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It was nice to see all the familiar characters again, but the story bothered me. We loved Ariel in the first movie- so why is the second one centered around her daughter? The new characters were annoying and I didn't like the plot of this. Worst of all, Christopher Daniel Barnes didn't come back as the voice of Eric! Disney, please stop remaking classic movies with these shoddy imitations.
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I have always said that some plays by their very nature just can't be translated to film, and this one is a prime example.<br /><br />As a play, this is a very funny farcical satire of the Catholic church, with a razor wit and a central character who is so shockingly unreal we have to root for her even when she starts murdering her parishioners (one of whom made the fatal mistake of admitting he had not sinned since his last confession, so she feels she is sending him straight to heaven).<br /><br />That's just one example of how far outside of reality the play goes, and in the make believe world of the theater, it works. However, that kind of heightened reality rarely works on film, and it certainly doesn't here.<br /><br />Director Marshall Brickman has assembled a fine cast who do great work, but by presenting all this absurdity in a realistic fashion the comedy becomes tragedy and you are left with an empty feeling in the pit of your stomach.<br /><br />Seek out a production of the stage play instead, you won't be disappointed.
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I read the back of the box and it talked about Mary Shelley and Percy Shelley and Lord Byron. I thought, "wonderful! This will be great!" I was so wrong. The story was all screwed up. In fact I still don't get it. It just seems to me that all the characters did was drink, smoke (opium?) and have sex. Not that those aren't good movie qualities, but please! Where was the story? I made myself finish the movie, and yes, it did pick up towards the end, but by then the movie was almost over. Rent it if you really want to. Just don't trust the back of the box.
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Let's face it; Nancy Drew was never great literature. It is in the same category as babysitter club, magic tree house, Goosebumps, ABC Mysteries. In fact, it was one of the original formula stories. Nancy is perfect, pretty, thoughtful, "nice", has no internal conflicts ever! and never changes. Ned is pretty much the same. The movie was true to that style and I have to say, I liked it. It will never be a great movie, but it had a that same nostalgic flavor that the books held. It had just the right amount of suspense for my children (8 and 10.) There was almost no offensive language. I liked the push for more conservative dress.<br /><br />Corky was a bit of an annoyance. He was a little out of place on a high school campus. I never quite got why he was there in the first place.
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Hi all I am a chess enthusiast since the age of about 6. I supposed I am quite obsessed by chess, but hopefully not as much as the central character in this film.<br /><br />In this film, the central character reflects a real chess player called Curt von Bardeleben who committed suicide in 1924. He is famous for a game he played against Steinitz, where a beautiful combination was played by Steinitz. Instead of resigning, he simply walked out of the tournament hall, never to return.<br /><br />The social ineptness of the central character is unfortunately a treat of some of the more serious Grandmasters you sometimes get in chess tournaments. Chess I suppose is a very big sacrifice, and you can sometimes end up imbalanced in other areas of life. A major example of this is the chess legend Bobby Fischer. Although a genius, he was also very disturbed in many ways.<br /><br />In the film, a World championship match is depicted, as between an Italian Grandmaster and Luzhin. The format is a knockout, which actually the world Governing body of Fide has sometimes employed as a format itself - going from 128 players to just 2 in the final. But this was a group knockout - which also depicts a realistic format, where the winners of each group play against each other.<br /><br />The position before adjournment makes for a fascinating chess puzzle in itself. In fact, I have done a youtube video about it, for you to explore the winning combination in detail - enjoy! http://uk.youtube.com/watch?v=XZPtdtPhwdM Best wishes Tryfon
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I caught this a few months ago on Family Channel, and having some memories of the TV show from my youth, decided to watch it along with my 4 year old daughter. I should have got some psychedelic mushrooms to go along with it, 'cause this is just bizarre! Not only is it a musical with annoyingly forgettable tunes, the requisite cheesy effects and cameos by stars long past their collective primes, it seems to have been produced as somebody's good acid trip. Talking flutes, British children far too old for this kind of crap... in the words of Krusty the Klown "uuuuuugggghhhhh! What was I on?" If you're a huge fan of the whole Sid and Marty Krofft oeuvre, go for it; otherwise, unless you're willing to get looped before watching, stay far, far, FAR away.
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This movie stars Emily Watson, of Breaking the Waves fame. This movie about one man's obsession takes place at a resort where a chess tournament is being held. A chess master arrives and shortly after falls madly in love (at first sight) with a woman, played by Emily Watson. She falls for this oddball of a man, who is obsessed with chess. This is all at the dismay of her mother, who is far more interested in seeing her with another young gentleman; a proper gentleman. Her mother feels that this is just a passing fancy for the young woman, as she has a tendency to take in odd animals and such. What ensues is mostly a journey through the man's psyche. It tells the story of how his past is closely tied with his present. Emily Watson is amazing in this, as well as the actor who plays the main character. It is definitely slow, but is well worth the watching. The ending was even satisfying. :)
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After the initial shock of realizing the guts of Mr Branagh to film this, I was literally shaking with the excitement of having this epic just ahead of me. I was not disappointed. So true to Shakespeare and yet so accessible. It blew my mind. I always enjoy seeing, or rather listening to, Branagh and it made me wonder...is this movie dubbed in other countries? That would be like painting a moustache on the Mona Lisa.
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Match 1: Tag Team Table Match Bubba Ray and Spike Dudley vs Eddie Guerrero and Chris Benoit Bubba Ray and Spike Dudley started things off with a Tag Team Table Match against Eddie Guerrero and Chris Benoit. According to the rules of the match, both opponents have to go through tables in order to get the win. Benoit and Guerrero heated up early on by taking turns hammering first Spike and then Bubba Ray. A German suplex by Benoit to Bubba took the wind out of the Dudley brother. Spike tried to help his brother, but the referee restrained him while Benoit and Guerrero ganged up on him in the corner. With Benoit stomping away on Bubba, Guerrero set up a table outside. Spike dashed into the ring and somersaulted over the top rope onto Guerrero on the outside! After recovering and taking care of Spike, Guerrero slipped a table into the ring and helped the Wolverine set it up. The tandem then set up for a double superplex from the middle rope which would have put Bubba through the table, but Spike knocked the table over right before his brother came crashing down! Guerrero and Benoit propped another table in the corner and tried to Irish Whip Spike through it, but Bubba dashed in and blocked his brother. Bubba caught fire and lifted both opponents into back body drops! Bubba slammed Guerrero and Spike stomped on the Wolverine from off the top rope. Bubba held Benoit at bay for Spike to soar into the Wassup! headbutt! Shortly after, Benoit latched Spike in the Crossface, but the match continued even after Spike tapped out. Bubba came to his brother's rescue and managed to sprawl Benoit on a table. Bubba leapt from the middle rope, but Benoit moved and sent Bubba crashing through the wood! But because his opponents didn't force him through the table, Bubba was allowed to stay in the match. The first man was eliminated shortly after, though, as Spike put Eddie through a table with a Dudley Dawg from the ring apron to the outside! Benoit put Spike through a table moments later to even the score. Within seconds, Bubba nailed a Bubba Bomb that put Benoit through a table and gave the Dudleys the win! Winner: Bubba Ray and Spike Dudley<br /><br />Match 2: Cruiserweight Championship Jamie Noble vs Billy Kidman Billy Kidman challenged Jamie Noble, who brought Nidia with him to the ring, for the Cruiserweight Championship. Noble and Kidman locked up and tumbled over the ring, but raced back inside and grappled some more. When Kidman thwarted all Noble's moves, Noble fled outside the ring where Nidia gave him some encouragement. The fight spread outside the ring and Noble threw his girlfriend into the challenger. Kidman tossed Nidia aside but was taken down with a modified arm bar. Noble continued to attack Kidman's injured arm back in the ring. Kidman's injured harm hampered his offense, but he continued to battle hard. Noble tried to put Kidman away with a powerbomb but the challenger countered into a facebuster. Kidman went to finish things with a Shooting Star Press, but Noble broke up the attempt. Kidman went for the Shooting Star Press again, but this time Noble just rolled out of harm's way. Noble flipped Kidman into a power bomb soon after and got the pin to retain his WWE Cruiserweight Championship! Winner: Jamie Noble<br /><br />Match 3: European Championship William Regal vs Jeff Hardy William Regal took on Jeff Hardy next in an attempt to win back the European Championship. Jeff catapulted Regal over the top rope then took him down with a hurracanrana off the ring apron. Back in the ring, Jeff hit the Whisper in the wind to knock Regal for a loop. Jeff went for the Swanton Bomb, but Regal got his knees up to hit Jeff with a devastating shot. Jeff managed to surprise Regal with a quick rollup though and got the pin to keep the European Championship! Regal started bawling at seeing Hardy celebrate on his way back up the ramp. Winner: Jeff Hardy<br /><br />Match 4: Chris Jericho vs John Cena Chris Jericho had promised to end John Cena's career in their match at Vengeance, which came up next. Jericho tried to teach Cena a lesson as their match began by suplexing him to the mat. Jericho continued to knock Cena around the ring until his cockiness got the better of him. While on the top rope, Jericho began to showboat and allowed Cena to grab him for a superplex! Cena followed with a tilt-a-whirl slam but was taken down with a nasty dropkick to the gut. The rookie recovered and hit a belly to belly suplex but couldn't put Y2J away. Jericho launched into the Lionsault but Cena dodged the move. Jericho nailed a bulldog and then connected on the Lionsault, but did not go for the cover. He goaded Cena to his feet so he could put on the Walls of Jericho. Cena had other ideas, reversing the move into a pin attempt and getting the 1-2-3! Jericho went berserk after the match. Winner: John Cena<br /><br />Match 5: Intercontinental Championship RVD vs Brock Lesnar via disqualification The Next Big Thing and Mr. Pay-Per-View tangled with the Intercontinental Championship on the line. Brock grabbed the title from the ref and draped it over his shoulder momentarily while glaring at RVD. Van Dam 's quickness gave Brock fits early on. The big man rolled out of the ring and kicked the steel steps out of frustration. Brock pulled himself together and began to take charge. With Paul Heyman beaming at ringside, Brock slammed RVD to the hard floor outside the ring. From there, Brock began to overpower RVD, throwing him with ease over the top rope. RVD landed painfully on his back, then had to suffer from having his spine cracked against the steel ring steps. The fight returned to the ring with Brock squeezing RVD around the ribs. RVD broke away and soon after leveled Brock with a kick to the temple. RVD followed with the Rolling Thunder but Brock managed to kick out after a two-count. The fight looked like it might be over soon as RVD went for a Five-Star Frog Splash. Brock, though, hoisted Van Dam onto his shoulder and went for the F-5, but RVD whirled Brock into a DDT and followed with the Frog Splash! He went for the pin, but Heyman pulled the ref from the ring! The ref immediately called for a disqualification and soon traded blows with Heyman! After, RVD leapt onto Brock from the top rope and then threatened to hit the Van Terminator! Heyman grabbed RVD's leg and Brock picked up the champ and this time connected with the F-5 onto a steel chair! Winner: RVD<br /><br />Match 6: Booker T vs the Big Show Booker T faced the Big Show one-on-one next. Show withstood Booker T's kicks and punches and slapped Booker into the corner. After being thrown from the ring, Booker picked up a chair at ringside, but Big Show punched it back into Booker's face. Booker tried to get back into the game by choking Show with a camera cable at ringside. Booker smashed a TV monitor from the Spanish announcers' position into Show's skull, then delivered a scissors kick that put both men through the table! Booker crawled back into the ring and Big Show staggered in moments later. Show grabbed Booker's throat but was met by a low blow and a kick to the face. Booker climbed the top rope and nailed a somersaulting leg drop to get the pin! Winner: Booker T<br /><br />Announcement: Triple H entered the ring to a thunderous ovation as fans hoped to learn where The Game would end up competing. Before he could speak, Eric Bishoff stopped The Game to apologize for getting involved in his personal business. If Triple H signed with RAW, Bischoff promised his personal life would never come into play again. Bischoff said he's spent the past two years networking in Hollywood. He said everyone was looking for the next breakout WWE Superstar, and they were all talking about Triple H. Bischoff guaranteed that if Triple H signed with RAW, he'd be getting top opportunities coming his way. Stephanie McMahon stepped out to issue her own pitch. She said that because of her personal history with Triple H, the two of them know each other very well. She said the two of them were once unstoppable and they can be again. Bischoff cut her off and begged her to stop. Stephanie cited that Triple H once told her how Bischoff said Triple H had no talent and no charisma. Bischoff said he was young at the time and didn't know what he had, but he still has a lot more experience that Stephanie. The two continued to bicker back and forth, until Triple H stepped up with his microphone. The Game said it would be easy to say "screw you" to either one of them. Triple H went to shake Bischoff's hand, but pulled it away. He said he would rather go with the devil he knows, rather than the one he doesn't know. Before he could go any further, though, Shawn Michaels came out to shake things up. HBK said the last thing he wanted to do was cause any trouble. He didn't want to get involved, but he remembered pledging to bring Triple H to the nWo. HBK said there's nobody in the world that Triple H is better friends with. HBK told his friend to imagine the two back together again, making Bischoff's life a living hell. Triple H said that was a tempting offer. He then turned and hugged HBK, making official his switch to RAW! Triple H and HBK left, and Bischoff gloated over his victory. Bischoff said the difference between the two of them is that he's got testicles and she doesn't. Stephanie whacked Bischoff on the side of the head and left!