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I got the first Bill and Ted movie for christmas and I had to get the second when I saw it in a store. This one was (I think) just as funny as the first but a much wierder story. It was funny how they had their own personnal hell and how they had to play death. The funny thing was that they played him in stupid little games like clue. The only thing I'd change is Station and Death being in the band but other than that it was great.
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I hope she can keep acting and directing. She's surely up to the task and could easily develop that visionary streak into a long career of unconventional and rare works of art. Her work has a rare kind of generosity and her timing is spot-on! Oy I'm kvell
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John Cassavetes' "Opening Night" is fantastic and fascinating; fantastic because it plays with the deepest fears we have inside our imagination, fascinating because it never ceases surprising us. With its very long duration of two hours and twenty minutes, anyone who appreciates characters won't be able to take their eyes off the screen.<br /><br />The story of an unstable actress, Myrtle Gordon, (Gena Rowlands) trying to put herself together for a play, fighting her demons; "Opening Night" is not only about a woman on the verge of a breakdown but also about the complexities of the lives of theater actors and the theatrical world. All of Cassavetes' characters here are experienced people that know about the world of theater; so half of the film takes place on a stage, either where the performers do their job or at backstage, where producers and writers and directors do their job.<br /><br />Cassavetes is so harsh with his characters that this unkindness turns towards the audience, but the audience in the cinema. Because there is another audience, in the theater of the film, that doesn't know what is really happening and laugh because they think everything is performance. And that's essentially what it is; it's just that the audience in the theater doesn't get to see 'backstage' the way we do. They don't experience Gena Rowlands' exuberance before she goes out to that stage, but most importantly; they don't know the reasons why she acts the way she does.<br /><br />I always thought that it would be difficult to be friends with an actor. Myrtle (Rowland) says she's an actress and that's the only thing she knows how to do; and I imagine that if I had a friend who was a professional performer, it would be really difficult to tell when he's saying the truth because I would know he's an actor and he can fake anything at any time. A lot of the things that Myrtle does during the awful experiences the film puts her through
We suspect if she's being real; the rest of the characters suspect too.<br /><br />There is the writer, Sarah (Joan Blondell), who can't understand why Myrtle doesn't understand the character she's written for her. There's the director, Manny (Ben Gazzara), who can't accept the fact that his best actress might be losing it; the producer David (Paul Stewart) who doesn't know where to stand and Myrtle's co-star Maurice (Cassavetes himself), who can't deal with the love they have for each other.<br /><br />When she witnesses the death of a teenager, a fan; all of this comes together and affects Myrtle, but no one knows if her delusions are for real. They don't say anything because they don't want to upset her, but the movie enters in a state of subconsciousness that only Myrtle accepts. At times, we can tell that everyone has had it. During these moments, Cassavetes' brilliant script depicts a scary brutal honesty in the words the characters say in a discussion backstage; and not only what everyone tells Myrtle but also what she says to them.<br /><br />Here are people who are not afraid to speak their mind and constantly change what they are thinking, just like Cassavetes' way of making cinema. And in this aspect, the performances are more important here than in "Shadows", because the characters are involved in a bigger picture; a bigger story that steps out of the trivial.<br /><br />But in another aspect, the actual way of making cinema, this movie is no different from "Shadows". There's a beautiful thing in the way Al Ruban's camera shoots the characters. When someone's talking, the camera doesn't focus on him, it shoots the person who is listening; so we can see how he or she reacts to the things the other one's saying. Sometimes they don't care, sometimes they are happy, sometimes devastated.<br /><br />Improvisation might still be there, though, among all these wonderful performances. Near the end, there's an unexpected scene where Cassavetes and Rowlands start talking, non-stop. Whether this was improvised or not is not something we have to wonder. We have just got to watch; and watching both of them exchanging life experiences and seeing words come truly alive in a conversation that means a lot more than what it shows
It doesn't get more natural than that.
