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Pictures that usually glorify a hero have meaning. As an example, Bonnie and Clyde glorified the dynamic bank robbers and you actually felt sympathy for them despite their evil deeds. Why? They were two people caught up in the depression when people were desperate to survive.<br /><br />This film has absolutely no substance. The Viggo Mortensen character soon emerges as a folk hero. Why? He speeds along an Idaho highway on the way to the hospital where his stricken wife has been taking. No one bothers to understand why he is trying to flee everyone. Even worse, when the realization becomes apparent that he is not a red-neck terrorist, no one in government wants to help him as they try to save their rear ends.<br /><br />Jason Priestley co-stars as a radio emcee who builds upon the story in support of our hero.<br /><br />The ending is absolutely unbelievable.
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This is one of my favorite films of all time. Al Pacino acting is at its best and the story is excellent. Too bad it didn't do to well in the 80's when it was first released because people didn't get a chance to experience this classic.
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by Dane Youssef<br /><br />A gang of crooks. The perfect plan. It all goes wrong. They're in trouble. The police are outside. They're cornered. What are they gonna do now?<br /><br />Sound familiar?<br /><br />The movie seems like it's trying to be a combination of the acting workshop, the "indie" film and the theater.<br /><br />It's the kind of things that actors love--it's kind of like a workshop or a play because it mostly consists of tight focusing on the actors acting... acting angry, tense, scared, conversing, scheming, planning--giving the performers a lot of free range to really ham it all up.<br /><br />A trio of crooks, one leader, one goon, one brother, come up with a big heist scheme... and a monkey wrench is thrown into the works. To top things off, there's a bit of a "fender-bender" and one of the crooks in flung through the back of the windshield.<br /><br />The cops are on their tail and they stumble into a bar named poetically (and leadenly) "Dino's Last Chance."<br /><br />Spacey, as a director, tries to keep the focus on the actors' performances and delivery of dialouge. He pans over to a bright passion-red cigarette ad of a smoking and smoldering Bogart. And he keeps all the violence off-screen, really.<br /><br />I think that was a mistake. Focusing on the intensity and gruesome violent scenes would have given the movie some edge.<br /><br />The problem with the movie is that it moves too slow and suffers from miscasting in almost every role. Matt Dillon ("Drugstore Cowboy" and "Wild Things") seems too young and too idealistic to be the leader of this gang.<br /><br />Gary Sinese seems to brooding and deep in thought to be a spineless tag-along with these guys and Joe Mantaga is effective as the traditional routine foul-swearing mad-dog police lieutenant who's all thumbs, but he isn't given anything to really do here.<br /><br />William Fischter is the only actor who is believable in his role as a brainless grunt who just wants to spill blood.<br /><br />And the crooks are in a tense situation where they either go to jail or they try to think of some way out of this.<br /><br />Spacey lacks the ability to create a lot of tension and keep it going. The characters are mostly chatting away, trying to think of a plan... and they're to calm and too articulate. There's even a scene where the crooks are playing pool with a whole swarm of armed cops right outside, ready to strike. At one point, one of the crooks even call the police who are right outside the bar. Oh brother. Oh bother.<br /><br />These cops are going to either blow them away or going to lock them up. Shouldn't the holed-up crooks be a little scared, a little uneasy? Meanwhile, all the real action is happening inside.<br /><br />Someone whips out a gun, a baseball bat, which leads to an ugly confrontation off-screen and there's one more casualty that happens that's... well, kinda sad. But...<br /><br />Faye Dunaway also should have spent more time with a dialect coach, improving on her New Orleans accent. Skeet Ullrich is fine in a smaller part.<br /><br />A cop listening in reaches for a pack of matches at the absolute worst time is a nice look. And so is a scene where someone goes right through the rear windshield. <br /><br />The dialouge is obviously trying to go for a David Mamet approach and it's as profane, but never as realistic or as insightful.<br /><br />The movie feels like too much of what it really is... a really low-budget movie with an actor behind the camera for the first time directing other actors from a script that's "not bad, but needs a few more re-writes." Spacey shows he's not a terrible director, but he lacks a sort of feel for "shaping a movie" and it feels like he's just filming actors act.<br /><br />These actors are all talented and could work with the material, but they all feel out of place. As I said before, the movie really suffers from miscasting. <br /><br />I don't mean that the wrong actors were cast. I think they found just the right cast, but placed them in all the wrong roles. I think switching some of the roles would've helped immensely.<br /><br />Having veteran mob actor Joe Mantagna play the leader of the pack, Gary Sinese as the angry police lieutenant outside on his bullhorn giving orders and barking at his troops, keeping Fischter in his "bloodthirsty goon" part and Matt Dillion as the sacrificial lamb. That would have been a big improvement.<br /><br />When some actors direct, it works. They can even win Oscars for it. But a lot of the time, when actors direct, they have a tendency to just focus on the performances. Just shoot the actors acting.<br /><br />Sometimes it works... but they need a good showcase for it. An excuse for it.<br /><br />Hostage situations are all pretty much the same in real life just like coming-of-age stories so it's only natural that movies about them will go from point A to point B as well.<br /><br />There are a few really great entries into this genre.' Spacey himself appeared in a similar movie about hostage situations: "The Negotiator."<br /><br />This certainly won't become a cult classic, let alone one of AFI's 100. Still, it does have a few nice moments and personal touches, but in the end, it's instantly forgettable and the kind of movie that would play best on regular TV. It's just not worth going out of your way to see.<br /><br />I give a 3 out of 10. <br /><br />Spacey's other directorial credit, "Beyond The Sea" was reportedly a better effort. Hmmm... maybe it's true. You need to fail before you succeed.<br /><br />by Dane Youssef
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Sidney Franklin's "The Good Earth" has achieved classic status thanks to a timeless story and superb acting, especially from Luis Ranier, who won an Oscar for her portrayal of O-Lan. Rainers performance is so complete, she is nearly unrecognizable. Having very little dialogue throughout the entire film (and it is a long one), Rainer relies instead on facial and body language. She looks and acts Chinese to the point that anyone unfamiliar with her work could easily mistake her as such.<br /><br />The film remains relevant today because it explores the rags to riches story and the universal themes that come with it. When Lung and wife O-Lan finally achieve financial success after years of famine and poverty, they find a life full of possessions but lacking in meaning. It is only when they return to the earth after fighting off a swarm of locusts (the special effects used to create them are still incredible and beautiful to watch) that they again find fulfillment. A common formula told with the unique perspective of a Chinese family (especially for 1937) makes the film a classic. Money isn't worth anything without friends and family, a point that the film drives home perfectly in it's last 10 minutes with an emotionally fulfilling conclusion.
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Uta Hagen's "Respect for Acting" is the standard textbook in many college theater courses. In the book, Hagen presents two fundamentally different approaches to developing a character as an actor: the Presentational approach, and the Representational approach. In the Presentational approach, the actor focuses on realizing the character as honestly as possible, by introducing emotional elements from the actor's own life. In the Representational approach, the actor tries to present the effect of an emotion, through a high degree of control of movement and sound.<br /><br />The Representational approach to acting was still partially in vogue when this Hamlet was made. British theater has a long history of this style of acting, and Olivier could be said to be the ultimate king of the Representational school.<br /><br />Time has not been kind to this school of acting, or to this movie. Nearly every working actor today uses a Presentational approach. To the modern eye, Olivier's highly enunciated, stylized delivery is stodgy, stiff and stilted. Instead of creating an internally conflicted Hamlet, Olivier made a declaiming, self-important bullhorn out of the melancholy Dane -- an acting style that would have carried well to the backs of the larger London theaters, but is far too starchy to carry off a modern Hamlet.<br /><br />And so the movie creaks along ungainfully today. Olivier's tendency to e-nun-ci-ate makes some of Hamlet's lines unintentionally funny: "In-stead, you must ac-quire and be-get a tem-purr-ance that may give it... Smooth-ness!" Instead of crying at meeting his father's ghost (as any proper actor could), bright fill lights in Olivier's pupils give us that impression.<br /><br />Eileen Herlie is the only other actor of note in this Hamlet, putting in a good essay at the Queen, despite the painfully obvious age differences (he was 41; she was 26). The other actors in this movie have no chance to get anything else of significance done, given Olivier's tendency to want to keep! the camera! on him! at all! times! <br /><br />Sixty years later, you feel the insecurity of the Shakespearean stage actor who lacked the confidence to portray a breakable, flawed Hamlet, and instead elected to portray a sort of Elizabethan bullhorn. Final analysis: "I would have such a fellow whipped for o'er-doing Termagant; it out-herods Herod: pray you, avoid it."
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Overall I found this movie quite amusing and fun to watch, with plenty of laugh out loud moments. <br /><br />But, this movie is not for everyone. That is why I created this quick question-ere, if you answer yes to any of the following questions than I recommend watching this flick<br /><br />(1)Do you enjoy crude sexual humor? (2)Do you enjoy alcohol related humor? (2)Do you enjoy amazingly hot girls? (3)Do you enjoy viewing boobs? (4)Do you enjoy viewing multiple boobs? (5)Did I mention all the nice boobies in this film?<br /><br />If you noticed the spoiler alert, that is referring the mass amount of nudity you can expect in the movie, I myself have no idea what the plot was about. Not that it matters.
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Mr. Mike was probably the most misanthropic comedian of all time, so I was interested to see what he'd do with total creative control over a movie. Sadly, it is unwatchable, though not because the jokes aren't funny--some (I won't say most) of them are, and in fact Mr. Mike did a good job translating his mentally unbalanced screeds into visual gags. The trouble is that the technical quality (sets, lighting, sound, editing, you name it) is so God-awful, the movie is intolerable. Some outfit called "PKO Productions" gets the producing credit, but it doesn't look produced at all; it looks more like Mike stole one of the cameras from the SNL set and made the whole thing in an afternoon. I realize Mike's goal was to torture the audience, but even that deserves some basic standards, such as the ability to actually see, hear or comprehend whatever it is that's supposed to be shocking. Still, the DVD isn't a total waste: it includes a eulogy for O'Donoghue by Bill Murray and three "Mr. Mike's Least Loved Bedtime Stories" from SNL. Plus, the "cat swimming" section of the movie is a great scene to be caught watching if you want to freak someone out. 3/10
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I was lying on my bed, with a really bad cold or flu or whatever. I figure maybe I'd kill some time watching some horror movies my mom bought for me a little while ago. I wish I never picked this movie! After I watched it I felt even more sick and I wanted to throw up. Afterwords(when I got better of course) I did some research on Dennis L.Rader and I noticed that the Dennis in the movie was nothing like the real one. I hope that no one ever watches this movie but if they ever do don't eat or you'll feel the way I felt after I first watched it. I think you would have a better time watching The Santa Claus 3. At least that movie had better reviews on this site.
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I saw this 25 years ago on PBS. It was very difficult to watch. So real. To watch this small family struggle in the winter was heart rending. No time for courting: fate has thrown us together and we put our shoulders to the grindstone and make it work. This was based on the woman's actual diary, which I read many years later. She said in her diary that her parents died when she was little and all their bothers and sisters had to work the farm to feed themselves. She learned to mow, which was not lady-like. She was afraid that no prince charming would want a woman with sun-browned, calloused hands, but this husband was so happy that his new wife knew how to mow, and she was happy to do it. Both were widowed and together they worked to build a new home. It was so, so sad when the baby died. Of course, if they had it today, I am sure it would have been fine. That only makes the tragedy extra sad. I was crying so hard. But then they went out and successfully pulled out a new calf. Spring is on its way, and life goes on. In her diary, she did have two more boys and they lived.
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I have a piece of advice for the people who made this movie too, if you're gonna make a movie like this be sure you got the f/x to back it up. Also don't get a bunch of z list actors to play in it. Another thing, just about all of us have seen Jurassic Park, so don't blatantly copy it. All in all this movie sucked, f/x sucked, acting sucked, story unoriginal. Let's talk about the acting for just a second, the Carradine guy who's career peaked in 1984 when he did "Revenge of the Nerds" (which was actually a great comedy). He's not exactly z list, he can act. He just should have said no to this s--t bag. He should have did what Mark Hamill did after "Return of the Jedi" and go quietly into the night. He made his mark as a "Nerd" and that should have been that. I understand he has bills to pay, but that hardly excuses this s--t bag. Have I called this movie that yet? O.K. I just wanted to be sure. If I sound a little hostile, I apologize. I just wasted 2hrs of my life I could have spent doing something productive like watching paint peel, and I feel cheated. I'll close on that note. Thank you for your time.