<br /><br />Match 7: Tag Team Championship Match Christian and Lance Storm vs Hollywood Hogan and Edge The match started with loud "USA" chants and with Hogan shoving Christian through the ropes and out of the ring. The Canadians took over from there. But Edge scored a kick to Christian's head and planted a facebuster on Storm to get the tag to Hogan. Hogan began to Hulk up and soon caught Christian with a big boot and a leg drop! Storm broke up the count and Christian tossed Hogan from the ring where Storm superkicked the icon. Edge tagged in soon after and dropped both opponents. He speared both of them into the corner turnbuckles, but missed a spear on Strom and hit the ref hard instead. Edge nailed a DDT, but the ref was down and could not count. Test raced down and took down Hogan then leveled Edge with a boot. Storm tried to get the pin, but Edge kicked out after two. Riksihi sprinted in to fend off Test, allowing Edge to recover and spear Storm. Christian distracted the ref, though, and Y2J dashed in and clocked Edge with the Tag Team Championship! Storm rolled over and got the pinfall to win the title! Winners and New Tag Team Champions: Christian and Lance Storm<br /><br />Match 8: WWE Undisputed Championship Triple Threat Match. The Rock vs Kurt Angle and the Undertaker Three of WWE's most successful superstars lined up against each other in a Triple Threat Match with the Undisputed Championship hanging in the balance. Taker and The Rock got face to face with Kurt Angle begging for some attention off to the side. He got attention in the form of a beat down form the two other men. Soon after, Taker spilled out of the ring and The Rock brawled with Angle. Angle gave a series of suplexes that took down Rock, but the Great One countered with a DDT that managed a two-count. The fight continued outside the ring with Taker coming to life and clotheslining Angle and repeatedly smacking The Rock. Taker and Rock got into it back into the ring, and Taker dropped The Rock with a sidewalk slam to get a two-count. Rock rebounded, grabbed Taker by the throat and chokeslammed him! Angle broke up the pin attempt that likely would have given The Rock the title. The Rock retaliated by latching on the ankle lock to Kurt Angle. Angle reversed the move and Rock Bottomed the People's Champion. Soon after, The Rock disposed of Angle and hit the People's Elbow on the Undertaker. Angle tried to take advantage by disabling the Great One outside the ring and covering Taker, who kicked out after a two count. Outside the ring, Rock took a big swig from a nearby water bottle and spewed the liquid into Taker's face to blind the champion. Taker didn't stay disabled for long, and managed to overpower Rock and turn his attention to Angle. Taker landed a guillotine leg drop onto Angle, laying on the ring apron. The Rock picked himself up just in time to break up a pin attempt on Kurt Angle. Taker nailed Rock with a DDT and set him up for a chokeslam. ANgle tried sneaking up with a steel chair, but Taker caught on to that tomfoolery and smacked it out of his hands. The referee got caught in the ensuing fire and didn't see Angle knock Taker silly with a steel chair. Angle went to cover Taker as The Rock lay prone, but the Dead Man somehow got his shoulder up. Angle tried to pin Rock, but he too kicked out. The Rock got up and landed Angle in the sharpshooter! Angle looked like he was about to tap, but Taker kicked The Rock out of the submission hold. Taker picked Rock up and crashed him with the Last Ride. While the Dead Man covered him for the win, Angle raced in and picked Taker up in the ankle lock! Taker went delirious with pain, but managed to counter. He picked Angle up for the last ride, but Angle put on a triangle choke! It looked like Taker was about to pass out, but The Rock broke Angle's hold only to find himself caught in the ankle lock. Rock got out of the hold and watched Taker chokeslam Angle. Rocky hit the Rock Bottom, but Taker refused to go down and kicked out. Angle whirled Taker up into the Angle Slam but was Rock Bottomed by the Great One and pinned! Winner and New WWE Champion: The Rock<br /><br />~Finally there is a decent PPV! Lately the PPV weren't very good, but this one was a winner. I give this PPV a A-<br /><br />
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I saw this film and heard the writer-director, Juan Gerard, speak at the Santa Barbara Int'l Film Festival.<br /><br />All I knew about it was that it was the story of an 8-year-old boy at the time of the Cuban Revolution in 1958 and how it affects his home and family.<br /><br />Its opening scene will bring to mind "Cinema Paradiso". In fact, the film is filled with references to classic films: The Roulette Wheel (Casablanca), "chicken clucking" (Rebel Without a Cause), references to Bunuel, "Touch of Evil"; you'll find more. The homeless man (Georg Stanford Brown)is a reference to Cuban folklore which often uses a black man as a type of Greek chorus.<br /><br />What this film really is is the culmination of a dream. Gerard's wish to honor his family and medium of film that he has loved all of his life.<br /><br />This is the true story of Juan Gerard and all the people in it are real,as are the events depicted. Gerard is actually an architect and engineer (and passionate film lover) but his dream was to make this movie. He and his wife decided to live that dream and Harvey Keitel became an "angel" who believed in Gerard and agreed to produce and star in it. Keitel holds the screen powerfully as the mysterious and secretive grandfather "Che". Brown and Keitel are the only Americans in the cast. Iben Hjejle (High Fidelity) and Gael Garcia Bernal (Y tu Mama Tambien) offer strong support in key roles.<br /><br />Truthfully, the first half of the film suffers from stiff delivery of lines, and some overracting, but stay with it. The last half is much better as the events of the revolution combine for the bittersweet, and honest climax. It is the first effort of Juan Gerard, but it is honest as he is and his passion and heart really come through,in this sincere first effort. I would definitely see it again, and hope that he continues his film career.<br /><br />
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Wanda Nevada is a pubescent fantasy movie using circa 1979 ideas of what constitutes illicit romance for 13 year old girls. Script, pacing, and direction are uniformly awful. Action sequences defy belief. Characters speak with the simplified diction one usually finds in films aimed at the under 10 set, but also includes multiple sexual references involving Shields' character as well as graphic deaths. <br /><br />The movie wants to be a comedy on some level but is never funny, an adventure picture but plot and action are insipid, and a children's movie but introduces pedophilia and child rape as real possibilities. It also wants to be a buddy picture, a coming of age picture, a ghost movie, an Indian spiritual movie, a travelogue, and a western. The overall affect is of massive stupidity with a nasty twist. Wanda Nevada is a complete waste of time unless you want to see a good many terrific shots of the Grand Canyon. That it manages to do just fine.
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This was what black society was like before the crack epidemics, gangsta rap, and AIDS that beset the ghettos in the eighties. Decent, hardworking families that struggled to get by and all the traumas and tribulations they faced. Black America was a different group of people in the seventies. Still full of hope and flying high on the civil rights movements of the sixties, times were hard but still worth fighting for. Keepin' your head above water, making a wave when you can, this show showed how black society struggled to work together as people and families, before they started to prey on each other and everyone else in order to survive the horrors of the ghettos. It is heart-breaking to see what the black ghettos were like then and what they have become now.
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since this is part 2, then compering it to part one...<br /><br />man that was on many places wierd... too many time jumps etc.<br /><br />I have to say that I was really disapointed...<br /><br />only someplaces little lame action... and thats it....<br /><br />they could have done that better....<br /><br />
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Just finished this movie... saw it on the video shelf and being a Nick Stahl fan I just had to rent it. In all honesty, it probably should have stayed on the shelf. The concept was an interesting one and there were several fairly smart twists and turns but somehow I guessed almost all of them before they came along. And the movie just went a little too far in the end in my opinion... if you have to suffer through a viewing of it you'll see what I mean!<br /><br />On a positive note, Nick Stahl's acting was great (especially considering what he had to work with). Eddie Kaye Thomas was also good but he always plays the same type of character... too much Paul Finch from "American Pie" coming through for my liking.<br /><br />And finally, the worst part of this movie has to be January Jones' emotionless performance... I guess a pretty face really is all that matters in Hollywood.
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This is the worst documentary to come out of Canada ever!!!! I'm glad to see the guys haven't made another movie. All they want to do is get a movie made and it doesn't have to be the one they wrote. They keep changing the script to suite the person they're pitching. I could not get out of the theatre fast enough when I saw it at that year's Toronto Film Festival. Please never see this film.
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I can say without a shadow of a doubt that Going Overboard is the single worst film i have ever seen, and yes, I have seen Cujo. Adam Sandler is an abomination as Schecky Moskowitz, a wannabe comedian working on a cruise liner. That's the plot.<br /><br /> That's it! Nothing else in the film makes sense, it's all over the place like a mad man's breakfast, and not in a wacky naked gun kind of way, but more of a frustrating, 'throw both shoes at the t.v' kind of way. even General Noriega makes an appearance, for no reason i can comprehend (it certainly wasn't for humour). Add to the mix Miss Australia, who has the worst Australian Accent i've ever heared, and you have something which i won't call the worst film ever made, because Going overboard doesn't even fit the basic definition of a film. I highly recomend seeing this film, as it will elevate the standing of every bad film you ever see. I guarantee the first thing you'll say after seeing a bad film will be "at least it wasn't as bad as Going Overboard".
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A reasonable effort is summary for this film. A good sixties film but lacking any sense of achievement. Maggie Smith gave a decent performance which was believable enough but not as good as she could have given, other actors were just dreadful! A terrible portrayal. It wasn't very funny and so it didn't really achieve its genres as it wasn't particularly funny and it wasn't dramatic. The only genre achieved to a satisfactory level was romance. Target Audiences were not hit and the movie sent out confusing messages. A very basic plot and a very basic storyline were not pulled off or performed at all well and people were left confused as to why the film wasn't as good and who the target audiences were etc. However Maggie was quite good and the storyline was alright with moments of capability.<br /><br />4.
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Bacall does well here - especially considering this is only her 2nd film. This one is often overshadowed because it falls between 2 great successes: "To Have and To Have Not" (1944) and "The Big Sleep" (1945), both of which paired her with Humphrey Bogart. Granted this one is not up to par to the other movies but I think through no fault of her own. I think there was some miscasting in having her portray a British upper-crust lady. No accent whatsoever. I think all the strange accents were distracting - Boyer was certainly no Spaniard. It was hard to keep straight which country people were from.<br /><br />I really liked the black and white cinematography. Mood is used to great affect - I especially liked the fog scene. The lighting also does a great job of adding to the intrigue and tension.<br /><br />Bacall is just gorgeous. Boyer just doesn't fit the romantic leading man role for me - so he and Bacall together was a little strange. Not great chemistry - and certainly no Bogie and Bacall magic. But I still really liked this picture. There is great tension and it moves along well enough. I must say I found the murder of the little girl quite bold for this period film.<br /><br />Katina Paxinou and Peter Lorre stand out as supporting cast. Paxinou as the hotel keeper is absolutely villainous and evil in her portrayal. Her one scene where she laughs maniacally as Mr. Muckerji is leaving after exposing her as the child's murderer is quite disturbing. Lorre also does quite well in his slimy, snake portrayal of Conteras - a sleazy coward to the end. Wanda Bendrix also does quite well in portraying the child Else - especially considering this was her first picture and she was only 16 at the time (though she appears much younger). Turns out she later married Auie Murphy which proved to be a short lived, tempestuous marriage.
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Somewhat too long and going over the top towards the end, this comedy is an utterly delightful, never condescending or ridiculing look into the problems of a "power man", who likes to wear women´s clothes at nite.<br /><br />Julie Walters is lovely as always, but Adrian Pasdar is utterly credible and steals the film. He (she)is absolutely gorgeous in high heels and silk stockings.