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A fabulous book about a fox and his family who does what foxs do. that being stealing from farms and killing prey. until a trio of farmers decide they've had enough of this fox and try in various ways to have the problem "solved". They are of course "out foxed" at every turn and while the trio are camped out at the fox hole the family perform raids against the three farmers land.<br /><br />The"film" version ,and I use the term film very loosely, is more of a god awful pastiche of American heist movies particularly the Oceans movies. They they even have George clooney as Mr fox to to add to the insult and manage to miss the point of the story quite completely. So kudos to them .They'll make lots of money and destroy another classic Roald Dahl children book.
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Obviously made to show famous 1950s stripper Misty Ayers "acting" talents. Too bad she can't act.<br /><br />Boring little tale about sweet, innocent Sally Down (Ayers) being drugged and forced into white slavery (prostitution). Then she meets likable Tommy Cole who instantly falls in love with her. He wants to help her escape but can he? You really won't care.<br /><br />There's no real skin here--Ayers just strips down SLOWLY to her underwear (twice). The rest is just a boring little tale chockful of bad acting, atrocious "comedy" (never thought prostitution was funny but what do I know?) and terrible post-dubbed dialogue. I admit there was a twist at the end I didn't see coming but that's not enough to sit through this. Also Ayers' attempts at acting are hysterical! A real bomb. Avoid.
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This movie has many problem associated with it that makes it come off like a low budget class project from someone in film school. I have to give it credit on its campiness though. Many times throughout the movie I found myself laughing hysterically. It was so bad at times that it was comical, which made it a fun watch.<br /><br />If you're looking for a low-grade slasher movie with a twist of psychological horror and a dash of campy ridiculousness, then pop a bowl of popcorn, invite some friends over, and have some fun.<br /><br />I agree with other comments that the sound is very bad. Dialog is next to impossible to follow much of the time and the soundtrack is kind of just there.
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While the overall idea of Escape from Atlantis was intriguing, I found the film to be far less than what I had hoped for upon reading the plot summery. Perhaps I am too much of a child in the technological age: the movie was made, as it is now 2002, an official five years ago --after viewing fantasy epics such as Lord of the Rings, and science fiction feats like Star Wars, as a whole it could not compare to other movies of similar line such as Dinotopia or Homer's The Odyssey.<br /><br />My beef, basically, is that I couldn't relate --I am just about the same age of the children (a young adult), and have no trouble putting myself in the place of a middle-aged man if that is the character available. But the picture did not take me to a different mental plain of existence. I didn't find myself saying 'ACK! I would have done the SAME thing!'. It did not open the doors to my imagination. Even without comparing it to high-budget films or other TV movies, standing alone, certain aspects of the feature I found to be cliche: The character development in the children occurred too rapidly for my liking, seeing too much of the stereotypical selfish-teenager-bitter-after-divorce image changing into the we're-a-big-happy-family-let's-never-separate-again feel that can ultimately make or break a picture in the long run. Even the characters themselves could have undergone improvement: a typical set of one or the other stereotypes. There was the ever-present selfish beauty looking to be rebellious, accompanied by Mr. Perfect image of combining athletics, good looks and intelligence yet a brooding attitude, and lastly the smart-aleck little brother we find to be so common these days. While I know the personalities pushed the story along, I think that adding more individuality as far as nuances and more unique differences would have made it a more enjoyable --and believable (as far as character)-- movie.<br /><br />I do have to raise my glass to the costume and set design --that made it worth finishing to the end for me. Don't get me wrong: all movies are worth seeing for yourself, and the opinion of one could never account for the opinion of many, but I think that with a little more depth to the script, and a little more (I cannot believe I am saying this) realness I dare say Escape from Atlantis could have been magical.