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In many ways DIRTY WORK is a predictable L&H short on the surface with the boys going to sweep someone`s chimney . Guess what happens next ? That`s right slapstick at its most sucessful ensues .<br /><br />But there`s one or two things that seem untypical . Ollie for example is very unlikable , he`s arrogant , he`s rude , and not only to Stan look at the way he addresses the servant with " HEY YOU " and takes a childish huff very easily with his catchphrase being " I have nothing to say " . In short Ollie plays a bully in a very unlikable way and I much prefer to see him to play the arrogant coward where he`s always at his funniest<br /><br />DIRTY WORK also lacks the reportary regulars of the other L&H shorts like Finlayson , Long , Busch and Housman which means when we switch to the mad scientist plotline there`s a slightly creepy atmosphere that jars with the rest of the movie <br /><br />Having said that this is still a good short mainly down to Stan . Also watch out for a scene featuring a fish . Many jokes/plots from L&H feature fish and this is another one
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Steven Spielberg produced, wrote, came up with ideas for and even directed episodes of Amazing Stories, so naturally this would have to be the greatest anthology ever right? Unfortunately wrong. Some episodes are just fantastic, but all too often it was a mixed bag. In fact, that might have been it's downfall is it was way too mixed. Some episodes were light comedies, some were dramas, some were horror, and one was even animated, which made this a similar, but not as good 80s version of the Twilight Zone (which also was around).<br /><br />Normally I'd like having a mixture of stories in an anthology show, but they just didn't fully work here. Some of the more fantastical dramatic episodes felt like they would be better being shown late on night on the Lifetime network, like the episode "Ghost Train", which was directed by Spielberg himself. In that episode, it gave the message of hope, and gave us a fantasy story, but overall it was just a build up to the ending which didn't blow me away anyways. The horror episodes tended to work better than the drama, but there were far more dramatic ones, and they grow tiring to watch. Acting wise, this anthology got some big stars, similar to the original Twilight Zone. Kevin Costner, Kiefer Sutherland, Milton Berle, Dom Deluise, Harvey Keitel, Beau Bridges, Charlie Sheen, Forrest Whitaker, Tim Robbins, John Lithgow, Rhea Perlman, Danny Devito, Patrick Swayze, Christopher Lloyd, June Lockhart, Kathy Baker, Weird Al Yankovich and many other well knowns have been in episodes of the show. It's fun to see well known actors in almost every episode of the series. Great directors have also had part in episodes including Spielberg himself, Clint Eastwood, Burt Reynolds, Bob Clark, Joe Dante, Mick Garris, Paul Bartel, Joe Dante, Robert Zemeckis, Danny Devito and even Martin Scorsese. I'd actually recommend this more to fans of the directors and/or the 80s than anyone else.<br /><br />Amazing Stories was sometimes amazing, usually good, occasionally mediocre, and every once in a while a real stinker came out. But, this show has nostalgic value to me, and it's sort of fun to sit on boring afternoons and watch some episodes. John Williams' theme music for the show is sure to be caught in anyone's head who watches this, too.<br /><br />My rating: Good show. 30 mins. per episode. TVPG
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When tradition dictates that an artist must pass his great skills and magic on to an heir, the aging and very proud street performer, known to all as "The King of Masks," becomes desperate for a young man apprentice to adopt and cultivate.<br /><br />His warmth and humanity, tho, find him paying a few dollars for a little person displaced by China's devastating natural disasters, in this case, massive flooding in the 1930's.<br /><br />He takes his new, 7 year old companion, onto his straw houseboat, to live with his prized and beautiful monkey, "General," only to discover that the he-child is a she-child.<br /><br />His life is instantly transformed, as the love he feels for this little slave girl becomes entwined in the stupifying tradition that requires him to pass his art on only to a young man.<br /><br />There are many stories inside this one...many people are touched, and the culture of China opens itself for our Western eye to observe. Thousands of years of heritage boil down into a teacup of drama, and few will leave this DVD behind with a dry eye.<br /><br />The technical transfer itself is not that great, as I found the sound levels all over the meter, and could actually see the video transfer lines in several parts of the movie. Highly recommended :-) 9/10 stars.
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I watched Peter Jackson version of Lord of the Rings when I was half way through reading the Two Towers and I thought it was absolutely brilliant.<br /><br />At this time the animated version of the Lord of the Rings was released on DvD but I told myself that I will finish reading the Two Towers and Return of Kings before watching it (as I thought it showed the whole of the trilogy).<br /><br />So when I did finish the trilogy I went and brought the DvD, which was a stupid idea because it was absolutely rubbish.<br /><br />I was acturly bored 20 minutes in to it which was really strange because I love the book and I am shooked that the maker of this film could of even thought of fitting at least 1 and a half of the books in to a 2 hour 8 minute film.<br /><br />None of the characters had any emotions when they were talking and they seemed to be reading it of a page, even my favourite character who is Gandalf did not seem interesting at all. <br /><br />The animation was the only okay in parts of the film except for the orks (they looked awful) and Aragorn and Sam face.<br /><br />I don't know way this film was released because there was not even a proper ending, but maybe it was good that the maker ran out of money because the film couldn't of got any better. <br /><br />I just hope that nobody judges the books by this film.<br /><br />3/10
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Weak,stale, tired, cliched; wants to be Basic Instinct, but misses opportunity after opportunity for fresh perspectives, new insights. Insipid, trite, grotesque, and without the possibly-redeeming value of brevity; oh, wait...it was only 90 minutes long...it must have just *seemed* a lot longer! I'd rather clean bus station toilets with my toothbrush than have to sit through this again. I'm expressing an opinion here: I guess this means I didn't like it.
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I first saw this movie about 4 years ago and i was expecting something funny, similar to CB4. I was blown away. I was on the floor laughing my butt off this movie is so great. Way better than CB4, the characters, the songs, the plot, everything. Top notch independent film that was given "Two Thumbs UP" by Siskel and Egbert (and if two old white guys can understand the humour in this flick, you know it's good).
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First an explanation on what makes a great movie for me. Excitement about not knowing what is coming next will make me enjoy a movie the first time I watch it (case en point: Twister). There are also other things that go into a great first viewing such as good humor (John Candy in Uncle Buck and The Great Outdoors), good plot with good resolution (Madeline and Matilda), imaginative storytelling (all Star Wars episodes-George Lucas is THE MAN), and good music (again all Star Wars episodes, Wizard of Oz, Sound of Music). What makes me watch a movie at least six times in the theatre and buy a DVD or VHS tape? Characters. With that said, I present Cindy Lou Who and The Grinch. Excellent performance Taylor Momsen and Jim Carrey. The rest of the cast was very good, particularly Jeffery Tambor, Bill Irwin, Molly Shannon, Christine Baranski, and Josh Ryan Evans. But, every single scene with Cindy and The Grinch-together is excellent and very funny and/or heartwarming. Cindy Lou is my favorite character in this movie and the most compelling reason why the movie is better than the cartoon. The Grinch has a strong plot, good conflicts, and a very good theme (I can't get started because I don't want to spoil it). Jim Carrey was very funny as The Grinch-particularly when he interacted with Cindy. And the music! Wow! Excellent music by James Horner. I loved his selection of instruments and the compositions. Very good job Jim Carrey-I didn't know you could sing. Taylor Momsen! Whoa! Your voice is reason enough to see the movie at least once. On your solo - Where Are You Christmas - is your voice really as high as it sounds? Sounds like an F#? That is an obscene range for a 7-year old (obscene meant in the best possible way). Great job. This is the best performance by a child I have ever heard in a movie(Taylor beat out the Von Trapp Children-no small feat!). And now to the actors. Jim Carrey was great, funny, and, surprisingly very sensitive (this really showed through in his scenes with Taylor Momsen). Taylor Momsen's unspoken expressions(one of the secrets to a good acting performance) are very strong-she really becomes Cindy Lou Who. And when she does dialogue she is even stronger.<br /><br />******************************danger:spoiler alert********************* ***********************************************************************<br /><br />Examples: expression when she first sees The Grinch. This is a classic quote ("You're the the the" and then filled in with the Grinch line "da da da THE GRINCH-after which she topples into the sorter and then is rescued by The Grinch). The "Thanks for saving me" quote and subsequent response by The Grinch was also very good.<br /><br />My favorite part of the movie is when Cindy invites The Grinch to be Holiday Cheermeister. This scene is two excellent actors at their best interacting and expressing with each other. Little Taylor Momsen completely holds her own with Jim Carrey in this spot. I sincerely hope we see Taylor Momsen in many more films to come. All in all everything was great about this movie (except maybe the feet and noses).
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I'm not kidding about that summary and vote! The video distributors have packaged this as just another typical '80s werewolf movie, but it is in fact the greatest parody of the horror genre that you can imagine, having done for the horror movie what "Blazing Saddles" did for the western. I have seen plenty of comedies - good, bad, stupid, weird, etc. (usually walking away unimpressed), and I think that comedy must be the most difficult genre for filmmakers and actors to work in - it takes just the right kind of touch to make things successful, and part of that is having good ideas. "Full Moon High" is bulging with good ideas - so many, in fact, that it can easily put the Zucker/Abrams team of "Airplane" and "Naked Gun" to shame. One of the best of these is the very presence of Ed McMahon in a starring role as a John Birch-style right-wing crackpot. The jokes, non-sequiturs, wisecracks and word-play are literally non-stop and everything, including the kitchen sink, has been thrown in. The ironic tone is very similar to that of "Back to the Future." <br /><br />Some people (i.e. almost every reviewer here) must have been turned off by the spirit of anarchy here, but I almost died of laughter, and this is one of those movies in which you never know what kind of insane situation will transpire next. Since B-movie extraordinaire Larry Cohen had not made a straight comedy before this, one gets the sense that he was making up for lost time by including any joke he or his collaborators could think of. If Mel Brooks had made this, the critics would have labelled it a comic masterpiece, but because it was made by Cohen, it has been dismissed as schlock. Critical reviews have called this movie too "silly." SILLY? What is a comedy supposed to be - serious?! Anyway, I laughed out loud more for this movie than any other I can think of. Cohen makes fun of everyone - himself included, with plenty of references to his usual brand of low-rent film-making; he and the actors must have had a complete blast making this.<br /><br />The humor is very Mel Brooks-ish, and anyone who loves Jewish humor or watches a lot of B-movies (especially horror) will love this. Trust me: the movie isn't too hard to find, and as long as you accept it for what it is - a roller-coaster of belly laughs with no pretense of social value whatsoever - then you'll truly enjoy it!!<br /><br />One sidenote: this movie should somehow go down in history as the one thing Bob Saget ever starred in (albeit briefly) that was actually funny.
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"Against All Flags" is every bit the classic swashbuckler. It has all the elements the adventure fan could hope for and more for in this one, the damsel in distress is, well, not really in distress. As Spitfire Stevens, Maureen O'Hara is at her athletic best, running her foes through in defiance of the social norms of the period. Anthony Quinn rounds out the top three billed actors as the ruthless Captain Roc Brasiliano and proves to be a wily and capable nemesis for Brian Hawke (Flynn). For the classic adventure fan, "Against All Flags" is a must-see. While it may not be in quite the same league as some of Errol Flynn's earlier work (Captain Blood and The Sea Hawk, for instance), it is still a greatly entertaining romp.
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Following the success of "Paris, Je T'Aime", a group of directors decided to get together and make a similar anthology style film based in New York. Unlike the original film, the stories in this film seem to sometimes come and go too quickly--by the time you think are getting into a story, it's over in too many cases. And, the often start up and stop and then begin again--with the stories woven together. As a result, there is no title to indicate that a story is complete and it is less formal in structure.<br /><br />Sadly, however, while "Paris, Je T'Aime" was hit or miss (mostly hit), most of "New York, I Love You" was miss. The stories tended to be much more sexual in nature but also far less sweet--and often quite terrible. It was an amazingly dull and uninteresting film with only a few exceptional stories--and perhaps the often depressing music made it seem more so. Now understand, it was good quality music but its somber tone really, really made me feel like cutting my wrists! Among the better ones was the story about the young man who took a girl in a wheelchair to prom, the couple talking about cheating outside a restaurant (though this was also in the first film) and the crotchety old couple. This is all so sad because I had loved the first film so much--and I really WANTED to love this film. I respected what they tried but simply didn't like it very much.<br /><br />By the way, and this is NOT really a complaint, but I was amazed how many people were smoking in the film. For a recent film, that was unusual in our more anti-smoking culture.<br /><br />Also, if you get the DVD, there are two segments included as extras that were not included in the film. One consists of Kevin Bacon (wearing a cool fedora) eating a hotdog....and absolutely NOTHING more for almost ten minutes. The other features a teen who spends the film videotaping the world--including a very unhappy couple.
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I loved Long Way Round and wasn't even aware of Race to Dakar until i saw it on the shelves of my local supermarket. I bought it and after a slightly 'hmm will this be as good' first episode i decided that it was. Charlie Boorman was great as were the other members of the crew. Great to see him with Ewan again. There was a fair bit of swearing in it but that didn't bother me. As for their being no mention of it on the package. Thats more to do with the silly Excempt from Classification certificate that the BBFC have. They should have given it a 15 just for the language alone.<br /><br />Highly recommended series, i want more!!
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Underneath the dense green glop of computer graphics there gleamed the astounding art and skill of Ichikawa Somegoro. Alas: it got lost in all the goo. The scenes of Old Edo -- with the courtesan, drifting on the Sumida, rehearsing and acting in the Nakamura-za -- were all exciting and engaging, taking you back to an interesting and rich era. The action on the Kabuki stage, in which Somegoro excels and excites, was more enriching than any of the absurd high jinks that followed. The skill, the energy in the audience, the colors of the sets, were far more satisfying than all the nonsense that took over plot and performance. What a wasted opportunity! One of the best kabuki actors alive, and he gets lost in the dreck.
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For starters, it's a very funny movie with a few crazy characters running around that are bound to make laugh (check out the two Russian bugs).<br /><br />A Bug's Life has a classical Disney storyline, but that's one of the good things about the movie. Family values are praised and the main characters of the film undergo some evolution in order to stand up against the grasshoppers in the end. And it also has a couple of great voice-overs by Dave Foley, Julia-Louise Dreyfus, Kevin Spacey (of course),... But actually, the most amazing thing about this movie is the animation. It's just wonderful. All the details, great colors, every ant looks different, beautiful backgrounds... And the guys and girls at Pixar made it all look so realistic. All in all, a very nice piece of work. This is the best animation by Disney since Aladdin.
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I read Holes in 5th grade so when I heard they were doing a movie I was ecstatic! Of course, being my busy self, I didn't get chance to see the movie in theaters. Holes was at the drive-in just out of town but, alas, We were just too busy. I was surprised to hear that all my friends had seen it and not one of them had invited me! They all said it was good but I've read great books that have made crappy movies so I was definately worried.<br /><br />Suddenly the perfect opportunity to see it came. It was out that week and my parents were going on a cruise and I was left to babysit. My sister, who is 9, and I watched it and absolutely loved it! I then took it to the other people I was babysitting's house and their kids, 9 and 4, liked it too. Even my parents loved it and they're deffinately movie critics. Overall, I recommend this movie is for anyone who understands family morale and and loves a hilarious cast! This movie should be on your top 5 "to See" list!!!!