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I saw this movie at a drive-in in 1959. Until "Howard the Duck" I considered this the worst movie I had ever seen. This movie tried to combine all the genera in one; comedy, horror, teenage angst, and the hot rod that must have sired "My Mother, The Car." Maybe it deserves a second viewing to see if it is an accurate reflection of it's time.
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Having enjoyed Jean Arthur in "The Devil and Miss Jones", my interest was peaked, so I tried sitting through this second-string screwball outing about an investigation into the death of a jockey--but I didn't make it to the end. Arthur, photographed in a gauzy, movie-magazine fashion, either wants alimony from ex-husband William Powell or another shot at marriage, but I never felt for her because the character is just a string of wisecracks (she's the type of heroine prone to comical curiousness, but once inside a morgue--like all women in these '30's comedies--she faints). William Powell reportedly had a high time working with Miss Arthur, but you'd never know it from the end result; they look awkward standing next to each other, hesitant over their banter. The actor playing Powell's valet is excruciating, and the pauses for viewer laughs are pregnant with unease.
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Well let me say that I have always been a Steven seagal fan and his movies are usually great but this just don't measure up to the rest. This in my opinion is very stupid I did not like it all. The biggest reason I don't like it is because it is very flawed and to me does not make much sense. The acting is very bad even Steven seagal does not do good acting, The rest of the actors I can see because they just do direct to video movies. It does not follow a straight storyline everything happens at once so that why it doesn't make much sense. Ther is barely any action in it at all and in order to make an action movie good you usually need action in it. The special effects are very bad and you can tell are fake. So all in all this has to seagals worst movie of all so if you want to see a Steven seagal movie don't rent this one just pretend it does not exist. So just avoid this movie.<br /><br />Overall score: ** out of ********** <br /><br />* out of *****
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Bela Lugosi appeared in several of these low budget chillers for Monogram Studios in the 1940's and The Corpse Vanishes is one of the better ones.<br /><br />Bela plays a mad scientist who kidnaps young brides and kills them and then extracts fluid from their bodies so he can keep his ageing wife looking young. After a reporter and a doctor stay the night at his home and discover he is responsible for the brides' deaths, the following morning they report these murders to the police and the mad scientist is shot and drops dead shortly afterwards.<br /><br />You have got almost everything in this movie: the scientist's assistants consist of an old hag, a hunchback and dwarf (her sons), a thunderstorm and spooky passages in Bela's house. Bela and his wife find they sleep better in coffins rather than beds in the movie.<br /><br />The Corpse Vanishes is worth a look, especially for Bela Lugosi fans. Great fun.<br /><br />Rating: 3 stars out of 5.
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The movie is very lengthy and unfortunately pretty different from the Novel. If you want to see the movie then don't read the novel first as it will shock you. However, cinematography was OK and if you are a person who loves adventure genres which explores Africa then go for it. Acting performances are adequate, however, many important events that were present in the novel are omitted. In the novel, Sir Henry Curtis was in search of his missing brother rather than a lady in search of her father. Gagool was cunning and was killed in the cave whereas here she was shown to be a good person who preferred to stay with the new king.
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A must for any punk rocker, this is the movie that made The Ramones a household name back in the early 1980's (when it first appeared on premium cable stations). This was one of the first and best of the American Punk Rock movies, with a cult classic status up there with The Rocky Horror Picture Show. Originally the producers wanted Cheap Trick as the stars, but the release of the "Live At Budakon" album had just made them superstars and too hot an item to be in a low budget movie. Very good luck for the Ramones who were looking to break out of the underground punk rock world and into the mainstream market (which sadly never happened until after the bands demise). The band, Dee Dee especially, always disliked the movie through the 80's but the fans always loved and could recite most of the movie while waiting to get into Ramones shows. This movie, like most classics, is stupid fun with some classic Ramones footage in their heyday. Don't expect more, you won't find it. It's great fun, so enjoy it. Another Allan Arkush classic movie in a similar vein is Get Crazy, featuring Lee Ving from the legendary hardcore punk band Fear.
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I'm a big fan of Westerns but this one.... whew, what a stinker! I think what turned me off almost right off the bat was the inane dialog. I think I could have written better dialog than this when I was in eighth grade. And the poor actors! Given this terrible dialog, none of them came across looking anything but ridiculous. Really, I'm not kidding. Some of this is little better than what you'd get in an Ed Wood film. <br /><br />The biggest tragedy is Sterling Hayden. He was probably THE "big" star in this movie which if you called it a B-Western, you'd be lavishing praise upon it. This is what should be called a B-minus Western perhaps. Pity Sterling Hayden, who appeared at other times along with Joan Crawford, Bette Davis, Frank Sinatra, and other major talents. For him to appear in a vehicle this poor must have been something he tried to downplay for the rest of his life.<br /><br />One annoying thing about this movie is all the men look like they haven't shaved in a week and their faces are all greasy. I know in the old West guys weren't always well groomed but to a man this is a movie that makes you want to just go 'EWWWW!' Really, this is a crummy Western. Denver Pyle also had to live this one down, especially after appearances in so many great Westerns. Bad, bad movie.
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A good film, and one I'll watch a number of times. Rich (the previous commenter)is right: there is much more going on here than is clear from the title boards, and I have to wonder how much has suffered in translation. Were there more in the original? Or was a native-language audience expected to lip-read more? Or -- since the screenplay was written by the author of the novel on which this was based -- was this a currently popular story with which the audience was already very familiar? In short, very worth a look, but it probably requires more work from contemporary viewers than the original 1913 audience had to put into it.<br /><br />The Alpha Video release touts the new organ score, but the music is not matched to the story progression in any way. Sure, it starts promisingly, but degenerates into a repetitive, Phillip-Glass-like monotony that reflects nothing of the action on the screen. After listening for a while, I turned off the sound and simply watched: much better!
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This movie was like a bad train wreck, as horrible as it was, you still had to continue to watch. My boyfriend and I rented it and wasted two hours of our day. Now don't get me wrong, the acting is good. Just the movie as a whole just enraged both of us. There wasn't anything positive or good about this scenario. After this movie, I had to go rent something else that was a little lighter. Jennifer Tilly is as usual a very dramatic actress. Her character seems manic and not all there. Darryl Hannah, though over played, she does a wonderful job playing out the situation she is in. More than once I found myself yelling at the TV telling her to fight back or to get violent. All in all, very violent movie...not for the faint of heart.
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I had never heard of this film prior to seeing it, I wondered if it was an independent film, and I was correct, but with a good cast I decided to chance it. Basically drifter Michael Williams (Nicolas Cage) is in the town Red Rock, Wyoming, looking for a job, and meeting bar owner Wayne Brown (Pleasantville's J.T. Walsh) he is given a large sum of money, mistaken for a hit-man he has hired to kill his unfaithful wife Suzanne (Lara Flynn Boyle). He does not correct him, takes the money, and goes to warn Suzanne, and after she makes him a counteroffer, he decides he needs to leave. When Wayne knows his real identity, he chases Michael shooting a big gun, until he gets in a car with Lyle from Dallas (Dennis Hopper). But things get complicated when Michael realises Lyle is the hit-man he was mistaken for, and he makes a quick retreat. He goes back to Suzanne, and knowing they are both in danger, they plan to leave town together, and add another complication by falling for each other. Before they leave however, Suzanne insists they go and steal a big amount money in the safe. Of course things aren't going to go smoothly, and Wayne and Lyle catch up to them, and Lyle forces them and now tied-up Wayne to go and get the buried money. In the end, Lyle and Wayne both get what they deserve, Michael and Suzanne do get on a moving train together, but it is obvious she cares more about the money, and she gets what she deserves too. Also starring Craig Reay as Jim, Vance Johnson as Mr. Johnson, Timothy Carhart as Deputy Matt Greytack, Dwight Yoakam as Truck Driver and Robert Apel as Howard. The performances, apart from maybe a lame Boyle, are all fine and dandy, and it has got quite a good film noir feel for a black comedy thriller. Very good!
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It's interesting how the train of research can flow. I started out looking at an article about Cristo's "The Gates" in Central Park. The article stated that the Maysles had been Cristo's filmographers for years. Hmmm... Then I got to looking at their body of work. I believe one of them has passed on but the other is still filming Cristo and Jean Claude in their stages of creation. Grey Gardens sounded very interesting. Video Station, in Boulder CO, is the place to look for the obscure or offbeat and of course they had it in stock. DVD and VHS. Edith and Edie are women living in the past, and oh what a glorious past it was. Edith had been well off, born a Bouvier, married well, had several wonderful relationships and became a singer when she was in her forties. Her daughter Edie had been a débutante, a fashion model and had many beaus. She never married and at some point in her thirties had come home to recuperate. She seems to have a nervous disorder of some kind. Worrying too much about things. It is only a shadow of the world they live in though, because Jackie O. came and spruced up the place so her aunt and cousin would not be evicted. It is a 28 room mansion that is worn down and worn out. But, in the film you will notice fresh paint on the walls. If you look carefully at the newspaper clippings you see it was very much a dirty mess. The outfits Edie comes up with a very clever and creative. The viewer gets the impression that Edith likes to go nude, but she doesn't in the movie. Edith was really quite beautiful and you can see the shadow of her beauty still as she sings "Tea for Two". Edie too was a beauty in her day and quite attractive at 56. It was a good movie, though not for everyone. When the cat is urinating behind Edith's portait she states, " at least someone is doing what they want"!
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(There are Spoilers) Homicidal nymphomaniac hooker Miya, Kari Wuhrer,takes over the life and car of 18 virgin, even though he's too embarrassed to admit it, collage freshmen Trent Colbert, Kristoffer Ryan. By the end of the movie Myia not only deflowers but give poor innocent and naive Trent a lesson in how to spot a dangerous nut job and keep as far away for him, or her,in order to keep from ending up turning into one. <br /><br />Hanging around a trucker rest-stop Miya is picked up by Roy, Burt Young, for some hot and heavy action, in the back seat of his buggy. Roy is either too drunk or stupid to realize that Miya is non other then his estranged daughter! Outraged that Miya is reluctant to get it on with him Roy almost strangles her to death only to be interrupted by first year collage student Trent Colbert who plows into the rest-area side swiping one of the truckers. <br /><br />Seeing her chance Miya jumps into Trent's car and the two are off in what turns out to be the weirdest car chase ever put into a movie. Going all across the North Eastern USA the two end up involved in a truck car smash-up a murder and a shootout with the state troopers that then leads to Trent's parents home, with them being held hostage. It's there that there's another wild shootout between the crazed Miya with an entire SWAT team reinforced by the local police and state troopers. <br /><br />You would expect a movie like "Hit and Run" to be intentionally or unintentionally funny but it's not. In fact the film is very disturbing in how Miya treats everyone in the film that she comes in contact with even her perverted and child-molesting father Roy. Getting Trent to drive her all over the North-East Miya gets the poor slob drunk having it on with him in a motel room, together with whips handcuffs and a lighted candle. Miya also gets it on with the motel owner the horny Mr. Foster by tricking him into giving her his gun, as being part of some weird sex game. After holding Foster up she takes off with Trent's, who out cold in his motel room, wallet with some $400.00 in it yet doesn't bother to drive away with his car. <br /><br />Needing the money to pay for gas to get home to his parents for Thanksgiving Trent gets a call on his cellphone from Miya to pick her up at a local diner to get his money back. Like the jerk that he is Trent picks up Miya, who's now a fugitive from he law, and later gets involved with her father Roy on the open highway as he tries to run both Trent & Miya off the road. <br /><br />The chase ends up in this deserted wear-house that Roy chases Miya,out running him on a muddy road in high-heels, into with him getting it in the you know where with a blast from his own shotgun. Roy was so busy trying to take his pants off that he forgot he left the gun unattended. <br /><br />With both a holdup and murder, as well as a hit and run, charge against them the two desperadoes stop off at a S&M/Tattoo boutique where Trent gets his ear and nose pierced and is dressed up in leather and chains, by Myri, together with a matching his and hers dog collar. This in order to meet his straight-laced and conservative parents for Thanksgiving Dinner. <br /><br />Having a running shootout with the state troopers, with one of them ending up badly injured,the two fugitives from the law end up at Trent's parents Mr & Mrs Colbet, David Keith & Elaine Martyn home with the entire local police force, with a SWAT team, waiting for them there. <br /><br />Obnoxious movie with a truly disturbing final ending that made you wonder what exactly the movie was trying,if at all, to tell it's audience. You felt a lot of sympathy for Miya at first but as the movie rolled along to it's downbeat ending that evaporated as fast as a tray of ice cubs in Death Valley. Even though Roy was the most unlikable person in the movie at first by the time the film ended Miya totally eclipsed him.