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As you can guess by my rating and my title of this review that I don't like Johnny Test. Now I think I know what people are going to say, " How do you know how bad it is? Have you ever watched it?", I did watch this show a couple times because I am studying film and animation and this just doesn't hold a candle to my standards.<br /><br />I want to first talk about the animation because it is one of the most confusing things I have ever seen. Like the first two seasons or only first season had hand drawn animation. I thought it was a nice show to look at when it was hand drawn but then it switched to flash animation and the quality went down by a huge amount.<br /><br />So that is one strike in my eyes but lets look at the story of the show. It tries way too hard to be like Dexter's lab but there are differences because instead of one red headed scientist there is two and they are both female. There is a talking dog(why?), and the parents attitudes are switched somewhat. I have others but I don't think I can write them here ( I don't mean cursing but I mean I don't know if there is a limit for words.). Everything else though is spot on, even a DeeDee character Johnny himself. It just tries so hard to be Dexter but it just seems to me like a heartless knockoff.<br /><br />Lastly I want to talk about the jokes. Remember in Dexters lab some of the jokes involved yelling? Yes, yelling can be good for a joke or two but Dexter's lab also had sly remarks that made me have to go back and check to get the joke. Johnny Test just forgets all that and just yells 50% of the time and stops the music whenever a stupid joke or one liner appears. That isn't comedy, thats stupid comedy (I know what some people are thinking. Isn't three stooges stupid comedy? Watch that and Johnny Test back to back and you laugh more at the first option.). Sometimes the jokes are based on bizarre situations which, like Chowder, makes me mad. I have a rule for cartoons and comedies all together: To much bizarre doesn't equal comedy, it makes you just think "what am I watching?".<br /><br />So it strikes out on all accounts. Don't watch this show if you have any respect for comedy in anyway, shape, or form.
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"Cypher" is a cleverly conceived story about industrial espionage set in America in the not too distant future. While thematically not complex, this film does offer many different perspectives about personal loyalty, ruthlessness, and corporate conspiracy. To a certain extent this film also attempts to represent modern corporate groups and companies as being indifferent to the risks their contract employees take on their behalf.<br /><br />The film starts off with a somewhat mediocre salary man, Morgan Sullivan (Jeremy Northam), who applies to the Digicorp group to work as an undercover operative. After an initial briefing with Digicorp's Security Chief, Sullivan is then given a new identity (Jack Thursby) and sent to a business conference with the task of recording the speeches given by various spokesmen concerning the marketing strategies of each of their respective companies. Upon successfully completing his first assignment, Sullivan/Thursby is sent on further missions to obtain the same type of information previously gathered. However, on one of his "business trips" he inadvertently runs into a woman named Rita Foster, (Liu) whom he had met on his previous assignment, and from there things go extremely topsy-turvy. The implications of a diabolical conspiracy involving Digicorp's espionage program begin to emerge and Sullivan is forced to go deep cover at one of Digicorp's main competitors, thus becoming a double agent involved in an intense rivalry between the two companies.<br /><br />((SPOILERS END HERE))<br /><br />What I liked most about this film was the efficient use of lighting and shadows in a lot of the scenes. Vivid lighting was used in mainly domestic/household settings, while a lot of shadows and dark coloring were used for settings involving deception and cover-up. I was also very impressed with Jeremy Northam. Not too often have I seen him in the lead role, and the fact that he plays a disenchanted married man straight out of Wisconsin was brilliant. Personally, I think he's one of the many under used actors in the industry who hasn't been given more challenging roles. Lucy Liu was also incredible in her part and gave the movie its real cloak-and-dagger tone. Additionally, the rest of the supporting cast did a superb job, however, my only complaint was that some characters could have been explored more to make the plot and closure a little more complicated. For example, I would have loved to see what would have happened if Jack Thursby had developed a more intimate relationship with his second "wife." Overall, this is a cleverly developed cloak-and-dagger story that keeps you guessing to the very end about personal and professional loyalties and whether anyone in the entire film can be trusted. With a smart and stylish soundtrack and great camera work, this film provides a scary look at how corporations might operate in the near future. I'm surprised that I had never watched this "hidden gem" before. This is a brilliant, not-too-overly complicated spy thriller, and therefore I'm giving it a 9 out of 10.