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This movie is terrible. The suspense is spent waiting for a point. There isn't much of one.<br /><br />Aside from a few great lines ( "I found a tooth in my apartment" ), and the main characters dedication to killing himself, it's a collection of supposedly eerie sounds.<br /><br />
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As winter approaches, our state-owned broadcaster, the ABC, has decided for some reason to have a partial Jane Austen Festival on Sunday nights. This commenced with a twelve-year old movie length version of "Emma" last Sunday; more recent versions of three other novels, "Persuasion", "Northanger Abbey" and "Mansfield Park" are to come.<br /><br />The curious thing about this production by A&E Television Networks, with script by the ever-reliable Andrew Davies, is that it appeared almost simultaneously with two much bigger budget movie versions, one starring Gwyneth Paltrow, and "Clueless", a "modernized" version, starring Alicia Silverstone, which transported the plot to Beverly Hills. Perhaps as a result, even with Kate Beckinsale in the lead, this production sank without trace.<br /><br />As a general rule, much is lost when novels are shrunk to fit feature movie length. The adaptations one tends to both enjoy and remember are those which have adequate room to develop both story and characters. An outstanding example is "Brideshead Revisited" which had 13 50-minute episodes back in 1982. You only have to compare the very ordinary movie-length version of "Pride and Prejudice" in 2005 with the brilliant 1995 six-part TV mini-series. It's not that a novel should be filmed page by page, and some novels (often not very good ones) adapt wonderfully to film ("Atonement" is a recent example), but novels of the Jane Austen sort need some time and space to exert their full charm.<br /><br />Given the shortcomings of this type of adaptation, this production is OK. Kate Beckinsale gives Emma the right mix of self-assuredness and vulnerability and Mark Strong is a forthright Mr Knightly (he reminded me that Jane tended to recycle characters Knightly is a more articulate version of the moody Mr Darcy of P&P). Samantha Morton was a rather limp Harriet but Prunella Scales got the blabbermouth Miss Bates perfectly Sybil Fawlty on speed. Bernard Hepton as Emma's feeble father was also excellent. We saw the damp countryside, the mud and the poverty as well as the posh interiors, in case anyone thought this was a particularly idyllic age for everybody.<br /><br />Even though this was a condensed adaptation it was oddly slow in places some of the conversations were rather stilted, even allowing for the formalities of the times. I'd have to look at the film again to be sure, but it might be due to the under-use of reaction shots.<br /><br />If you do like filmed period stuff this is a perfectly nice example, and compares well with the Paltrow version. Anyway, there is more to come!
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Horrible acting, Bad story line, cheesy makeup, and this is just the tip of the iceberg. I have never seen a worse movie in my life, 5 minutes in I decided to fast forward to see if anything redeeming would happen... It didn't. (Aside from a nice breast shot) The movie apparently was filmed in some furniture warehouse, and the same warehouse was used for at least 90% of the sets. You even see this same red chair in several different "locations" If you are going to make a film at least rent an office building and an apartment, not some warehouse which will echo all your actor's dialog.. (Note to producers) Renting a small office space and an apartment for a month is much cheaper than an entire warehouse, and both are quite a bit more versatile and believable) If you spend your money to rent this people I hope you got it with a return guarantee... You will be demanding your money back... I only spent $2.99 to rent this tonight and I feel ripped off.
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This Italian movie is basically a soap opera with skin.<br /><br />The VHS box said it was rated "R" but the into on the actual tape inside said it was "X." The latter makes a lot more sense because there is a short scene near the end that was shocking. Even in the dark, you could see Dutch actress Marishcka Detmers performing all sex on this guy - and, yes, you could see his penis in her mouth. I read somewhere that this was the first time where a "mainline actress" had done something like this on screen.<br /><br />Detmers parades around in the nude on several scenes but her face was even better than her body. She looked beautiful. Unfortunately, the movie is ugly....a real waste of time and certainly not recommended despite Detmers' looks.
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"Arahan" adds nothing positive to the Kung Fu genre. To compare this confused motion picture with the inspired craziness and quality of Stephen Chow's films is a mistake.<br /><br />Firstly the fight scenes are nothing new. All that is presented here has been done before and better by the likes of Yimou Zhang, Tony Jaa and Jackie Chan. Fights in intelligent Motion Pictures need logic. There seems no point serving blows that have no damaging effect as in the "Matrix" sequels.<br /><br />The attractive female lead So-Yi Yoon captivated the screen but she never convincingly conquered the physical demands of the role as Ziyi Zhang had done so easily in "House Of Flying Daggers". Having a Martial Arts background serves well in Kung Fu movies. To cast actors inexperienced in these skills is a serious mistake (See Aya Ueto in "Asumi") unless you are a very talented director which as "Arahan" proves Seung-wan Ryoo is not.
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This might be the WWE's 2nd best PPV of the year after Wrestlemania it was a good suprise! John Cena had an excellent match in which he upset Chris Jericho. Jeff Hardy retained his IC title in a short sloppy match with Willam Regal. Bubba & Spike Dudley won a fairly violent tables match over Benoit & Guerrero. Jamie Noble had a really good match with Kidman which was suprising to me. Booker T defeated The Big Show in a no dq match, at one point Booker T gave the scissors kick to Big Show and sent him right through the table. In a stupid decision by the WWE Christian and Lance Storm, the jealous anti-americans defeated Hogan and Edge with a lot of help from Test and Jericho. RVD and Brock had the match of the night it was filled with great high spots and RVD got to retain his ic title through a DQ so I was happy he kept the title. Triple H also signed with Eric Bischoff and Raw which means little to nothing. And in the main event the Rock became the first ever 7-time WWE world champion defeating both Kurt Angle & Undertaker in a triple threat match. Overall this is probably the WWE's 2nd best PPV of 2002! 7/10
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There are some good things about the movie. The music and cinematography is great. Alex Wilson is hot and gives a great performance. Ryan Bauer is also hot. The production was very lucky to have casted them because they really give production value to the movie. Jonny Vincent (Sean) and a lot of the boys in the movie that don't speak are cute too. Why isn't the actress who plays Amy listed in the credits? Brandon Alexander gives a great comedic performance as Clitarissa Pink.<br /><br />The worse thing about the movie is probably the star, James Townsend. He can't act. He's also very scrawny, not nice to look at at all. His arms are like spaghetti. It's disgusting. They have no muscle tone at all. It's no wonder he has to make his own movie and cast himself in it. No one else would cast him in anything.<br /><br />James Townsend is not believable as someone who would even have a girlfriend because he acts so gay. They should have casted someone else as the lead if they wanted what's best for the movie. Then again, maybe he just wants to use this movie as a vehicle to launch a career in soft-core porn, definitely not real acting because he would have taken some acting lessons. Plus, anyone who does porn is blacklisted in Hollywood.<br /><br />The most ridiculous thing about the movie is probably the casting of a tan-skinned Latina as Devon's mother. Sonja Fisher does not seem like an actress at all. All in all, this movie is soft-core porn and is no better than something you would see on Skinemax. I think even Alex Wilson, probably the best thing about this movie, is embarrassed by it and doesn't want to be associated with it. There is no photo on his IMDb page and nothing else listed, so Alex Wilson is probably a disposable stage name. Plus, I ran into him in West Hollywood one time recently and when I mentioned this movie, he just turned around and walked away. I understand. If I had worked on this movie, I would be embarrassed and wouldn't want to be associated with it either.
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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 />
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A young woman who is a successful model, and is also engaged to be married, and who has twice attempted suicide in the past, is chosen by a secretive and distant association of Catholic priests to be the next "sentinel" to the gateway to Hell, which apparently goes through a creepy old, but well maintained Brooklyn apartment building. Its tenants take the stairway up and can reincarnate themselves, but apparently can't escape as long as a sentinel is there to block the way. The previous one(John Carradine) is about dead, so she, by fate or whatever, becomes the next one, and the doomed must get her to kill herself in order for them to be free. Lots of interesting details lie under the surface, her relationship with her father, the stories of the doomed, her fiancé, so one can pass this off as cheap exploitation horror, but given the sets, the great cast, and overall level of bizarreness, this is definitely worth seeing.
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I myself feel this film is a rare treasure. Not only is it the beginning of Shirley Temple's career, but a rare look on how our society has changed. You have to understand, certain things we today would view as sexual, back then would be considered innocent. For example, the parents of the children in the film as well as the many parents who took their children to see this movie, saw this as just children mimicking adults. Most people didn't think of anyone viewing children sexually attractive, other than teenage boys lusting over teenage girls. To them it wasn't sexual. Mind you this was before we had internet, TV, etc... Most sex crimes weren't openly brought up. Occasionally there would be a whisper about the kid with the "funny uncle." But that was often all that came of it. Yes very sad. But it is kinda sad today, for even I too can see this film as anything other than what it was intended, innocent and funny. When I saw Shirley dance like that and the boys eye balling her, yes I felt disturbed. I have to remind myself the time this took place! Those children didn't know what sex was. The parents knew that, both those of the children in the movie and those watching it. The thought may not have even entered their minds. In the eyes of the average adult back then, this was no more sexual then if Shirley was playing house. Even today kids will enter beauty contest, many dressed up extremely maturely, for a three yr old. However the child is merely pretending. I don't blame the child for wanting to act like an adult. Or the old movies that display this. In all honesty, our media has made a lot of things seem back then seem sick and wrong. This sometimes can be for the best. But I truly believe this movie isn't one of them. It gives a rare look of an innocent mentality, that we have long lost.
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I really have to say, this was always a favorite of mine when I went to see my grandma. And it still is. It is very, very close to the book. The way it is filmed, and the players were just all excellent! I have to recommend this movie to everyone who hasn't seen it. Almost everyone I talk to hates TV movies, but this was really great! I gave it 10/10.
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This movie is tremendous for uplifting the Spirits.<br /><br />Every time I watch it, I see & hear funny little things that I missed before.<br /><br />The soundtrack is unbelievable. Mick Jones (Foreigner) and Chris Difford (Squeeze) penned the songs, making Strange Fruit the best thing that ever hit today's music scene.<br /><br />Unfortunately, Strange Fruit are a strictly fictitional washed up '60's to 70's band that were never good to begin with, due to drug use and inner fighting. One wonders what might have been, while listening to their fanatstic soundtrack.<br /><br />The Fruit draw inspiration from The Rolling Stones, Deep Purple, David Bowie, and The Who.<br /><br />Each member of Fruit are quite memorable. Stephen Rea stars as down-and-dead-broke Tony Costello, who is asked by a festival promoter to reunite his band for a reunion tour, with hopes of reaping monetary benefits. Costello haply approaches ex-roadie Karen Knowles, played by Juliet Aubrey, to help him rekindle the flame of a dream long past.<br /><br />Juliet gathers up the bitter Jimmy Nail (Les Wickes), blundering Timothy Spall (David 'Beano' Baggot), and extravagantly glamouresque Ray Simms (Bill Nighy). Tumbling in is another ex-roadie, the hippy-toker-jokester Hughie (Billy Connolly), who never let the flame burn out.<br /><br />As Juliet searches for the last member of their motley band, the elusive guitarist-songwriter Brian Lovell (played by the brooding Bruce Robinson), the reunited members squabble, just like old times, fighting over each others' rusty talent.<br /><br />The band is then given the chance to do a small Dutch tour, to prepare for the festival. With young Hendrix-like Luke Shand (Hans Matheson) taking the place of Lovell, the crew hits the road. The sparks fly as their memories flame forward, threatening to burn their unfinished goals...<br /><br />Be prepared to laugh, sing, cheer, and cry, as these memorable characters etch themselves back into your hearts...
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The mere fact that I still think of the movie a decade later is what really speaks volumes about the film. To me this substantiates Grand Canyon as a film that will touch you in one way or another. I truly believe that before the movie Crash there was Grand Canyon. The major difference between the two films in my opinion is the timing of their release. I'm not going to argue which one is better, but I will contend to the idea that they share the same message. I'd love to hear from those that have an opinion on this subject. I will start a commentary which you can find at http://www.myspace.com/62229249. You may also find me there to post any other topics about movies that we may share, because i have a true love for film.
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When I first tuned in on this morning news, I thought, "wow, finally, some entertainment." It was slightly amusing for a week or so... But we have to face it, these news reporters (if one can even call them that) have WAY TOO MUCH "playing around" time.<br /><br />At first, I thought Jillian was a breathe of fresh air. But seriously, this woman has got not the least bit of journalist in her. She is very unprofessional. She keeps on interrupting Steve when he starts informing the viewers about a certain news report. It's just really become annoying to the point that I can't watch it anymore.<br /><br />Jillian is NOT a good journalist. Hell, she's more of a celebrity who loves being a celebrity. Hence, she instantly transforms into a celebrity around celebrities whom she's supposed to be interviewing. She's not very professional and quite possibly perceives her relationship with celebrities more important than being a rightfully insatiable journalist- and that's all I can say about her.<br /><br />Also (disappointingly), this show has more entertainment news than necessary news reports about the world, the government, the US, or something that will benefit and/or serve the public's best interest. They're too focus on sensationalism that everything they talk about comes off as a commercial product. On the other hand, their field reporters are interestingly tolerable...<br /><br />I believe "Good Day LA" is for young teenagers and celebrities, and it is definitely not for people who actually CARE about the news.<br /><br />SIDE NOTE: (I'd really rather watch KTLA. However, they try so hard to be entertaining sometimes. They're still a bit dull though. Oh well, I'll stick to NBC's "Today." ABC's "Good Morning America" is also okay... as long as Diane Sawyer doesn't become way too serious.)
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Wonderful romance comedy drama about an Italian widow (Cher) who's planning to marry a man she's comfortable with (Danny Aiello) until she falls for his headstrong, angry brother (Nicholas Cage). The script is sharp with plenty of great lines, the acting is wonderful, the accents (I've been told) are letter perfect and the cinematography is beautiful. New York has never looked so good on the screen. A must-see primarily for Cher and Olympia Dukakis--they're both fantastic and richly deserved the Oscars they got. A beautiful, funny film. A must see!