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The minute you give an 'art film' 1/10, you have people baying for your ignorant, half-ass-ed, artistically retarded blood. I won't try and justify how I am not an aesthetically challenged retard by listing out all the 'art house cinema' I have liked or mentioning how I gave some unknown 'cult classic' a 10/10. All I ask is that someone explain to me the point, purpose and message of this film.<br /><br />Here is how I would summarize the film: Opening montage of three unrelated urban legends depicting almost absurd levels of co-incidence. This followed by (in a nutshell, to save you 3 hours of pain) the following - A children's game show host dying of lung cancer tries to patch things up with his coke-addicted daughter, who he may or may not have raped when she was a child, and who is being courted by a bumbling police officer with relationship issues, while the game-show's star contestant decides that he doesn't want to be a failed child prodigy, a fate which has befallen another one of the game show contestants from the 60s, who we see is now a jobless homosexual in love with a bartender with braces and in need of money for 'corrective oral surgery', while the game show's producer, himself dying of lung cancer, asks his male nurse to help him patch up with the son he abandoned years ago, and who has subsequently become a womanizing self help guru, even as Mr. Producer's second wife suffers from guilt pangs over having cheated a dying man; and oh, eventually, it rains frogs (You read correctly). And I am sparing you the unbelievably long and pointless, literally rambling monologues each character seems to come up with on the fly for no rhyme or reason other than, possibly, to make sure the film crosses 3 hours and becomes classified as a 'modern epic'. <br /><br />You are probably thinking that I could have done a better job of summarizing the movie (and in turn of not confusing you) if I had written the damn thing a little more coherently, maybe in a few sentences instead of just one... Well, now you know how I feel.
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I can agree with other comments that there wasn't an enormous amount of history discussed in the movie but it wasn't a documentary! It was meant to entertain and I think it did a very good job at it.<br /><br />I agree with the black family. The scenes with them seemed out of place. Like all of a sudden it would be thrown in but I did catch on to the story and the connection between the families later on and found it pretty good.<br /><br />Despite it wasn't a re-enactment of the 60s it did bring into the light very big and important landmark periods of the decade. I found it very entertaining and worth my while to watch.
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What is this?! Is it a comedy, a horror movie or just nothing?? This is by far the worst movie i have ever seen. Especially the scene in romania when he becomes the werewolf, that must be the worst scene that has ever been made. This movie isn't funny, it isn't scary and not entertaining at all. Please do yourself (and me, i don't think anyone should suffer through this movie) a favour and DON'T WATCH THIS MOVIE!! If you get is a present, just throw it away and chop it in to pieces.
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This movie was two and a quarter excruciating hours. Someone please tell me what the point was?<br /><br />I mean, I understand the historical setting. It's supposed to be about a ragtag group of Confederate bushwhackers (terrorists?) on the Missouri-Kansas frontier, taking revenge against all northern sympathizers and abolitionists during the U.S. Civil War. But aside from gratuitous violence there wasn't really much of a point to this movie. Perhaps it was a political statement? That war is really nothing much more than gratuitous violence? If that was the point it was done quite well, but I don't think that was the point. I think the producers really thought they were making a worthwhile movie here, but as far as I was concerned there was a complete lack of any plot. It seemed like I was watching a paperback novel come to life, with the characters looking like what you would see on the covers of such novels.<br /><br />This movie should be burned along with some of the towns this gang torched!
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Thank you Hollywood. Yet another movie classic utterly ruined by a cheap, shallow, effect-heavy and redundant remake. The original "Planet of the Apes" was an intelligent and thought-provoking movie with a very clear message. It was a movie that focused almost entirely on dialogue, which sounds very dull but was in fact very interesting. <br /><br />This movie, on the other hand, seems to have done away with pretty much ALL the dialogues. Instead of a great movie we get an incredibly stupid two hour chase movie. Dialogue has been reduced to a mere minimum, character interaction and development are non-existent and most of the time it's extremely hard to figure out what's going on. Instead, we get a bunch of pointless action scenes, some marginally funny one-liners and some very hollow quasi-intelligent conversations. <br /><br />The only thing worth mentioning about this movie is that it looks absolutely fantastic. The make-up of the apes is magnificent, and the sets and backgrounds are beautiful too. However, this does not distract from the fact that "Planet of the Apes (2001)" is a very shallow and simplistic movie, filled with paper-thin characters, stupid dialogue and a nearly non-existent plot. Please Hollywood, stop ruining great movies by turning them into senseless blockbusters.<br /><br />Oh yeah, the ending did not make ANY SENSE WHATSOEVER.<br /><br />* out of **** stars, mainly for the visuals<br /><br />
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Joyce Reynolds seems a might grown-up for the role of Janie, a boy-crazy sixteen-year old in small town America who ditches her steady guy for a visiting soldier AND winds up on the cover of Life magazine (smooching at a blanket party) all in the same week! Non-stop barrage of wisecracks, put-downs, bull talk, and unfunny bits of business such as Janie's little sister bribing family members, Hattie McDaniel (as the maid) constantly scuttling after sassy kid sis, Janie's mother involved with the Red Cross, and Janie's father trying to write an editorial on the problems with today's teenagers (as the parents, stuffy, sexless Edward Arnold and pert, chatty Ann Harding make an unlikely couple, even for 1944; he looks incapable of helping to conceive a child much less raising two of them). Nominated for an Academy Award (!) for Owen Marks' editing, Warner Bros. followed this in 1946 with "Janie Gets Married". Reynolds must have outgrown her co-horts by then--she was replaced by Joan Leslie. *1/2 from ****
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Let me put it another way: balls. Or, how about bollo*ks. This is truly awful, more embarrassing than those it attempts to satirise. Julia Roberts is a skilled actress, and usually her work is of the highest standard. This movie is so lacking in direction even she struggles to look proficient. Normally she is the consummate professional, yet I swear that in her eyes, there were signs of bewilderment and despair.<br /><br />The one thing that might have rescued this move was the idea about the director (Chris Walken) turning the movie into a secret documentary about the actors. Unfortunately, that theme wasn't explored to it's full potential. Too little, too late.<br /><br />Zeta Jones was wooden, Cusack was Cusack, and Crystal should stick to acting. The two talented ex-Buffy stars had different experiences - Green hopelessly mis-cast, and Balfour under-used. Well done to Julia for just about preventing this from being the worst movie ever made.
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Well, what's to say. THE GOLDEN CHILD falls in the category "so bad, it's good". Eddie Murphy is having some funny (and sometimes quite annoying lines), but you are still entertained. Chales Dance has never been worse than his role as the villain Sardo Numspa (what a f***ed up name is this??).<br /><br />Who should watch THE GOLDEN CHILD... hm... difficult to say, but my best guess would be people who likes embarrassing movies and can be entertained by bad acting, bad plot and an even more embarrassing dialog.<br /><br />4 out of 10
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Fairly funny Jim Carrey vehicle that has him as a News reporter who temporarily gets the power of God and wrecks havoc. Carrey is back in familiar ground here and looks to be having a good time, and Jennifer Aniston as his put upon girlfriend is also charming and affecting. The story is predictible to the extreme but the cast (including Morgan Freeman as "God") is great and makes the film worth catching. GRADE: B
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When my own child is begging me to leave the opening show of this film, I know it is bad. I wanted to claw my eyes out. I wanted to reach through the screen and slap Mike Myers for sacrificing the last shred of dignity he had. This is one of the few films in my life I have watched and immediately wished to "unwatch", if only it were possible. The other films being 'Troll 2' and 'Fast and Furious', both which are better than this crap in the hat.<br /><br />I may drink myself to sleep tonight in a vain attempt to forget I ever witnessed this blasphemy on the good Seuss name.<br /><br />To Mike Myers, I say stick with Austin or even resurrect Waynes World. Just because it worked for Jim Carrey, doesn't mean Seuss is a success for all Canadians.<br /><br />
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As I work at a video store, I found it to be my solemn duty to talk about the worst movies I've ever seen, and warn my friends and co-workers of it. Amidst one day of particularly heated debate of what is the worst movie, my friend dared me to watch B.T.K. Killer, even stating that if I could watch the whole movie and still claim my previous choice was the worst movie ever, then he'd watch it. I lost. I believe that even I made better videos than this in high school, and those were hardly great feats of a young genius. This film not only lacked in what seemed to be production value (it looks like it was shot on a bad camcorder, although it is surprisingly clear), but also in acting (wooden, hollow, and pathetic don't scratch the surface), as well as just generally bad movie feeling. I can remember a scene where I heard glass smash, suddenly, I was reminded of some bad high school plays (I know that I reference high school too often here, but this film did seem very juvenile) both in terms of the set, which seemed far too fake, but also as if the people were reading their lines from the script, not entirely sure what was actually going on. My review doesn't do this film justice, because I can't describe how utterly horrid the time I spent watching this was. It's almost ironic that I do a pathetic job describing a pathetic excuse for a movie.
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This 1953 Sam Fuller movie contains some of his best work, and its sad that he couldn't continue to get the backing of major Hollywood studios to do his stuff. The story line goes something like this. A tough hard broad (read prostitute) is riding the subway one hot summer day, and gets her pocketbook picked by Skip McCoy. What Skip (and the dame) don't realize is that she is also carrying some microfilm to be passed to commie spies. This opening shot without dialogue, and mostly in tight close-ups is a beaut,one of the many that Fuller uses throughout the movie. Playing the babe known as Candy is Jean Peters, who was never better nor better looking. One forgets how beautiful she was, and she handles this role very well. The Pickpocket is played by Richard Widmark, who had already made his mark, and set his style with 1947's Kiss Of Death as the crazy creep with the creepy laugh, and although he's a little "softer" here, he's still scary. These hard edged characters do have soft spots here and there, but its noir and nasty all the way. The standout performance belongs to the wonderful Thelma Ritter,who plays Moe the stoolie saving up her dough to pay for her own funeral. Ritter received a well deserved Oscar nomination for her performance, but lost out to the boring but popular performance of Donna Reed as the B girl (read prostitute) in "From Here To Eternity." Hollywood loves it when a good girl goes bad, and loves to Oscar them even though their performance is usually awful. See for instance Shirley Jones in "Elmer Gantry. Set among the docks and dives of New York City, with crisp black and white photography by the great Joe MacDonald,and some very good art direction. Especially good is the set representing the New York City subways and Widmark's shack near the river. Made at the height of the cold war and red scare, the villian of the piece is the ordinary looking commie, played by Richard Kiley who is much more dangerous than the pickpocket who is a criminal but is just trying to make a living and above all is a loyal American.
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Dana Andrews is one of those actors that I've probably seen in a dozen films, but who has never really registered for me. Often stolid, taciturn, playing the same kinds of roles and looking somewhat like the similarly underrated Glenn Ford, he's an actor that takes some effort to really appreciate; but once you hit the right film....<br /><br />And this is it. Preminger's moody look at New York's underbelly is as dirty and seedy as just about any 50s noir, and Andrews is in his element as too-tough cop Mark Dixon who just doesn't know how to play the game to get ahead: he hates criminals too much to always play by the rules. Early on in the film, he accidentally kills the witness to a murder involving an illegal crap game set up by a mobster who Dixon hates for personal reasons, and he spends the rest of the film trying to cover up his involvement and bring the mobster to his kind of "justice". Along the way he gets involved with the estranged wife of the man he killed (Gene Tierney) and also has to try to get her father off the hook for the murder.<br /><br />Stunningly photographed by Joseph LaShelle, with hard and sparkling dialogue by Ben Hecht and a truly powerful ending with elements of tragedy and found grace in just a minute or two of time, this is another noir for the ages and might be my favorite Preminger film thus far -- it's every bit as good as the more-heralded Laura.
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I haven't seen it in over twenty years. OJ was the bus driver, Arte Johnson was the tour guide, Lorenzo was the kidnapper.<br /><br />Yea, Lorenzo looked very much at home as the villain, a natural. I think I watched it back then most for OJ, who I had seen Towering Inferno and Cassandra Crossing, but also to see Arte Johnson.<br /><br />I was a little bored that Johnson was so serious.<br /><br />And yes, it shifted plots. In reading other posts, I remember that was some plot that they were going to kidnap some rich girl, but then that priceless stamp business turned up out of the blue.<br /><br />I was going, a stamp? If it came on as a late movie, I would probably record it to check it out again, but I wouldn't be nostalgic over it. Not yet anyway.<br /><br />There are better movies from the seventies like this to check out.