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I thought this movie did a down right good job. It wasn't as creative or original as the first, but who was expecting it to be. It was a whole lotta fun. the more i think about it the more i like it, and when it comes out on DVD I'm going to pay the money for it very proudly, every last cent. Sharon Stone is great, she always is, even if her movie is horrible(Catwoman), but this movie isn't, this is one of those movies that will be underrated for its lifetime, and it will probably become a classic in like 20 yrs. Don't wait for it to be a classic, watch it now and enjoy it. Don't expect a masterpiece, or something thats gripping and soul touching, just allow yourself to get out of your life and get yourself involved in theirs.<br /><br />All in all, this movie is entertaining and i recommend people who haven't seen it see it, because what the critics and box office say doesn't always count, see it for yourself, you never know, you might just enjoy it. I tip my hat to this movie<br /><br />8/10
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"Rival reporters Pat Morgan (Ginger Rogers) and Ted Rand (Lyle Talbot) are always trying to out-scoop each other on stories. The latest involves the mysterious death of a philanthropist who fell to his death after a shriek was heard from his penthouse apartment. The two reporters start out as rivals but combine efforts to solve the crime and write the story when more residents of the apartment building turn up dead," according to the DVD sleeve's synopsis.<br /><br />This said-to-be follow-up to "The Thirteenth Guest" has little to do with the earlier movie; it is not a sequel, as has been inferred. Ms. Rogers continues to develop her skills. Mr. Talbot adds a little humor to his characterization. They are a pleasant team, the plot is interesting and mysterious; but, the resulting film is very dull. The opening and closing are startling. A long-winded wrap-up of plot development points follows the climax.<br /><br />*** A Shriek in the Night (1933) Albert Ray ~ Ginger Rogers, Lyle Talbot, Harvey Clark
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I still liked it though. Warren Beatty is only fair as the comic book hero. What saves this movie is the set, the incredible cast and it offshoots a mediocre script. I really expected something more substantial in the terms of action, or plot but I got very little. The main reason to watch this movie is to watch some of the biggest stars in Hollywood at the time in such an unusual film. <br /><br />The one person who did a terrible job and did not even belong in this film was Madonna. She did not belong in this movie and her acting job was pretty bad. The movie at some points just stood still. You expected something more and you got nothing. Al Pacino plays a really bad dude and he does pretty good. He and Beatty do make an excellent good guy and bad guy. <br /><br />It is also interesting to see Dustin Hoffman, and Warren Beatty in a film other than Isthar. I did not see Ishtar but I heard bad things. The thing about this movie is it is good, but it could have been so much better. I liked it as a child because I thought it looked cool, and visually the movie is amazing, the sets are incredible, the writing is only fair, and with such a cast in the movie I would expect a little better anyway. <br /><br />SPOILER<br /><br />I especially thought the finale was not big enough. It was interesting but for such a grand scale film I just thought it could have ended with a little more of a bang. The reason to watch this movie is the atmosphere. The movie only uses the 7 comic book colors making it all that more excellent visually anyway.<br /><br />The costumes and makeup were flawless as well. The facial makeup for the villains was great. Beatty is just not up to such a bigger than life character. Still, this is a good movie that could have been much much more. It is to me better than Batman, the other comic book adaptation that came out close to the same time. Of course that movie was much bigger in terms of gross.
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Moonwalker is absolutely incredible !!!!!!! What else can I say !? Michael Jackson is the true King of pop, rock and soul !!! Moonwalker has everything ! Great story line, fantastic music, great visual effects, and of course it has Michael Jackson !!!!!!