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This remake of the 1962 orginal film'o the book has some very good parts to commend it and some fine performances by some fine actors - however Scorsese opts toward the end for the most formulaic of plot twists and an embarrassingly overacted shakespearean demise that had me looking at my watch.<br /><br />DeNiro is a superb actor, dedicated to giving his all in the work he does, however he needs direction to focus his talent, and this is sorely lacking in the last five minutes of the film.<br /><br />Gregory Peck's cameo is serviceable but nothing more whilst Robert Michum is always fun to watch, even with as few lines as this.<br /><br />Nick Nolte turns in a better performance than Lorenzo's Oil but is not on the same form as "Weeds". Joe Don Baker has some great lines while Juliette Lewis proves yet again that talent sometimes skips a generation.<br /><br />Some good points? The start credits(!), the first view of Cody's back when doing dips in the prison, the scene where Cody is attacked with baseball bats, Sam Bowden's decent into full-fledged panic, Cody's outwardly calm but unnerving prescence.<br /><br />The worst? The "Cleaning woman - BUT NOT REALLY!!!" part. Clinging bare-handed to the underside of a car for a hundred miles at high speed. (Are there no speed bumps in the US?) The "He's dead - BUT NOT REALLY!!!" partS and the aforementioned rambling ending.<br /><br />I may watch the original again, but I've yet to be tempted to watch the remake in four years since seeing it.
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I'll start by apologizing to filmmakers everywhere for using the terms "filmmaker", "film", or "movie" in connection with this, but "criminal" and "crime against humanity" seem a bit harsh.<br /><br />The writing: pathetic.<br /><br />The directing: pathetic.<br /><br />The acting: pathetic.<br /><br />The cinematography: too inept for words.<br /><br />The technical skills used to assemble this atrocity: NONE WHATSOEVER.<br /><br />This lump of waste could hardly be called cinema. The majority of family home movies come closer to earning that distinction than Revenge Quest. No, this is just a 10 car pile-up caught on video.<br /><br />We'll skip the plot in this review, because there are far too many holes to be covered at once. Let's just say that it stinks worse than the rest of this movie. To call the acting one-dimensional would be giving them credit. What little there is, is atrocious to begin with, and made much worse by the terrible video and editing.<br /><br />The worst part of this atrocity, though, apart from the plot, would have to be the effects... or rather the disturbing lack thereof. There are no blanks in the guns, no flashpots, and what few sound effects existed were either stock "gun" sounds, or they were generated by mouth (yeah, you read that right). The filmmaker actually had the audacity to record a "shh" sound for the elevator doors; I guess he felt it made them sound more futuristic. This is supposed to be set in the year 2031, after all. That doesn't explain the sounds he created by mouth for the fist-fight scenes, however.<br /><br />If it wasn't bad enough that the sound quality is terrible (he just used the microphone that was mounted on the video camera, and it shows), the use of stock gun sounds was almost worse than not using any sounds at all. The sound effects stand out from the rest of the soundtrack like a drunken yak in a herd of sheep, and they're just as clumsy. Picture this: The bad guy enters an office building searching for his prey. A lady starts to run in fear. He raises his gun (an uzi), and shakes it. We hear a sound that is clearly not an uzi. The woman runs away from camera, and suddenly a single blood pack (only 1) explodes on her back (looked like she was hit by a paintball), and she falls flat on her face.<br /><br />Bear in mind that my description does far too much justice to the ineptitude of the actual sequence.<br /><br />In another sequence, one which almost- but not quite- makes the movie funny enough to watch, takes place in a stairwell. The bad guy chases the good guy and the lady he's protecting down the stairs, shaking his plastic uzi all the way. You may wish to duck; there are badly timed sound effects flying all over the place.<br /><br />I supposed Alan DeHerrera can't be locked away for conceiving of this train wreck, but he did follow through all the way to editing and releasing it. If there's any justice, there's bound to be some karma out there with his name on it.<br /><br />Should you decide to watch this lump of industrial waste- and I would strongly advise against it- be sure to watch for the entire scenes lifted nearly verbatim from Bladerunner, and the AM radio that doubles as a walkie-talkie. Try not to focus too hard on the plot; it will only hurt you more if you do.<br /><br />0 stars of 10. And that's being generous.
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I first saw this movie when I was a freshman in high school, and the film has stuck with me through the years. It's not about the soundtrack, or cinematography, or even the dialogue and somewhat bad acting, it's about the educational purpose, and the message behind that is the most important. It's not a sin to have a child when you're a teenager and still in high school, and it's not really a bad thing, either, but it is a problem. Tons of girls I knew are all having children now, and I guess they never watched this great movie, and if they did, they clearly didn't get the message behind it all. It's about not taking chances when you're in a sexual relationship. Any girl can get pregnant the first time. It's not a myth. You don't necessarily lose out on your dreams, but they do have to take a backseat in your future because you have a child to think about first.<br /><br />This movie has a clear message behind it: JUST SAY NO!
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I was so disappointed in this movie. I don't know much about the true story, so I was eager to see it play out on film and educate myself about a little slice of history. With such a powerful true story and great actors it seemed like a surefire combination. Well, somewhere the screenplay failed them. It was so scattered - is this movie about his childhood? his love life? his own disability? his speaking ability? his passion for the disabled? I'm sure there is a way to incorporate all of those things into a good story, but this movie wasn't it. I was left cold watching characters that were unlikable not because of their disabilities, but because of their personalities. Other small gripes: 1. The heavy-handed soundtrack. It's the seventies - WE GET IT ALREADY! 2. If he's such a phenomenal public speaker, why weren't we treated to more than a snippet here and there - and even then mostly in montages?
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The box for "To Die For" suckered me in -- a shirtless hunky guy and the promise of some laughs and sex. There was plenty of Thomas Arklie (Simon), who's easy on the eyes, but no laughs and little sexiness.<br /><br />The couple, Mark and Simon, have allegedly been together several years, but neither character is interesting enough to care about, so it's hard to imagine that they care about each other. The fault seems to lie in the script, not the performances; both actors do the best they can with what they're given. <br /><br />The ending is sappy and unaffecting (well, not totally unaffecting; I felt relief that it was over). <br /><br />If you're looking for a movie about gay relationships and AIDS that's funny, "Parting Glances" is far better.
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Here's one you can watch with a straight face, with a script so bad, even Will Ferrell wouldn't be in it.<br /><br />There are two laughs in HOT ROD.<br /><br />1. The Punch-Dance. Rod "needs to go to his quiet place" and before anyone can say Kevin Bacon, he is footloosing a passionate, overwrought bodyswerve to the strains of a band who wishes they had the big-hair faux-metal chops of Europe.<br /><br />2. John Farnham's You're The Voice. In one of those epic sequences where the star and his cohorts do The Slomo Walk down Main Street and the townfolk follow on their heels in support, the soundtrack is the gag. How did the film-makers even come across this Aussie recording artist? A major Australian vocalist (and a genuine talent) who shot to fame in the early '70s covering Raindrops Keep Fallin' On My Head, then disappeared until 1986 for The Big Comeback with You're The Voice, John Farnham's anthem is so bewitchingly cheesy, it leveled mountains in Switzerland.<br /><br />Besides these two high points in the film - both ruined anyway with the slipshod writing - the rest of the film is like choking on someone else's vomit.<br /><br />Andy Samberg is Rod, a failed stunt jumper who has never made a jump. Maybe it's got something to do with the fact he's driving a moped into the heart of darkness. Or his fake mustache. Yeh, someone actually thought that was funny.<br /><br />Without one jump under his starry belt, he plans for a 15-bus extravaganza - which would surely kill a lesser bad comedian, like Jason Biggs or Rob Schneider - to win the day and save his stepfather and simultaneously wipe out cancer and whatever... who watches these movies for plot anyway? Along the way (as usual for moronic leads in these comedies), he scores a salubrious chick (Isla Fisher), who must surely be retarded to consider swapping chromosomes with this loser.<br /><br />Sissy Spacek (CARRIE, 1976) has so little to do she almost phoned in her performance - then changed her mind and just hung up. Ian McShane must've lost a bet to be here.
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I am, as many are, a fan of Tony Scott films. When this movie came out I had high hopes that it would be like 'Man On Fire'. To find out that the movie it's the furthest thing from it! The story was treading water from the get go, and the choice of Mickey Rourke was not such such a good idea. And the whole 'arm'scene was too gratuitous! <br /><br />The movie is centered around Kiera Kinghtly, and this movie reveals that she'll never become a movie star! The movie brought some of the worst acting ever.<br /><br />I like Tony Scott's direction 'n all, but this takes the whole friggin cake! Sorry Ton, 1 out of 10!
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Fans of creature feature films have to endure a lot of awful movies lately. Blood Surf shamelessly joins the list of stupid, redundant pulp-horror titles about ridiculously big animals that want to turn the food chain upside down. Crocodiles are particularly successful as we already had to struggle our way through the abysmal 'Crocodile' (directed by a disappointing Tobe Hooper) and 'Lake Placid'. Blood Surf is every bit as bad as these other films and on top of that it likes to exaggerate tremendously. The saltwater-crocodile supposedly is 90 years old, over 30 ft long (!) and it kills for fun! During the film, he amuses himself by devouring a bunch of utterly stupid surfer-dudes & dudettes who came to seek new thrills by surfing in a shark-congested area. The only beautiful aspect about this film is the tropical location. Even though it's a completely inappropriate setting for a film like this, the lagoons and nature looks marvelous. Every other aspect is simply disastrous. There's a quite a bit of gore but it all looks fake and laughable. The dialogues are downright painful to listen to! You won't believe some of the lines these actors have to say! I know surfers are supposed to be a mentally underdeveloped group but I hope for their own sake they're not that stupid! Early in the film, one of the characters refers to Jaws as being a 'mechanical toy' but the croc here looks at least 10 times less real than Spielberg's great white shark. The visual effects in 'Blood Surf' are amateurish and the massacres fail to impress. I won't say too much about the acting since it's secondary in flicks like this. The girls look sexy in wet shirts and their boobs joyfully bounce while running away from the beast. You guessed right: Blood Surf is a very bad film. So bad it becomes fun again. But 'funny' for a whole other reason than James Hickox intended.
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this seemed an odd combination of Withnail and I with A Room with a View.. sometimes it worked, other times it did not. tragedy that they changed the name for the US release though.. Keep the Apidistra Flying is much better than the nothing title A Merry War. acting was okay, script was okay.. overall it was a mediocre film..
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Basically there's a family where a little boy (Jake) thinks there's a zombie in his closet & his parents are fighting all the time.<br /><br />This movie is slower than a soap opera... and suddenly, Jake decides to become Rambo and kill the zombie.<br /><br />OK, first of all when you're going to make a film you must Decide if its a thriller or a drama! As a drama the movie is watchable. Parents are divorcing & arguing like in real life. And then we have Jake with his closet which totally ruins all the film! I expected to see a BOOGEYMAN similar movie, and instead i watched a drama with some meaningless thriller spots.<br /><br />3 out of 10 just for the well playing parents & descent dialogs. As for the shots with Jake: just ignore them.
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A couple move into their dream home, unaware that it and its neighbours have been built over land formerly used as a cemetery. The film is said to have been based on a true story, although how much of it is supposed to be true is not disclosed. The plot is hardly unique - see Spielberg's 'Poltergeist' (1982). Within a short time, they experience various supernatural phenomena: these range from the disturbing - mysterious shadows, the serious illness of the daughter - to the frankly ridiculous - toilets continually flushing and garage doors going out of control. There is little depth to the story: once it has become established that the land had been used as a cemetery, we do not learn anything more. The plot does not seem to develop. The characters are not particularly well drawn or in any way memorable, nor is the atmosphere particularly special. The film could be disturbing to some viewers. There is no sense of catharsis or any kind of positive message from it.
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I don't know what you guys are talking about, the first time I watched this movie with two of my friends we couldn't stop crying. This is one of the funniest shits I've ever seen. That comment about the porn is so right though hahahaha.<br /><br />Yeah this movie actually is the worse, but it did bring tears to my eyes due to the phony characters, poor dialog and acting. Not to mention the expensive cameras they used to film it?! It looks like one of those movies out of my drivers ed. class. The props look like they came out of a high school drama show. The music sounds like it is from an original Nintendo system game. The only thing that even came close the scaring me about this movie was that it had a killer clown which, who isn't creeped out by fat, lurking clowns? hahaha if someone were to ever watch this though, they need to look out for the actors verbal errors like lisping on words and some of their facial expressions. hahahaha I died.<br /><br />SUSAN
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Just saw the World Preem of Fido at the Toronto International Film Festival and thoroughly enjoyed it. Here we have a welcome reworking of a genre widely thought to have been pioneered (certainly 'fleshed out' extensively and successfully) by George Romero. But this is a Canadian film by a Canadian Director and it's a Comedy! And, YES, I actually think it is better than 'Shawn of the Dead'. Thoroughly believable and, perhaps even more importantly, enjoyable performances by Dylan Baker, Carrie-Anne Moss and young actor K'Sun Ray, whom I suspect we'll be seeing a lot more of in future features. However, I must confess that I most enjoyed the delicious turn by Tim Blake Nelson as neighbour Mr. Theopolis, essentially playing a willing animated version of Victor Van Dort from the Corpse Bride (or, for those who've seen the film, wouldn't that read even better here as the Corpse Pride?) and, of course, Scotch actor Billy Connolly in his least animated, yet somehow deeply moving role as the titular character. Just think, he would not have gotten this role had it not been for Peter Stormare's commitments to Prison Break (as was revealed in the Q&A following Thursday night's screening). I can't help but speculate that the Screenwriters must have drawn a lot of inspiration from Day Of The Dead's Zombie 'Bub'.I am not keen on ever revealing plot details during a Comment and I won't start now. Suffice it to say that Fido is NOT one of those dour, graphically gory Zombie films you can rely on from Romero. Rather it is a film that will have you constantly chuckling and, although (and I did have to think back carefully to be sure) there is a fair dose of blood-letting and violence, the delectable humour, so well enhanced by the surreal milieu created by Director Currie and his co-screenwriters, goes a long way towards making this seem like a feature that ought to be rated PG-13. I urge you to go see this little Canuck gem. I'll certainly be buying the DVD once it emerges hopefully by next Summer.