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Ok, where do we start with this little gem? Mutant slugs begin to take over a small New England (?) town. Only one man can stop them... and that man... is Mike Brady! Now, if that wasn't laughable enough, stay tuned.<br /><br />The footage of the slugs is what's known as stock footage. No matter who the slugs attack or where they are, the same shot of piles of slugs oozing everywhere is shown. Keep in mind, this singular shot occupies at least half the movie.<br /><br />The acting in the movie was knock down, drag out, steal your wallet, punch your girlfriend, kill your dog, BAD. I'm sure there's worse, but you're going to be hard pressed to find it. The only gem was... you guessed it.... MIKE BRADY! He must have taken a few night classes at the YMCA, because he was the best in the bunch.<br /><br />As for horror? This film is not to be taken seriously. There isn't horror! They're slugs for crying out loud. The entire rising action could have been avoided with a salt shaker or two. Only watch this film in a MST3K type environment, otherwise I can see some major damage to the brain.
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This movie is easily the worst of the series. Though New Line might just be looking at sales, they all know the only reason this one made more money than the one prior was due to its 3D ending. It wasn't that the 3-D was good either, because it was 50's 3D with the red and blue lenses(anaglyph.) It was just the fact that people wanted to see what it would look like. Beyond that this movie was so poorly done! Bad script, bad characters, bad acting, worse directing. This movie is trying to push the camp factor almost to the point of being like a "Looney Tunes" episode.<br /><br />Seriously, not for horror audience, because it is corny and not scary, and not funny or amusing for comedy crowds. Just a total mess with some really bad cameos that are still trying to play this whole thing as camp and having it fall way short of what they probably wanted.<br /><br />I remember most of us who had been fans of this series were just praying that it would end at this point because of how bad it had gotten. This is one of the movies that helped take horror out of popularity and ride a fad of belief that audiences really wanted to laugh with some stupid comedy than see a good and scary horror film.
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Ella was excellent, Franchot was unavoidably over-the-top (But he played similar parts in other films such as "The Man on the Eiffel Tower") and Alan was nearly non-existent but the film certainly "thrilled".<br /><br />*mild spoiler ahead*: I wonder how many times Elisha Cook got strangled in his films but I seem to recall various other examples. I will avoid naming the murderer but I think it's necessarily obvious because of the plot "thriller" demands.<br /><br />A very well-done but dated film noire (for example: everyone smoked like crazy and the police were really stock characters. And no dead bodies were ever shown, unlike today's gore fests.) done in the familiar short-scene tableaux format of the period.<br /><br />8 out of 10.
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This film to me is a very good film!!<br /><br />I have a German Shepherd myself and I wish to god he was like Jerry Lee!! I hope too that there is another K-9 in the running!! With Jerry Lee and Dooley in them!! I don't care what any one say these two films were excellent!!
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If there is a movie to be called perfect then this is it. So bad it wasn't intended to be that way. But superb anyway... Go find it somewhere. Whatever you do... Do not miss it!!!
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Like one of the previous commenters said, this had the foundations of a great movie but something happened on the way to delivery. Such a waste because Collette's performance was eerie and Williams was believable. I just kept waiting for it to get better. I don't think it was bad editing or needed another director, it could have just been the film. It came across as a Canadian movie, something like the first few seasons of X-Files. Not cheap, just hokey. Also, it needed a little more suspense. Something that makes you jump off your seat. The movie reached that moment then faded away; kind of like a false climax. I can see how being too suspenseful would have taken away from the "reality" of the story but I thought that part was reached when Gabriel was in the hospital looking for the boy. This movie needs to have a Director's cut that tries to fix these problems.
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Purple Rain... what else can i say, the title speaks for itself. But i think all the actors were well picked. The movie had a great story. I loved it! Ever since i watched that movie, i've been stuck in the eighties, and I'm only 13! My favorite part of the movie was when his father died and he was picking up all of his music compositions, and the Apollonia was sitting on the stairwell with his earing in her hand. Critics say that its a drama but i think its more of a romance. Murphy Brown also did a great job in the movie, he actually acted like himself. I'm so glad I've seen this movie. The song Purple Rain, beautifully sung, was so heartfelt. I cried more than once.
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I have walked out of about 6 movies my entire life. This was one of the worst movies I have ever seen. I don't know how I sat through an hour of it. I must have been in a coma that night. I saw it in the theatre when it came out 8 years ago. I couldn't even remember the name, but I knew that Penelope Ann Miller starred in it. It must have really affected me to be wasting my time commenting on it today. Yech! Vomit! Barf!
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I had never seen Richard Thomas play a bad guy. I wasn't sure I would like him this way. And I wasn't sure he could pull it off. But this astounded me. He sent shivers up my spine and caused me to take a closer look at street people. The movie is engrossing and fast paced. Bruce Davison is convincing but all he can really play is a nice guy. The real talent here is Thomas. The ending was a little clumsy but perhaps that's the way real people would fight... If you are a Thomas fan you MUST see him here at his best being bad!
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Dick Tracy wasn't the best for many comic book fans, because they wanted something with blood like Batman. Dick Tracy plays the innocence of just being a comic book with villains that have severe appearance disorder and being fun. Warren Beatty directs and stars as the main character that fights crime without even using super powers. I have liked Dick Tracy since I was a child because of the comic atmosphere of the main colors: red, blue, orange, yellow, green and black. This is the perfect film for anybody to watch with their children. Al Pacino is like the Jack Nicholson in Batman and plays Big Boy Caprice with zest. Madonna as the babe who is the second villain in this film doesn't play the same boy toy she represents. Like I said, no blood, obscenities, sexually innuendo or anything to offend anybody.
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The movie is boring, the characters and scenarios are unrealistic, unbelievable, the action is hilarious. This movie is a big mess. It almost seems like when the action music kicks in, the most impressive stunt is running. Either voice is dubbed over with Mr. McGregor or steven sang too much and it changed his voice. There is way too much dialog in this movie, and extremely bad acting on everyones behalf. The movie is great sleep therapy. The fighting is laughable. The eye shape shift effect on the evil designer drug addict females was decent. The main villain was a joke and his character was poorly developed. The main villain was used to explain the story through interrogation, he would just throw random plots in such as (spoiler) "CTX (his designer drug)is going to be in the water supply" which is never addressed in the conclusion or even mentioned again in the movie. This movie is highly recommended to pass.
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From the very beginning, the political theme of this film is so obvious and heavy handed, that the outcome is entirely predictable. Any good textbook on writing screenplays will advise layering of characters, incorporating character arcs, and three act structure. In this film you will find none of that. The police are the baddies, and consequently are shown as shallow, incompetent and cowards. It never seems to occur to the makers of this film that police might be honourable citizens who see joining the police as a good way to contribute to the wellbeing of society.<br /><br />The viewer gets no opportunity to make up his or her mind on whether Ned Kelly is a good guy or a ruthless villain. The film opens with him being arrested for stealing a horse, but we get no clue as to his guilt or innocence. We see him walk through the door of a gaol, but only know that he has been inside for three years when we hear this much later in some dialogue.<br /><br />This film contains many shots of Ned looking at the camera with a serious expression. I found the film a real chore to watch. It is the direction for modern films, and this one put me off watching any more.
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This, like Murder She Wrote, is one of those shows, that after a stressful day at school, I sit down in front of the TV, and watch. Why? Because I genuinely enjoy it, and it's a shame it's not on the air anymore. Dick Van Dyke is amazing as Dr Mark Sloan, a doctor-turned-detective, who with his son, solves murders. He is joined by a largely unknown but very competent supporting cast, namely his real-life son, Barry Van Dyke. Victoria Rowell is also good, but I noticed that every series her hairstyle changes. i also liked Scott Baio and Charlie Schlatter, but I particularly loved Michael Tucci as Norman, and was puzzled how he suddenly disappeared. This show is so entertaining,with great guest stars, it's a bit obvious at times, like Colombo, but in every episode, there is always something to chuckle about. In conclusion, a great series, with two thumbs up and a 10/10. Bethany Cox
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I sat through almost one episode of this series and just couldn't take anymore. It felt as though I'd watched dozens of episodes already, and then it hit me.....There's nothing new here! I've heard that joke on Seinfeld, I saw someone fall like that on friends, an episode of Happy Days had almost the same storyline, ect. None of the actors are interesting here either! Some were good on other shows (not here), and others are new to a profession they should have never entered. Avoid this stinker!
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Valliant effort to use a mining catastrophe as a vehicle to pronounce this director's distaste for war. The audience not only learns a great deal about early mining rescue procedures but, we learn that Europeans at the interval between WWI and WWII, had concerning pacifists(for lack of a better term). The speeches given by both representatives of each country at the end of the film, are inspiring given the time. Although the revised edition, through the transfer technology of early foreign films, "cuts-off characters heads" at times, this film holds it's own in many different aspects. Character analysis, lighting techniques, historical content and a scenario that has tested and inspired many a writer and filmmaker.<br /><br />Pabst went on to Direct and put to screen Weil & Brecht's "Three Penny Opera", starring the original star, Lotte Lenya.
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This is the best film version of Dicken's classic tale. I've seen it over and over on VHS, and recently acquired the DVD version, which is formatted for TV (not wide-screen). What I find interesting about this teleplay is the cast of English actors who are now recognizable since many have appeared in other films/shows in North America since 1984. My biggest surprise is Edward Woodward, "the Equalizer", as the Ghost of Christmas Present.
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I would like to say that curiosity got the best of me. If only I saw a trailer, I'd be able to tell you the whole plot of the movie; I could have saved myself the most pointless one hour and forty minutes in my entire life, and about twenty dollars. This movie was a disaster waiting to happen, and it is an embarrassment to Hollywood.<br /><br />The movie displays a vivid ignorance of reality. For example, this kid's remote control race car goes all over the neighborhood, and even enters this house. It's even covered with clothes. Is it not rational to believe that a remote can no longer transmit a signal under those circumstances? Hollywood obviously did not believe so. Common logic and any concept of electronics dictates the opposite; I doubt the race car could even have reached the street, let alone a house across the street. Another unrealistic trait is the lack of intelligence the criminals possess. Why is it in all these movies, these criminals are rocket scientists until they encounter an eight-year old? The kid is meant to be the most intelligent person in the movie instead of professional terrorists? Please, there's more reality in The Matrix. Also, the leader puts down his real pistol and "accidentally" picks up a plastic pistol; apparently, he could not tell the difference. Even with a glove on, one should be able to do that. Just because they look the same does not mean anything; there is other senses then sight. The traps are unrealistic as well; if any one of them actually worked, the criminals would be dead. But, Hollywood intends for us to "laugh" at the "funny" results of the traps. I did not laugh; I sighed and rolled my eyes.<br /><br />But, I recommend this movie to anyone who thinks they have seen a really bad movie; the movie they saw will seem like Citizen Kane compared to this one. Otherwise, skip this one for the sake of your pride. Home Alone 3 also raises a question. We all know Alex D. Linz stars in the movie, but did he write it as well?
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This movie is a farce! Names are grossly mispronounced and the plot is twisted and gnarled into something unrecognizable by any literature enthusiast. And they have the gall to give Beowulf a ridiculous cannon/crossbow weapon. Beowulf doesn't need a weapon like that! In the poem, he rips off Grendel's arm with his bare hands! And I can't believe that the scriptwriters did such a thing. The way Grendel is portrayed is impressive however. That and the cast are the only positive points of the feature. My English teacher would go insane if she saw this abomination. Unless you are a die-hard fan of the epic poem "Beowulf," avoid this film at all costs. And even then, I wouldn't recommend it.
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Snow White is in my opinion a bad movie on an artistic point of view. The plot is pretty much foreseeable, the characters are stereotypes, the editing too exaggerated. Anyway, the movie seems not to have a lot of artistic ambitions. <br /><br />Instead, I think this is a straight commercial thing. Including a character from the french part of Switzerland (the actor IS the leader of the band he is touring with in the movie - the band's called SENS UNIK) seems to aim to a larger audience. A straight German-swiss movie would not have sold in the french part - and vice versa. What really got on my nerves were the product placements all over the movie. Sometines scenes remembered of advertisement clips! <br /><br />I also think the topic of "young people taking drugs without any other targets in their lives" is a wide spread reality in Zurich. Therefore, it should be elaborated with more care. I hope Samir got enough money with Snow White, in order that his next movie is gonna show his true artistic skills.
