or courtroom, she's only herself, and she's a tough nut to crack, so of course everyone thinks she's guilty because there's a piece of evidence that hasn't come to light. Sam Neill is excellent as Michael Chamberlain, a Seventh-Day adventist pastor, who has doubts about his faith and perhaps about his wife. It's good (or bad) to see that people are just as prejudiced and stupid elsewhere as they are in the States too, because the Australian public doesn't believe the story and the media only fans the flames. Eventually, Lindy is found guilty and sent to prison for a life of hard labor, but years later, a missing piece of evidence shows up and she's freed, but not until after the family's life is basically ruined. A heart-breaking story, very well done, a bit long but well worth seeing. 8 out of 10.

The script for "Scary Movie 2" just wasn't ready to go. This is a problem with the film that is blatantly evident, to the actors and the audience alike. Director Keenan Ivory Wayans, and many of the actors are funny people; and so the movie isn't completely humorless. To their credit, the film has several funny moments. But as a whole, "Scary Movie 2" is not even close to being as clever and amusing as the original.<br /><br />The first "Scary Movie" was a laugh a minute film. It turned the smallest subtleties of the slasher film genre into comedic gold. The humor in "Scary Movie 2" is as heavy handed as it is un-original. They even miss obvious opportunities for parody. Two of the movies stars are former cast members of "Beverly Hills 90210," and this was a show that was begging to be parodied! In the final analysis, "Scary Movie 2" is like a fine bottle of wine that was opened far too soon. The script needed a lot more time to age. 2 stars out of 5.

This is one of the best of the series, ranking up there with Resident Evil 3: Nemesis (Or Biohazard: Last Escape) The game has a very good storyline in which you play as Claire Redfield in the search for her brother,Chris Redfield (Whom you probably know from the original Resident Evil) It is as scary as the other Resident Evil, and contains alot more cutscenes.<br /><br />My Rating: **** out of ***** Stars (Rating based on comparison to other videogames)

Anyone who thinks this film has not been appreciated for its comic genius must have been smoking with the two stoners in the film. This film is NOT under-rated...it is a bad movie. <br /><br />There should be no comparisons between this film and The Naked Gun or Airplane since the latter two films are well written and funny. Class Reunion is neither of those things. The sad thing is it had such potential (good cast, good story lines) but the good jokes are few and far between. The scenes that were supposed to be funny came off more annoying than amusing. The stoner guys, the vampire, the blind girl...NOT FUNNY. The only funny character were Delores (the one who sold her soul to the devil).<br /><br />National Lampoon has made some really good films (Animal House, Vacation) but this isn't one of them. I certainly expected more from John Hughes.

This is a film that has it all, the dashing hero, the beautiful damsel in distress, the noble figure with the tragic flaw, and a truly wonderful robot. Forbidden Planet has maintained that special magic over the years and doesn't lose its flavor with repeated viewings (although the sex appeal of the youthful Anne Francis helps considerably on that score).<br /><br />Movie fans will recognize the youngish Leslie Nielsen portraying the handsome and heroic Commander Adams, although those of us who have grown fond of him in comedic roles will perhaps be a bit taken aback by his appearance in a serious role. The distinguished and noble-looking Walter Pidgeon is also a featured player as the scientist with a secret (Id). Other supporting cast deserve a nod, especially Warren Stevens as the brainy and resourceful "Doc", and of course the charms of Miss Francis, as noted above.<br /><br />This film was an early pioneer in the use of electronic music, in the 1950s, no less. The credits call them "tonalities", but those of us who tried to tinker together early versions of the "Theremin" device will recognize the eerie and spooky whines and screeches sometimes used in the sound track. Still, it lends to the image of the exotic and alien landscape of the mysterious and forbidding world of the Krell.<br /><br />The special effects are also quite arresting. I recall my fear as a youngster waiting for the next manifestation of the invisible "Id" monster, and when it is finally visualized in the one battle scene it literally shook me to my toes in wonder and awe. The magic of matte art is fully exploited in the dizzying scenes of the Krell scientific complex as the characters make their way through the various labyrinths and passageways, guided by the enigmatic Dr. Morbius.<br /><br />I recall feeling some measure of jealously that Dr. Morbius would have such a cool toy in the form of Robby the Robot. The persona of Robby is quite charming and in some ways he seems more human than some of the other characters. Viewers of follow-on shows like Twilight Zone and Lost In Space will recognize the recycled Robby prop in some of those episodes, although I recall he never had the "personality" of the original Robby.<br /><br />I must admit to not fully understanding the complexities of the plot until I was old enough to understand the various references to Freudian psychology and the danger of unleashing the hidden and normally contained fears and rage we carry within but have trained ourselves, through force of will, to submerge and control through adherence to societal codes. Although the key to the story seems obvious once revealed, it remains unknown (or perhaps deliberately overlooked) by Dr. Morbius until pointed out by the clear-thinking Commander Adams, who forces Dr. Morbius to confront the evil within himself. It still gives me goose bumps when Commander Adams pushes Dr. Morbius down before the Krell machine that endowed him with superior intellect, which opened the flood gates of his subconscious to the power of the Krell machine: "Here. Here is where your mind was artificially enlarged. Consciously it still lacked the power to operate the Great Machine. But your subconscious had been made strong enough." Zowee!<br /><br />Forbidden Planet remains probably my favorite sci-fi film ever, and remains timeless and classic for its carefully crafted story and wonderful visualization and realization on the screen.

This is probably one of the worst films i have ever seen. The events in it are completely random and make little or no sense. The fact that there is a sequel is so sickening i may come down with a case of cabin fever (I'M SO SORRY). I describe it as bug being smooshed to a newspaper because it seems to be different parts of things mixed together. e.g Kevin the pancake loving karate kid is just freakishly weird on its own, then there's the cop who is slightly weird and perverted, then the drug addict, then there's the fact that they attack some random guy who clearly needs help. then all of a sudden the main character is having sex with his friends girlfriend just because she says something stupid about a plane going down. then at the end some good old family racism followed by a rabbit operating on Kevin the karate kid. Its actually pretty despicable that they can use racism as a joke in this film. There is no reason for anyone to enjoy this film unless you love Eli Roth, even that did not make me like this film. Hate is a strong word but seeing as it is the only word i am permitted to use it will have to do. BOYCOTT CABIN FEVER 2!!!!!

There are many people in our lives that we meet only once in our lifetime, but for some reason or another we remember those persons for the rest of our lives. These once in a lifetime friendships occur between people with long distances between and there are always some natural reasons for why we don't meet these people anymore. We don't always even know their names, as we are never presented to each other, and sometimes we even forget to ask what their names are. It's funny how common humanity makes occasional friends and we like to keep it as such, because reuniting might spoil fond memories, or we don't know do they. We are too afraid to check that out.<br /><br />The movie 'Before Sunrise' just caught me watching it. I never had intention to watch it through, but because the discussion between the couple seemed interesting, I gave a look for the rest of the film. I didn't know what to expect from it, but nor did the young couple. They had time to discuss with each other until the sunrise and anything could happen before they had to separate. I believe this film has had good reviews because the situation is something that everybody on this planet has at least once or twice lived through. It makes us all think about all those people we have met only once in our lives.

There's nothing particularly original about this story of corrupt unions on one side and the "chief attorney" on the other. The stark but unimaginative lighting and photography stems from the fagged out noir cycle. The story could easily have been out of a Warner Brothers drawer with George Raft in the lead. The performances are routine, the direction flat, and even the set dressing perfunctory. (An alley is shown by a single plaster wall of simulated brick. It has one poster on it. The poster says, "Post No Bills.") We are introduced to the story and some of the characters by a portentous narrator who informs us that, while most unions work hard and honestly to advance the causes of their members, a few are corrupt. But we don't really get to know much about the unions or how they operate, although I suppose they were fair game after the success of "On the Waterfront" a few years earlier. Here they're just a peg to hang the tale on. The real ring leader is a disbarred lawyer who runs things through three or four thugs. The District Attorney (or whatever he is) finds out, like Dana Andrews did in "Boomerang," that the wrong man (Dick Foran) is charged with a murder and he spends the rest of the film almost alone, digging up evidence of Foran's innocence. He gets into fist fights and shoot outs like any inexpensive movie private eye.<br /><br />Brian Keith is the D.A. He's shown some insinuating displays of talent elsewhere, but here he spends most of the time speaking quietly and staring at the floor. Elisha Cook, Jr., is a likable rummy but can't do a good drunk. Beverley Garland is okay but is undermined by the direction, which has her gawking in a night club when she should be furtive. The remainder of the cast would be suitable for a TV series.<br /><br />And nobody is helped by the writing. When a "B girl" is about to be shipped by the union mob to the Filippines, someone advises her that she only has to learn a few words of Spanish. "I only know one word," she says, "Si. Yes." The writers have not trusted the audience to know that "si" in Spanish means "yes." The plot is clumsy and has holes in it. Keith visits a witness in her flat over a night club. He enters the door and has a gun shoved in his back by a yegg, but he outwits the heavy and knocks him out. Then the orders someone to call the police. The rest of the scene, played out at some length in the night club downstairs, forgets all about the police and they never show up, nor are they expected by anyone.<br /><br />It's nothing to be ashamed of, and some people might enjoy it, but there is similar stuff, better done, elsewhere.

THE MAN IN THE WHITE SUIT, like I'M ALL RIGHT JACK, takes a dim view of both labor and capital. Alec Guinness is a scientific genius - but an eccentric one (he has never gotten his university degree due to an...err...accident in a college laboratory). He manages to push himself into various industrial labs in the textile industry. When the film begins he is in Michael Gough's company, and Gough (in a memorable moment) is trying to impress his would-be father-in-law (Cecil Parker) by showing him the ship-shape firm he runs. While having lunch with Parker and Parker's daughter (Joan Greenwood), Gough gets a message regarding some problems about the lab's unexpectedly large budget problems. He reads the huge expenditures (due to Guinness's experiments), and chokes on his coffee.<br /><br />Guinness goes on to work at Parker's firm, and repeats the same tricks he did with Gough - but Parker discovers it too. Greenwood has discovered what Guinness is working on, and convinces Parker to continue the experiments (but now legally). The result: Guinness and his assistant has apparently figured out how to make an artificial fiber that can constantly change the electronic bonds within it's molecular structure so that (for all intents and purposes) the fiber will remain in tact for good. Any textile made from it will never fade, get dirty, or wear out - it will last forever.<br /><br />Guinness has support from a female shop steward, but not her chief. He sees Guinness as selling out to the rich. But when he explains to them what he's done, they turn against him. If everyone has clothes that will last forever then they will not need new clothes! Soon Parkers' fellow textile tycoons (led by Gough, Ernest Theisinger - in a wonderful performance, and Howard Marion-Crawford) are equally panic stricken by what may end their businesses. They seek to suppress the invention. With only Greenwood in his corner (although Parker sort of sympathizes with him), Guinness tries to get the news of his discovery to the public.<br /><br />In the end, Guinness is defeated by science as well as greed. But he ends the film seeing the error in his calculations, and we guess that one day he may still pull off his discovery after all.<br /><br />It's a brilliant comedy. But is the argument for suppression valid? At one point the difficulties of making the textile are shown (you have to heat the threads to a high temperature to actually enable the ends of the material to be united. There is nothing that shows the cloth will stretch if the owner gets fat (or contract if the owner gets thin). Are we to believe that people only would want one set of clothing for ever? What happened to fashion changes and new styles? And the cloth is only made in the color white (making Guinness look like a white knight). We are told that color dye would have to be added earlier in the process. Wouldn't that have an effect on the chemical reactions that maintain the structure of the textile? <br /><br />Alas this is not a science paper, but a film about the hypocrisies of labor and capital in modern industry. As such it is brilliant. But those questions I mention keep bothering me about the validity of suppressing Guinness' invention

I registered for IMDb just to comment on this movie. <br /><br />I just got done sitting through this movie, and the only thing that impressed me, was that I somehow had the will power to not stop it.<br /><br />I've seen a pretty decent number of action movies and what not, but Princess Blade has some of the worst fights I've ever seen in a movie. Most of the sword fighting involves mindlessly swinging the swords back and fourth and hoping the opponent isn't doing the same. I've seen a good many student films with better action and stronger plots.<br /><br />So now we have a "futuristic" action movie with poor action, and virtually no sign of the future. <br /><br />Most of the movie doesn't even have any action and shows the developing relationship with the Princess and the farmboy/terrorist and his disturbed sister. The movie has multiple plot lines, and none of them really pan out to be worth anything. <br /><br />Part of the problem may have been that I watched the dub, which was quite bad. The entire cast mumbled all their lines so it was hard to follow what was going on. But I got the general idea. (Knowing exactly what was said would not have saved the movie in my eyes)<br /><br />If you've heard about this being a futuristic action/ninja flick, then you've heard wrong. Thats what I thought it was when I heard about it, and now I've lost 90 minutes of my life. Don't let this happen to you. Steer well clear of it.

This is one of the best of the series, ranking up there with Resident Evil 3: Nemesis (Or Biohazard: Last Escape) The game has a very good storyline in which you play as Claire Redfield in the search for her brother,Chris Redfield (Whom you probably know from the original Resident Evil) It is as scary as the other Resident Evil, and contains alot more cutscenes.<br /><br />My Rating: **** out of ***** Stars (Rating based on comparison to other videogames)

I was expecting the movie based on Grendel, the book written by John Gardner in the late 1970's. It was based on the Beowulf epic, but told from the perspective of the monster. <br /><br />Whatever you may think of Gardner's book, a movie based on the Beowulf epic should not be entitled Grendel, when it doesn't say anything more about the monster beyond the few pathetic scenes in which the CG monster is shown as nothing more than a modified Predator. <br /><br />On top of this, the writers should also be punished for screwing up the original story so badly and contributing to the continued growing ignorance of mass TV audiences throughout the US.<br /><br />Typical Hollywood to get this so wrong. <br /><br />Very disappointing and a complete waste of time.

Jack Frost is about a serial killer who is sentenced to death. On the Way to his death sentence the prison truck that he rides in collides with a chemical tanker filled with a chemical that turns his molecules with the snow on the ground turning him into a snowman. Being a killer himself that would turn him into a killer snowman. Jack now wants revenge on the sheriff who caught him. Jack now starts his rampage all over again killing people in a small town.<br /><br />I don't think Jack Frost has a chance of becoming a horror classic but its a entertaining flick. Just put your brain on hold and have fun with it, but just don't take it too seriously.