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Ahista Ahista is one little small brilliant. I started watching it, and at the beginning I got a little bored since the pacing was slow and the main idea of one guy meeting a girl who is lost was not really new. But as the film went on, I started getting increasingly and gradually engaged by the film, the fantastic writing and the charming romance. The film was extremely simple and natural and after some time I felt I was watching a real documentation of one guy's life. There's one very good reason the film got this feel, and it's the fresh talent called Abhay Deol. He is extremely convincing as the simple, kind-hearted and struggling Ankush, whose new love motivates him to make amends and fight for a better life. Throughout the film, he is presented as an ordinary mischievous prankster, but also as a helping and loving person, who, like anyone else will do anything to protect his love. Deol portrays all the different shades of his character, whether positive or negative, naturally and with complete ease.<br /><br />Shivam Nair's direction is very good. His depiction of the life of people in the rural neighbourhood is excellent, but what gets to be even more impressive is his portrayal of Ankush's relationships with the different people who surround him, including his friends and his love interest Megha who he is ready to do anything for. I also immensely liked the way Nair portrayed his interaction with his friend's loud and plump mother whom he calls 'khala' (aunty). He likes to drive her crazy and annoy her on every occasion, yet we see that she occupies a very special place in his heart and is like a mother-figure to him as evidenced in several scenes. Except for Abhay, the rest of the cast performed well. Though Soha Ali Khan did not stand out according to me, she was good and had some of her mother's charm. The actors who played Ankush's friends were very good as was the actress who played Ankush's 'khala'.<br /><br />Apart from the performances, the film's writing was outstanding. The dialogues were sort of ordinary yet brilliant, and the script was also fantastic. That's mainly because despite a not-so-new story it was never overdone or melodramatic and there were no attempts to make it look larger-than-life. The film's biggest weakness was Himesh Reshammiya's uninspiring music which was unsuitable for this film. Otherwise, Ahista Ahista was a delightful watch and it got only better with every scene. The concept may not be new, but the film manages to look fresh and becomes increasingly heartwarming as the story goes by. The ending was bittersweet, kind of sad yet optimistic. In short, this movie really grows on you slowly, and this can be easily attributed to the wonderful writing, the moving moments, the charming romance, the realistic proceedings, and of course Abhay Deol's memorable performance.
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IF ANYONE IS INTERESTED IN OBTAINING A COPY OF THIS FILM PLEASE READ THE BOTTOM OF THIS DESCRIPTION: First telecast by CBS on November 30, 2003, the made-for-TV Finding John Christmas is a sequel to the previous year's A Town Without Christmas, with Peter Falk reprising his role as versatile guardian angel Max. Valerie Bertinelli plays Kathleen McAllister, a divorced small-town nurse whose depression... over the fact that the hospital ER she maintains may be forced to shut down because of a $100,000 debt is briefly lifted when she spots a newspaper picture taken by photojournalist Noah Greeley (David Cubitt). The picture shows an act of bravery performed by Noah's firefighter brother Hank (William Russ), who mysteriously left town 25 years ago and hasn't been seen since. Hank would like to quietly slip back into town without explanation or fanfare, but this proves impossible when Noah's newspaper posts a $50,000 reward to identify Hank, known only to the public as "John Christmas." And there's something, very, very curious about that photo: It also shows a Santa Claus suit seemingly floating in midair without an occupant. That elusive "Santa" is of course the angelic Max, who pops up now and again throughout the story in a variety of guises to solve problems, dispense advice, tie up loose plot strands--and even share a musical duet with Kathleen's talented daughter Socorro (Jennifer Pisana).<br /><br />INTERESTED IN HAVING A COPY: WRITE TO ME HERE: [email protected]
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When I saw the preview, I thought: this is going to be a great movie. And indeed it could have been. The actress playing the main character was very credible, and the beauty of the filming is undeniable. However the dialogues cast a dark shadow on the whole picture. The level of language was too familiar and too contemporary for an action taking place in 1610, and it took away most of the magic of the film. However, I must congratulate the translator, because the English sub-titles were more refined and appropriate that the original French cues, and it probably explains the good rating the movie received on the imbd!
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I absolutely loved this show. I watched it from the time it first aired in the late 90's to the very last episode. In my honest opinion it was a wonderful family drama that is so rare these days. Definitely a show you could watch with a friend or your children. Yes things have changed a bit with Jo since we last saw her in the books, but it's still compelling with great stories and good lessons. The actress that portrays Jo Bhaer (Michelle Burke) does a wonderful job as does as the actor who plays Nick Riley (Spencer Rochfort) Throughout the series we get to see the developing romance between Jo and Nick as well as the daily stories and lessons the kids and students learn. I recommend this show to anyone.
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Dev Anand (or Prashant) and Zeenat Aman ( Jasbir/Janice) are siblings brought up in single parent families. Jasbir (the sister) grows up in an affluent environment but this is not enough to lead her to reject her life and ultimately join a hippie movement that eventually leads her to drugs. Prashant (the brother) on the other hand grows up in a less affluent environment but grows up to be a matured gentleman. The story marks Prashant making efforts to save his little sister (who is perpetually in a trance) from a hostile hippie environment. This movie stands the test of time, commenting that cults and hippie groups are a place for those who give up on their lives when they should instead stand up and be counted in the face of adversity. Great music compositions in this movie that mean different things in different situations and to different people, and the director brings forth an eerie feeling to it.
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I saw this movie at the 18th Haifa film festival, and it is one of the best I've seen this year. Seeing it on a big screen (and I mean BIG, not one of those TV screens most cinemas have) with an excellent sound system always enhance the cinematic experience, as the movie takes over your eyes and ears and sucks you into the story, into the picture.<br /><br />The movie presents a set of characters, which are loosely inter-connected. Their stories cross at certain points, and the multiplicity of story lines reminded me very much of the great Robert Altman and his exquisite films. But the true hero of the movie is obviously the city of Madrid, which provides the backdrop for the entire movie. It houses the characters, contains the pavements and roads on which they walk, and sets the background atmosphere for all the events, all in beautifully filmed scenes.<br /><br />The movie returns again and again to certain themes (shoes, for instance), and in essence Salazar makes his metaphores more and more understandable to the viewer as the movie progresses. He combines the views of the city with the shots of the characters, and elegantly matches the feeling of the scene to the background. A set of talented actors helps him portrait a wide variety of characters. One excellent example is the scene in which Juaquin takes Anita across the street for the first time. It might not work on a small screen, but it gave me goose bumps easily on a big screen.<br /><br />The message of the movie is very positive, and accordingly the movie is light and funny at times. The music along the movie is usually pop, with a few instrumental pieces (I hope to put my hand on the soundtrack one day, although I seriously doubt I will).<br /><br />All together, I came out of this movie with a sensational feeling, and I'm not easily impressed (you'll have to take my word for it). For this and more I give this movie a solid 8/10.
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It's a good movie maybe I like it because it was filmed here in PR. The actors did a good performance and not only did the girls be girlish but they were good in fighting so it was awsome! The guy is cute too so it's a good match if you want to the guy or the girls.
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I cannot begin to describe how amazing this movie is. Suffice it to say, anytime I'm depressed about how unfair or futile things seem, this is the movie I go rent to put me in the right frame of mind. The background music makes you realize the easiness of existence and how simplicity provides for the greatest happiness. The Indian girl that sings is but one example of a character in this film who does not try hard, and is happy as a result. Persifina, the laundry co-worker of Ruby's (Ashley Judd) is another=-her eyes and smile could make the hardest person's day. I watch this movie and I dream of better days to come or of a good conversation with friends, and I realize that being alone--Ruby is alone quite often--isn't the same as being lonely. Recommended for anyone who enjoys a thoughtful lull of a movie.
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I found this to be an utter waste of time, effort and money. I know Disney always displays lack of creativity when making "straight-to-video" films - but rehashing the plot of the original film with a "new perspective" is an all-time low...soon they'll just be re-releasing the original films with new animation and new songs and be calling it a "new version of the movie we all love." Nathan Lane surprisingly returns to his role of Timon yet again. Timon and Pumbaa the animated animals from the world of the original "Lion King" embark on a narrative journey to tell us the original story the way it REALLY happened...as they see it.<br /><br />Of course Timon is now the hero of the story, yadda yadda yadda, blah blah blah...<br /><br />The musical sequences are lame and the animation is crap. The vocal talents are impressive for a video feature, but then again, when was the last time you remember Matthew Broderick, Whoopi Goldberg or Nathan Lane being in anything of real commercial substance? Overall if you liked the original you'll hate this. It's insulting because it's unfair to children and adults alike. And that about sums it up.
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The first thing I thought after watching "Mystery Men" was how could this movie be so unpopular? I found this movie so adorable and funny that it's status as a bomb defies logic. Well, I hope that in the future it becomes a cult hit, and you can count me amoung it's fans.<br /><br />Simply put, and without giving too much away, this movie does for comic books what "the Princess Bride" did for fairy tales and "Who Framed Roger Rabbit?" did for classic cartoons. That should give you a more accurate idea of the tone of the movie then the marketing commitee it was unfortunately signed to (this is one of those cases like "the Iron Giant" where the studio had no clue what it had on it's hands). Rent it the next time you're in the mood for something a little offbeat. You won't listen to the BeeGees in the same light ever again.
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I love the Satan Pit!!! David Tennant is such a great actor and so is Billie Piper!!! Who else loves Will Thorp to pieces??? He is so cute, isn't he? I hated the bits where he got possessed by the devil and where he got told to "go to hell", as Rose so bluntly put it. Mind you, he was quite funny when he said, "Rose, do us a favour, will you? Shut up!". Mr Jefferson was so brave, wasn't he? Dying to save the others. I felt really sorry for Toby (Will Thorp) when he came out of the possession for the 2nd time because he was so scared. I was like "Oh my god if I was Rose I'd be so scared for him". And when she hugged him I was like "grrrrrr, he's mine! hands off!" but I thought that was really sweet. And the doctor....well, I thought he was gonna say to Ida "tell Rose I love her" but he didn't. Oh well.
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Despite the acclaim on the DVD cover of the version I borrowed, this film was a disappointment. Yes, it is far more realistic than other war films of the period for depicting the mud, boredom and frustration of the grunt, but unfortunately one comes away from it thinking that's ALL there is to this movie. There is no plot and the dialogue is monotonous. It's not that a good war film needs to have a battle scene every five minute. One of the best World War II films, "Twelve O'Clock High," has very little action. But it compensates with crackling dialogue and psychological tension. The exception to "The Story of G.I. Joe" is a brief battle segment (titled "city under siege" on the DVD) which takes place in Italy. Admittedly it is one of the most fast-paced and convincing combat scenes of any war movie. But alas, the rest of the film is not worth watching just for this highlight. Another turn-off is Pvt. Dondaro, played by Wally Cassell, who is meant to be a "romeo" but comes off a pervert. By contrast, Sgt. Warnicki is a sympathetic, if flawed, man. As he says to Capt. Walker (Mitchum) when volunteering for another patrol: "Every step forward is a step closer... to home." But that last step one patrol too many drives him over the mental brink. Too bad the rest of the movie doesn't do justice to some otherwise fine touches. As for Meredith's portrayal of Pyle... it is practically comatose.
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A friend and I went through a phase some (alot of) years ago of selecting the crappest horror films in the video shop for an evening's entertainment. For some reason, I ended up buying this one (probably v. v. cheap).<br /><br />The cheap synth soundtrack is a classic of its time and genre. There's also a few very amusing scenes. Among them is a scene where a man's being attacked and defends himself with a number of unlikely objects, it made me laugh at the time (doesn't seem quite so funny in retrospect but there you go).<br /><br />Apart from that it's total crap, mind you. But probably worth a watch if you like films like "Chopping Mall". Yes, I've seen that too.
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I finally saw this film tonight after renting it at Blockbuster (VHS). I have to agree that it is wildly original. Yes, maybe the characters were not fully realized but it isn't one of those movies. Rather, we are treated to the director's eye, his vision of what the story is about. And it does not stop. And to be honest, I didn't want it to. I do believe that Sabu had to have influenced the director's of 'Lock, Stock & Two Smoking Barrels' and 'Run, Lola, Run'. But I absolutely loved the way the three leads SEE the beautiful woman on the street to distract them momentarily. I really need to see this director's other work because this film really intrigued me. If you want insight, culture, sturm und drang, go somewhere else. If you want a laugh, camera movement and criminal hilarity, look here.
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I have passed several times on watching this since I figured it was some dumb, sappy, dated romantic comedy. Well, it is a romantic comedy, and maybe a little dated. However, it is not overly sentimental, touching as it does on themes of office politics, adultery, and loneliness. You think you know exactly where things are headed, but there is an element of unpredictability that keeps your interest, and not everything turns out quite as you had expected. But, there is enough wit and charm to touch the most inveterate cynic. If you meet someone who doesn't like this movie, seriously consider how well you want to know them.
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I had no idea what this movie was until I read about it in the L.A. Weekly. I generally agree with the reviews in the LA Weekly and decided to get a ticket for this film. the film stars molly parker (from my favorite television show Deadwood) and Lukas haas -- who I suspect we will be seeing more of in the very near future. The film is funny, heartwarming, features great acting, and beautiful photography. i don't know if the film has distribution, but I hope it does - or will - soon. this is destined to be a real indie gem. it even has music by my favorite band the silver jews! the only disappointment was that molly parker wasn't there at the screening. even without her there... this was hands down the best film i saw at the festival.