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This very unfunny failed TV Pilot can be found as an extra on the 30th Annivesery DVD Special Edition "Blazing Saddles". Imagine the movie without the satire, humor, or writing skills. But with all the trappings of a typical lame '70's sit-com show complete with obtrusive laugh track and you'll still have no clue how sheer putrid this failed show was. What the hell was Lou Gossett Jr. thinking when he signed onto this disaster?? This was possibly the worst thing he's been in (and yes I'm including the first "Punisher" movie and "Iron Eagles 3". Steve Landesberg, I understand as he can't say no to crap.<br /><br />My Grade: F
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1937's "Stella Dallas" with Barbara Stanwyck hasn't exactly aged well--how anyone thought a semi-updated version of the story would work now is a real puzzler. Perhaps they thought jaunty, cheerfully brash Bette Midler could make something out of it, but this hoary script defeats her. Plot about a female bartender having a baby out of wedlock, and years later giving the young girl over to the child's wealthy father so she'll have a shot at a better life, can't escape tatty, old-fashioned trappings and sentiment. Midler works best with a movie director who can control her excesses, but that fails to happen here; Stephen Collins is stolid as the man who changes her life, but Trini Alvarado is well-cast as Midler's daughter. This is what used to be referred to as a "woman's picture", a wallow, but it doesn't pass muster because it stays too faithful to its 1930's origins. *1/2 from ****
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Why?!! This was an insipid, uninspired and embarrassing film. The embarrassment comes from being from the city where they made it...Pittsburgh PA! Why did they let these people do such a BAAAAAD movie there?<br /><br />When this movie was originally to be released...it was more of a romantic comedy...and no ROBO-anything. That all got changed along with cuteness courtesy of Disney. WHY???? They did a terrible interpretation of this classic comic character. Seeing Matthew Broderick make fun of his own movies was not fun either. Sheesh!!
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This film (like Astaire's ROYAL WEDDING - which was shown after it on Turner Classic Network last night) is famous for a single musical sequence that has gained a place in Gene Kelly's record: Like Fred Astaire dancing with a clothing rack and later dancing around a room's walls and ceiling, this film had Gene Kelly dancing in a cartoon sequence with Jerry Mouse. The sequence is nicely done. What is forgotten is that Kelly is telling the story behind the cartoon sequence to Dean Stockwell and his fellow child students at school during a break in the day, and sets the stage for the sequence by having Stockwell and the others shut their eyes and imagine a pastoral type of background. Kelly even changes the navy blues he actually wears into a white "Pomeranian" navy uniform with blue stripes on it. Jerry Mouse does more than dance with Gene. He actually talks - a first that he did not repeat for many decades. He also finally puts Tom Cat into his proper place - Tom briefly appears as King Jerry's butler, trying to cheer him with a platter of cheeses.<br /><br />But the sequence of the cartoon with Kelly took about seven minutes of the movie. Far more of this peculiar film is taken up with Kelly's story of the lost four day furlough in Hollywood, and how Kelly ends up meeting Katherine Grayson and (with Frank Sinatra) stalking Jose Iturbi at the MGM film studio, the Hollywood Bowl, and Iturbi's own home. Except that the two sailors mean no harm this film could have been quite disturbing.