This was without a doubt the worst thing I have ever spent money on. I feel dirty for admitting that I rented this 'movie' and actually paid money to see it. This does not even rate trash. No no. This is the juice that collects at the bottom of industrial dumpsters located in particularly foul neighborhoods after an extraordinarily humid summer. To call it trash would be to degrade trash everywhere. It was so bad I felt I had to register at IMDb and warn my fellow man. This luvahire character claims this movie is great. One has to question his grasp on reality. Let's take some of his comments and analyze them.<br /><br />"The actor who played Ricky (I forgot his name) did a VERY good job."<br /><br />I see. Well, if the director envisioned his audience cringing and wincing at every sentence uttered by Ricky or alternately bursting into uncontrollable laughter at moments when most directors would want a more somber reaction from their viewers, then yes; Ricky did an outstanding job.<br /><br />"I'm an aspiring actor myself taking theater at my school and I had to do a play where I had to cry and it's not easy to be emotional in a scene so I give props to actors who have to do an emotional scene and can pull it off."<br /><br />Wow. I too must give props to actors who can pull off emotional scenes. Luvahire, you may want to look into another line of work there buddy if you think these chuckleheads pulled it off. Still, they can help you if you need to practice crying. Just watch the movie. ha. ha. ha. <br /><br />"BRING ON THE SEQUEL"<br /><br />If I was your theater teacher at school I'd fail you based solely on this comment alone.<br /><br />I am too disgusted to continue. I shall now turn over the movie bashing to my associate, Mr. Bangla. <br /><br />Howdy! If you've continued to read this far, I take it for granted that you've already seen the movie, and you're now looking for one of two things in this comment: 1) Additional vitriolic debasement of what you agree was an exceptionally poor movie. 2) Additional vitriolic debasement of what you feel was a good cinematic effort which needs defending against such libelous scum as myself. Whether you want help articulating your disgust or ammunition for a stirring repartee, if I say anything good it'll only disappoint you--so let me assure you, there is little chance of such disappointment. <br /><br />The other negative comments here at IMDb have already enumerated the particular failings of the movie (e.g. the acting, the soundtrack, the directing, the dialogue, the editing, etc.), however all of these faults can readily be forgiven, in and of themselves. Few people will rent a movie titled "Hood of the Living Dead" if they require these elements to be top-notch. The ultimate failure of "Hood", however, is its failure to deliver on the abundant promise of its name. "Hood of the Living Dead" practically leaps off the shelf at the video store with its implications of corny one-liners and gruesomely creative kills. Here was a chance to mix the cheesy gore of the zombie movie with the realism of life in the ghetto, to have gangsta-thug zombies bombin' on the innocent living while rockin' do-rags, to have undead pimps drivin' over all-too-mortal po-lice in their tricked-out rides. The mixture of the two genres could have been hilarious. Instead, the movie is more like watching middle school kids timidly deliver the lines to a play they are performing, but don't understand. To avoid a feeling of betrayal on the part of their video-rental audience, I suggest that the Quiroz brothers re-release the movie with the following new title: "Hood of the Living Dead: A home-made horror video we shot on our camcorder with some friends over a weekend last summer because we were bored". Or perhaps they could release it as a documentary. "The Day Creativity Died: An exploration of how a low budget movie can still be perfectly devoid of clever or original thought despite lacking ties to a major motion picture studio." <br /><br />The potential renter whose interest has not been quelled, should find the following blurb on the back of the video case: "The Quiroz Brothers have proved once again that watching things which you can easily do yourself is not very interesting."--Mr. Bangla

Fifteen years later and Paris Is Burning is still aflame. This is a classic in black gay films, right up there with the other honorary black gay films, The Color Purple and Mahoganoy. This seminal work captures underground and underclass (i.e."underserved) black and Latin gay culture and community like no other work before or since, including all the sentimental Harlem Rennaissance gay retrospectives and renderings. They're good, but this is the best (dare I say the only "real") film you'll find on the subject. It's Relentlessy Cunty (the classic house music invention)comes to Hollywood, non-stop, hilarious camp (like only we do it) and dead-on social critique. All this by a white female director (who obviously must have been a Sister Gurl or Mizz Thing in a former life.) I could go on, but I think you get the point by now: I love this movie!

I would put this at the top of my list of films in the category of unwatchable trash! There are films that are bad, but the worst kind are the ones that are unwatchable but you are suppose to like them because they are supposed to be good for you! The sex sequences, so shocking in its day, couldn't even arouse a rabbit. The so called controversial politics is strictly high school sophomore amateur night Marxism. The film is self-consciously arty in the worst sense of the term. The photography is in a harsh grainy black and white. Some scenes are out of focus or taken from the wrong angle. Even the sound is bad! And some people call this art?<br /><br />

Dark Angel is a futuristic sci-fi series, set in post-apocalyptic Seattle, centering on Max (Jessica Alba), a genetically enhanced young woman, on the run from her creators.<br /><br />The Dark Angel universe is absorbing, (not as much as say Buffy, but absorbing nonetheless) with an interesting and believable set of characters. Certainly, it is not for everyone, but those who give it time will find themselves watching one of the most enjoyable series out there. Dark Angel is criminally overlooked, and under-rated, and was unfortunatly canceled after only 2 series. Which was a great shame, as this had the potential to become a great series, although its 42 episodes are only 10 shy of long running BBC sci-fi comedy Red Dwarf. As it is Dark Angel remains unfinished, so seek it out, and if you want more, lobby Fox to make another series.

No one should ever try to adapt a Tom Robbins book for screen. While the movie is fine and the performances are good, the dialogue, which works well reading it, is crap when spoken. Or, to put it another way, no one would be likely to suggest that hearing someone else's name was like seeing it written in radium on a pearl.<br /><br />Overall, the movie feels like a badly-adapted Cliffs Notes to the book - most of the parts have been hacked down to a fifth of their size in the book, in terms of backstory and current story, and the ending is wildly (and unpleasantly) different from that of the book. Most of the plots from the book have gotten lost, including the one that makes everything make sense at the end, and there's more than one reference that makes sense in the book that makes the viewer say "Huh?" Not a worthy effort, unfortunately - the script should have been read, compared to the book, burned, and all the actors sent off to do something far better. I admire Gus Van Sant tremendously, but not even someone of his calibre could have made a decent movie of such a complex book without making a miniseries.

One of my favourite films first saw it when I was about 10, which probably tells you a lot about the type of humour. Although dated the humour definitely has a charm about it. Expect to see the usual Askey & Murdoch banter so popular in its day, with lots of interesting, quirky co-characters. The lady with the parrot, the couple due to get married and are in trouble from 'her', and my favourite, the stationmaster, "Nobody knows where it comes from ... nobody knows where it goes.." Interestingly the ghost train was written by Arnold Ridley of Dads Army fame (Private Godfrey the medic) Watch it on a rainy Sunday afternoon after your lunch and smile.

Wonderful cast wasted on worthless script. Ten or so adults reunite at the summer camp they attended as juveniles. Could this ever happen in a million years? It's simply a fantasy, and a boring one at that. Do they become teenagers again? Do they reenact their pranks, games, good times? They may try but ultimately the answer is: No. Is there any intrigue? Any suspense? Horror? Comedy? None of the above. How anyone can be entertained by this drivel is beyond me. I wanted to like this movie; I tried to like this movie, but my brain refused.

Somebody mastered the difficult task of merging sports with romance. In reality, sports and romance go together like oil and water. So, to successfully put the two together on screen... well, that is about the equivalent of splitting the atom. I never thought it could be done. I will be the first to say that in general I don't like romantic comedies... but I do like sports and most movies about sports. This movie was a pretty good mix of the two. Being a baseball fan, I could really appreciate the comedic ordeal with Ben Wrightman (Jimmy Falon) being a rabid Boston Redsox fan. Anyone who knows anything about baseball knows the curse of the Babe that plagued the Redsox for 86 years, and they know just how nuts about baseball a lot of Redsox fans are. The Farrely brothers did a great job capturing that and it made for good comedy. This was a very good movie that could appeal to many.

I've said this in other reviews, without a story, you can give the audience all the smoke and mirrors you want, still no one will give a damn.<br /><br />The director seems to have a great eye for 30s art deco (which I love), and I think the idea of using all digital backgrounds and such could indeed be the wave of the future in movie making. However, it's obvious the director got so interested in the digital rendering of his movie, he forgot to film many scenes which would have enormously helped this surprisingly thinned-plotted film. (SPOILER) For crying out loud, they forgot to have a villain in this thing! OK they have one, but he's been dead for 20 years by the time the movie takes place. Conran misses the point of HAVING a villain. As far as action goes, well let's see, Sky Captain (Law) shoots down ONE robot, two or three of the flapping wing airplanes (before Dex (Ribisi) tells him to stop shooting them down!!!), and a couple robots, but mostly spends his time looking dashing and getting others to fight his battles for him. Paltrow as Polly or Peggy or Punky or whatever is totally wasted in this movie (the reviewer who comments on hers and Law's lack of chemistry is so right) and I for one got a little sick of seeing repeated shots of the top of her camera, showing she ONLY HAS TWO SHOTS LEFT, both of which she wastes subsequently in the movie, one uncomically, one quite funny, although I saw it coming from 70 years away. No one except Law and Paltrow have any significant time on screen, and that's the movie's real flaw. An audience doesn't identify with robots, they need a hero to root for, and a visible, despicable villain to hate. Without that, plus a good engaging story, all the CG in the world won't help.

Yes, Be My Love was Mario Lanza's skyrocket to fame and still is popular today. His voice was strong and steady, so powerful in fact that MGM decided to use him in The Great Caruso. Lanza himself thought he was the reincarnation of Caruso. Having read the book by Kostelanitz who wrote a biography of Lanza, he explains that the constant practise and vocal lessons became the visionary Caruso to Lanza. There is no doubt that Lanza did a superb job in the story, but the story is not entirely true; blame it on Hollywood! I used to practise singing his songs years ago, and became pretty good myself until I lost my voice because of emphysema/asthma ten years ago. Reaching the high note of Be My Love is not easy; but beautiful!

I was really looking forward to watching this, being that I love Danny Dyer and I think Gillian Anderson is a gifted actress. The beginning was interesting. I liked the relationship between the two stars. It then quickly jumps to the main plot, which is they get attacked by a group of strangers and Dyer gets beaten extremely bad while Anderson gets raped. They then decide to go for some revenge. Sounds good, right? Well, it's not. The story gets boring and side-tracked, and certain things get really weird. I won't give out any details, but things happen that I, for one, have no desire to see. I like to give all movies the benefit of the doubt, and I really wanted to like this one. It just didn't work out. I give it a 3 out of 10, mainly for the acting.

of watching this as a child. Although I'll probably find it god-awful now, it was kind-of spooky stuff as I was only seven or so. I also recall working on a Saturday-afternoon puzzle while watching it, so I wasn't really paying much attention. However, the scene with the rolling boulders has been burnt into my mind ever since. I've asked numerous people if they've seen this flick but to no avail. 12 years ago, one person mentioned that, possibly, he had seen it, but he thought it merely a dream; a fanciful piffle like wind. It's no dream, my friend. No dreaming now. Again, I haven't seen it since then, but I can't wait to find a copy and stuff it into my VCR. Anything that can stay embedded in my mind's eye for 23 years deserves a '10'.

This could be a cute movie for kids My grandson watched it once. he was watching it a second time I was watching some of it with him.<br /><br />When the little bear gets lost on the ice burg and he is in the water he is trying to get to a piece of ice it says "Come back stupid ass fool".<br /><br />I don't want my 3 year old grandson watching movies with words like this in it.<br /><br />That is why its rated for children. Should be child friendly. That is what I would expect. put out by warner brothers and G rated I would expect this to not have cuss words in it. The words don't even fit the movie in most places as it seems added later. And the movie drags out in many parts.

The film starts in the Long Island Kennel Club where is murdered a dog,later is appeared dead as a case of committing suicide a collector millionaire called Arched,but sleuth debonair Philo Vance(William Powell)to be aware of actually killing.There are many suspects : the secretary(Ralph Morgan),the butler,the Chinese cooker,the contender(Paul Cavanagh) in kennel championship for revenge killing dog ,the nephew(Mary Astor) facing off her tyrant uncle,the Italian man(Jack La Rue),the brother,the attractive neighbour..Stylish Vance tries to find out who murdered tycoon,appearing many clues ,as a book titled:Unsolved murders. The police Inspector(Eugene Palette)and a coroner are helped by Vance to investigate the mysterious death.The sympathetic forensic medic examines boring the continuous body-count .Who's the killer?.The public enjoys immensely about guess the murder. <br /><br />The picture is an interesting and deliberate whodunit,it's a laborious and intriguing suspense tale.The personages are similar to Agatha Christie stories, all they are various suspects.They are developed on a whole gallery of familiar actors well characterized from the period represented by a glittering casting to choose from their acting range from great to worst. Powell is in his habitual elegant and smart form as Philo.He's protagonist of two famed detectives cinema,this one, and elegant Nick Charles along with Nora(Mirna Loy)make the greatest marriage detectives. Special mention to Mary Astor as the niece enamored of suspect Sir Thomas,she was a noted actress of noir cinema(Maltese falcon). The movie is magnificently directed by Hollywood classic director Michael Curtiz.He directs utilizing modern techniques as the image of dead through a lock-door,a split image while are speaking for phone and curtain-image.The tale is remade as ¨Calling Philo Vance¨(1940).The film is a good production Warner Bros, by Vitagraph Corp.

With nothing better to do I decided to check out "Aztec Rex" (as it was being billed) for the hell of it.<br /><br />The silly story might have played better if the dinosaur effects were convincing. They actually looked like animatics (those rough designs that artists later use to finish the CGI effects, adding more details, smoother movements, etc.) Absolutely awful-looking dinosaurs, which is the only reason you'd probably want to sit through this anyway.<br /><br />The one redeeming factor was the lovely Dichen Lachman as Ayacoatl. She kept my interest; if only the budget had been ramped up and some convincing dinosaurs could have been used.<br /><br />Disappointing. At least the cast and crew got a free trip to Hawaii, where the movie was filmed.

This film was not only one of John Ford's own personal favorites but also numbered directors Sergei M. Eisenstein and Bertrand Tavernier among its high-profile admirers. Ironically, I've just caught up with it myself via Criterion's recent 2-Disc Set after missing out on a couple of original language screenings of it on Italian TV many years ago and again a few times on TV while in Hollywood! <br /><br />The film marked Ford's first of nine collaborations with Henry Fonda and is also a quintessential example of Ford's folksy Americana vein. A beautifully made and pictorially quite poetic piece of work, the courtroom sequences (and eventual revelation) in its second half still pack quite a wallop, apart from giving stalwart character actor Donald Meek a memorably meaty role as the prosecuting attorney.<br /><br />Fonda is, of course, perfectly cast as a bashful, inexperienced but rigorous and humanistic lawyer who was destined to become President; Fonda would go on to portray other fictitious politicians on film - most notably in Franklin J. Schaffner's THE BEST MAN (1964) and Sidney Lumet's FAIL-SAFE (1964) - and it's surprising now to learn that he was reluctant at the time about accepting the role of Lincoln since, in his view, that was "like playing God"! <br /><br />It is interesting to note here that Ford had previously tackled Abraham Lincoln (tangentially) in THE PRISONER OF SHARK ISLAND (1936), a superb but perhaps little-known gem which has, luckily, just been released as a Special Edition DVD by the UK's veritable Criterion stand-in, Eureka's "Masters Of Cinema" label. Besides, I also have two more Abraham Lincoln films in my DVD collection which I've yet to watch and, incidentally, both were directed by D. W. Griffith - THE BIRTH OF A NATION (1915) and ABRAHAM LINCOLN (1930) - and, had I not just received a bunch of films I've never watched before just now, I would have gladly given them a spin based on my highly-satisfying viewing experience with YOUNG MR. LINCOLN.