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I just rented this today....heard lots of good reviews beforehand. WOW!! What a pile of steaming poo this movie is!! Does anyone know the address of the director so I can get my five dollars back???? Finally someone bumped "Stop-loss" from the 'Worst Iraq War Movie Ever' number one spot. To be fair, I don't think there are any good Iraq war movies anyway, but this was REALLY bad. <br /><br />I won't get into any technical inaccuracies, there's a hundred reviews from other GWOT vets that detail them all. If the director bothered to consult even the lowliest E-nothing about technical accuracy however they could've made the movie somewhat realistic....maybe. I guess the writer should be given the "credit" for this waste of a film. He or she obviously hatched the plot for this movie from some vivid imagination not afflicted with the restraints of reality. Does anybody but me wonder what the point of this movie was? Was there a message? Seriously though.....WTF????<br /><br />I'm pretty amazed at all the positive reviews really. This film is hard to watch as a vet because of all the glaring inaccuracies but even if one could overlook that, the plot sucks, characters are shallow (to say the least) and the acting is poor at best. It's ironic, I suppose, that this movie is supposed to be about Explosive Ordinance Disposal, because it's the biggest bomb I've seen this year.
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Set in a post-apocalyptic environment, cyborgs led by warlord Job rein over the human population. They basically keep them as livestock, as they need fresh human blood to live off. Nea and her brother managed to survive one of their attacks when she was a kid, and years have past when she came face-to-face with the cyborgs again, but this time she's saved by the cyborg Gabriel, who was created to destroy all cyborgs. Job and his men are on their way to capture a largely populated city, while Nea (with revenge on mind) pleads Gabriel to train her in the way of killing cyborgs and she'll get him to Gabriel.<br /><br />Cheap low-rent cyborg / post-apocalyptic foray by writer / director Albert Pyun (who made "Cyborg" prior to it and the blistering "Nemsis" the same year) is reasonably a misguided hunk of junk with some interesting novelties. Very little structure makes its way into the threadbare story, as the turgid script is weak, corny and overstated. The leaden banter tries to be witty, but it pretty much stinks and comes across being comical in the unintentional moments. Most of the occurring actions are pretty senseless and routine. The material could've used another polish up, as it was an inspired idea swallowed up by lazy inclusions, lack of a narrative and an almost jokey tone. The open-ended, cliffhanger conclusion is just too abrupt, especially since a sequel has yet to be made. Makes it feel like that that run out of money, and said "Time to pack up. Let's finish it off another day (or maybe in another decade). There's no rush." However it did find it rather diverting, thanks largely to its quick pace, some well-executed combat and George Mooradian's gliding cinematography that beautifully captured the visually arresting backdrop. Performances are fair. Kris Kristofferson's dry and steely persona works perfectly as Gabriel and a self-assured, psychically capable Kathy Long pulls off the stunts expertly and with aggression. However her acting is too wooden. A mugging Lance Henriksen gives a mouth-watering performance of pure ham, as the villainous cyborg leader Job who constantly having a saliva meltdown. Scott Paulin also drums up plenty of gleefulness as one of the cyborgs and Gary Daniels pouts about as one too. Pyun strikes up few exciting martial art set pieces, involving some flashy vigour and gratuitous slow-motion. Seeping into the background is a scorching, but mechanical sounding music score. The special effects and make-up FX stand up fine enough. Watchable, but not quite a success and it's minimal limitations can be a cause of that.
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The movie "Atlantis: The Lost Empire" is a shining gem in the rubble of films produced by the Disney Studios recently. Parents who have had to sit through "The Jungle Book 2" or even a Pokemon movie will surely appreciate this one.<br /><br />The film is one of few to attempt at an original story; previous feature films were merely re tellings of existing stories. Films such as "Toy Story", "Finding Nemo", and "Monsters Inc." all do the same, but it must be noted that all were made by Pixar and only distributed by Disney. Recent films from the Disney Studios are mostly released direct to video, and are sequels to an existing successful film. The quality of those films is given way to the profitability. A new era started with "Atlantis" following it were "Mulan", "Lilo & Stitch", and most recently "Open Range". The writers have created all original story lines instead of the fairy tales of the past.<br /><br />A good portion of the movie is devoted to the quest to find Atlantis, a task that has captured the imagination of many for hundreds of years. Including that of young Milo Thatch, voiced by Michael J. Fox. Milo is employed by a museum in Washington D.C.. His grandfather was a renowned archaeologist, who had devoted his life to discovering Atlantis. This was seen as a waste by his peers, and they wish Milo to not follow in his footsteps. After failing to convince the museum board of directors to sponsor his expedition, Milo comes home to find a woman in his darkened apartment. She takes him to her employer, a Mr. Whitmore. Whitmore was a close friend of Milo's grandfather, and wishes to send Milo with a team to locate Atlantis. Mr. Whitmore is very wealth and has paid for the best of everything. The crew that is to accompany him is the same as his grandfathers. The journey is filled with many great obstacles to overcome and is great fun to watch. The viewer finds themselves caught up in if they will reach Atlantis. The plot takes an unexpected turn after the discovery Atlantis, not just the discovery of people. It is enough to keep the interest of the older audience.<br /><br />The animators have done a wonderful job in then depth of the animation. The movie is very successful in blending traditional animation with Computer Generated Images. A feat not easily achieved, most audiences are quick to notice the difference in the two. The characters are believably human. There are some nice chase type scenes, with lots of action going on. A few lulls are filled with jokes that the children just may not get.<br /><br />The creativity of the writers really shines through. The culture of Atlantis is richly developed, including an entire language. The film uses references to Atlantis from historical sources, such as Plato. The disappearance of Atlantis from the world is explained. Believable, if by a younger audience, that magic really does exist. The powers of the people of Atlantis are not exactly presented as magic, but can best be described in this way.<br /><br />Although set in 1914 the level of technology used is unrealistic. The voyage is in a submarine very reminiscent of Captain Nemo's nautilus, complete with sub pods that fire torpedoes. The giant diggers are driven by steam boilers so they did try for some era technology. The female characters are empowered in a way that women of the age would not have been, even holding roles in leadership. This is not a bad thing. It gives a good role model for my daughter to look to, rather than an all male cast.<br /><br />One reason this film is a favorite of mine over other Disney films is that there is not one single song, ever. A tradition that began with the first feature film, "Snow White", and carried on through to "The Lion King", almost every Disney film is full of upbeat songs. This is great and all, what would the Seven Dwarfs be without "Hi HO!"? After the millionth time through it'd almost be better without, but this one spares the parent. Not once does every single person on the screen suddenly know the words to a song that no one has ever heard before and break out in song. I for one am grateful.<br /><br />The storyline and depth of animation is sure to keep the attention of both parent and child alike. It is a film I am willing to watch again and again with my children.
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As much as I dislike saying 'me too' in response to other comments - it's completely true that the first 30 minutes of this film have nothing whatsoever to do with the endless dirge that comprises the following 90.<br /><br />Having been banned somewhere doesn't make a film watchable. Just because it doesn't resemble a Hollywood product does not make it credible.<br /><br />Worse yet, in addition to no discernible plot (other than there are lots of muddy places in Russia and many people, even very old women, drink lots of vodka) a number of visuals are so unnecessarily nauseating I'm in to my second package of Rolaids.<br /><br />As for spoilers - well, the film is so devoid of any narrative thread I couldn't write one if I tried.<br /><br />Don't waste your time or money, and don't confuse this with good Russian cinema.
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As a big fan of the original film, it's hard to watch this show. The garish set decor and harshly lighted sets rob any style from this remake. The mood is never there. Instead, it has the look and feel of so many television movies of the Seventies. Crenna is not a bad choice as Walter Neff, but his snappy wardrobe and "swank" apartment don't fit the mood of the original, or make him an interesting character.He does his best to make it work but Samantha Egger is a really bad choice. The English accent and California looks can't hold a candle to Barbara Stanwick's velvet voice and sex appeal. Lee J.Cobb tries mightily to fashion Barton Keyes,but even his performance is just gruff, without style.<br /><br />It feels like the TV movie it was and again reminds me of what a remarkable film the original still is.
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It's about an embezzler, Peter Ustinov, who infiltrates a British company, Texa-Conn or something like that, posing as a computer whiz and security expert. He secretly learns to hack into the computer, while gathering the admiration of his boss, Karl Malden, the enmity of his office rival, Bob Newhart, and the love of his inept secretary, Maggie Smith.<br /><br />Some of the business details were a little murky to these non-business-oriented eyes but they're believable enough and I got the general idea. Ustinov, the peculating Peter, establishes phony businesses in Paris, Rome, and Stuttgart, and uses Texa-Conn's computer to send all kinds of money to these ersatz establishments. The overseas companies, of course, consist of nothing more than himself, Ustinov, and the addresses are an abandoned artist's loft in Paris, a barber shop in Rome, and a bakery in Germany. He simply visits them to collect the checks he's sent himself.<br /><br />I didn't think I'd like it for the first few minutes because it seemed rather on the slow side. I was expecting something with a faster tempo and more outrage, along the lines of "The Pink Panther" or "The Lavender Hill Gang." But this film insinuates itself into your good graces as you come to appreciate the understated humor in the plot, the characterizations, and the dialog.<br /><br />Probably it would be a bad idea to give away too many of the relatively subtle gags but here are some examples of the more noticeable.<br /><br />Ustinov to Secretary Smith: "Let me have the assets of these companies." Smith: "Assets? What are they?" Ustinov: "Little female donkeys." Now, nothing is made of this little exchange. There's a quick cut and no delay for any laughter, which is appropriate because one's reaction is more likely to be a smile than a laugh.<br /><br />Ustinov searches out that crummy loft in Paris. It's covered with cobwebs. Bricks are strewn around and a couple of the former occupant's paintings have been left behind. The landlord doesn't speak English and Ustinov knows no French. Ustinov points to a child-like painting of a nude woman and chuckles, "Ah. A fam fye-tal, eh?" Landlord chuckles too, replies: "Vous le prenez pour une anee?" Ustinov: "Oh -- ANNIE, so that's her name!" Landlord: "Oui?" Ustinov: "Entente cordiale!" (Mes amis, if I got those genders wrong, je m'excuse.) Bob Newhart as Willard Gnatpole (!) has the hots for Maggie Smith and is supposed to be driving her home but tells her he's taking "the scenic route." There is an immediate sequence of suggestive traffic signs. "Caution." "Lay-By." "Give Way." "Yield." Ending with the imperious "STOP/CHILDREN." There's another montage when Ustinov's scheme is about to be discovered by the board of directors -- blurry rooftops, police cars, a farewell embrace from Maggie, ending with a sign: PRISON, Wormwood Scrubs.<br /><br />Well, maybe one more. I still can't get over Malden as the boss, declaring decisively, "I never agonize over decisions," then gulping a handful of pills and washing them down with a glass of water.<br /><br />The acting is unarguably fine. It's Bob Newhart's best role, for instance. Not that he had that many, and not that his range wasn't limited, but he's perfect in this part. The musical score by Laurie Johnson obviously had a good deal of effort put into it. She seems to have written a brief concerto for flute. Ustinov's passion is music and his overseas establishments are headed by false names like Claude Debussy and Giacconino Rossini. Stuttgart's phony president is somebody named Schmidt, and he's an anomalous clinker. Maggi Smith is pretty, sexy, bourgeois, and turns out to be not nearly so dumb as she seems.<br /><br />Delightful, in its own quiet way, but don't expect comic fireworks.
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Super Mario 64 is undoubtedly the greatest game ever created. It is so addicting that you could play it for hours upon hours without stopping for a break. I've beaten the game 4 times, but I've never gotten all 120 stars...(I've gotten 111)...but I hope to achieve them eventually. Even though I didn't officially play this game until I was seven in, I loved watching my sisters play it. Now I am 13 and still play this, erasing games and starting over again.<br /><br />The graphics are unbelievable for an early N64 game. The gameplay is addictive. The controls are great. The levels are tough, but not impossible. The Bowser fights are challenging.<br /><br />I would like to tell you more, but why don't you just get it for yourself? Put the X-BOX 360, PS3, and the Wii away and go find yourself a Nintendo 64 and play this amazing, wonderful game.
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Slashers.....well if you like horrors its definitely one to see, otherwise don't even bother.It is completely obvious that this film has an extremely low budget, For instance it looks as if the entire film has been shot in a warehouse somewhere, and on numerous occasions you will see the mike boom shadow and the camera mans shadow, trust me you wont need to look for them.Also try to ignore the cheesy actors, if thats what you call them!!The basic outline is a few people decide to go on a game show where they have to survive a night in a big maze due to their being 3 killers on the loose and whoever live's at the end gets rich. Now there is something about this film that keeps you watching and rarely do you find that with a cheap budget horror these days,For example when i watched it i thought to my self i would'nt mind having a go at this game! especially for $12.000.000. so anyway i would recommend you watch it and make up your own mind.