<br /><br />Kelly has saved Sinatra's life in the Pacific, and is getting a medal as a result. They are both among the crewmen back in California who are getting a four day leave. But the script writers (to propel what would be a short film - Kelly has plans to spend four days having sex with one "Lola", an unseen good time girl in Hollywood) saddle Gene with Frank. <br /><br />It seems Frank is one of those idiots that appear in film after film of the movie factories (particularly musical comedies) who are socially underdeveloped and in need of "instruction" about meeting girls (or guys if the characters are women). Frank insists that Gene help "teach him" how to get a girl. Just then a policeman takes them to headquarters to help the cops with a little boy (Stockwell) who insists on joining the navy (and won't give the cops his real name and address). When a protesting Kelly is able to get this information out of Stockwell by asking him some straight questions (which the cops could not ask), they insist Kelly take the boy home to his aunt (Grayson). Still protesting, Kelly gets saddled with increasingly complicated problems (mostly due to Sinatra's simplistic soul view of things). He misses seeing Lola the next day by sleeping late - Sinatra felt he looked so peaceful sleeping he did not wake him up. He keeps getting dragged back to Grayson's house, as Sinatra feels she is the right woman for himself, but needs Kelly to train him in love making.<br /><br />I suppose my presentation of the plot may annoy fans of ANCHORS AWEIGH, but I find this kind of story irritating. While the singing and dancing and concert music of Kelly, Sinatra, Grayson, and Iturbi are first rate, it is annoying to have to take the idiocies of someone like Sinatra's character seriously. In the real world Kelly would have beaten the hell out of him at the start for following him at the beginning of the four day furlough - what right has he to insist (as Sinatra does) that someone who saves their life should assist him on learning how to date? That kind of crap always ruins the total affects of a musical for me - unless the musical numbers are so superior as to make me forget this type of nonsense.<br /><br />The stalking of Iturbi is likewise annoying. Kelly tries to get Grayson to like Sinatra when he says Sinatra can get her a meeting with Jose Iturbi to audition her singing ability. For much of the rest of the picture Sinatra and Kelly try to do that, and keep floundering (at one point - for no really good reason - Grayson herself ruins Kelly's attempt to get an interview at MGM with Iturbi). It is only sheer luck (that Iturbi feels sorry for an embarrassed Grayson) that she does give him an audition of her talent. <br /><br />Kelly, by the way, ends up with Grayson. Sinatra's conscience at not being able to help her see Iturbi makes him ashamed of his bothering her (but not pulling Kelly into it, oddly enough) and he meanwhile accidentally stumbles into meeting a waitress (Pamela Britton) from his native Brooklyn. And naturally, without any assistance from Kelly, Sinatra and Britton fall in love. Ah,"consistency"! Thy name is not "screenwriting" necessarily!
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Some of my favorite Laurel and Hardy films have very, very little plot. Instead, they give them a rather mundane situation and just let them be hilarious! Films such as HELP MATES and BUSY BODIES are among the funniest as you see the boys working or cleaning house. Here in DIRTY WORK, most of the film is akin to these other two films--Stan and Ollie are chimney sweeps and spend most of the film trying (quite unsuccessfully) to clean a crazy professor's chimney. Seeing Ollie fall through the chimney, the boys making the house a total mess and the insane behaviors of Stanley all work together to make a very pleasing film.<br /><br />However, in an odd twist, there is also a really weird subplot that begins and ends the movie. It seems that the professor is truly a mad scientist and he is working on a formula to make things younger. Late in the film, you see him make a duck into a duckling and even a duckling into an egg! Given that he then leaves the boys alone in the room, is it any surprise what happens next? While this subplot was unnecessary, it worked well enough. What worked exceptionally well was the middle portion. Give the boys nothing exciting to do and you'll be amazed at the hilarious results. One of the team's better films and it almost earns a 9.