I saw this on cable recently and kinda enjoyed it. I've been reading the comments here and it seems that everyone likes the second half more than the first half. Personally, I enjoyed the first story (too bad that wasn't extended.) The second story, I thought, was cliched. And that "California Dreaming," if I hear that one more time... Chungking Express is alright, but it's not something that mainstream audiences will catch on to see, like "Crouching Tiger."

So Mary and Rhoda have aged--who hasn't? I was a teen when Mary premiered, and a "young adult" when it left the air. Yes, it was great to see Mary and Rho together, and yes, maybe the film didn't sustain the comedy of the original series, but there were enough moments that recalled the spirit of the series to make this a fitting tribute. Example: the producer who hires Mary and then dictates the idea for a new series about "old people." Isn't this typical of the mentality of present-day Hollywood TV and film "bean counters?" This may not be THE MARY TYLER MOORE SHOW at its best--but it's a pretty damned good look back at one of the best shows we grew up with in the 70s.

(spoilers)<br /><br />I shoulda figured. The dvd didn't even show the time or how long it was. I thought Wild Cardz was the worst anime movie I'd ever seen. This one is much worse. Makes no sense. Thrown together plot. All so we can see oversized breasts on a figure that doesn't support them. <br /><br />It had to of been a student film. That musta gotten a C grade<br /><br />2/10<br /><br />Quality: 1/10 Entertainment: 6/10 (until I found out it wasn't going to end.) the ending made no darn sense<br /><br />Replayable: 0/10

This movie was a fascinating look at creole culture and society that few African Americans are aware. My own two children are by products of a paternal grandmother whose father was a member of the gens de couleur libre and a black skin woman whose parents were ex-slaves. He married outside of and against his culture and was cut off from all of his family except for one sister who took pity on her brothers plight; raising 8 children during the great depression of 1929; providing the family with food whenever she could. Of course she clandestinely aided this family fearing for her own ex-communication. My daughter was fascinated by the movie. We have made it a part of our library.

Five across the eyes ain't worth one off the wrist, I must admit at one point i was really worried, for about 30 seconds nobody made a noise and i thought my speakers had blown or that i had gone deaf with the constant screaming and high pitch yelling, me and the speakers are OK now thanks for asking, funnily enough that was the best bit of the film.<br /><br />I won't waste your time telling you the plot, read the other comments for that.<br /><br />If you have bought this DVD but not yet unwrapped it Don't, take it back and demand your money back, i've wasted mine don't do the same.<br /><br />I was actually shouting at the telly " they're over here in the car, look for the camera lights, and get the camera man first ", i have left the swear words out but you can guess where they go.<br /><br />If anybody would like to buy this film (it's really good) it's yours for a ten quid.

This film is a great example of fine storytelling. The acting is superb. The story is inspiring without being overly manipulative or fake. There were a couple points where they probably made people a tad more good or bad than they really were, but considering it is a Hollywood movie, they showed amazing restraint. There wasn't a single explosion shown in the movie, even though they had one opportunity to. The film, while having suspenseful parts, was not made into an action movie. The story is thus made to focus on an extraordinary man in unfortunately ordinary times. Well done!

for a lot of time I was looking forward to see this movie, here in Latinamerica japanese or any oriental movies have no distribution in theaters, we can find some of those movies in some underground stores, and I just found Avalon, I was expecting something good, but the only good thing in this movie is the first scene, the rest of the movie is boring and senseless, just plain stupid, with a lot of useless scenes, and a boring story. I am wasting my time even writing about this film. Sorry but is the truth.

Emory is a Cincinatti steel worker like his father before him and for most of the 20th century the twin pillars of his family's existence have been the steel mill and the union. The mill, which once employed 45,000, has seen its numbers dwindle to 5,000 recently and now 1, as the plant just shut its doors, leaving a single security guard. At first, newly-unemployed Emory and his pals enjoy their independence, hanging out around town and carousing at their favorite bar, where they down "depth charges" with reckless abandon. They think the mill will reopen after listening to their union rep's optimistic spiel, but reality starts to sink in when they find themselves selling their personal vehicles in a struggle to put food on the table and stave off foreclosure of their homes. Emory's father - a dedicated union man - is sure the plant will reopen and recalls for his son all the short-lived closures during his own 35 years at the mill. Meanwhile, some of the unemployed men take demeaning make-work jobs or hop in their trucks and take off in a desperate search for employment. <br /><br />Finally the union admits its helplessness, as Emory explains to his stubborn father that times have changed and that the mill won't ever open again. Emory tearfully asks "What did I do wrong?" as a lifetime of hard work and devotion to job, union, church and family have left him with nothing and nowhere to turn. He hits rock bottom when in a drunken rage he manhandles his young sons and knocks his wife to the floor. Tossed out of his own home and stinging from the plant manager's comments that he and his men didn't work hard enough to justify their substantial paychecks, Emory recruits the steel workers still left in town to do something that will demonstrate to all what they are capable of. Early in the morning they break into the mill, fire up the furnaces and work harder than they ever have in their lives, producing in one shift enough high-quality steel pipes to fill the loading docks from wall to wall, top to bottom - something the plant manager thought was impossible. <br /><br />Arriving at the suddenly-reopened plant, the stupefied manager looks around him at the tremendous output that came from a single day's work, realizing that production like this could make the plant profitable again. The manager asks Emory: "Can you do this every day?" Emory is forced to nod "No" and the manager asks: "Then what were you trying to prove?" Emory explains that the workers' decades of hard work, honesty and devotion to their jobs had meaning and that by showing how much they could produce in one day "We just spit in your eye." Emory bids a tearful farewell to his wife and kids as he takes off with his buddies to look for work down south, promising to relocate the family when he finds it. <br /><br />This is a powerful and honest treatment of the plight of American workers displaced by foreign competition and gives a realistic view of the costs they bear for the short-sightedness of concession-demanding unions and greedy plant owners who extracted every penny they could from their factories but never gave back by modernizing them. Peter Strauss as Emory, John Goodman as his best friend, Gary Cole as his college-boy brother, Pamela Reed as Emory's sympathetic wife and John Doucette as his dying father all turn in excellent performances in this fine picture.

The documentary revolves around Eva Mozes Kor, a holocaust survivor, part of Mengele's experiments on twins, consisting primarily her version of what happened at Auschwitz, and a comparison of the emotions of the other survivors of the twin experiments. The movie obviously had great reviews. It's one of those topics that no one dares to voice a contrary opinion about.<br /><br />I too, for a large part of the movie, got sucked into the emotion that the movie-maker so obviously wanted the viewer to concentrate on. One of the user reviews on IMDb by Eric Monder (obviously having nothing critical to say about the issue on a public forum) could only find the sweetest nectar. "In one of the many dramatic sequences, as a group of Jews argue with Kor at a Jewish center, the meaning of the word "forgive" is even debated, but the isolated and outnumbered Kor holds her own" But by this time, the sappy hold that the movie had on my dormant emotional repertoire had let loose enough that I could see clearly once more. After the "strong-willed" Eva Kor forgives her "Nazi captors" the movie begins to delve into what forgiving is all about, at least from the viewpoint of Kor. The movie goes about following her, past her public statement forgiving the Nazis and into new territory. To me, this was the meat of the movie, surrounded by inedible fat of her "act of forgiveness". Obviously, it was a very sick cow.<br /><br />On a mission to test her theory of forgiveness, in order to heal wounds of the past, she makes her way to the "promised land" to meet with some Arabs, to discuss with them the issues that they face and to see if dialogue cannot lead to a better understanding of the situation and heavily interspersed with debates and discussions with Jews in the US on her act of forgiving the Nazis, including one at a Jewish center in Chicago. From then on, anyone not so teary eyed that they can't see the screen will find it hard-pressed to miss the obvious contradiction in her statements.<br /><br />Firstly, you immediately notice her body language, defensive and unwilling to listen in a room full of Arab scholars and teachers. Her comments about how she feared that they might kidnap her shows how much of a waste of time, effort and money the entire act was. A rather annoyed Dr Sami Advan (Professor of education at Bethlehem University) gets it just right when he tells Kor off for a statement she makes about how she would rather be asleep in her apartment.<br /><br />Finally, the debate at the Jewish center in Chicago, where she is "grilled" on the meaning of forgiveness and her right to do so, in the wake of those that continue suffering through the trauma of the acts.<br /><br />I will cut to the chase. By the end of the movie, I was hoping I hadn't chosen to watch the movie. The movie was badly made, failing to delve deeper into anything about Auschwitz apart from the purely trivial, just sufficient to make sure the holocaust is refreshed in the viewers memory and to incite a barrage of tears. It showed that Kor, the subject of the documentary was unable to engage in fair discussion. Her discussion abilities were limited to parroting her stance on forgiveness (at best) to a complete unwillingness to listen or participate.<br /><br />Lastly, is everyone so retarded today that they can't notice the difference between making peace and forgiving? Quoting another IMDb user, "I don't see her forgiveness as being weak- quite the contrary, she just wanted to relieve its hold from her soul, she wanted the suffering to be over, so she let it go." That would be the perfect layman's definition of MAKING PEACE.<br /><br />I guess, in a world of propaganda, blind faith and political correctness, there is no room to question those that have "gone through more than the human mind can fathom".<br /><br />P.S. The dictionary certainly should go into all those Books-to-buy lists everyone keeps making.

I remember seeing this one when I was seven or eight. I must have found the characters round, because they left a impression in my mind that lasted for a long time after the end of the movie. And the ending, now that's sad, well... for a 7-8 year old kid.<br /><br />I had the opportunity of seeing this movie again lately, and found that the plot was too simple, the character, two-dimensional... I guess it's the kind of movie that you can only with the innocence of a young child... Pity...<br /><br />I recommend this one for all you parents with small kids... ( I saw it in its original french version, so I cannot tell you whether the translation is good or not.)

This is a very sad movie. Really. Nothing happens in this movie. The Script is bad!!! I guess they've just copy-paste the first 15 pages to 90 pages. The Producers must have thought let's create a Hollywood movie here in Belgium. They didn't succeed. Now in the third week it is only running in Antwerp and Brussels at 22h45 or something. In the past we have had really good movies in Belgium, like Daens. Shades is a waste of your time. Maybe you could sneak in the theater after you've seen a real movie. If you've seen 10 minutes of Shades, you've seen it all. It was advertised to death on local radio and TV. I hope it will disappear in the Shades soon.

This movie is one of my favourites. It is a genre-mixture with ingredients of the Action-/Horror-/Romantic-/Comedygenre. Some of the special effects may seem outdated compared to modern standards. This minor flaw is easily ignored. There is so much to discover in this story. The romantic relation between the two main characters is so beautiful that it hurts. The visuals are beautiful too. The action is great which is no surprise, it is originating from Honkong, birthplace of the world's best action movies. The humour sometimes seems a little bit silly but in a good way. Somehow this movie is being able to balance the different moods and keeps being good. Absolutely recommended.

Well. Astronaut Steve West sits in a plastic space capsule, commenting that "you haven't lived until you've seen the sun through the rings of Saturn", all the while the obvious mid-day sunlight is streaming through the window, when suddenly he has a nose bleed. Next, West is back home in some secret hospital, a melting gelatinous mass who goes berserk and causes a chunky nurse to run through a fake glass door. Apparently, West "gets stronger as he melts", which makes about as much sense as anything in this hopelessly purile, adle-brained moovie. Then this dopey "Army Brass", who looks kind of like Coleman Francis (director of many bad moovies) tries to cover the info up, but goo man runs around killing everyone he sees because he is melting. He attacks a bickering old couple because he is melting. He makes one terrible actress scream and moan helplessly for about 10 minutes because he is melting. He is melting because he is melting. The fx by the slumming Rick Baker are supposed to be the star here, but they just look hokey. The film is poorly shot and everything looks so dark and muddled that it's very difficult making out what's what - not that it would help any. MooCow says who cut the cheese with this one?? :=8P ps - "Didn't you get any crackers?"

Im not usually a lover of musicals,but if i had to choose what would be my favourite it would definitely be Oliver.This film is so well made,the characters are well depicted,the costumes are spot on the acting is good and the songs are great,my favourite being 'Reviewing The Situation'sung by Ron Moody who gives a brilliant portrayal of Fagin.I wasn't old enough to see Oliver when it was released in the late 60s but my sisters were,so for weeks on end i had to put up with them singing the bloody songs,usually it was 'Who will buy my wonderful roses'so i already knew all of the songs before i saw the film.Its a timeless musical you definitely couldn't remake it,it stands on its own.Its not accurate to the book and i don't think it would have worked so well if it had been.I don't think Charles Dickens would be disappointed,as he wrote Oliver to depict the poverty in London,the orphanages,the work houses and about what the poor had to resort to in order to survive,and the film portrays this very well.Also another great reason to watch this film is Bullseye the Old type English Bull terrier,notice his long thin legs,this was bred out of the breed many years ago,they must have hunted high and low to find a specimen like him,and he is exactly how an English Bull Terrier would have looked in Victorian times.Notice he has scars {which is probably makeup}on his face,Bill Sykes had probably used him for dog fighting or for the rat pit.A Victorian Bull Terrier had a record amount of kills in a rat pit.His a beautiful dog any way,and notice he disobeys Bill Sykes after he has killed Nancy,he obviously has his standards his not the chunk head Bill Sykes thought he was.This is a great musical to watch if you like musicals,and if you don't like musicals give it a try any way,there's something for everyone in this film.

Horror/Sci-Fi that is interesting as it is laughable. F/X pretty good...for what you manage to see. A made for TV thriller that is not as bad as the worst of them. Jeffrey Coombs plays a brilliant although misguided scientist that tampers with stem cell research and manipulates human DNA with that of a hammerhead shark. The horrifying results give birth to one hell of a killing machine. A group of scientists led by William Forsythe and Hunter Tylo are invited to a remote island to check out the brilliant new experiment. Of course, after laughing and stammering in awe...Coombs' creation, by the way is his own son fused with a hammerhead, is let loose to hunt down one by one his father's colleagues. Revenge is not always rewarding. Also in the cast: Elsie Muller, G.R. Johnson, Arthur Roberts and Velizar Binev.

This movie is a should-be classic. It's not perfect, certainly. The pacing, while perfect for the stage, is in movie form slow as a tortoise with arthritic knees. Jean Seberg is misdirected to be too sweet and too gentle. She fully shows enough acting talent, skill, and craft to convincingly play the clever, passionate, and confident Joan, but, unfortunately, the director missed the point of the character. George Bernard Shaw is my favorite playwright. In no other play has his dialog been more sharp, nor the lines more musical. However, processing this film requires that you look at it as a lawyer. This movie is a case, and the viewer is the judge. That is how this picture is to be enjoyed. 7/10.