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The appeal of ancient films like this one is that you get to see an actual moving image of life over 100 years ago. Here are a lot of people leaving a factory, all of them dead by now and none of them even remotely aware of the magnitude of the invention that they are walking before. I was shocked to read one reviewer call this film as boring as home videos today, and at least one other mistakenly identified it as the first film ever made (it was the first film made at the rate of 16 frames per second, rather than the then-normal 46 frames per second). <br /><br />Sure, all you see is a lot of people filing out of a building and passing before the cinematograph on their way home from work, but this is a curiosity piece for dozens of reasons, not the least of which is that it was the first film made by the Lumiére brothers, who probably had a stronger impact on the development of the cinema than any other individual or group of individuals in history.
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I've just purchased the restored version of a film that I remember with much affection from childhood and it's certainly made for a curious afternoon's entertainment. Bedknobs definitely makes more sense in its complete form, the deleted scenes (especially those with McDowall) link events together quite neatly. What is a little disconcerting is the way the scenes have been remastered. Clearly, the soundtrack to this footage had been lost or damaged, so some bright spark at Disney decided to dub the scenes with new dialogue. Which would have been great except that half the cast weren't around to do it (some for better reasons than others) and the whole thing has a rather shoddy quality to it. Some of the lip-synching is pretty poor, and David Tomlinson's voice has been dubbed by a bloke who sounds absolutely nothing like David Tomlinson (there's actually a hint of German in it, I think). However, good to hear the full versions of all the songs (although 'Step in the right Direction' is still absent) and the moments of magic in this film still shine through. And I challenge you not to giggle when young Paul gazes so innocently at Angela Lansbury and coos "but what's that got to do with my knob??"
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This film turned up on local TV here in South Africa recently and I thought that I'd warn even those who enjoy watching B grade bad movies (which I do)that this is not even amusing. The plot concerns a couple visiting a house in the country. Some strangers appear and .... The problem is that most of the film, obviously shot in the early seventies, consists of extreme wide shots of people walking, in real time and awfully slowly, from A to B. This makes the film tedious in the extreme and the expected blood and gore payoff just never happens. I am really curious - how many people have actually watched this from beginning to end?
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A delightfully unpretentious send up of Romeo and Juliet. Approach with no expectations other than having a good time and you will enjoy this one. A talented group of comic actors let go and have a riot in this light-hearted performers' vehicle. Bad reviews were due to a snobbishness about treatments of Shakespeare. Some people feel that all film must be "important" ---If you share those views, don't bother. The credits read "introducing" Angelina Jolie, which is not even close to being true, but she is astoundingly beautiful as the Juliet character, and, as always, her acting is wonderful--- and, considering her age at the time, even her dialect is pretty good. Recreating this classic tale with feuding Italian families in the catering business in New York results in great fun. See it in the right frame of mind and you will laugh out loud.
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Set in the Cameroons in West Africa in the 1950s, Claire Denis' Chocolat is a beautifully photographed and emotionally resonant tone poem that depicts the effects of a dying colonialism on a young family during the last years of French rule. The theme is similar to the recent Nowhere in Africa, though the films are vastly different in scope and emphasis. The film is told from the perspective of an adult returning to her childhood home in a foreign country. France Dalens (Mireille Perrier), a young woman traveling through Cameroon, recalls her childhood when her father (Francois Cluzet) was a government official in the French Cameroons and she had a loving friendship with the brooding manservant, Protée (Isaach de Bankolé). The heart of the film, however, revolves around France's mother Aimée (Giulia Boschi) and her love/hate relationship with Protée that is seething with unspoken sexual tension. <br /><br />The household is divided into public and private spaces. The white families rooms are private and off limits to all except Protée who works in the house while the servants are forced to eat and shower outdoors, exposing their naked bronze bodies to the white family's gazes. It becomes clear when her husband Marc (François Cluzet) goes away on business that Aimée and Protée are sexually attracted to each other but the rules of society prevent it from being openly acknowledged. In one telling sequence, she invites him into her bedroom to help her put on her dress and the two stare at each other's image in the mirror with a defiant longing in their eyes, knowing that any interaction is taboo. <br /><br />The young France (Cecile Ducasse) also forms a bond with the manservant, feeding him from her plate while he shows her how to eat crushed ants and carries her on his shoulders in walks beneath the nocturnal sky. In spite of their bond, the true nature of their master-servant relationship is apparent when France commands Protée to interrupt his conversation with a teacher and immediately take her home, and when Protée stands beside her at the dinner table, waiting for her next command. When a plane loses its propeller and is forced to land in the nearby mountains, the crew and passengers must move into the compound until a replacement part can be located. Each visitor shows their disdain for the Africans, one, a wealthy owner of a coffee plantation brings leftover food from the kitchen to his black mistress hiding in his room. Another, Luc (Jean-Claude Adelin), an arrogant white Frenchman, upsets the racial balance when he uses the outside shower, eats with the servants, and taunts Aimée about her attraction to Protée leading her to a final emotional confrontation with the manservant.<br /><br />Chocolat is loosely autobiographical, adapted from the childhood memories of the director, and is slowly paced and as mysterious as the brooding isolation of the land on which it is filmed. Denis makes her point about the effects of colonialism without preaching or romanticizing the characters. There are no victims or oppressors, no simplistic good guys. Protée is a servant but he is also a protector as when he stands guard over the bed where Aimée and her daughter sleep to protect them from a rampaging hyena. It is a sad fact that Protée is treated as a boy and not as a man, but Bankolé imbues his character with such dignity and stature that it lessens the pain. Because of its pace, Western audiences may have to work hard to fully appreciate the film and Denis does not, in Roger Ebert's phrase, "coach our emotions". The truth of Chocolat lies in the gestures and glances that touch the silent longing of our heart.
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The Wayward Cloud is a frustrating film to watch. Infuriatingly enigmatic, it treats each shot like a work of art. You get the impression that the composition of each shot has been designed and prepared with a degree of exquisite care that borders on obsession; Expressing how far cinema has progressed since the very first films were cranked out in the nineteenth century and mimicking their construction, the camera here hardly ever moves apart from during the camp and colourful musical numbers. Ambient noise is kept to a minimum and barely a word is spoken. This curious but effective device forces the audience to focus their attention on visual stimuli alone so that, even as the story progresses at a snail-like pace we feel ourselves becoming immersed. Unfortunately, for me at least, this immersion begins to unravel somewhere around the hour mark. I began to feel as if the film was challenging me to keep watching while becoming more difficult as the minutes dragged so that the mere act of watching became a battle of wills.<br /><br />Had the content of this film not been as sexual as it is it would no doubt been even more obscure to Western audiences. As it is, there's an abundance of female nudity and an act of sexual abuse on an unconscious (or possibly dead) woman that is so repugnant that, while it may speak volumes about the degradation to which pornography subjects both men and women (the users and the used) it is so over-zealous in the manner in which it chooses to make its point as to effectively render it ineffective. Of course the worst and most enthusiastic participants of the explosion in available pornographic content will seek this film out for all the wrong reasons and watch it with their sticky finger on the fast-forward button of the remote.<br /><br />For all its problems, the film is definitely a stayer, and the more you think about it the more sense certain aspects of it seem to make. Ironically, for a film in which so little happens, the viewer would probably be proportionately rewarded by watching a second or even third time. For me, however, once was enough
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A prison cell.Four prisoners-Carrere,a young company director accused of fraud,35 year old transsexual in the process of his transformation, Daisy,a 20 year-old mentally challenged idiot savant and Lassalle,a 60 year-old intellectual who murdered his wife.Behind a stone slab in the cell,mysteriously pulled loose,they discovered a book:the diary of a former prisoner,Danvers,who occupied the cell at the beginning of the century.The diary contains magic formulas that supposedly enable prisoners to escape."Malefique" is one of the creepiest and most intelligent horror films I have seen this year.The film has a grimy,shadowy feel influenced by the works of H.P. Lovecraft,which makes for a very creepy and unsettling atmosphere.There is a fair amount of gore involved with some imaginative and brutal death scenes and the characters of four prisoners are surprisingly well-developed.It's a shame that Eric Valette made truly horrible remake of "One Missed Call" after his stunning debut.9 out of 10.
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Midnight Cowboy made a big fuss when it was released in 1969, drawing an X rating. By today's standards, it would be hard pressed to pull an R rating. Jon Voight, who has been better, is competent in his role as Joe Buck, an out of town hick wanting to make it big with the ladies in New York City. He meets a seedy street hustler named Ratso Rizzo, who tries to befriend Buck for his own purposes. The two eventually forge a bond that is both touching and pathetic. As Ratso, Dustin Hoffman simply shines. Hoffman has often been brilliant, but never more so than in this portrayal. He is so into character that all else around him pales in comparison. Losing the Academy Award to John Wayne is one of the most ridiculous decisions ever made by the Academy of Motion Picture Arts and Sciences. Director Schlessinger has a deft hand with his production, but this film has a grungy underbelly that leaves a bad taste in the mouth of the viewer. Worth seeing for Hoffman's performance alone.
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I don't know much about Tobe Hooper, or why he gets his name in the title, but maybe he shouldn't have bothered. As another commenter mentioned, there isn't really enough horror or erotica to bring in fans of either genre. The plot is incoherent, the Sade sequences are gratuitous, and most of the acting is so-so. Englund was doing his best with weak material, and Zoe Trilling has a really great bottom, but neither is enough to carry this film. This one's a tape-over. Grade: F
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I absolutely hate it when a film completely falls apart near the end, after you've already invested an hour into it. and that's what happened with this film. i was intrigued by its actors and the fact that malamud wrote its source story. I haven't gone to read that story but I cannot imagine that it ends like this film ends.Fortunately i didn't pay good money to see or rent it because my library had it. ohhhh such a waste of excellent acting (the wife in particular was so perfect).but milo o'shea as a Jew?!!!! now THAT was funny. I haven't researched into its making but it played like the director lost his marbles or died 3/4 of the way through the film. Before that point, a story and characters were developing,there were a number of neat plot points and there wasn't too much time wasted. but ooh that last 1/2 hour- if that wasn't the screwiest, most worthless denouement I've ever witnessed, I don't know what is. I just hate it when one's faith is so destroyed like that; it feels like an act of violence.
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I thought this movie seemed like a case study in how not to make a movie for the most part. Since I am a filmmaker, I give it a 2 for consistency.<br /><br />The problems remain from beginning to end with the plot being extremely predictable using bits and pieces of most, if not all, previous successful war stories. The computer generated graphics were too much like viewing a video game at points and there seemed to be no attempt by the director to add some realistic quality to the story. I was interested in the budget to get an idea of what he had to work with, but did not find that information.<br /><br />It seemed like this project pushed the limits of a low budget movie too far resulting in a production that drags the viewer along with the story without their imagination being engaged. The actors weren't bad, but the plot needs more innovation.
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There aren't many good things to say at all about Underneath, Soderbergh's untrue endeavor into neo-noir. Soderbergh remakes Robert Siodmak's decent noir Criss-Cross faithfully, not altering the plot very much at all, however the adaptation drains it of every ounce of its state-of-the-art film noir atmosphere, giving it the same story set in the very least appealing places, lifestyles and anachronisms. Soderbergh, who would later make wonderful crime films like Out of Sight and the Ocean's series with great style and atmosphere, takes the dangerously obvious route to modernization by renovating the story with the ugliest, dullest and flattest fashions of the early 1990s. Nightclubs have terrible, revoltingly dressed garage bands, Peter Gallagher's uninteresting version of Burt Lancaster's anti-hero is left by his femme fatale girlfriend for compulsively buying cinematically lifeless modern appliances like stereos, TVs, and other up to date pieces of equipment that suck the reaction out of the film.<br /><br />It could've been more entertaining and less boring had it a few saving graces like a good score, more flesh to its characters, more than just William Fichtner giving performances that aren't wooden, a crisper pace. Unfortunately, Underneath has none of these things. Soderbergh, a fine director, does not utilize his dry detachment to the benefit of his film this time. That disposition works wonderfully when he's helming a crime movie with more tongue in its cheek like the George Clooney pictures previously mentioned, or a social or character drama like Traffic or sex, lies and videotape. With a movie like Underneath, it intensifies the boredom experienced by the viewer.