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A really very bad movie, with a very few good moments or qualities.<br /><br />It starts off with pregnant Linda Blair, who runs down a hallways to flee what might be monsters or people with pitchforks, I'm not sure. She jumps through a window and wakes up, and we see she is very pregnant. The degree to which she is pregnant varies widely throughout the movie.<br /><br />She and an annoying and possibly retarded little boy who I thought was her son travel to an abandoned hotel on an island. Italian horror directors find the most irritating little boys to put in their movies! On the island already are David Hasselhoff and his German-speaking virgin girlfriend (you know how Germans are said to love Hasselhoff...). He's taking photographs, and she's translating an esoteric German book about witches, I think.<br /><br />Also traveling to the island are an older couple who have purchased it, and a real estate agent, and a woman I thought was their daughter. Evidently she was an architect, and Linda Blair and the boy are the older couple's children. I guess they all traveled to the island together, but it really seemed like Linda and the boy were apart from the rest of them (maybe they were filmed separately).<br /><br />The hotel seems neat, certainly from the exteriors, but it isn't used to any great effect. An old woman in bad makeup and a black cloak keeps appearing to the boy and chants something in German sometimes, which he eventually records on his Sesame Street tape recorder.<br /><br />People start getting killed, either in their dreams, or sucked into hell or something. Some of these gore scenes are OK, but not enough to recommend the movie. Though the copy I watched stated it is uncut on the box cover, the death of one character whose veins explode really seems to have been cut. Much of the scene is showing another character's reaction shots, since we're not seeing anything ourselves. The creepiest scene is one in which a man or demon with a really messy-looking wound of a mouth rapes someone. He looked particularly nasty. There's a laughably and painfully bad scene in which Linda Blair is possessed. I wish if a horror movie is going to cast her, they would do something original with her role, and let her leave Exorcist behind her (except for the yearly horror conventions).<br /><br />In the weird, largely Italian, tradition of claiming to be a sequel to something it is unrelated to, this is also AKA La Casa 4 and Ghosthouse 2. That is, it is supposedly a sequel to Casa 3 - Ghosthouse, La (1988) - it's not (that's also a better movie than this one). La Casa 1 and two were The Evil Dead (1981) and Evil Dead II (1987) - again unrelated to Witchery and La Casa 3 (and much better than those). There's also a Casa 5, La (1990) AKA House 5, which seems to want to be a sequel to the fake La Casa series and the series House: House (1986) House II: The Second Story (1987), The Horror Show (1989) AKA House III, and House IV (1992). How's The Horror Show fit in there? It doesn't really, it claimed to be a sequel, thus requiring the real series entry to renumber itself to cause less (or more?) confusion. Oddly, The Horror Show is also AKA Horror House, and La Casa 5 is also AKA Horror House 2. Does your head hurt yet?
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Who could possibly sympathize with these two obnoxious protagonists? What's intended to be a light, frothy comedy about neighbor children who can't give up their childhood game of dare even as they age well into adulhood, comes off more as an exercise in cruelty and petulant self-indulgence. As children, the pair are unbearably precocious; as adults they're intolerably immature. It's a bad combination.
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Is Miike like Chabrol, alternating art with dreck, sometimes confusing the two? Does he match the fifty/fifty rate some claim for Chabrol? Do we see here too much or too little Miike? I don't know. I don't know. I don't know. But I could easily fill ten lines just citing Chakushin ari's (One Missed Call's) steals, allusions, and clichés. Others here will hit on most of them, though not perhaps Ochiai's Saimin (Hypnosis) for the sleazy telecast taunting things supernatural. Only once, when Yumi takes the zombie-like mother in her arms, did One Missed Call startle me a little.<br /><br />One other point of interest: Renji Ishibashi (looks like Christopher Walken) as the detective. Ishibashi in Audition's abusive back story, and as Dead or Alive's Boss Aoki of the vat of excrement drowning and more, may be the most convincingly evil character actor I've ever seen. So here he's a cop.
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<br /><br />What is left of Planet Earth is populated by a few poor and starving rag-tag survivors. They must eat bugs and insects, or whatever, after a poison war, or something, has nearly wiped out all human civilization. In these dark times, one of the few people on Earth still able to live in comfort, we will call him the All Knowing Big Boss, has a great quest to prevent some secret spore seeds from being released into the air. It seems that the All Knowing Big Boss is the last person on Earth that knows that these spores even exist. The spores are located far away from any living soul, and they are highly protected by many layers of deadly defense systems. <br /><br />The All Knowing Big Boss wants the secret spores to remain in their secret protected containers. So, he makes a plan to send in a macho action team to remove the spore containers from all of the protective systems and secret location. Sending people to the location of secret spores makes them no longer a secret. Sending people to disable all of the protective systems makes it possible for the spores to be easily released into the air. How about letting sleeping dogs lie?! <br /><br />The one pleasant feature of ENCRYPT is the radiant and elegant Vivian Wu. As the unremarkable macho action team members drop off with mechanically paced predictable timing, engaging Vivian Wu's charm makes acceptable the plot idea of her old employer wanting her so much. She is an object of love, an object of desire -- a very believable concept!<br /><br />Fans of Vivian Wu may want to check out an outstanding B-movie she is in from a couple years back called DINNER RUSH. DINNER RUSH is highly recommended. ENCRYPT is not.
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The first mistake you make in titling a film is to use "of the living dead" without really having a budget for real zombie FX. Sure, this was a low budget zombie flick - really low budget. I thought it was a film school project. Amateur actors and amateur effects.<br /><br />It was really not too bad considering the above, and it presented an interesting twist to the zombie genre. If you are going to get an "R" for violence, you might as well give us some good shots of the babes being attacked. The women were so little used in this film that it could almost be classified as "gay interest."<br /><br />And, I am staying out of Oakland. There was a heck of a lot of shooting going on and no cops in sight!
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"Hollywood North" is an euphemism from the movie industry as they went to Canada to make movies because of tax breaks and cheaper costs in a civilized city like Toronto, in this case, later in Vancouver. Peter O'Brian, the director, probably saw a lot of the invaders from California that this movie seems to be the right way to deal with the arriving personalities trying to capitalize on the economics that Canada presented.<br /><br />Needless to say, "Moon Lantern", the successful novel written by a Canadian author is turned into "Flight to Bogota", which has nothing to do with the original film. A great egotistical has-been, Michael Baytes, who is obsessed with what is happening in Iran, is offered the lead part, which turns to be a disaster.<br /><br />The film seems to be saying that too many cooks have spoiled the broth, which seems to be the case with the ultimate product, which is saved by its producer, Bobby Myers. With the help of Sandy Ryan, who has been around making a documentary of the film being shot in Toronto, parts of the film are transformed into a cohesive movie at last.<br /><br />The filming process is hilarious, and the acting, in general, is good.
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In Black Mask, Jet Li plays a bio-engineered super-killer turned pacifist, who has to fight against other super-killers. Bad plot, bad sfx(60 million dollar budget), but the fighting scenes were excellent! Jet Li is the greatest martial-arts star alive!
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Herbet Clutter, wife Bonnie, and their teenage children Kenyon and Nancy were much liked and respected in their tiny town of Holcomb, Kansas--but in the early hours of 14 November 1959 all four were brutally murdered. Rather unexpectedly, the crime made an impression on author Truman Capote, who rushed to the scene and followed the course of the case to its conclusion. The result was the book IN COLD BLOOD. Controversial, shocking, and exceptionally well-written, it became an international best seller and it remains a touchstone for crime writers to this day.<br /><br />The 1967 film version of Capote's work is almost as remarkable as the book itself. Filmed in black and white in many of the real-life locations, it has a slightly documentary quality, icy and detached--and the overall cast is exceptional. This is the film on which Robert Blake's reputation as an actor rests, and deservedly so. As killer Perry Smith, Blake traps you between a profound distaste and the shock of unexpected sympathy; it is a masterful performance from start to finish. As Richard Hickock, Scott Wilson is no less fine.<br /><br />Like Capote's book, the film opens with Smith and Hickock as they travel to Kansas and brings them to the Clutter home--only to suddenly flash past the crime to detail the investigation that finally resulted in their arrest and conviction. The centerpiece of the film has always been the moment at which we at last see what occurred in the Clutter home; actually filmed in the Clutter house itself, it is a spinechilling sequence, horrific and deeply disturbing.<br /><br />Director and writer Richard Brooks guides the film with a very powerful sense of deliberation, erring only in the sense that he allows the film to become slightly preachy. Given the overall power of the film, however, this becomes a trivial annoyance. Strong stuff--and recommended.<br /><br />GFT, Amazon Reviewer
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This movie was excellent. It details the struggle between a committed detective against the dedicated ignorance of the corrupted communist regime in Russia during the 80's. I give this movie high marks for it's no-holds-barred look into the birth and development of forensic investigation in a globally isolated (thanks to the "Regime") community. This is a graphic movie. It presents an unsensationalized picture of violence and it's tragic remains. Nothing is "candy-coated" with overdone blood or gore to separate us from the cruel reality on the screen. This movie is based on Russian serial killer Andrei Chikatilo. I'm familiar enough with the true story to have a very deep appreciation for how real they kept the film. It's not a comedy, but for those who appreciate dry and dark humor, this movie is a must-see.
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One of the most disturbing and tragic periods in American history began. The members of the Summer of Love culture, at the end of the seventies and onset of the 80's, were eventually tool old for love beads and all night parties and evolved back into mainstream life, whatever that meant. For those who could not out grow their youthful and sometimes irrational exuberance, their's was the culture of Wonderland. A love for drugs and a sense of entitlement coupled with a distaste for authority, values and "the establishment" is the world that the film captures. <br /><br />The sixties were a time of revolution and violent change that tore the American "house" apart. Once the battles were over, we all had to deal with the aftermath of the carnage. The characters in the Wonderland house are icons of the misfits of the Seventies; part biker, part hippie, part crook, all outcast. No ideology to express, just a sense of dissatisfaction with everything and allegiance to nothing. Ron, Billy and David fancy themselves as some sort of Robin Hoods with dope. They talk of love and behave violently; they take from the rich and sell to the misbegotten; they steal from everyone.<br /><br />Holmes and company are the end result of a strange collision of anti-matter like sex, and drugs and rock & roll, when the lab technicians get bored and move on. <br /><br />The film is skillfully directed and paced and captures the frenetic world of the drug fiends in their element. The fact that Holmes is a porn star is almost irrelevant. That story was told in "Boogie Nights". This is a story of a transitional and forgettable era.
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Most definitely the worst Columbo ever dreamt up. No murder and the abandonment of the tried and tested formula makes this a real drag. Falk looks bored throughout and so will you be if you waste anytime watching this.
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In Don Siegel's 1971 masterpiece "Dirty Harry", Clint Eastwood epitomized the super-tough, super-cool unorthodox, no-nonsense cinema-cop with his role of the eponymous Inspector 'Dirty' Harry Callahan. Two sequels followed, the first of which, "Magnum Force", tamed down on the delightfully politically incorrect attitude of the first one that had outraged many critics but enthused audiences. The second sequel, "The Enforcer" was grittier again, and was promoted as "the dirtiest Harry of them all". This title, however, truly belongs to the fourth film in the series, Clint Eastwood's own "Sudden Impact", which is doubtlessly the grittiest, nastiest, most violent and downright dirtiest of all Harry films, and, in my humble opinion, the second-best after the masterpiece original.<br /><br />***Warning! SPOILERS ahead!*** In a small town near San Francisco, a mysterious sexy lady (Sondra Locke) lures men into being alone with her. What these men don't know is that mysterious beauty is their former rape victim, longing for bloody revenge. As fate wants it, San Francisco's toughest cop, Inspector Dirty Harry Callahan, who has been suspended once again for angering his superiors, spends his leisure time in this exact little town... "Sudden Impact" is the dirtiest Callahan film in several aspects. The film is extremely gritty and graphically violent. Harry Callahan himself is dirtier than ever. Not afraid to make use of his 44. Magnum in order to stop trouble, Harry treats 'punks' as they are to be treated and even allows a person to get away with several murders because the revenge-murders are justified in his opinion. Clint Eastwood is, as always, brilliant in the role of Harry Callahan. Eastwood epitomized coolness and bad-assery as the "Man With No Name" in Sergio Leone's Dollar Trilogy, and he did so again in the Dirty Harry films. "Sudden Impact" gives us the dirtiest Harry we have ever seen. Eastwood's real-life girlfriend Sondra Locke fits very well in the role of the vengeful beauty. The great Pat Hingle, who had already worked with Eastwood in Ted Post's tough-minded Western "Hang 'Em High" in 1986 plays the police chief of the small town. The film furthermore includes a wide range of truly despicable scumbag characters, including a pathetic criminal played by Kevin Major Howard (best known for his role in Stanley Kubrick's "Full Metal Jacket") and a woman named Ray Perkins (Audrie J. Neenan), doubtlessly one of the most disgusting and despicable female characters ever in cinema. Albert Popwell, who played the bank robber in the famous "Do You Feel Lucky?" scene in "Dirty Harry" and the black militant leader in "The Enforcer" is also part of this one again, this time as Harry's colleague and buddy. Overall "Sudden Impact" is the grittiest, dirtiest and probably the most violent of all "Dirty Harry" films, (though "The Dead Pool" isn't exactly tame either), and my second-favorite after the brilliant 1971 original. An absolute must-see for Callahan fans, and highly recommended to all lovers of police thrillers and cinematic bad-assery. My rating: 8.5/10
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Wow, here it finally is; the action "movie" without action. In a real low-budget setting (don't miss the hilarious flying saucers flying by a few times) of a future Seattle we find a no-brain hardbody seeking to avenge her childhood.<br /><br />There is nothing even remotely original or interesting about the plot and the actors' performance is only rivalled in stupidity by the attempts to steal from other movies, mainly "Matrix" without having the money to do it right. Yes, we do get to see some running on walls and slow motion shoot-outs (45 secs approx.) but these scenes are about as cool as the stupid hardbody's attempts at making jokes about male incompetence now and then.<br /><br />And, yes, we are also served a number of leads that lead absolutely nowhere, as if the script was thought-out by the previously unseen cast while shooting the scenes.<br /><br />Believe me, it is as bad as it possibly can get. In fact, it doesn't deserve to be taken seriously, but perhaps I can make some of you not rent it and save your money.
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I am a huge Charlton Heston fan. He is without a doubt one of the greatest actors of all time, but what was he thinking when he made this movie. Normally if he made a bad movie I could blame it on the screenwriter or director, but in this case it's all him. The suckiness of this movie is all his fault. It proves that not even Heston can make a Shakespeare story interesting. I wasted 2 and a half hours of my life on this snooze fest and I'll never get that time back. This is by far THE WORST Heston movie that I've ever seen. If you are a Shakespeare fan maybe you'll find this movie entertaining, but if you're not don't waste your time, you'll regret it in the long run.