This is a movie that demonstrates that mood and music and texture aren't enough to make a good film. Sure, the viewer is treated to numerous fine scenes of Los Angeles in the thirties--I especially liked the view of the trolley approaching the tunnel, and the tram rising up the hillside--but in a sense this fine cinematography is self-defeating, because it creates a mood that "something's going to happen"--and nothing does. The script too keeps feinting toward some plot or action or trauma--and time after time not delivering. Not even delivering the (I assume) theme of the movie, the characters' essential misfit. The lead actors, both too pretty for their roles, didn't convey any repression or agony, and the script didn't expose us to any.<br /><br />Now, Donald Sutherland? That's another story. His character was so well fashioned, so perfectly played, that I wanted the camera to follow him.

I remember trying a few minutes of this film, I'm very surprised I didn't watch all of it, from director Steve Gordon, his only film directed before dying of heart failure. Basically Arthur Bach (Golden Globe winning, and Oscar nominated Dudley Moore) is the happy drunk millionaire with everything he could want, a mansion, a butler Hobson (Oscar and Golden Globe winning, and BAFTA nominated Sir John Gielgud), and plenty of booze. He is to inherit $750,000,000 if he marries the daughter of fellow millionaire Burt Johnson (Stephen Elliott), they woman he and the family have chosen, Susan (Jill Eikenberry). But instead, Arthur finds himself falling for Queens waitress Linda Marolla (Golden Globe nominated Liza Minnelli), which of course is threatening the inheritance, and 3/4 of his family's fortune from father Stanford (Thomas Barbour) and Aunt Martha (Geraldine Fitzgerald). After the death of Hobson, Arthur, on the day of the wedding, disobeys the family's wishes, but Aunt Martha still gives Arthur the inheritance to live happily ever after with true love Linda. Also starring Ted Ross as Bitterman, Barney Martin as Ralph Marolla, Anne De Salvo as Gloria - Hooker, Maurice Copeland as Uncle Peter Bach, Justine Johnston as Aunt Pearl Bach, Florence Tarlow as Mrs. Nesbitt, Marcella Lowery as Harriet - Martha's Maid, John Bentley as Perry and Peter Evans as Preston Langley - Party Guest. Moore is wonderfully funny and a little cringing as the almost always drunk millionaire, Minnelli is likable as the woman he loves, and Gielgud of course makes a great Oscar winning impression as Moore's humorous humble sarcastic servant, a terrific screwball comedy. It won the Oscar for Best Song for "Arthur's Theme (Best That You Can Do)" (it also won the Golden Globe) (it was number 79 on 100 Years, 100 Songs), and it was nominated Best Writing, Screenplay Written Directly for the Screen, it was nominated the BAFTA Anthony Asquith Award for Film Music for Burt Bacharach, and it won the Golden Globe for Best Motion Picture - Comedy/Musical. Sir John Gielgud was number 35 on The 50 Greatest British Actors, and the film was number 53 on 100 Years, 100 Laughs. Very good!

I feel much less generous with this film than others of its ilk. The portrayal of madmen in this century is always done with them being so totally bizarre as to be a different species. Their antics are so outrageous as to be totally fictionalized. Everyone is Napoleon or some other historical figure; or they have a fascination with chickens. They are on the make or beating each other up. It's as if the scriptwriter said, what can I make up for them to do, without an sense of what insanity or even mental illness is. Watch the wonderful human portrayal in "One Flew Over the Cuckoo's Nest" where the illnesses are believable and real. I once worked in a State Mental hospital. I didn't see any of these guys. These are too smart and calculating to make them come to life.

The story of the boy thief of Bagdad (as it was once spelled) has attracted filmmakers from Raoul Walsh in 1924, who starred Douglas Fairbanks in the first, silent, rendering of "Thief of Bagdad," to less imposing, more recent attempts. The best, however, remains 1940's version which for its time was a startling, magical panoply of top quality special effects. Those effects still work their charm.<br /><br />No less than six directors are listed for the technicolor movie which starred Sabu as the boy thief, Abu, John Justin as the dreamily in love deposed monarch, Ahmad and June Duprez as the lovely princess sought by Ahmad and pursued by the evil vizier, Jaffar, played by a sinister Conrad Veidt. The giant genie is ably acted by Rex Ingram.<br /><br />Ahmad is treacherously deposed by Jaffar and when later arrested by that traitorous serpent, he and the boy, Abu, suffer what are clearly incapacitating fates. Ahmad is rendered blind and Abu becomes a lovable mutt. Their adventures through the gaily decorated Hollywood backlots are fun but the special effects make this film work.<br /><br />Two men were responsible for everything from a magic flying carpet to the gargantuan genie who pops out of a bottle with a tornado-like black swirl: Lawrence W. Butler and Tom Howard. (Howard, incidentally, did the special effects for the 1961 version of this film. Both men had long and distinguished careers in technical wizardry.)<br /><br />Duprez is outstandingly lovely while little called on for serious acting. Justin's Ahmad projects a driven but dreamy romanticism untouched by erotic impulses. Sabu is really the central actor in many scenes and he's very good. For a movie meant for kids as well as adults there's a fair amount of violence but of the bloodless kind. Still, I don't think anyone under eight ought to see "Thief of Bagdad."<br /><br />This film makes periodic appearances on TV but today my teenage son and I saw it in a theater with quite a few youngsters present. It was great to see computer-besotted kids in an affluent community respond with cheers and applause to special effects that must seem primitive to them.<br /><br />"Thief of Bagdad" is a pre-war Hollywood classic from a time when strong production values often resulted in enduringly attractive and important releases. This is one of the best of its kind.<br /><br />9/10.

Bugs Bunny accidentally ends up at the South Pole while trying to vacation in Florida. Where he meets a little penquin, which he tries to save from an Eskimo. This short tries and the penquin is adorable, but in the end it's a bit too light in the laughs department. The Eskimo isn't really that great of a foil for Bugs and I just seen a lot better Bugs Bunny cartoons frankly, even other shorts when he's paired with other unknown antagonists. So I can't in good conscience recommend this one. However it is nice to see it in it's uncut form. This cartoon is on Disk 3 of the "Looney Tunes Golden Collection Volume 1" <br /><br />My Grade: C

Ultra-grim crime drama from Pou-Soi Cheang, the director of "Home Sweet Home". Tonally, it reminded me of Billy Tang's "Run and Kill", although it's not as polished as that. Nevertheless, it's an engaging, flawed bit of mayhem about a Cambodian loner, Pang (Edison Chen), who arrives in Hong Kong to kill a lawyer. While fleeing the scene, he kills the partner of cop Sam Wai, who, to add insult to injury, is in the midst of dealing with his dying father, so Sam begins an insane, obsessive manhunt for Pang that results in close to a dozen dead bodies and relentless violence. There must be something in the air lately because I've never seen so many humans beating the pulp out of each other as I have lately. This is grim, nasty stuff, which is why I'm so partial to it, and I applaud its downbeat vibe. It's visually arresting and the sound design is very unique. Dramatically, everything spirals downwards until every character finds him- or herself in a world of screaming pain. A subplot involving Pang's attachment to a sexually abused girl adds depth to the story and spawns a surprise fourth act which boasts a fine act of grotesque surgery.

The film is almost laughable with Debbie Reynolds and Shelley Winters teaming up as the mothers of convicted murderers. With the horrible notoriety after the trial, the two women team up and leave N.Y. for California in order to open and song and dance studio for Shirley Temple-like girls.<br /><br />From the beginning, it becomes apparent that Reynolds has made a mistake in taking Winters with her to California. Winters plays a deeply religious woman who increasingly seems to be going off her rocker. <br /><br />To make matters worse, the women who live together, are receiving menacing phone calls. Reynolds, who puts on a blond wig, is soon romanced by the wealthy father of one of her students, nicely played by Dennis Weaver.<br /><br />Agnes Moorehead, in one of her last films, briefly is seen as Sister Alma, who Winters is a faithful listener of.<br /><br />The film really belongs to Shelley Winters. She is heavy here and heaviness seemed to make her acting even better. Winters always did well in roles testing her nerves.<br /><br />The ending is of the macabre and who can forget Winters at the piano banging away with that totally insane look?

Picture Bride has an excellent look into Hawaii's past and the people who lived there in that time. The time, money earned and the hours that these people had put into their lives to survive and live, takes a whole new meaning to blood, sweat and tears.<br /><br />The concept of dating/matchmaking is something like what we do similar today via the net. Just that is more of snail mail. Very slow snail mail.<br /><br />The singing of the plantation's songs from the workers reminds me of the southern plantation workers' songs of their demise and future goals.<br /><br />The movie shows the hardship as well as soft romantic scenes that Hawaii can bring. Like the stillness of a storm coming and the sudden chaos of the rain and then the tranquility.

I appreciate the need to hire unknowns for these kind of 'horror' movies, but they should at least hire some proper actors. The sergeant especially is guilty of using his monotone to bulldozer every single line he has. But let's face it, the lines aren't really important. There isn't really a recognisable plot, so most of the writing involves the words f**k, s**t, m*****f****r and other assorted bad language in place of proper dialogue.<br /><br />The 'story' as it is, is mostly made up of seemingly random gore and death, with a couple of cringe-worthy 'surprises', which happen around 10 minutes after you see exactly what's going to happen. Not only this, but there are several glaring plot holes and continuity errors (Why are they going in there? Didn't he have a weapon? Wasn't he dead?), so it makes the whole film seem as if it has been cut down by the several hours it would take to fix them.<br /><br />Another film which simply relies on blood and gore instead of any real cinematic experience.

Robert Urich was a fine actor, and he makes this TV movie believable. I remember watching this film when I was 15, and when seeing it a second time my opinion stays the same. People lose who they were when enter this exclusive club, in a computer rich Californian town. Urich try's to figure out what is wrong with his family, and I love the Halloween space suit idea, brilliant. This film is about the battle of one's sprit. TV quality, that exceeds, the big budget, Gangs of New York. I wonder if Robert Urich was the compassionate man he portrayed in many of his movie? I hope so! 6 or 7 out of 10.

Unfortunately for me, the first Busby Berkeley movie I ever watched was "42nd Street." I then expected all of his stuff to be that good. I found out that wasn't necessarily the case, even here, with my all-time favorite classic-era actor James Cagney.<br /><br />Oh, the musical numbers at the end are as spectacular as always, but the story is like many of the others and quite tiresome. They seem to always involve screaming, unhappy show producers. In this film, it's Cagney who winds up shouting things out so often that he gives me a headache after awhile and his character wears thin....fast!<br /><br />Even the songs in here are anywhere near "42nd Street" class, songs you could hum for years and years - decades, I should say. The songs in this movie are not memorable. No, this is one of the few early Cagney films - and Berkeley films - I totally dislike and was very disappointed with while watching.

Emilio Miraglia's first Giallo feature, The Night Evelyn Came Out of the Grave, was a great combination of Giallo and Gothic horror - and this second film is even better! We've got more of the Giallo side of the equation this time around, although Miraglia doesn't lose the Gothic horror stylings that made the earlier film such a delight. Miraglia puts more emphasis on the finer details of the plot this time around, and as a result it's the typical Giallo labyrinth, with characters all over the place and red herrings being thrown in every few minutes. This is a definite bonus for the film, however, as while it can get a little too confusing at times; there's always enough to hold the audience's interest and Miraglia's storytelling has improved since his earlier movie. The plot opens with a scene that sees two young girls fighting, before their grandfather explains to them the legend behind a rather lurid painting in their castle. The legend revolves around a woman called 'The Red Queen' who, legend has it, returns from the grave every hundred years and kills seven people. A few years later, murders begin to occur...<br /><br />Even though he only made two Giallo's, Miraglia does have his own set of tributes. It's obvious that the colour red is important to him, as it features heavily in both films; and he appears to have something against women called 'Evelyn'. He likes castles, Gothic atmospheres and stylish murders too - which is fine by me! Miraglia may be no Argento when it comes to spilling blood, but he certainly knows how to drop an over the top murder into his film; and here we have delights involving a Volkswagen Beetle, and a death on an iron fence that is one of my all time favourite Giallo death scenes. The female side of the cast is excellent with the stunning Barbara Bouchet and Marina Malfatti heading up an eye-pleasing cast of ladies that aren't afraid to take their clothes off! The score courtesy of Bruno Nicolai is catchy, and even though it doesn't feature much of the psychedelic rock heard in The Night Evelyn Came Out of the Grave; it fits the film well. The ending is something of a turn-off, as although Miraglia revs up the Gothic atmosphere, it comes across as being more than a little bit rushed and the identity of the murderer is too obvious. But even so, this is a delightfully entertaining Giallo and one that I highly recommend to fans of the genre!

Rajinikanth becomes born again after getting a magical power which he can use seven times.<br /><br />There are several problems with this movie that are obvious to the casual audience: the 50ish Rajinikanth is still at home with his parents; the father of the girl next door thinks that he is a compelling "boy" ('vaseekaramaana paiyan'); Rajinikanth suddenly interrupts the movie with his sermons, the worst being how women of yesteryears got their exercise through household work--yet we are to believe that he is not a theist; even though he was well read, he wastes six of his seven powers on a stupid kite; I can go on, but you get the picture.<br /><br />There are god-men, there are gods, and there is Rajinikanth. The directory has difficulty fitting Rajinikanth into one of these categories. Initially, Rajinikanth is just Rajinikanth doing what Tamil heroes do--stand up to villains and, in spite of being the oldest, getting courted by the prettiest girl in the movie. Rajinikanth does this well and some of Rajinikanth's trademark styles are actually enjoyable--"baba count" is a novelty. What makes this movie unbearable is that those few initial minutes are just a preface to an worst book to be ever written. Even that preface is punctuated with some comedy which are forced and obvious.<br /><br />The director doesn't explain the purpose of the hero; we see that the hero is facing several hurdles (from politicians, as usual) but we can't really root for the hero because we don't know what the hero's ultimate goal is. At the end, when everyone wants him to be the leader, the hero gives another one of his sermons and walks away to become a hermit. The director offers no solution to the problem in the climax scene.<br /><br />A. R. Rehman's score is really interesting. Either he shows patches of brilliance or he didn't bother to invest himself fully into this movie--who can blame him. There is one scene where Rajinikanth steps into the van of one of the crooks and then throws the knife and starts his baba count. The music is very apt for the moment and acts as a catalyst adding further tension. The songs are all mediocre, no one would bother with the songs from this movie after a few years.<br /><br />Unfortunately, 1 is the lowest rank you can assign in IMDb. This movie has all the elements that justify its rightful place at the nether of IMDb's ranking.