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I heard and read many praising things about "Midnight Meat Train", which is based on a short story written by no less than Clive Barker and supposedly the best adaptation of his work since the original "Hellraiser" that he directed himself, but so far I can only express very mixed sentiments about my viewing experience. The most appropriate term to summarize the whole film in just word is: nauseating! The violence is sadistic and extreme, which undoubtedly attracts fanatic young horror enthusiasts, but it's also indescribably gratuitous and exploitative. Normally speaking, I'm very pro-violence but it has to at least serve some kind of purpose. The butchering literally depicted in "Midnight Meat Train" is exclusively meant to shock and to repulse the viewers with weak nerve systems and easily upset stomachs, and even that isn't fully effective due to the use of digital computer effects. There are more shortcomings, some even bigger than the pointless gore, but perhaps I should focus on the good elements first. The basic concept is definitely promising and multiple sequences (like the chase in the freezer room, for example) are literally oozing with nail-biting suspense and macabre atmosphere. Unfortunately the pacing is very uneven and the elaboration of the potentially fantastic plot is made unnecessarily convoluted. Presumably the processing of a short story into a long feature film scenario is responsible for the pacing irregularities, but I honestly feel they could have done more with the denouement as well as with the character played by Vinnie Jones. The plot introduces Leon, an aspiring photographer in New York whose agent advises to search for the truly menacing face of the city through sinister pictures. Leon then becomes obsessed with stalking an introvert and suspiciously behaving butcher who always awaits the midnight train. Leon's right, as the butcher turns out to be a relentless serial killer who literally crushes his victims with a big hammer, but the killer's motivations and behavior suggest there's something far more substantial going on the rails at night. "Midnight Meat Train" takes place in naturally unsettling locations like subway stations at night and animal abattoirs, plus the film also benefices of good acting performances and a truckload of downright disturbing images (like cadavers on meat hooks and train carriages smeared in blood), but director Ryûhei Kitamura ("Versus", "Godzilla Final Wars") doesn't take full advantage of it all. The ending leaves a whole lot questions unanswered and, even if Clive Barker meant to have like this, I still think we deserved a slightly more clarifying finale. "Midnight Meat Train" is a somewhat intriguing and definitely haunting film, but not without defaults. It's not intended for easily offended viewers, but maybe people looking for plot coherence and clarity should leave it alone as well.
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I really think I should make my case and have every(horror and or cult)movie-buff go and see this movie...<br /><br />I did!<br /><br />It-is-excellent: Very atmospheric and unsettling and scary...<br /><br />Incridible how they could make such a gem of a film with the very low(read-"no"!)-budget they had....<br /><br />Synopsis taken from website: "One morning, an old man wanders out into the woods in search of his runaway cat. He finds instead a child without parents and a murder with no corpse..."<br /><br />On this website(IMDb) there is no trailer, but I will leave a link here to the site of the movie itself where there IS a trailer which is quite unsettling so please go and check it out...<br /><br />www.softfordigging.com
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I can't believe this movie was made as recently as 1984. It's got some laughable acting, not to mention one of the stupidest plots ever. Who would ever ask fat Texas sheriff Joe Don Baker to escort an Italian he illegally arrested in Mexico back to Italy? Not to mention that the title of the movie tells you pretty much nothing about it - in fact, it's about as generic a title for a wannabe action/cop film as I can think of.<br /><br />I'm glad I only saw this on MST3K with Mike and the bots as a shield. They remark on the female lead's resemblance to Elaine from Seinfeld ("None of them are spongeworthy") and riff non-stop on Baker's weight. This movie probably isn't worse than "Mitchell," but Baker's reputation definitely precedes him here: when his title comes up at the beginning of the film, Tom says, "I wish I was illiterate so I wouldn't have to read that."