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American Pie: Beta House is sort of in limbo between genres. On the one hand, it's a comedy with no plot and few genuinely clever jokes. On the other hand, it's porno that's a tad too soft-core to actually turn on any viewers. Essentially Beta House is a collage of sex scenes - some humiliating, others just lame attempts at humor - with a couple thin plot points thrown in an effort at cohesiveness. The characters are barely even two-dimensional, most development relies on knowledge of Naked Mile, and the "important" plot scenes are so far apart that you wonder why the writers even felt the need for a story.<br /><br />In all fairness, I did not go into this movie without expectations. I liked the original three American Pie movies, and thought Band Camp and Naked Mile were solid rentals. I thought Naked Mile was almost good enough to be released in theaters, and so when I saw that some of the same characters were returning for Beta House, I was excited to see this installment. I was aware that there would be numerous scenes of debauchery and sexual humiliation in multiple forms. And I was fine with it, because in the past, these scenes were backed by the story and were well integrated into the plot. In Beta House, however, it's almost as if the writers forgot why the formula in the other AP movies worked. They spent too much energy working in the nudity that they forgot to actually write a story.<br /><br />This movie is a disappointment and not even worth a one-dollar rental. The jokes are lame, the story is non-existent, and the porno-aspect is too tame if that's all you really care about seeing.
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The story is very trustworthy and powerful. The technical side of the movie is quite fine.. even the directing of it. The main problem is with the castings, that turned that movie into almost another local and regular cliché with a great lack of impact and even greater lack of impression. Beside the small role of the father, Rafael (played impressively by Asi Dayan), all other actors were unfortunately not in their best. The role of the elder Blind girl, played by Taly Sharon, was fresh but without any intensity as the leading role. therefore the figure she acted had become mild and low profile. There were moments and episodes that looked more like a rehearsal then a real movie. But after all it's a good point to begin from and to make big improvements in the future.
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Paulie is a fantasy of a littler girl or perhaps her recollection of what her youth was like growing up.<br /><br />Tony Shaloub executes a flawless performance as an Russian Scientist (PhD) who cannot find decent work in America. He befriends an isolated parrot while performing meanial duties of a janitor at a behavioral science lab.<br /><br />The chief Doctor is a bitter man, as Paulie, who can speak and fully comprehend language and learn, embarasses the Doctor, who later banishses him to the lower levels of the building, where Mikail (Tony S.) finds him.<br /><br />Paulie recants his life with Marie and how they lost each other. The quest begins to reunite Paulie with Marie, only more than 20 years has passed.<br /><br />The movie ends, some will say predictably, with Mikail reuniting Paulie with Marie. The story closes with the three entering Marie's home, where you can make the final your own choice.<br /><br />Great family film!
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Elvis has left the building and he's lucky because he didn't have to watch this unfunny stinker. Scene after scene director Joel Zwick finds ways to make an unfunny script even less amusing. Filled with unfunny deaths, trite gay characteratures, and hack jokes, this film is more desperate than amusing. This is the sort of film that makes one hope Kim Basinger follows Doris Day into premature retirement. Let us remember her the way she was (talented) and not what she's become. David Leisure, the delicious Dennis Richards and the rest are all wasted talents here. Zwick finds a way to minimize their talents at every turn. The guy playing Elvis sounds more like Gomer than the King.The only really good bit of casting is the young girl who plays Basinger as a preteen. She really looks like her and is actually pretty good. The only other reason to watch this film at all is to look for the Tom Hanks cameo. The cameo isn't all that funny, but at least its not painful. One has to wonder if Zwick has incriminating pictures of Hanks or something that would make him do this movie.
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I recently watched the '54 version of this film with Judy, and while i appreciated the story and music, i found that the film failed to hold my attention. I expected the '76 remake to be the same story, except with a Barbra twist. I was pleasantly surprised - it was a much more realistic and modern look at fame, money, love and the price of it all. This version is so much more real than the '54 one, with arguably better music, better acting, a more gripping plot line, and, of course, a deeper love. I do not understand why the previous film is on the American Film Institute's top 100 list, while this gripping remake fails to make a mark on any critic's list.
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I knew nothing of this film before I was convinced to see it by a friend who had heard it was a "non-stop epic battle scene from beginning to end". That couldn't have been further from the truth. This was one of the most boring, poorly written, amateurishly directed, horribly acted films I've ever had the misfortune to lay my eyes upon. I'd rank it up there with the movie I consider to be the worst film of all time... Battlefield Earth. There basically is no story, it's hard to believe that the makers of this film thought that this cheesy soap opera crap would be taken seriously as actual historic fact. It also features some of the worst dialogue I've ever heard... like this little gem... Guy tells girl "You smell like the moon.". Girl replies "What does the moon smell like?" OMG! You have to be kidding me! The scene where the guy was drawn and quartered got some good laughs from the audience since it looked so ridiculously cheap and the sound FX of the guy being ripped apart reminded me of someone making a fart sound with their mouth. If this is playing at a theater near you, avoid it at all costs. This movie is so bad that I actually made the decision about 45 minutes through that I needed to catch up on my sleep... and I did. Awful.
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I saw this important intense film tonight. Its Richard Gere and Claire's Dane's most important and best work. Gere deserves an Oscar for his fine portrayal of a man being forced into early retirement as a sex offender registrar administrator. Claire Danes is riveting as the woman Gere handpicks to replace him - a woman he tries to teach all he can while investigating one final case in which Gere's character is convinced one of those he is charged to monitor may be holding a young girl hostage. The subject matter is shocking, sex offenders and those who monitor them, but this film will not soon be forgotten. I know I will be haunted by Gere's portrayal for a very long time. Not since Anthony Hopkins portrayal of a serial killer has a screen portrayal terrified and so engaged me. The film opens with a shocking statistic so don't miss the opening credits. Intense and memorable. Richard Gere's finest role proving the man can act. Danes can as well and both do extraordinarily well in this often challenging film.<br /><br />This is a gutsy film and Gere gives a multi-layered deeply felt performance. Just give him the Oscar now...he deserves it!
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7,926 |
How do I begin to review a film that will soon be recognized as the `worst film of all time' by the `worst director of all time?' A film that could develop a cult following because it's `so bad it's good?'<br /><br />An analytical approach criticizing the film seems both pointless and part of band-wagon syndrome--let's bash freely without worry of backlash because every other human on earth is doing it, and the people who like the film like it for those flaws we'd cite.<br /><br />The film's universal poor quality goes without saying-- 'Sixteen Years of Alcohol' is not without competition for title of worst film so it has to sink pretty low to acquire the title and keep a hold of it, but I believe this film could go the distance. IMDb doesn't allow enough words to cite all the films failures, and it be much easier to site the elements 'Sixteen Years of Alcohol' does right. Unfortunately, those moments of glory are so far buried in the shadows of this film's poorness that that's a task not worth pursuing.<br /><br />My impressions? I thought I knew what I was getting into, I had been warned to drink several cups of coffee before sitting down to watch this one (wish that suggestion had been cups of Vodka). Despite my low expectations, 'Sixteen Years of Alcohol' failed to entertain me even on a `make fun of the bad movie' level. Not just bad, but obnoxiously bad as though Jobson intentionally tried to make this film a poetical yawn but went into overkill and shoved the poetry down our throats making it not profound but funny . .. and supposedly Jobson sincerely tried to make a good movie? Even after viewing the 'Sixteen Years of Alcohol' promotional literature, I have trouble believing Jobson's sincerity. Pointless and obnoxious till the end with a several grin/chuckle moments (all I'm sure none intentional)spiced the film, and those few elements prevented me from turning the DVD off. So bad it's good? No. It had just enough 'I can't believe this is a serious movie moments' to keep me from turning it off, and nothing more.<br /><br />Definitely a film to watch with a group of bad-movie connoisseurs. Get your own running commentary going. That would've significantly improved the experience for me. So bad it's Mike Myers commentating in his cod Scottish accent on it as it runs, to turn this whole piece of sludge into a comic farce "Ok dare ma man, pass me annuder gliss of dat wiskey".
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19,301 |
This was one of the DVD's I recently bought in a set of six called "Frenchfilm" to brush up our French before our planned holiday in beautiful Provence this year. So far, as well as improving our French we have considerably enhanced our appreciation of French cinema.<br /><br />What a breath of fresh air to the stale, predictable, unimaginative, crash bang wallop drivel being churned out by Hollywood. What a good example for screenplay writers, actors, directors and cinematographers to follow. It was so stimulating also to see two identifiable characters in the lead roles without them having to be glossy magazine cover figures. <br /><br />The other thing I liked about this film was the slow character and plot build up which kept you guessing as to how it was all going to end. Is there any real good in this selfish thug who continually treats his seemingly naïve benefactor with the type of contempt that an ex-con would display? Will our sexually frustrated poor little half deaf heroine prove herself to the answer to her dreams and the situation that fate has bestowed upon her? The viewer is intrigued by these questions and the actors unravel the answers slowly and convincingly as they face events that challenge and shape their feeling towards each other.<br /><br />Once you have seen this film, like me you may want to see it again. I still have to work out the director's psychological motive for the sub plot in the role of the parole officer and some of the subtle nuances of camera work are worth a second look. The plot does ask for a little imagination when our hero is given a chance to assist our misused and overworked heroine in the office. You must also be broad minded to believe in her brilliant lip reading and how some of the action falls into place. But if you go along for the thrilling ride with this example of French cinema at its best you will come out more than satisfied. Four stars out of five for me.
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2,204 |
Understand i'm reviewing the film I have seen. I realize virtually all the nudity and gore was cut from this film, thus neutering it completely. When seeing names like Ginger Lynn and Jenna Jameson attached, I knew I wasn't going to get a horror classic, but at the very least I expected gratuitous boobies and bloodshed. But no, this has got to be the most butchered modern horror film, I mean it's easy to tell there is much more to certain scenes', but they suddenly cut away, or the scene just totally ends right as it begins. How does one screw up cannibals' and porn stars? I mean thats a winning formula, it makes me wonder if the director slept with some executive's wife or something, because it is literally amazing how much got cut from this. Reading about it a few years back in Fangoria, I was excited, it looked like a fun film, but unfortunately the true film is locked in a vault somewhere, and we must endure this piece of excrement retitled Evil Breed. Hopefully an unrated cut will be released someday, as I think a good movie exists in this mess, but until then best grab a twelve pack of Bud, cause thats the only way you'll make it through this movie.
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1,620 |
With the MASSIVE advertising this is getting on Nickelodeon and Nick Jr. and that ilk, my son was bugging us to see it. Between DVD and the theaters, I've seen pretty much everything by now from the outstanding (Incredibles, Shrek) to the really bad (Wall-E, Brother Bear). But this was easily the worst movie I've ever seen, kids or no kids. It was a "when it this stupid thing going to end?" kind of experience? OK, it's aimed at toddlers (or it better be - it's insulting to the intelligence of anyone over 3), but I've never seen something so predictable, repetitive, and slow-moving. Then once you're finally fed up but relieved that the movie is over, there is this bizarre thing at the end that you think is the setup for a joke, but there isn't one - it's serious, though it's hard to tell what they're trying to accomplish. The 3-D effects... yeah, if you've never seen a Viewmaster they're a big deal, otherwise no (if you look at the screen without glasses, it appears to be the same process). Even my son was bored by the end. Both my wife and I looked at each other and said "wow" at the end. Bad in every respect.
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22,415 |
Jim Belushi is terrific as the "Average Joe" who gets his 15 minutes in "The Twilight Zone". Michael Cane is the mysterious bar tender who not only listens to Belushi's "story", but has a "cure" for all of Belushi's middle class problems: A magic potion to bring about an avalanche of changes in Belushi's life.<br /><br />Flashbacks show a 15 year old horribly ashamed of causing his High School Baseball Team's Championship defeat. Belushi goes on with his "pitiful life", seemingly happy, but always wondering "what if..." For what seems to be several days, Belushi experiences a "different" life, one of enormous success, admired and hated by others in equal measure.<br /><br />This is not quite "It's A Wonderful Life", but some elements are similar, and very endearing. The "ending" is predictable, but still satisfying. Watch for a very young Cortney Cox in a bit part as "fatal attraction" -like other woman. A very pleasant film!