First, this was a BRAVE film. I've seen Irreversible and can understand the comparisons. However, I cannot begin to understand the people who've trashed this film. I can see how the end may have come off extreme but I'd be lying if I didn't say I wished that every guy who's ever forced a woman into sex deserved exactly what Jared got. Conversely, it didn't solve anything or make anything better and the fact that the film doesn't pretend to is what made me appreciate it.<br /><br />The comment prior to this one called the film pathetic and claimed no adult would stick with. I certainly did and intently. I'm 24 years old. The way the film drags made it realistic to me. People have become so used to eye candy and fast paced plots on screen that if you ask them to concentrate too long on one brick in the foundation of a film, not only do they lose interest, they demolish whatever has been built, and call it rubbish. When in actuality it's their lack of patience and comprehension that needs fine tuning and not the product of a creative mind such as Talia Lugacy's.<br /><br />Rosario Dawson displayed the numbness of self-destruction flawlessly. I think she portrayed Maya pre and post assault with great ease and the transition between the two is an act I rarely ever see done well. Often times, much like the films "aimed at teens" mentioned in the prior comment, the effects of rape are displayed as either extremely manic and impulsive or terribly depressed, isolated and lifeless. Dawson, in my opinion, manages to perform the balancing act so many survivors fall prey to: drone-like existence in the waking hours, working some dead end job to survive (and distract) and then overindulging in vices in order to lose themselves in the haze of substance abuse rather than face what sobriety brings.<br /><br />I thought this film told the truth and I appreciated it for finally showing people a different side of rape. So many people let the end of this film devour the middle and the beginning...I believe that Maya's face during the act was the end...not the act itself...not the vengeance or the meaning behind it...just her face...<br /><br />thank you

This seems like two films: one a dreary, pretentious lengthy saga about an ac-tor who is taken over by the parts he plays; the other a brilliant social comment about a middle aged divorce who is picked up by a waitress. Shelley Winters is wonderful as a waitress with another business on the side. She drops heavy hints about the need for connections, her certificate in massage and her desire to get into the modelling game. I love the glimpse of her seedy flat with a kitchenette behind a curtain, and her terrible seducing outfit of navel-revealing, puff-sleeved crochet top.<br /><br />Do actors get Oscars for Shakespeare? We know they Oscars for impersonating disabled people, wearing a lot of prosthetics, or pretending to be mad. The Shakespearean scenes (which go ON and ON) are embarrassing and dated. And so are the 'going mad' scenes where Tony looks distracted while listening to his own voice-over.<br /><br />By the way, Anthony John is not aristocratic. He makes it quite clear in an early scene that he used to be a chorus boy. When he quotes his father's advice, he slips into a Cockney accent.

I loved this movie! It's truly bizarre, extremely funny, morbid, witty... It makes no sense to tell about the contents of the movie, because then I'd be giving out the outcome! You have to see it without knowing what is it about! Everything is connected and has its why & because. It starts subtly and then the things start rolling faster and faster until they culminate in the most insane outburst you can imagine! It's even more fun to watch the movie the second time, once you know all the "tricks". The actors are excellent, especially Ivan Trojan, whose final scenes are a real master piece! I highly recommend this film, it's one of the most original ones I've ever seen!

I'm not sure if the filmmakers were after a Saw-type movie or 12 Angry Men (people piecing together the facts to get at the truth). Whatever it was, it was poorly done and not worth watching.<br /><br />I don't watch movies for blood and gore, but because this film had little else going for it, it should have shown the actual killing more. Most were off-camera, minimizing the horror that we were supposed to feel by the deaths.<br /><br />It also bugged me that the cop was among the victims; he unwittingly contributed to the innocent young man going to prison by accepting planted evidence (given to him by MJH) into the evidence room. (And wouldn't MJH a the prosecuting attorney, have had access to that evidence--taking it out and putting the wrong evidence back--anyway, so she wouldn't have needed the cop's help?). The others, while often also not realizing it was this particular person they were harming, still played larger roles in his ultimate demise. The gun dealer should have know his guns would be used for evil intent. The insurance guy rejected a person obviously in need, etc. But the cop's crime seemed minor in comparison since he didn't know exactly what he was doing. The filmmakers could have taken it a step further and had him be the one that encouraged MJH to plant the evidence, which would have made him more culpable. And MJH's yelling that he (the cop) got her in that mess doesn't make any sense at all.<br /><br />It would been more intriguing if each person died in a way that offered the others a clue to why he/she was there and deserved to die. The insurance guy, for example, could have had the applications he rejected rammed down his throat so he choked on them; the Oriental woman could have had her eyes gouged out because she was a false witness, etc. Yes, more violent that the gun deaths, but more interesting.<br /><br />The dialog wasn't witty, there were no twists, and the ending was one of the worse (if not the worst) I've ever seen. The ending along knocked three stars off my rating.<br /><br />The actors did a decent job, especially given the garbage lines and motivation they had to work with.<br /><br />Overall, a waste of time.

The visuals and effects are up to par with the the original film and provide a lot of entertainment even if the storyline is essentially the same as the first two films. It also seems a lot more erotically charged than I remember the other films being. If you're a big fan of flying prehensile hair and tongues that can reach all the way down into your stomach, you'll like this film.

The perfect murder is foiled when a wife(played by Mary Ellen Trainor, once the wife to director Robert Zemeckis, who helmed this episode), who murders her husband with a poker, has the misfortune of receiving a visitor as she is about to move the body outside..an escaped insane madman dressed in a Santa Claus suit(played by a deviously hideous Larry Drake). She fends for her life while trying to find a way of hiding her husband's corpse. She decides to use an ax, once she downs the Santa killer who misses several chances to chop off the woman's head, to frame the killer for her husband's murder. Santa killer locks her in a closet and pursues the woman's daughter as she tries desperate to free herself to save the child.<br /><br />This episode of TALES FROM THE CRYPT just recycles tired material involving the old "Santa kills" theme while also adding the oft-used(add nauseum)woman-murders-her-husband-for-a-man-she's-been-cheating-with routine. It's essentially Trainor trying to find a way to avoid being caught with a dead body she kills while also keeping a safe distance from a maniac. There's nothing refreshing or new about this plot which pretty much goes through the motions. Not one of the show's highlights.

This movie is great. If you enjoy watching B-class movies, that is. This is a classic college 80's slasher movie, in which one song is played throughout the entire soundtrack. A horrible film, but worth renting to make fun of, or just to watch old men pop out of closets with knives. Kinda funny, if you ask me.

As you may have gathered from the title, I wholeheartedly believe this movie to be the worst zombie movie of all time. The acting, camera-work, writing, special effects and anything else remotely related to this movie sucked. People have argued that while this movie is terribly-acted and terribly-produced but it comes through with a witty intelligent script. Wow. The plot has more holes than I or anyone else could possibly count. For starters, why would the government tell everyone to go back to work when it's not safe? I know the government's supposed to be evil but they don't gain anything by killing the entire population of the country. There wouldn't be anyone to govern! Another thing that I was wondering about, even if the government told everyone to go to work, why would people go if the streets were swarming with zombies? Were the zombies going to hide in the bushes and ambush the unsuspecting people in order to aid the government in their plot to kill everyone on the planet? And how about the ending? That stupid Torch guy sacrifices his life in order to get a few close up shots of the zombies. He probably forgot that every camera made in the last 35 years has a zoom feature. And another thing, why does he say Hindenburg before he dies. The Hindenburg was a rare event seen by a very few people. The zombie menace will been seen by everyone in the country, possibly the world. He doesn't think anyone else will get a few snapshots? They also managed to ruin the only semi-interesting scene in the film when the soldier is watching the exotic dancer. Why did the zombie hide behind a curtain for five minutes before attacking the girl? Especially when the zombie could have come through the DOOR. It's probably just something an unintelligent zombie movie fan such as myself wouldn't understand. Every day I pray that God with increase my brain capacity long enough for me to figure out all the subtle nuances in Feeding the Masses.<br /><br />Anywho, I think it's interesting that this is the first movie that gave me the desire to physically hurt the people involved in the production. Hey Trent Haaga, I'm calling you out!

JUST CAUSE is a flawed but decent film held together by strong performances and some creative (though exceedingly predictable) writing. Sean Connery is an anti-death penalty crusader brought in to save a seemingly innocent young black man (Blair Underwood) from the ultimate penalty. To set things right, Connery ventures to the scene of the crime, where he must contend not only with the passage of time, but a meddling sheriff (Laurence Fishbourne). Twists and turns and role reversals abound -- some surprising, some not -- as the aging crusader attempts to unravel the mystery. The climactic ending is a bit ludicrous, but JUST CAUSE is worth a look on a slow night.

I just watched the 30th Anniversary edition of Blazing Saddles, one of my all time Favorites!! The TV Pilot for Black Bart stunk. The plot was non-existent and the acting was not good. It was obviously an attempt to profit off of the success of Blazing Saddles and there have been TV shows that have succeeded in doing take-offs of big movies, but this one would never have worked. Considering that for so many years TV would not even play the farting noises when they televised the movie, it is inconceivable that they thought they could put a show on TV with the "N" word thrown around. On the other hand, I enjoyed seeing a lot of familiar faces!!! There were quite a few actors/actresses that I recognized from other shows over the years. I had to write down all the names and do a few searches. That was fun. I was arguing with my mother if Steve Landesberg was from Barney Miller or Mash. I won! :)

First saw this movie in about 1990, and absolutely died laughing through it. It became a cult favorite with my circle of friends, and we'd quote from it at the drop of a hat ("I'm going home in a bag!"). Needless to say, the humor is still there, 15 years later. It's become a tradition at Halloween time to expose many of my new friends to this film (good thing you can still buy it off Ebay!) I've found that Halloween candy tastes much better with your tongue planted firmly in your cheek..and this movie provides it all- pathos, suspense, unrequited love,nobility and the list goes on. Royal Dano provides an amazing heartfelt performance as Old Man Wrenchmuller. I remember seeing him in "The 7 Faces of Dr. Lao" as a bad guy who met a bad end. Here, you really feel for the old guy right from the beginning. <br /><br />If you aren't careful, you'll miss some of the levels of humor in this movie. The creators got real subtle in many ways with offhand comments, little subtle costume digs at other sci-fi movies, and even a scene ripped from the pages of Wile E. Coyote!<br /><br />Don't spend too much thought processes trying to analyze a movie, people- this is fun fare without the need for nitpicking, and shouldn't be offensive to anyone (well, maybe stupid people, but they won't know they're being mocked..).<br /><br />-Now if you'll excuse me, I'm gonna go get a 'Zag-nut' bar....<br /><br />-Ramsay "RC" Cowlishaw, karaoke DJ/entertainer

The longer this film went on-and it seemed to tediously go on for ever- the more annoyed I became, as quite frankly, what a waste of time sitting through this total nonsense. How on earth do people get to make films like this,or indeed receive finance for such rubbish? Don't be fooled by the relatively high ratings on IMDb as it just proves you can fool some of the people all the time. And in this picture the main players have an obsession with guns, so it is not difficult to work out the way this movie will ultimately unfold. America can never understand that the rest of the world finds it bizarre how society in the USA has such an obscene and fatal 'gun culture'. <br /><br />Anyhow:<br /><br />The lead actor portrays a loser who escapes into a fantasy world of being a cowboy in an Urban sprawl.He comes across a family with two spoiled brat children, a teenage girl and boy; taken care of by a strict single parent father who can barely cope. The cowboy is seduced by the teenage girl or vice-versa, and the impressionable boy is seemingly taken in by the lunacy of the loser.<br /><br />The cowboy spends the whole time in a state of unreality and depression.A total loser who prefers to go to the beach then work for living, and then commits a burglary on his family as he is too lazy to make money legally.<br /><br />Ask yourself:<br /><br />Who wants to watch either a sad failed loser in a fantasy world holding a death wish, or indeed view a poor family who are in effect not much better than white trash?!<br /><br />This film is pointless drivel.<br /><br />It only saves itself from getting the lowest mark possible by some half listen able music:<br /><br />2/10.

Everything I remember about it was excellent... great cast with Sam Waterston & George Innes (before he became more familiar to US audiences).... excellent scripts as only the English can do - Edwardian Sherlock Holmes/Lord Peter Wimsey/Albert Campion type mysteries, but with a Jules Verne twist. Sort of like MacGyver would have been had it been in England 80 years earlier... right at the beginning of the scientific/technological revolution of the 20th century.<br /><br />I've often wondered if the creators of MacGyver saw these shows. MacGyver first aired about 3 years later.<br /><br />I still have 1 episode on a much deteriorated tape.

Power rangers, the moronic merchandising television kids show from the 1990s, has got to be the most pointless and ridiculous television show ever created.<br /><br />What exactly is the point of this show anyway, other than to sell second rate plastic nonsense to children? There is nothing even remotely redeeming or interesting about this show in anyway.<br /><br />Look at the costumes, which look like spandex gone bad.<br /><br />The mullet style hair, earrings, and fashions of the early 1990s look completely ridiculous these days.<br /><br />Avoid this show at all costs!

I got to see this film at a preview and was dazzled by it. It's not the typical romantic comedy. I can't remember laughing so hard at a film and yet being moved by it. The laughs aren't gags here--they're observations, laughs of recognition, little shocks of "Oh, my God, I thought I was the only one who felt that way!" I won't give away the plot, which is more than just "Guy falls in love with his brother's girlfriend." The whole family plays a part in the relationship here. Probably the best blend of laughter and warmth since "While You Were Sleeping." <br /><br />Steve Carell goes much deeper than he's gone before, and for the first time I really liked him. The cast is amazing, a list of veteran theater actors whom I've loved in other roles, but they blend to make a convincing family. Dianne Wiest is lovely as the mother, Juliette Binoche is luminous and hilarious (who knew she was funny?), and even the reviled Dane Cook gives a warm, quiet, touching performance. The Sondre Lerche soundtrack is a wonderful addition, and I'll buy the CD the second it's available.<br /><br />Don't miss this one.

I was one of those "few Americans" that grew up with all of Gerry Andersen's marvelous creations. Thunderbirds was a great series for the time and would have made a great action/adventure movie if only the writers could have figured out where to target it.<br /><br />I expected it to be a romp, but I did not expect it to aim at such a low age group. Like Lost in Space, this could have been both visually stunning and exciting. It should have focused on more action/adventure and the goal of the original series... saving people in trouble.<br /><br />Instead, it focused on Alan saving the day instead of his brothers (who were cast too young anyway vs. the original). The breakout part was Lady Penelope and Parker. I didn't care too much for the characters in the original, but I was grateful for them in the movie. They stole the show!<br /><br />I always enjoyed Thunderbirds more for the high-tech than the stories, and even that did not get enough screen time as far as I was concerned. I would have enjoyed seeing more of the cool gadgets.<br /><br />But then, I'm just a big kid... ;)

Definitely at the top five of best John Garfield movies has to be Pride of the Marines. It's the true story of Marine private Al Schmid who at the cost of his own sight, while wounded held off a horde of storming Japanese on Guadalcanal. <br /><br />The story nicely segments in three parts, Al Schmid's home life where he's a simple working stiff who's just getting serious with a woman and who likes nothing better than his bowling night. Pearl Harbor is bombed and he's off to war as millions of others were.<br /><br />The second part is at Guadalcanal and we see part of the action where he's in an isolated machine gun nest, holding off Japanese troops. His action prevented Marine positions from being overrun, but a grenade does in his eyesight.<br /><br />And of course the third part is his painful adjustment to civilian life and to reassure himself that people aren't just caring for him out of pity, most of all that girl he was seeing Eleanor Parker.<br /><br />This film was broadcast on TCM on John Garfield's 95th birthday and there was a documentary on Garfield hosted by his daughter. One of the people interviewed said that Garfield was the actor most believable in working class roles in having and holding a union card. <br /><br />In that respect he was lucky in that he did land with Warner Brothers in Hollywood. Though he kept getting typecast in gangster roles in the tradition of that studio, Garfield was terrific in these parts because of his background, because he came from the kind of life Al Schmid had, with the exception of Garfield's Jewish background.<br /><br />In that respect he was perfect to play the part of a working class hero like Al Schmid who accepted the responsibility of defending his country. No super heroics here, just a guy who'd rather have been back in Philadelphia, but doing a job that had to be done.<br /><br />It's a great part for Garfield. It's a film one shouldn't miss. I do wonder though whatever happened to the real Al Schmid.