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I saw this kung fu movie when I was a kid, and I thought it was so cool! Now I am 26 years old, and my friend has it on DVD!!!<br /><br />We got a case of brew, and watched this classic! It lost NONE of it's original kung fu coolness! If you are a fan of kung fu/karate movies, this is a must see... the DVD is available. I believe this movie is also called "Pick Your Poison".<br /><br />Watch it soon!
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Passionate, dramatic, riveting as Flamenco itself, the film is simply amazing. It is set on the immortal Bizet's music. The original music is written and performed by one of the greatest classical guitarists, leading proponent of the Modern Flamenco style, Paco de Lucia who plays a musician with the same name. Legendary Flamenco dancer and choreographer Antonio Gades co/wrote the script and choreographed this fabulous version of the celebrated Georges Bizet/Prosper Mérimée novella/opera. He plays a main character Antonio, the famous dancer/choreographer who works on retelling the story of Carmen in the Flamenco style that combines dances with singing and rhythmic hand clapping and has a highly charged level of dynamics that appeals enormously to the viewers.<br /><br />Brilliant and graceful Cristina Hoyos whose technical excellence matches the elegant artistry of her dancing shines in the supporting role. Hoyos had been the first dancer in Gades' company for twenty years (1968-1988) and she was the protagonist of three films that Carlos Saura made of Gades' three great shows: "Bodas de Sangre" (1978), "Carmen" (1983) and "El Amor Brujo" (1985). Gorgeous Laura del Sol is a young dancer named Carmen in whom Antony sees from the first sight another Carmen, who was immortalized by two Frenchmen, the writer Prosper Mérimée in his most famous novella written in 1846 that had inspired George Bizet's world famous Opéra-Comique version from 1875.<br /><br />As in the opera and in the novella, Carmen in Saura's film is desirable and deadly, the ultimate femme fatale who has to be free above anything else. She could not tolerate the possessive love of any man and would prefer death to submission. There some 50 movie adaptations of the story and the opera to the screen, and as different as they are, they all have in common the only possible tragic end. Saura/Gades' film is unique as the most sensual of all and truly Spanish. I fell in love with it from the first time I saw it over twenty years ago and it is as special and beautiful today as it was back then. Highly recommended.
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The concept of this made-for-TV horror movie is ludicrous beyond words, but hey, it was the late 1970's and literally all stupid horror formats were pretty damn profitable, so why not exploit the idea of a satanically possessed dog? The plot of "Devil Dog" is easy to describe to fans of the horror genre: simply think of "The Omen" and replace the newborn baby boy with a nest of German Shepard pups! Seriously, I'm not kidding, that's what the movie is about! During the opening sequence, members of some kind of satanic cult buy a female dog in heat only to have it impregnated by Satan himself. You'd think that the Lord of Darkness has other things on His mind than to fornicate with a German Shepard and take over the world one evil puppy at the time, but apparently not. Exactly like little Damien in "The Omen", one of the puppies is taken in by model family and grows up to become a beautiful and charismatic animal. But Lucky that's the dog's name is pure evil and liquidates annoying neighbors and nosy school teachers in derivative and tamely executed ways. He also inflicts his malignant character on the family wife and children, but he cannot force the father (Richard Crenna) to stick his arm into a lawnmower because he's a "chosen one". The whole thing becomes too moronic for words when Crenna eventually travels to Ecuador to search for an ancient wall painting and gets advice from an old witchdoctor who speaks perfect English. I guess he learned that living in isolation atop of a mountain his entire life. Director Curtis Harrington ("What's the matter with Helen", "Ruby") and lead actor Richard Crenna ("Wait until Dark", "The Evil") desperately try to create a suspenseful and mysterious atmosphere, but all is in vain. Scenes like cute puppy eyes spontaneously setting fire to a Spanish maid or a dog dodging bullets without even moving evoke chuckles instead of frights, and not even spooky musical tunes can chance that. The "special" effects are pathetic, especially near the end when the Satan-dog mutates into an utterly cheesy shadow on the wall. "Devil Dog" is a truly dumb movie, but it's definitely hilarious to watch late at night with some friends and loads of liquor. There are entertaining brief cameos of Martine Beswick ("Dr. Jekyll and Sister Hyde") as the terrifying cult queen and R.G. Armstrong ("The Car", "The Pack") as the evil fruit, vegetable and puppy salesman. And, yes, that annoying daughter is the same kid who gets blown away complaining about her ice-cream in Carpenter's "Assault on Precinct 13".
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If you can make it thru "classic Meyer" titles/intro, you can wade thru anything. But would you want to? I did not find a lot there to dig my teeth into. I suppose if you go into it with low enuff expectations you will be delighted (a la Charlie's Angels.) But for my money I'd like a little something more, more visual, more moving. More. I feel like I'm begging for gruel @ the foot of the master . the mans got the goods . but he just won't share.
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Disney goes to the well one too many times as anybody who has seen the original LITTLE MERMAID will feel blatantly ripped off. Celebrating the birth of their daughter Melody, Ariel and Eric plan on introducing her to King Triton. The celebration is quickly crashed by Ursula 's sister, Morgana who plans to use Melody as a defense tool to get the King 's trident. Stopping the attack, Ariel and Eric build a wall around the ocean while Melody grows up wondering why she cannot go in there.<br /><br />Awful and terrible is what describes this direct to video sequel. LITTLE MERMAID 2 gives you that feeling everything you watch seemed to have come straight other Disney movies. I guess Disney can only plagiarize itself! Do not tell me that the penguin and walrus does not remind you of another duo from the LION KING!<br /><br />Other disappointing moments include the rematch between Sebastien and Louie, the royal chef. They terribly under played it! The climax between Morgana and EVERYONE seemed to be another disappointment.<br /><br />I will not give anything away, but in 75 minutes, everything seemed incredibly cramped and too much to handle. An embarrassment to Disney, LITTLE MERMAID 2 is better left to rent and laugh at. Then you can prepare for the rest of the other sequels Disney is going to drown you in later on.
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As a huge fan or the Cracker series, I have been waiting 7 years for the next addition. This Episode I'm afraid just does not live up to the legend.<br /><br />Fitz returns to Manchester after 7 years for his daughters wedding and gets involved in a murder investigation were a soldier, tormented by flash backs from his tour of duty in Northern Irland, goes on a killing spree.<br /><br />What I did not like about this episode is the extremely convenient way it is all set up and how fitz is led to the murderer. It is all fat to far-fetched.<br /><br />There are however some good scenes in flash backs from Northern Irland which are filmed great.
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Charles Boyer is supposed to be Spanish, and he's come to London to buy coal in "Confidential Agent," a 1945 film also starring Lauren Bacall, Katina Paxinou, Peter Lorre, Dan Seymour, and Wanda Hendrix. Boyer is Luis Denard, and everyone is out to stop him except Bacall. His papers are stolen, he's accused of murder but he's determined to get coal for his people so that they can fight the Fascists.<br /><br />This film has its good and not so good points. It rates high for atmosphere and for suspense, and it is highly entertaining. Bacall is incredibly beautiful, Boyer is passionate, Paxinou is mean, Lorre is slimy, Hendrix appropriately pathetic, and Seymour outrageously wonderful.<br /><br />The not so good points: Bacall is supposed to be English, and Boyer Spanish. Uh, no. Boyer is terrific in his role even with the wrong accent, but Bacall is 100% American, not of the British upper class. The two have no chemistry. Conclusion: Bacall is somewhat miscast. Her acting isn't up to snuff either; she's better in other films. But she's an astonishing looking woman, and much can be forgiven.<br /><br />Paxinou is nearly over the top and hateful. Dan Seymour almost steals the entire film as a hotel guest who studies human nature. It's a great part and his performance is perfect, while some of the direction of the other actors isn't as good. This was definitely a case of no small parts, only small actors. Seymour wasn't a small actor.<br /><br />Definitely worth seeing even with its flaws.
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I enjoyed the first reviewer's comment far more than I did the film when I saw it at a second-run theatre in the early '80's. I was impressed then by the care taken to create costumes modelled so closely after the Tenniel drawings. But to me, the cast was largely squandered, their personalities muffled by the masks, while the direction I think of as being unusually static, and the photography murky. The rating jotted down at the time was a nought, which means "not worth sitting through even once".<br /><br />Still, I too would jump at a chance to have a second look.
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May and her husband go to visit their children and grandchildren. The visit is awkward because the grandchildren and "kids" don't really seem to know each other as one might expect. The warmth that should be there is missing. After dinner, May's husband says he doesn't feel well, blames it on his daughter's cooking, and irritably says he wants to go home. He dies that night.<br /><br />May, now a widow, is lost. She clearly did not have a passionate marriage or a very interesting one, but she had a purpose. She had someone who needed her, and even though her own needs had gone unmet for years, she had something to do with her days.<br /><br />She is depressed and unmotivated. She goes to stay with her daughter, Paula, who shortly after her mother's arrival, lets her mother know that she has never felt that her mother has given much of herself at all. She lets loose with anger over her mother's lack of nurturing. May seems disarmed and surprised, yet she also doesn't seem to have the energy or the desire to really make it right. "I'm your mother and I love you." What does really say? (I've heard this from my own mother way too many times and have yet to figure out what it means.) Paula is a bit (well, more than a bit) neurotic. Both women are needy, though they show it very differently.<br /><br />Paula has been involved with a friend of her son's, Darren, who is a handyman working on the house owned by her son. While Paula is working during the day, May begins to have conversations and lunches with Darren. Darren is a married man who has stayed with his wife because of their autistic son, Nicky, but supposedly doesn't live in the home with his wife.<br /><br />May becomes attracted to Darren because he is virile and she enjoys the connection they seem to have. Darren becomes attracted to May because she offers a kind of peace and understanding that he does not get from the other women in his life. (He also becomes too interested in money that May says she can give him to "get away from it all," though he is clearly not interested in her desire to join him on such a journey. They end up sleeping together in the spare room during the day, and May enjoys fulfillment as a woman that she has not known in years, nor had ever expected to know again. As her daughter Paula had often told her that she would leave the married Darren, this becomes part of May's rationalization that what she is doing is okay.<br /><br />At a writing group that Paula leads, May is introduced, rather forced to get together with a widower to whom she is not attracted. There is one scene where she has sex with the older man, who clearly can barely perform, and it truly painful and unsettling as we see the total disgust on May's face as she endures the one-time ghastly liaison.<br /><br />Eventually, Paula discovers through some very graphic sketches done by her mother, that indeed her mother and Darren have been having sex.<br /><br />This film will undoubtedly be seen by many in myriad ways. Sympathies will be divided. At one point, during Paula's writing group, May reveals through a short essay that she used to feel as though she hated her kids by the end of the day, and would leave for pubs after they were asleep, making sure to get back home before her husband.<br /><br />Clearly, a good mother does not think of leaving children alone while she goes off to the local pub. May, however, also had revealed earlier in the film that her husband didn't like her having any friends, so she didn't have any. She did what he wanted her to do. She was miserable but she put up with it because, as she said, "it was easier." So, while May was not the best mother, for those inclined to have any sympathy for her, one might see May's actions as the act of a woman just wanting to be sexual and to be a live for "a few minutes" in her lifetime. A woman who just wanted someone to listen to her, to know her as a human being, to have a friend and a lover.<br /><br />Paula, though neurotic and unhappy, perhaps has become that way because of the distant parents who raised her. Certainly, it is not difficult to understand why Paula feels completely betrayed by her mother.<br /><br />It is a well-done film, with more complexities than I have mentioned, and certainly one that will leave the viewer with many, perhaps conflicting, reactions. It is a film worth discussing and debating, and above all, worth seeing.<br /><br />One thing the film leaves us with is the horror and fear of a lonely life. No matter who is deemed "right" or who is deemed 'wrong" by each viewer, that theme of old age and loneliness, evoking a sense of dread in most of us, is inescapable.
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A doctor and a policeman in New Orleans have only 48 hours to locate a killer infected with pneumonic plague.<br /><br />An effective, and classy, little thriller directed by Elia Kazan that blends documentary realism with a race against time pulpy heartbeat. Set and filmed in and around New Orleans, Panic In The Streets is taken from the story Quarantine, Some Like 'em Cold by Edna and Edward Anhalt who won an Oscar for original story. It also boasts a fine ensemble cast that deliver top rate performances for their director. In turn, Richard Widmark {bringing the method a year before Marlon did for Kazan in A Streetcar Named Desire}, Paul Douglas, Jack Palance (as Walter Jack Palance) & the wonderfully named Zero Mostel, all get sweatily moody as the pursuers chase the pursued to halt the onset of a potential Black Death epidemic.<br /><br />Where the film scores its main suspense points is with Kazan's astute ability to cut back and forth between the protagonists without altering the flow and mood of the piece. From Widmark's Public Health doctor, with hypodermic needle in hand, running around trying to locate the bad guys so he can do good; to the bad guys themselves who are bemused as to why there is such a wide scale hunt for them; the tension is stacked up to fever breaking point. To which thankfully the final thirty minutes becomes a cracking piece of cinema. With Palance excelling as a nasty villain that ironically puts one in mind of Widmark's own Tommy Udo from Kiss Of Death three years prior.<br /><br />It's an imaginative and intelligently written story, one that cunningly links rats and criminals to being carriers of disease. A blight on society as it were. It's noirish elements, such as paranoia, blend nicely with its basic procedural thriller being. While some memorable scenes are suitably cloaked by the stifling atmosphere that Kazan has created. Although some of the early character psychologizing threatens to steer the film down some over talky based alleyway, this definitely is a film worth staying with to the end. Not essential film-noir, and maybe not even essential Kazan, but certainly a highly recommended film that begs to be discovered by a new generation of film lovers and reappraised by the old guard who may have missed it back in the day. 7.5/10
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