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24,540 |
It's a testament to Gosha's incredible film-making prowess that he was able to complete both Hitokiri and his stunning masterpiece, Goyokin, in the same year, 1969. And it's a testament to how criminally underrated he remains for the general public (compared to media darlings like the great Akira Kurosawa), that both Hitokiri and Goyokin have received less than 500 votes between the two of them.<br /><br />Shintaro Katsu is Okada Izo: mad dog killer, loyal to the Tosha clan and their boss Takechi, played by another genre stalwart, Tatsuya Nakadai. The Tosha clan was part of a larger alliance that supported the Emperor against the flailing Shogunate. The historical backdrop is fairly accurate - with Japan's increasing political turmoil between imperialists and the Tokugawa and the pressure by the West to end a 300 year social and political seclusion. It helps a lot to know a thing or two about Japanese history and what eventually led to the Meiji Restoration and the abolition of the Tokugawa Shogunate, but it's not essential by any means. The movie was made primarily for a Japanese audience so certain things are taken for granted but it flows very well for the uninitiated as well.<br /><br />As one would expect from a Hideo Gosha film in his golden years (the late 60's) the visual palette is breathtaking, the use of external and internal symbolism hiding behind pictorial beauty. Style however is never decorative for Gosha - it is always employed in the service of story. <br /><br />And speaking of story, Hitokiri is dominated both literally and figuratively by the tortured main character Izo Okada. As most chambara protagonists, Izo finds himself in a moral double-bind, torn between giri (obligation) and ninjo (natural impulse) - although it takes a while for him to realize what exactly his giri is. In the first half of the movie Izo is trying for social self-advancement. Lofty aspirations of social rank and marriage with an aristocrat's daughter - a great progression for someone coming from a farmer's background in the rigid social caste system of 19th century Japan. <br /><br />The turning point for Izo is when he realizes at what cost self-advancement comes, the loss of identity and by consequence the loss of self. It is at that point that he undergoes a very symbolic transformation from a famous swordsman of the Tosha Clan to a "nameless" drifter without past or future, Torazo the Vagrant. Although not technically nameless and not a genre drifter in Yojimbo's mold, it is the loss of his former self and the cast off of ego, ambition and self-dillusion that allows Izo to see things as they really are and redeem himself. <br /><br />Hitokiri ends (which I won't reveal here) in the best way any story can end: both positive and negative with a deeply ironic twist that gives Izo the last laugh, a last sardonic remark in the face of death.
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Overall this is a delightful, light-hearted, romantic, musical comedy. I suppose a small case could be made for the movie being to long. But I'm not sure what you would cut out. The singing that Kelly and Sinatra do? No. The fabulous dancing that Kelly does? No. The time the movie takes to develop the story line and develop the relationships of the characters? No (that seems to be a common complaint many times that more recent movies don't develop the characters).<br /><br />Some comment that Iturbi didn't bring much to the movie but this gives us a chance to see and hear a great talent from the 1040s. So what if he wasn't an actor? He was an important part of the movie as the basic plot was to get Grayson an audition with him. <br /><br />Originally Katherine Grayson wanted to be an opera star. Louis B. Mayer brought her to MGM for a screen test that included an aria. During her audition in the movie there is a shot of the MGM brass nodding and smiling. You can just imagine it was like that when she had made her real screen test years before.<br /><br />This movie is so full of life it is hard to hit all of the highlights. Great use was made of color and lighting throughout the movie. You can see why Frank Sinatra became the star he did. A nice counter-point in the movie is how Sinatra (a ladies man even then) played the role of wanting to just find a date while on leave. You'll feel good after seeing this movie. 7/10
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12,872 |
Other than Susan Hayward's wooden delivery throughout this film it was as good as any biblical film made. Henry King handles this film with the respect of an epic in all of the small scenes, and Peck is, as always, impeccable. The stirring Alfred Newman sound score, with the stirring twenty-third psalm is unforgettable even after these many years. The scene with Goliath is a bit on the hokey side, but not all that badly done for the era in which this film was made. This goes well alongside the lesser bible epics of the day, "The Song of Ruth" and "Esther and the King." It is worth watching, and Raymond Massy is excellent as the prophet Nathan. The film is rounded out by the always fine James Robertson Justice as Abishai and Jayne Meadows as Michol, David's estranged first wife.
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If there was a 0 stars rating i would gladly hand it out to this absolutely horrid pile of waste. The fact that the actual summary is perfectly fine and that if it had been made different it could have been brilliant only makes it worse. The basic task of locking up a group of people in an experiment chamber is fine, but WHERES THE EXPERIMENT? All i see is a bunch of unintelligent surfers and blondes chatting about music and culture i don't know or want to know about... The challenges are pathetic and silly. The whole point of reality TV is to show REALITY. If you set a 'challenge' don't make them play with exaggerated props of food and stereotypical cultural elements in 'friday night games'. make them do an actual challenge. And as for 'earning' prize money, thats fine, if they actually earnt it! These people are nuts. If only they would make the show better, the actual idea would be glorious. But that ain't gonna happen!
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13,304 |
This is a great story of family loyalty which, thankfully, doesn't resort to the usual tricks (or at least the ones I'm used to seeing in American and European films) of supersentimentality or high dramatic tension.<br /><br />It's very watchable and very lovable. It has some beautiful cinematography, but doesn't rely on that alone to entertain.
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8,156 |
Released in 1965, but clearly shot years earlier, this is an inept little crime melodrama with some inept sexploitation up front. As usual for grindhouse flicks of era, there's a fair amount of undressing and dressing for no reason complemented by lousy music, annoying narration, and awkward editing. The coffee shop scene lays the excruciating groundwork, as we chop back and forth between characters to avoid actually seeing them speak their lines. All we get are reaction shots to the off-screen character's voice! 50s-pretty Misty Ayers strips to her French-cut panties a couple of times before the action gets started. She's accompanied continuously by what is apparently stock music from romantic to western to mother-does-the-dishes, mixed randomly to produce, among other things, the most thrilling cigarette lighting ever captured on film. Watch as he taps it! Watch as he strikes the match! Will he inhale or will he be captured by Apaches? Only time will tell!! The film tells the sordid tale of how Sally gets tricked into working in a whorehouse, falls for a dope, and can't escape. For some reason, we're treated to some of the most bored and boring hookers ever committed to film, literally doing their nails or knitting rather than entertaining the clientèle. Some stupendously lame comedy (boozy dame accidentally drinks milk! Har dee har!) and silent film acting doesn't help. This is one of the worst feature films I've ever seen, even on the Something Weird Video marquee. It's really more of a film curiosity for those interested in the history of cinema--very bad cinema.
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24,748 |
The film adaptation of James Joyce's Ulysses is excellent. The actors, the voice overs, the direction, it all captures the feel of the novel without sacrificing its own merits. The Milo O'Shea does an excellent job as Leopold Bloom, the cuckolded man married to the sassy Molly. I absolutely love this picture.
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7,169 |
Rather then long dance sequences and close ups of the characters which made the film drag on - the movie would have been better served explaining the story and motivations of the characters.<br /><br />The marginalisation of Nubo, the minister, auntie, mother - and the dumbing down of the dynamic and IMPORTANT rivalry between hatsumo and mameha and hatsumo and sayuri made the movie lack any real depth. If you hadn't read the book you would not really understand why Sayuri loved the Chairman and why Mameha became her mentor at all.<br /><br />Visually the film was stunning - and the actors all did the best with the C rate script they were given, but that was all that was good about this movie.
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9,680 |
There is no way to avoid a comparison between The Cat in the Hat and The Grinch Who Stole Christmas, so let's get that part out of the way. First of all, let me start by saying that I think Grinch was an underrated and unappreciated film. Cat was... well, just awful.<br /><br />Jim Carey was cast because he is a brilliant physical comedian, and fearlessly commits to over the top, outrageous characters. Mike Myers fell back on his old bag of tricks.<br /><br />Why, why, why Mike Myers?? The kids could care less, and the Austin Powers demographic isn't going to spy this film. So, what was the studio thinking?<br /><br />The Cat was also apparently related to Linda Richmond. Can we talk? Why a New York Accent? Not entirely consistent with anything Dr. Seuss has ever written. Myers was even allowed to sneak in his Scottish shtick. I wonder how many different voices the director and the studio tried to edit out of before they just gave in and said "as long as you don't say fahklempt', you can keep the accents." Meyers never seemed to find any sort of comfort, either with the costume, make-up, or dialogue.<br /><br />The jokes, what few there were, were crude and age inappropriate. When Myers picks up a garden hoe and delivers to the camera: "dirty ho", everything but the rim shot was missing, and even that wouldn't have helped.<br /><br />The same folks who created 'Whoville', clearly had a hand in the creation of the town and the houses in 'Cat'. The sets and props were very appealing, giving the viewer a much needed distraction from the bad writing, direction, and Myers.<br /><br />There was some fun to be had with Alec Baldwin and Kelly Preston. Dakota Fanning was the only actor who seemed to be aware she was in a movie based on a Dr. Seuss classic, and stayed true to the genre.<br /><br />Call the SPCA. This Cat should be neutered and never be allowed to reproduce again. Please, please, no sequel.
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4,696 |
First of all I must admit Batman: The animated series is the best batman series by far. We watched it when it used to be on TV. I didn't realize that there was a season four. Actually there wasn't. BTAS ends with season 3, and it should have stopped there.<br /><br />Why did they have to mess with a good thing. Catwoman and Poison ivy now have terrible grey faces. The Joker looks beyond scary, it seems that each time they revise his appearance he looks more and more creepier. He doesn't seem to have pupils anymore, and now he doesn't even look remotely human (although he is).<br /><br />Bruce Wayne is voiced by Kevin Conroy who does the best batman. Although he now looks like superman. There is nothing that sets him apart because they both look the same, Bruce Wayne now has blue eyes.<br /><br />Night Wing really needs a haircut, please! Alfred just has pupils from eyes, looks more like a character from the 80's.<br /><br />I have watched three episodes from Disc 1 in the series and I already find that this version is more violent and graphic (there is blood in every episode).<br /><br />If you are a fan of Batman: The animated series, there is no batman season 4. They just included this series as season 4 for marketability. If they just released it as The New batman adventures I don't think as many people would have bought it.<br /><br />Save yourself the disappointment and stick to seasons 1-3.
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16,216 |
John (Ben Chaplin) is a lonely bank clerk who lives in a small town not far from London. Though the Internet, he contacts a Russian agency of brides. He selects Sophia (Nicole Kidman the guy could be lonely and shy, but certainly has a good taste, doesn't he?) and when they met each other, he realizes that she does not speak English. The communication between each other is basically limited by sex (again, imagine, what a terrible situation for the guy, just have some kinky sex with Nicole Kidman!). On her birthday, two Russian friends of her visit them. Then, lots of surprises will happen. I liked this movie: first, it is almost impossible to be 'labeled'. Is it a black comedy, an action, a thriller movie? I believe all the choices are correct. Nicole Kidman is gorgeous as usual, and I am very curious about her Russian: is she speaking Russian in a correct accent indeed, or just faking? Anyway, I found it an enjoyable movie. My vote is eight.<br /><br />Title (Brazil): "A Isca Perfeita" ("The Perfect Bait")
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7,729 |
Myron Breckinridge (Rex Reed!!!) gets a sex change from a doctor (John Carradine--dead drunk) and comes out as Myra (Raquel Welch). She then decides to destroy male masculinity (or something like that) and proceeds to teach film history at an acting college run by lecherous John Huston (don't ask) and break up a young happy couple (young, handsome, hunky Roger Herren and Farrah Fawcett--yes THE Farrah Fawcett). <br /><br />They took a great novel by Gore Vidal that was unfilmable and, naturally, tried to film it. They also hired an English guy with a decidedly Anti-American attitude and hired a bunch of actors with questionable "talent" (Welch, Reed) and embarassed old professionals (Huston, Carradine, Andy Devine, Jim Backus, Mae West), threw it all together and....SURPRISE!!! An absolute disaster. <br /><br />The film got an X rating at its release (it's been lowered to an R), mostly because of a truly tasteless scene in which Welch sodomizes Rusty (Roger Herren) and a scene in which Welch attempts to have sex with Fawcett.<br /><br />The movie is very scattershot...scenes jump all over the place and people say and do things that make no sense. It's not good at all but I was never bored. <br /><br />Acting varies wildly...Reed is horrible...really sad. Huston chews the scenery again and again and AGAIN to a nauseating extreme. Welch is actually not bad as Myra but her lines make no sense so you never know what to make of her. West is hardly in the movie (a blessing) and it's really kind of sick to hear a woman almost 80 years old cracking sex jokes. Roger Herren (whatever happened to...) was very young, handsome and not bad as Rusty. Fawcett is OK.<br /><br />It's hard to find things to say about this...you just watch it in disbelief. A must see movie--to believe!!!!
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