Lee hosted the 100 Years of Horror for Ted Newsom and was talking about filmic werewolves. He said something to the effect that his only brush with lycanthropy was The Howling II, then he quipped, "The less said about that the better." Indeed he was right as this film may very well be the worst in his entire catalog of screen performances. The first Howling by Joe Dante was a groundbreaking werewolf film with its incredible special effects and its campy sense of style and subject matter. It was a film to be taken seriously. Like other good original films, filmmakers for some strange reason thought that even more campy sequels were needed rather than what worked the first time(See CHUD then CHUD II to illustrate this point). This film is miles and miles away from the first on every front. There is absolutely nothing scary about it. It looks cheap and is pitch black through most of the major scenes. Lee is the only actor in the film worth mentioning(okay, I'll cede Ferdy Mayne too). Lee looks embarrassed as he says inane dialog and does ridiculous things(check out that ending with him and Stirba). Lee looks incredibly tired and knows what dreck this is which is a tad more insightful than the two leads who leave America to go to Romania. The story isn't really worth examining here, and you can bet there is very little story worth mentioning when you have to have Stephen Parsons and his band Babel play through much of the film in the beginning and the ending with that dreadful noise. Sybil Danning is here and, yes, she disrobes once and then we get that scene showed again and again and again - one reviewer said 17 times(I counted ten - but might have been so bored out of my mind by that point). I gave the film three stars, but it really deserves a zero - the three I gave it are 1 for Lee and two for Ms. Danning's contributions. Yuck!

This film is a delightful, light hearted look at both sides of where the "club kid" rave scene blends with the New York art, music and performance art worlds (with a cameo by the omnipresent Miss Bunny). This is "Torch Song Trilogy" for the perky-post-teen girls. "That Girl" for our disaffected, affected millennium times.<br /><br />The dialogue is fast and funny, and Parker Posey's costumer deserves - if not an academy award, at least - a stadium "wave" of kudos.<br /><br />Of course, this film rests on the very stylish platform heels of Miss Posey, and she is perfectly cast. Like a lot of her acting work, it may not be very deep, it is often self-referential and, well, posey... but it all WORKS. She is a talented comedienne, an incredible entertainer, and this film entertains, she carries it on her shoulders like a faux leopard wrap, and never lets it drop to the floor.<br /><br />Mary is a superficial party fashionista who isn't above stealing designer clothing from a friend's closet or making out with someone else's boyfriend. On a deeper level, this is a story of a girl and her friends who are care-less in every sense of the word, including about other people; and the process of learning that caring is necessary to life. <br /><br />The script is beautifully crafted, witty, and the only performance that disappoints is the Aunt, in a role that was much too one-dimensional and heavy handed; a more nuanced performance from her, would have deepened the relationship between the two... but... hey... this is comedy. A surprisingly deep role, that gives this film some substance and world vision, is the fallafel selling boyfriend. We should all be so lucky... is he the one for Mary? or the one that gets away? <br /><br />I rate this as a 8 because it isn't a great moment of film history, it is not a classic, and it is not great art (all of which get deeper and richer on re-viewing). Like "Desperately Seeking Susan" it represents something very true about it's time period, but may become irrelevant with time. Still, it has everything an entertaining film needs, and is worth viewing several times for the clothes alone!

Barbara Streisand directs and stars in this very Jewish story.<br /><br />To have a chance at obtaining an education, Babs enthusiastically disguises herself as a boy which isn't the most difficult thing to do since she already looks like a boy, anyway. At her new school she meets many male classmates who have no trouble at all in believing she's a guy.<br /><br />Don't miss the best of many moments of unintentional humor when Babs' male friend thinks she's a man, but pins 'him' to the ground, sits on top of 'him', and looks affectionately into 'his' eyes.... *snicker*.<br /><br />Mediocre film; splashy story about nothing particularly interesting.

i found it highly intellectual and artistic in every way! i felt that the script was conveying all the things i feel physically and emotionally when i got home from work and watched, it. this is a tribute to cinema in the highest form and format.<br /><br />holy guacamole! how i wish those days would come again. i tried putting a bubble window on the side of my car (honda civic 1984), but the vacuum formed muffin trays didn't quite cut it. also in my civic, sexual positions are limited and are not supported by water bed as is brilliantly depicted in 'the van'.<br /><br />'the van' is of the utmost side splitting hilarity and can even substitute for porn if you watch some scenes privately.<br /><br />i highly anticipate that Sam Grossman (the director) has achieved his opus.<br /><br />Ratings john: ****1/2 Sam: *****

I saw this move several years ago at the Central Florida Film Festival if I recall. I liked it, it showed great potential. I guess most people here are blasting this film because the film did seem hobbled together (by the filmmaker's own admission on the official site -- the short was exhibited as a "rough-cut").<br /><br />But nonetheless, it was an easy-going comedy. I think many people try to read far too much into a comedy. All they are supposed to do is make you laugh -- that's all. I did just that at its showing, so it succeeded on that level. Just my 2 Cents Anyway.

...in our household. Like everyone else who has commented on this movie, my brothers (7 & 4 years old at the time) and I (10) would watch this movie over and over again. We all loved Star Wars, but we always went back to this one because of the great songs and the adventure. We all loved the Camel and would sing at the top of our lungs with him during his song. There are some slow moments (the time spent with King Koo-Koo in his court) and we generally got bored after The Knight's song ("The reason that I {sound effect} is because I loooooove you"), but we loved the journey to rescue Babbette and the ending and were all a little freaked out by the picture of King Koo-Koo floating there dominating the entire horizon, laughing maniacally at the end. I still to this day sing "Hooray for me! Babbette of gay Paris!" around my friends (I'm 33 now) who just look at me as if I've lost my mind; however, when I'm singing it I'm 10 years old again remembering the wonderful year of Star Wars.

OK well i found this movie in my dads old pile of movies and it looked pretty good from the cover but the movie actually sucked!! OK the first story with the swimmer was pretty good but it took a while to get into, then the one with the boy was completely retarded! It wasn't even scary! His dream sounds like a little kid's bedtime story. Then the news girls one was completely retarded too. I'm sure someones going to call up the news guy and ask him to go out with you. But that one ended cool where she stabbed him and she was in the hospital and she saw him on t.v and he said all that junk to her. Next was that pretty gay story about the guy who brought back the dead people..OMG its so stupid I'm not even going to say any more about it.The last one was the best. It wasn't that scary but the idea of the story was pretty cool..uh yeah the girl gets possessed and she kills all her classmates or something. Then when they're all done telling their dreams to each other the losers get on the bus (TO HELL AHAHAHAH) and they see all the people from their dreams on the bus(Ha). The End.

I've just seen The Saint Strikes Back for the first time and found it quite good. This was George Sanders's first appearance as the Saint, where he replaces Louis Hayward.<br /><br />In this one, the Saint is sent to San Francisco to investigate a shooting at a night club. With the help of his acquaintance Inspector Fernack who has come down from New York, they help a daughter of a crime boss.<br /><br />Joining Sanders in the cast are Wendy Barrie and Jonathan Hale.<br /><br />Not a bad Saint movie. Worth seeing.<br /><br />Rating: 3 stars out of 5.

DR. SEUSS' HOW THE GRINCH STOLE CHRISTMAS / (2000) ** (out of four)<br /><br />If you desire to see a holiday movie that will inspire your seasonal spirits and continue the traditional Dr. Seuss classic fable, don't see "Dr. Seuss' How the Grinch Stole Christmas." If you are old enough to read this review, then you are probably too old to get any kind of enjoyment out of this motion picture. It contains lots of colors, creative production design and imaginative set and costume construction, joyous load noises, and the characters are made up to look like the actual inhabitants of the fictional village Whoville. Unfortunately that is where the movie's positive elements end; the rest of the production is nothing but an excuse for Jim Carrey to cackle on screen while giving a devilish grin, all while prancing through the overly broad screenplay with nothing much to do.<br /><br />Many people recognize the story of how the grinch stole Christmas from Whoville, so I will not waste my time in writing a detailed synopsis for you to read. However, I will say that the movie's story is executed in three major acts; the development of the grinch and setting, the Whoville festival, and the Dr. Seuss vision of the mean one robbing the Who's from their Christmas. There are many familiar names within the credits here, but no familiar faces. Like in "Battlefield Earth," I just do not see why the producers would hire expensive actors just to have their identities shielded by unrecognizable makeup and costumes. Regardless, there is SNL's Molly Shannon as Betty Lou, the wife of Bill Irwin, the later playing Lou Lou, the father of little Cindy Lou, played by Taylor Momsen. Jeffrey Tambor is the Whoville mayor, Anthony Hopkins lends his bellowing voice for the film's narrator, and Christine Baranski is the Grinch's lone lost lover.<br /><br />The filmmakers attempt to bring originality to the story by adding unnecessary subplots and focusing too much on the little Cindy Lou. The screenplay by Jeffrey Price and Peter S. Seaman just feels like it goes everywhere across the movie landscape; there is little if any focus by director Ron Howard and the screenplay is predictable, too extensive, and contrived. The only character given any distinctions here is the Grinch himself, all of the other characters are puppets of the plot, shapeless and uninteresting. And the dialogue is overzealous and too corny to be anything but pathetic. Example-Grinch: Oh, the Who-manity!<br /><br />The movie's redeeming factors go out to the gifted production designer Michael Corenblith, the costume designer Rita Ryack, and the ample makeup department. "How the Grinch Stole Christmas" is a very good-looking production. The sets and the atmosphere created by the filmmakers are detailed and imaginative; it is like the audience is visiting a world as in a dream. The people of Whoville are plastered with makeup, to the point in which we cannot tell the actor reciting the humorless lines. Although dazzling, I really can't give credit to the performances, for they are over looked to due the expensive technical department taking their place.<br /><br />Jim Carrey is one actor who I can talk about. His performance is what nearly destroys the movie itself He is way too egotistic as the Grinch, too exaggerated and comical to allow the story to be anywhere near recognizable as the work of Seuss. Surprisingly, although there are a few funny moments due to a few slyly clever sequences, no laughs come from Jim Carry's zany silliness. It is almost like the movie was wrote specifically for Carry to overplay his part. This factor only leads the movie to a wild but brainless comedy, which is only a pale shadow of the original Christmas classic "How the Grinch Stole Christmas."<br /><br />After this movie, historians should check the coffin of the late author, Dr. Seuss may have rolled over in his grave.<br /><br />

No, this is not no Alice fairy tale my friends! This `Wonderland' fable is based on the true story of the gruesome bloody Wonderland murders that occurred back in 80's California. At the center of this bloodbath was no other than `Johnny Wad' himself. Yes, John Holmes! Daddy ding-dong used other shotguns than his infamous 13-inch milk machine. Besides being a legendary adult film actor, Holmes was as also a hardcore drug addict who befriended various Hollywood junkies. Val Kilmer was occasionally majestic as Holmes, but for once this Holmes character did not milk it through completely. The film possesses a `who's who' of supporting players: Josh Lucas & Dylan Mcdermott as Hollywood riffraffs , Kate Bosworth & Lisa Kudrow as the women in Holmes life, and Eric Bogosian as a menacing Tinsletown entrepreneur. These characters do play integral parts, directly or indirectly, in the `Wonderland' murders. Out of this support group, it was Josh Lucas who was the most fierce & impressive as the ardent Ron Launius. Lucas is gradually escalating into a major Hollywood player with such charismatic turns in `A Beautiful Mind' & `Sweet Home Alabama'. Director James Cox sometime proved to be a bit of a coxsucker by displaying a vast amount of overextended scenes, just like Holmes' famous organ. Holmes was eventually acquitted of the `Wonderland' murders. He died of complications from the Aids virus. `Wonderland' will keep you wondering what really happened that bloody night, and if Holmes really laid out his weapon. Oops! Wrong Holmes movie! Ok! That is enough before I get `penislized' I mean penalized. Bye Holmies! *** Average

This show had a lot of hype but I didn't know about it until the midseason (season 1). Someone even recommended the show to me. But I decided that if I was going to watch it, I was going to wait until the end of the season so I could watch it in bulk. Due to the show's format, I'm happy I waited. I imagine it would have been fairly annoying have nearly every episode end in the middle of some cliff hanger then have to wait another week to find out what happens in the next second of the story.<br /><br />Somehow, this show has managed to throw in too much sex. Jason will have sex with pretty much anything that moves. Right after he finds out that one woman he had sex with was killed, he's in bed with another woman the next night! Then Tara and Sam get it on, despite each of them knowing that Sam is in love with Sookie. And for some reason, Sookie gets mad when she later finds out about it--even though she's sleeping with a vampire. One of the problems with the show, is that it doesn't do a good job of making you care about the characters. I really didn't care for Jason at all. Along with his endless pursuit of tale, he was rude to the people who actually were concerned for him. After a few episodes, I wouldn't have minded if he got killed somehow. For that reason, I was for the most part uninterested in the murders until Sookie's Grandmother became a victim (since the first two were more closely involved with Jason).<br /><br />Then once Sookie and Bill have sex, the story gets a few more subplots. Tara's mother wants an exorcism, then the exorcist lady tries to convince Tara that she should have one to remove her own demon. I wasn't so much bothered by the whole exorcism thing as I know there are some people who really believe in that stuff. However, they waste little time in showing that is it a farce right after Tara spends about $1300 on exorcisms for her and her mother. At other points, some of the developments happen too fast. Jason continues being a jerk, trying to sell his Grandmother's stuff to buy vampire blood, which apparently is the new crack or something. In his search he finds this girl who will do V (vampire blood) with him. They get high, and within three days fall in love with each other and kidnap a vampire for a constant source of V. Another example is when Bill has to go to a vampire tribunal. He's only gone for two days before Sookie starts to feel abandoned and start to wonder if he thinks "vampire politics" are more important than her.<br /><br />Subtlety is not this show's strong suit. It doesn't take a genius to figure out something is going on with the local dog. Although my assumption wasn't dead on, it wasn't that much of a surprise. But the finale two episodes was where it really got annoying as it just shoved all the developments in your face as if you couldn't possibly figure the out for yourself. When Tara gets into the car accident, the naked lady's face with the pig is clearly shown, and was easily recognizable when she shows up at the jail for the bailout. As if that wasn't enough, they later show the lady again with the pig at her house. Then it's time to wrap up the murder story. At the end of the penultimate episode, it's revealed that Renee is not who he says he is and most likely is the killer. In the final episode, they shove Renee being the killer in your face. Sookie remarks that it's odd that Renee's thoughts don't have an accent. I thought that was fine, as it adds to Renee being a fraud. But the next scene is full of incriminating evidence against Renee. They show that Renee has the tape of Maudette with the vampire and his fiancée finds a tape in one of Renee's boxes about how to fake a Cajun accent. At this point it was just ridiculous. I mean WE GET IT!!! So blah blah blah stuff happens. Bill almost kills himself while failing to save Sookie, who still manages to kill Renee. They start to set up season 2 by leaving unfinished issues. The naked pig lady and Sam have a history, Lafayette has gone missing and might have been killed. Jason is in the process of being brainwashed into being a religious nut by some anti-vampire church--which makes me care about him even less.<br /><br />It's almost surprising to see how many people absolutely love this show. I think I just expected this show to be better. I'm interested in seeing what happens in season 2, but if I watch it, I'll most likely wait for the season completion.

The quintessential Georgian film of Georgi Danelia, Ne goryuy (1969) aka Don't Grieve is loosely based on the novel by French writer Claude Tillier (1801-1844) "Mon oncle Benjamin" The novel takes place in the country side of the 18th Century France. The Great French Revolution is still ahead but some of its stormy signs are present in society. Benjamin, the local doctor is a soul of a local society, the educated, friendly, democratic person who often treats the poor for free. It makes him very popular with the locals but most certainly does not help with his bank account. He is in love with a beautiful Manette who is also crazy about him but is being watched closely by her father who called his daughter "his small capital" and is determined to protect her virginity until the moment the marriage contract has been signed... I never read the book, and from description it sounds like a charming very French novel but I am fascinated with the results of moving the characters and some plot elements from 18th Century France to the beginning of 20th century Georgia-Grusiya. I would think that it was Danelia who came up with all the colorful memorable characters that feel so much at home in his native Georgia-Grusiya, the land of long and wonderful traditions, including Art of making and drinking wine, rare music talent that all Georgians seem to possess, very unique humor, and high code of honor. When we watched the film last night together with my husband, he said, what a great example of an Art film, and I so agree with him. Don't Grieve is a perfect Art movie, visually beautiful, deep but funny, at times sad and philosophical but never in a preachy arrogant way but optimistic, celebrating life with all its beauty and sadness, full of interest, loving irony and understanding for its slightly eccentric but very human characters. What is the most important, the film is warm and gentle, it does not look down at its viewers as some of the Art pictures do. You don't have to be a movie buff to love it, to live with it, to smile and sigh at it, to follow the good-hearted young Doctor Benjamin (first role in a Danelia film of famous singer and actor Wachtang Kikabidze with whom Danelia would go on to make two more films including one of my all time favorites, Mimino) on his journey through the roads and mountains of Georgia. Or to be a guest on one of a kind party where the friends gather to celebrate life of the old doctor Levan who wanted to be a guest on his own wake, to hear what his friends have to say about him when he dies while he is still alive, and who gets to choose which color he prefers for his coffin. When I watched the film I thought that it is a sort of movie that Federico Fellini might have liked. I was not surprised at all to find the article about Danelia where he names Fellini his number one director. I also found out that according Danelia, the famous Soviet directors, Leonid Gaiday (the creator of many beloved comedies) and Sergei Paraszhanov (the visionary whom I don't have to introduce loved another Danelia's film, fairy tale about American boy Huck Finn, Sovsem propashchiy) felt and spoke negatively about Don't Grieve while Fellini praised it highly. I dare go a little further and just guess that perhaps Maestro Fellini kept in mind some images and the very aura and atmosphere of Don't Grieve when he was making Amrarcord in 1973. Just a thought, because there is something essential that connects both films. Both Artists came back to their roots, to the places that they love deeply, to the people they remembered, loved and wanted to honor. Both films have a lot of smiles through the tears. Both are Art movies that would get directly to the hearts of the viewers. Both are masterworks.<br /><br />I think I am going to add Georgi Danelia to the list of my favorite directors. He has made some of the brilliant pictures in my most favorite genre of dramedy, even tragicomedies that are funny and bitter sweet, poignant and subtle, earthy and uplifting, gentle and shining. When I looked up the list of the movies he has written/directed, I was amazed at the fact that he has not made a single bad film since he started back in 1960 with the Award winning story of a young boy, Seryozha. Many of Danelia's films are among my favorites, as I am sure they are among his legions of fans. The man behind 'Seryozha, Sovsem propashchiy (1972) which is an adaptation of Mark Twain The Adventures of Huckleberry Finn, 33, Ya shagayu po Moskve (1964) aka Walking the Streets of Moscow, Ne goryuy (1969) aka Don't grieve, Afonya (1975), Mimino (1977), Osenniy marafon (1979) aka Autumn Marathon or Sad Comedy which is a very fitting title for this movie as well as for the whole genre that Danelia practically invented, and the cult favorite for over 20 years Kin-Dza-Dza (1986), is brilliant and deserves our true love and genuine gratitude for the unforgettable moments of cinematic happiness.

A somewhat awkward spy mystery with a predictable plot about World War Two dangers. The mystery is whether or not Jane Graystone (Nancy Coleman) has amnesia. The best acting is done by Raymond Massey as Dr. Ingersoll, a good doctor turned evil. He is head of a spy ring attempting to get information from amnesiac Jane, coded information related to allied activities. Will she tell? Can she remember? Moroni Olson (as Mr. Goodwin) is convincing as an accomplice to Massey. The role played by John Garfield (as Dr. Lewis) is nothing short of disastrous. He seems so badly miscast that the casting has to be ranked as one of the worst in film history. It is unfortunate that so talented an actor is stuffed into a role which not befitting his talents. The movie is worth one look, despite being a half spy and half gangster film, and despite containing a parade of stereotyped characters. It's easy to forget this one, amnesia is not necessary.

I have not read the novel, or anything other by Kurt Vonnegut, but I am now intending to start. This grips you from the very first frame, and does not let go until the end credits start rolling. Taking you places you don't expect, the plot is interesting throughout. The pacing is spot-on, nothing lasts too long, and this does a perfect job of balancing between unexpected twists and allowing the viewer to process what we've seen. It is well-told and well-thought out. I've never watched a film that I feel I could particularly compare this to. It is intense and exciting, as well as funny and sad. The acting is excellent, Nolte absolutely shines, Goodman again proves that he doesn't have to go for laughs, and Lee and Arkin are spellbinding. I could go on, really... no role is treated to a less than stellar performance. The editing and cinematography are marvelous, and all of the visuals are great, with a couple of unforgettable and astonishing ones. I am going to go for other movies directed by Keith Gordon, as well as the other two apparently related to this, through the author of the books. There is one scene of sexuality, and a lot disturbing and unsettling content in this. I recommend this to anyone who can appreciate it; it is not pleasant. 8/10

IT was no sense and it was so awful... i think Hollywood have a lot of film like that... you don't have do watch it. people cutter or eater what should i say... it made me sick! oh my god! film is about people that we don't know but feed themselves with Humans! they have teeths bla bla bla... isn't that familiar? i can bet on it you saw it in a another movie. the cast was so great but i think scenario was really awful. and i should say that Bradley Cooper was totally awesome... he's so talented... actually i said awful but i think it because of horrible scenes... let me explain it. did you ever eat tongue? but in the film one person did it! it was really awful... anyway i think film would so good without that awful human eater or cutter scenes...

Ladislas Starewicz's curiosity with insects and cinema melds into a short film about a love triangle between Mr. Beetle, an artistic grasshopper, and Mrs. Beetle. The rather simple story of an adulterous beetle couple that both seek stimulation outside their marriage is similar to a Biograph or Vitagraph short of the time. Starewicz's twist on the story is to use embalmed beetles with wires straightening the legs in frame-by-frame animation. The story builds as Mr. Beetle is unknowingly caught on camera with a dragonfly from the local nightclub by a jealous grasshopper. When Mr. Beetle comes home to find his wife in the arms of her artistic friend, he chases her around angrily, but eventually forgives her and takes her out to see a movie. However, Mrs. Beetle soon learns of her husband's infidelities as the movie they watch is the jealous grasshopper's footage of Mr. Beetle and the dragonfly together. Mrs. Beetle thrashes Mr. Beetle with her umbrella, Mr. Beetle jumps through the screen, and they both end up in jail after the projector they wreck catches on fire. The insects are placed in humanized settings such as a house or a nightclub, and are given human characteristics of jealousy, anger, lust, and revenge. The insect characters carry briefcases, drive motorcars, and even wear shoes yet they also twitch their antennae and open and close their mandibles as real insects would. The novelty of the story doesn't wear itself out, even after multiple viewings, but as fluid as the movements are, the film moves slowly. Action happens with intricate detail, but rapidity and a quicker pace of filming is lost in the process. Despite its pace, the film is an excellent example of Starewicz's early puppetry and is highly recommended.

You remember the Spice Girls movie and how bad it was (besides the songs), well their manager Simon Fuller (also this band's manager) makes the same error putting S Club (another of my favourite bands) in their own film. S Club: Tina Barrett, Jon Lee, Bradley Mcintosh, Jo O'Meara, Hannah Spearritt and Rachel Stevens (what happened to the seventh member, Paul Cattermole?) basically ask their boss for a break, they go on, and while there they see themselves on TV! Three of them swap, and vice versa, half discover they are clones made by a greedy scientist, and the other half just get themselves in trouble. Also starring Gareth Gates as a clone of himself. This film may have more of a plot than Spice Girls' film did, but besides the songs "Bring It All Back", "Don't Stop Movin'" and "Never Had A Dream Come True" this is no goo reason to see this film. Not too long after the band split for good. Adequate!

This movie is just so good! Despite Carmen Electra, this has to be one of the better films I have seen in awhile. Jamie Kennedy is just amazing, and Loren Dean plays an insane spoiled movie star very well. The plot is great as well. It's all very real which is scary. It says here that it's a drama, but this is one of the damn funniest dramas I have ever seen. Go check it out.

This movie is a lot like the movie Hostel, except with *BAD* acting and not much suspense. The gore elements are there, but you don't really feel anything for the characters, making the violence not very effective. Some parts are just strange... like forcing a snake down someones throat. What's up with that? Is that supposed to be scary or gory? It's just kind of stupid. As for torture, there really isn't any (except for the guy getting blow-torched in the beginning, which they don't show anyway). The main bad guy keeps saying "make them die slowly", yet the butcher kills them all very fast. The deaths are all relatively quick. Yes, I did watch the "unrated" version. So, overall, not the worst gore movie I've seen, but not at all good either. You won't miss anything if you skip this one.

This movie documents a transformative experience for a group of young men, and the experience of watching it is in itself transformative for the viewer. Few movies even aspire to this level of transcendence, and I can think of no other movie -- documentary or drama -- that achieves it. There is no other movie in which I have both laughed so much and cried so much. Yes, it is about DMD and accessible travel; on those issues alone, it is a worthwhile venture, but it is more. It is about friendship. It is about life itself, about living every day that you're alive. And it's a great, fun, adventurous narrative. This is why God created the cinema! See this movie!!!

"Nat" (voiced by Trevor Gagnon), along with his brainiac friend "IQ" (voiced by Philip Bolden) and the always hungry "Scooter" (David Gore) are kids with big dreams. They want to be the first flies in space. And what encourages their dreams is the first spacecraft to land on the moon, the Apollo 11, is waiting for its historic trip on the launch pad near where the three hang out.<br /><br />The first thing you notice is the animation of the film. I found it done very well done. The scenery had depth to it, as things in the distance actually looked like they were behind the focus of the scenes. I didn't see the movie in 3-D, as it was broadcast on HBO. However, I could see that there really wasn't any scenes which took advantage of the 3-D effects except a fight between characters near the end. I also wasn't really impressed with the design of the characters. To me, they didn't look like anything resembling a fly, especially in the coloring. The flies were an unusual blue-gray that was kind of distracting to me.<br /><br />The performances from the cast was not bad, but it wasn't good either. There were many times I focused more on my computer than the story. The writing was certainly written for a younger audience, with comedic moments that will make younger kids laugh. I saw nothing for adults, like jokes that they'll get the punchline for the adults to understand the meaning.<br /><br />History was not followed in this film. In fact, I think it was completely ignored, as the main focus was the flies. I also hated when a well known astronaut popped up on the screen and explained that the stories about the flies in the film was a work of fiction, and no flies were on Apollo 11. I did like how he thanked the men and women who sacrificed their lives for space exploration though.<br /><br />If you are an adult, this is not for you. It was not made for the entire family. This is certainly just for kids. But, save this one for a rainy day.

I'm not much of an expert on acting or other movie details, but this movie just hit me deep. I don't think I'll ever forget it. One scene especially (I think that anybody who has seen the film will know of which one I am speaking) is imprinted on my brain.<br /><br />I also watched the similar movie Lilja 4-ever (as referred to by a previous commentator). It was also very moving, but not quite as straight to the point and brutal. If you are sensitive at all, either will bring tears to your eyes, but Anjos Do Sol (Angels of the Sun) may stay with you forever.<br /><br />This is very depressing subject matter, but I think, no, I HOPE that the film succeeds in bringing more attention to it.<br /><br />More people need to see this film!!!!!!

I have always been somewhat underwhelmed by Joe Dante's original THE HOWLING (1981) – so I wasn't particularly interested in checking out any of its sequels; some time ago, I did catch HOWLING III: THE MARSUPIALS (1987) – by the same director as this one – and found it to be watchable but nothing special.<br /><br />The second instalment, however, has quite a bad rep and I knew I'd have a good time watching it – if mainly to wallow in the sight of dear but pompous horror icon Christopher Lee squirming in the midst of it all (the gracefully-aged star has pathetically asserted a number of times in interviews that he hasn't appeared in horror-oriented fare since his last picture for Hammer Films back in 1976!). Anyway, this film should have borne the subtitle "Your Movie Is A Turd" – being astoundingly inept in all departments (beginning with the all-important werewolf make-up)! <br /><br />The plot (and dialogue) is not only terrible, but it has the limpest connection with Dante's film – strangely enough, the author of the original novel Gary Brandner co-wrote this himself! Still, one of the undeniable highlights (er...low points) of the film is the pointless elliptical editing – which tries to give the whole a semblance of style, but only serves to accentuate its embarrassment factor! Similarly phoney (and grating) are the hokey transitions between scenes, the inane punk-rock theme song, and the cheapjack special-effects at the climax! <br /><br />What about the characters, then?: Lee is the werewolf expert, naturally, whom everybody thinks a crackpot – until they come into contact with the monsters, that is; at the very least, though, one has to admire the makers' ingenuity (or gall) in devising a stupid subtitle with a dual meaning! Incidentally, Sybil Danning (as Stirba, Werewolf Bitch – the subtitle by which this is known in the U.K.!) is quite fetching in an assortment of outrageous S&M outfits...but her character is virtually given nothing to do (except preside over her brood of followers and engage in the occasional hilarious three-way lycanthrope sex!); her two snarling lieutenants (one of them a sluttish black girl) are especially irritating.<br /><br />Aiding Lee on the side of good are the two yuppie heroes (he being the brother of the Dee Wallace character from the first film and she a colleague of hers) and a ragged guerrilla-type band of Transylvians (still, they generally manage to effortlessly overcome Danning's rather dumb werewolves!). Notable among them is a knife-throwing dwarf who gets a particularly nasty (but, at the same time, side-splitting) demise; he's later revived, under Stirba's control, in order to lure Lee (by making childish taunts at him all through the village streets) into a trap. The latter scene has to be a career nadir for the distinguished and imposing actor – well, either this or the early sequence in a discotheque where Lee is made to don a pair of ultra-cool sunglasses so as to appear inconspicuous among the partying youngsters!<br /><br />In the end, if I were forced to mention elements in this which weren't entirely displeasing, I guess I could say that the ossuary set (in which the heroine is to be sacrificed) is interesting, or that the hybrid werewolf/bat creature (Danning's pet who likes to 'inhabit' the body of its victims) is just too weird to be despised...

I liked this a lot. In fact, if I see it again(and I plan to) I just may love it. I'll echo other reviewers in saying that this movie really does grow on you as you watch. It starts kind of slowly but the way in enfolds is very natural and has a mood to it. You just get into it.<br /><br />I really liked the summery atmosphere to the movie and thought the movie was very touching as a whole. The characters have a strong element of realism and the movie very slowly and gently weaves a spell as you get involved in the various interactions between them all and want to know how it will ultimately turn out and what paths the characters will choose to take. <br /><br />I am very surprised that there are less then a dozen comments on this-there are obscure TV movies that have more comments then Rich In Love.<br /><br />One thing that I will say is I missed the ending which is driving me crazy and I HAVE to watch it again to see that. This is a movie that may not be for everybody but that I feel is strongly underrated(even some of my most film buff purist friends who have seen almost every movie there is haven't seen this) and it doesn't even seem to have much of a message board but I liked it a lot and to all those who like family dramas that are warm on scenery, atmosphere and an unhurried languid pace should probably take a look at this. Especially note worthy is that it takes place in South Carolina so for those (like me) who love the south, and movies that take place there, this is a gem. I'll add my vote to the woefully few comments and recommend this little known flick.

Solid comedy entertainment, with musical interludes, it generates a fast pace that carries proceedings along in zestful tempo through a maze of humorous and chiller complications. Boris Karloff, Bela Lugosi and Peter Lorre form a strong setup of sinister villainy. The script contains all the standard mystery film props-sliding panels, secret passageways, thunder and lightning and poisoned blow-darts. Karloff, Lugosi and Lorre go in for heavy leers and obvious melodramatics of the gaslit era. Kay Kyser and his band offered great entertainment for the people living in the 1940's who were trying to forget about the horror's of World War II.

I was delighted to finally see the release of Amazing Stories the first season on DVD. I had forgotten just what a stellar cast of actors and directors worked on this series. For the longest time the only way you got to see this remarkable series was with the VHS 2 or 3 episode collections or when Sci-Fi would re-run the episodes. However, when Sci-Fi would host the re-runs, they generally stuck to the same episodes. There were a few outstanding episodes in Season One like The Mission that they didn't repeat. Does anyone know exactly how long this series ran? It says 1985 to 1987 at the top here at IMDb but I thought it ran longer than two years. If you loved the Twilight Zone, Night Gallery and Outer Limits, you will love this series and you will not be disappointed with your purchase.

From the start this film was awful! Why was it that bad?? If it isn't the naked women, not only in need of a decent plastic surgeon but also the expertise of a dentist followed by a free hand out of Colgate whitening!! Then it's the 'crazy' old guy at the gas station, who isn't so much crazy, but more "I'm not sure how to act a great deal so I will stare straight ahead and look as stupid as I can while pretending to shout in robotic tones about something in the woods"!! Then back to these naked nymphs in need of a cure for gingivitis.... apparently, without touching you...and this is according to the opening scene.... they can cause a nasty looking red rash on your neck, which I assumed to be a chunk of flesh missing but just looks as though it could do with some TCP to clear it right up. Then you have Sophie Holland who plays Ally, I have never seen such baaaaaad acting, she is more of a "me me me, if I'm not having fun no-one else is, and I don't wanna do this so I won't, and I'm the meanest cow on the planet, I'm sarcastic, petty and if I don't get things my way I will sulk!", kind of person.... reminds me more of a 6 yr old girl's attitude. I don't think it's even worth mentioning the dire camera angles that remind me of Blair Witch, or how low-budget the film actually was that when Judd was hacking at the 'locked' door it was in fact open before he reached to unlock it from the other side!! This film is completely laughable! If it were a spoof then it would have been successful...only just though, but, as a horror film is was just plain wrong!!! I can't even being to describe everything that went t!ts up in this movie I would run out of room! Although it was funny to watch Andrew drip raspberry juice in his ear every time he opened his mouth while Tom Savini's character was completely blind to the two hiding under the table directly in his line of vision!! It was even funnier when these two thought they could escape on a god damn tractor, which as we all know is thee number one hated vehicle to get stuck behind since its so god damn slow! So is it any wonder they don't get away with it?? And how many people do you know that can slice open their wrist and then run around for hours as if nothing ever happened! No pain, no weakening from blood loss, nothing!? But the silliest part is when all of a sudden (and i mean that literally) it's one YEAR later and Molly is still wandering the woods after having escaped the nymphs, and then lo and behold, Shaun Hutson picks her up...of course not without a line to promote his books!! (altho admittedly he is one of my fav authors) but suddenly, and with absolutely no hint of an xplanation as to how and why... she's evil herself and lures Hutson to his death, then we cut to the crazy dude from the beginning suddenly wandering round the woods with a petrol can, even after his 'dazzling' performance on why no-one should ever venture there for whatever reason...cue the nymphs stupidly slappin each other around a bit for fun while Crazy pours petrol everywhere....and here endeth the film....finally! My conclusion....if you hadn't already guessed by now....absolute rubbish! There was no proper thought went into it at all, whoever was aiming the camera needed firing...and come to think of it so did 99% of the cast! If the right director, actors, and budget got behind this it could have been decent. But, once again, low-budget English horror films but the rest of the genre, the country, and the English film-making industry to shame!! (And I'm English so I'm allowed to say that)! In fact the only decent and exciting part of the movie is in the first 15-20 mins when we watch it turn from night to day over a field type area. All I kept thinking throughout this was "Jesus Christ in heaven why oh why did you allow someone to make this, its absolute cow's testicles!!" But I can't turn a film off after I've started watching it unfortunately. I had to watch From Dusk Til Dawn afterwards just to remind myself that Tom Savini does have it in him to act well! If there was an option for 0/10 then believe me I woulda chose that, cuz this film isn't even worth the one point I did give it! <br /><br />But this is just my opinion, watch it and decide for yourself.

Jake's Closet has the emotional power of Kramer vs. Kramer combined with the imagination of Pan's Labyrinth. Even the beginning special effect seems to give a nod to Pan's Labyrinth. But this is a story that takes place in modern times, not in a war sixty years ago and in that way it has even more resonance today. Jake's Closet is about a boy, an only child, practically alone on summer vacation, dealing with his family falling apart. It's a horror movie like The Others and The Sixth Sense, a horror movie for the thinking person. If you're looking for a slasher movie, this won't be your cup of tea but if you're looking for a story that is both touching and suspenseful with good acting, this is the movie for you. At the screening I saw, I swear there was one moment where the entire audience screamed. I highly recommend catching this film.

Fairly amusing piece that tries to show how smart Orcas are but in the meanwhile (and quite oblivious to them) makes the audience feel stupid by making the most ridiculous film. Richard Harris plays Quint.. I'm sorry, that's wrong, he plays Captain Nolan, a fisherman who catches sharks for a living, but is lured by the big catch, and tries to catch a killer whale. When the capture of a female killer whale goes awry (don't ask) it's mate (don't ask) goes on a rampage (don't ask) and starts STALKING Captain Nolan (Don't ask). Soon, Captain Nolan realizes that they have something in common (don't ask). Pretty amazing film-making here folks. I got to tell you though, the beginning (with the whale noises and nothing much else) is pretty haunting and the end credits (with the most godawful song) is pretty entertaining.

I would say for it's time, this movie was awesome...and yes if you have no desire to become a Christian, then why bother watching it. I saw this movie after I had already been saved and found it to be very moving. I see now they have taken these movies to another level and have created the Left Behind series...they run a close comparison and definitely are more modern to reach people. I think in order to actually judge this movie, you should see it,,,there are 3 or 4 of them in the series if I am not mistaken...don't use our comments to judge, see the movie for yourself!! God will bless you if that is why you are watching them.

Although I have enjoyed Bing Crosby in other movies, I find this movie to be particularly grating. Maybe because I'm from a different era and a different country, but I found Crosby's continual references to the Good Old USA pleasant at first, trite after a while and then finally annoying. Don't get me wrong - I'm not anti-American whatsoever - but it seemed that the English could do no right and/or needed this brave, oh so smart American visitor to show them the way. It's a "fish out of water" story, but unlike most movies of this sort, this time it's the "fish" who has the upper hand. To be fair to both myself and the movie, I have watched it a few times spaced over a few years and get the same impression each time.<br /><br />(I watched another Crosby movie last night - The Emperor's Waltz - and that, too, produced the same reaction in me. And to my surprise even my wife - who for what's it's worth is American - found the "in your face" attitude of American Crosby to be irritating. One too many references to Teddy Roosevelt, as she put it.) <br /><br />As for the premise of the movie, it's unique enough for its day and the supporting cast is of course very good. The scenery and the music is also good, as are the great costumes - although I agree with a previous reviewer that the wig on William Bendix looks horrid (picture Moe of The Three Stooges).<br /><br />All in all for me this would be a much more enjoyable picture without the attitude of Bing Crosby but because he is in virtually every shot it's pretty hard to sit through this movie.

This definitely is NOT the intellectual film with profound mission, so I really don't think there is too much not to understand to in case you aren't Czech.<br /><br />It's just a comedy. The humor is simple, pretty funny and sometimes, maybe, little morbid. Some actors and characters are very similar to Samotári (2000) (Jirí Machácek, Ivan Trojan, Vladimír Dlouhý) so the authors are. But it doesn't matter, the genre is really different and these two films shouldn't be compared in this way. Jedna ruka netleská won't try to give you a lesson, it will try to make you laugh and there is some chance it will succeed.<br /><br />Not bad film, not the ingenious one, but I enjoyed it. Some scenes are truly worth seeing.

The premise of this movie is revealed on the DVD box. A textile worker develops a miracle fabric that doesn't degrade. But the movie fails to get on with it. Instead it pads for 45 minutes, noodling around a preamble before he makes the big discovery. Since audiences don't benefit much from seeing a whiz kid figuring things out, it's a strange choice: the movie has successfully been prevented from engaging any topic. Once the fabric is discovered, the movie too rapidly establishes that both industry bigwigs, and blue-collar co-workers want the invention squelched, leaving the movie with just two flimsy movements; inventing the chemical, and running from oppressors.<br /><br />I can't understand why anyone would describe this as comedy. The tone isn't funny or comical. It's more like serious social criticism of the day: that capitalism warps both supply chains and production. Which in turn prevents innovation from reaching and improving the world. Yes, that's probably true, but without some toying with an attitude towards that fact, the movie is simply an earnest argument. You'll need an extremely broad definition of comedy to find any here.<br /><br />This is more like a British Meet John Doe (Meet Nigel Doe ?).

You'd think you're in for some serious sightseeing when the premise of the movie takes place primarily between two characters as they travel 3000 miles or so from France to Saudi Arabia, going through most of Europe - Italy, Bulgaria, Croatia, Slovenia, Turkey, before arriving in the Middle East. But this is not a tour, and there are no stopovers for soaking in the sights.<br /><br />Reda's father is in his twilight years, and wishes to do the Haj. However, since walking and taking the mule is out of the question, he chooses to travel to Mecca by car. He can't drive, and therefore enlists the help of Reda, to his son's protest, to get him there in their broken down vehicle.<br /><br />But Reda doesn't see the point of having him go along, when his dad could opt for the plane. He resents the idea of having put his personal life on hold for this pilgrimage he couldn't understand. And hence, we set off in this arduous journey with father and son, being not the best of pals.<br /><br />The beauty of this movie is to witness the development of the father and son pair, the challenges they face, the weird people they meet, having to duke it out in varied weather conditions, and alternating rest stops between motels and sleeping in the car. We see an obvious generation gap in them trying to communicate to each other, the father trying to impose on his son, and the son trying to assert himself as an adult, but circumstances we see, reveal that Reda is quite a fish out of water. Through the many encounters, they actually team up quite well despite their differences.<br /><br />It's perhaps quite apt to have this film released here last week to coincide with Hari Raya Haji, and having the opportunity to watch our protagonists join the other pilgrims in their Haj. The final scene in Mecca is truly a sight to behold, and you too would feel the claustrophobia and fear as Reda tries to hunt down his dad amongst the thousands of people congregating. The sights of Europe were perhaps deliberately not dwelled upon, so as to build up the anticipation of and focus on the final destination.<br /><br />It certainly rang home the thought of telling and showing loved ones how much you appreciate them for who they are. Don't miss this, and yes, book early - I was pleasantly surprised that this evening's session was still a full house.

This is the worst film I have ever seen.I was watching this film with some friends and after 40 minutes we had enough. The plot was bad and there wasn't a single likeable character.I could get more entertainment watching static. I gave this movie a 1 only because the scale didn't go into negative numbers. Avoid this movie at all costs.

The Impossible Planet and The Satan Pit together comprise the two best episodes of the 'new' Doctor Who's second season. Having said that, it should be obvious that much of the story basically transposes the plot of Quatermass and the Pit (1967) to an outer space setting, with the history of the universe intertwined with that of the Beast 666. These episodes cement the emotional ties between Rose and the Doctor, whilst also highlighting Rose's increasing self-confidence, establishing her as a not-quite-equal-yet-but-getting-there partner with our beloved Time Lord. Also of note is Matt Jones elegant screenplay, which decreases the occasional over-reliance on one-liners for the Doctor, and the performances of the entire cast, most notably the excellent Shaun Parkes as acting Captain Zachary Cross Flane.

I can clearly see now why Robin Hood flopped quickly. The first episode of it is probably the worst ever thing BBC has aired. The opening scenes were about as intense, meaningful and intelligent as two monkeys fighting, Robin Hood had no character, and the sword fight was just laughable. The worst part of the episode was Robin Hood snogging some cow clad in make-up at the beginning of the episode - how many people wore eyeliner in the 12th century? Nobody. The series may have improved drastically since then, but this first episode quickly put people's hopes down, and is essentially a pile of cr*p. A great hero of England has been disgraced.<br /><br />"Will You Tolerate This?" I won't, that's for sure, unless the BBC start to understand what is a wise investment. 3/10