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Maslin Beach is a real nudist/naturist beach south of Adelaide, on the Fleurieu Peninsula, in South Australia. It is also the name of an Australian film that used the beach as a location.<br /><br />Maslin Beach is labelled a romantic comedy. This could be slightly misleading, as it is not a 'hilarious' film, nor is it really romantic in the traditional sense, but it does have light-hearted moments. Much as life itself, there are also moments of sadness too. It is also entirely shot at the nudist beach mentioned above, and nudity runs throughout the length of film. The viewer quickly learns to accept this as normal, and concentrate on the plot, not the copious amount of flesh.<br /><br />Simon and Marcie (Michael Allen and Eliza Lovell) arrive by car at a beach-side car park. They take their belongings to the beach, and while they are walking, a voice-over from Simon talks about his confusion about what real love is. The rest of the film is an exploration of this, framed by one complete day at the beach. The basic story is of what happens to Simon's love life, but there are also many other characters highlighted in several separate vignettes.<br /><br />When they arrive at the beach, both Simon and Marcie appear bored with each other. Marcie sees them as a 'Romeo and Juliet' romantic couple. Simon is just bored with it all. Next, we are introduced to Gail (Bonnie-Jaye Lawrence), Paula (Zara Collins) and Jenny (Jennifer Ross). They are walking down the beach together discussing Gail's chances of finding the 'perfect' man, aided by the 'powers' of a necklace that brought good luck to her Grandmother. However, there are many more interesting people on the beach, not all of them 'attractive' and young (part of the realism of this film).<br /><br />To service the beach's patrons there is a flatulent, short-sighted ice-cream salesperson with a van. This is Ben (Gary Waddell), who is a friend of Simon, and is also his unofficial counsellor. I would think that this character is the main comic element. It is hard to say though, as there is nothing about Ben that would make you laugh aloud, unless you were intoxicated, male and very young! Maslin Beach does have a major redeeming feature though, and that is that it does not dwell too long on any one subject. As the quality of acting is variable, the script is suspect and everything about Maslin Beach is cheap, the lack of continuity is a positive boon. In fact, there is something about this film (not the nudity) that I find appealing. It is hard to define what it is, but it could be something to do with its bluntness, and downright 'Aussie' attitude to carnal matters.<br /><br />The camera work in Maslin Beach deserves a mention. Sometimes it is very good, with some stunning static shots and 'pans' of the beach, cliffs and a sunset. As nudity is a major factor in this film, framing is an important aspect of the camera work. There is no sense of gratuity in the framing, meaning that the framing is done so that the camera does not dwell on 'private' body parts. This helps to ease any sense of viewer discomfort from being within the subject's 'personal space', and makes the film more tasteful. Not an easy task, given the location for filming.<br /><br />Maslin Beach is neither a 'skin flick' for post-pubescent, testosterone charged males, nor a 'Mills and Boon' romance for under-appreciated women. Maslin Beach does not seem to fit anywhere in genre. The actors are not 'attractive' in the Baywatch sense, and are just 'normal' people that you would see on the beach anywhere. It does not have a message to put across and it would not even act as a tourism advertisement, other than perhaps to Naturists. Apart from the Australian accent, the filming could have been in any sunny country. What makes this film distinctly Australian is the fact that it is pointless (cinema verite?), and only Australian Cinema, and other medium sized National Cinemas, could consider such a rash option. At the same time, these medium sized cinemas have room for experimentation in the quest for identity, and a 'flop' is not going to damage their reputation too much. It is always possible, given that Maslin Beach is now a collector's item, that the film might become internationally popular, but it is very unlikely.<br /><br />During this critique, I have been sounding highly negative, at times, about Maslin Beach. This is not the real position, as I found the film very easy to watch. I enjoyed it as a reflection of near reality and real people (and problems). The problems confronted in the film are those of the everyday, and a little low on spectacle. This does it no harm in my view, and I wish that more films dealt with the everyday like this. There is a connection here with the cinemas of Europe, and with French film in particular. They rarely deal with major disasters or catastrophes, but with the everyday. Hollywood is in direct opposition to this, and rides the crest of the hyper-real action/drama/angst wave. The pace too, is much faster in Hollywood, but it is not reality. Maslin Beach is not exactly 'Jacques Tati' either, but it is on the right track, even if it does ignore issues of multi culturalism, equality, gender orientation and so on, that are of such importance in current cinema. I am sure that you will either love or hate this film, with little room for a middle ground.<br /><br />
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watch a team of bomb disposal experts in Iraq count down their time before they can go home.<br /><br />That in itself sounds boring. Every time that little caption came up telling us how long they had left, it just caused this film with no plot to drag on and on. hurry up and finish your time there so we can all go home.<br /><br />I must be missing something. I'm a great fan of war films if they are done well. This had "jarhead" syndrome. A film that at times was beautifully shot, but cinematography doesn't stop it from being totally dull and pointless.<br /><br />And get over the slow mo "cartridges coming out of the gun" shot already. they could have saved money and just got stock footage from any other film with a gun in it.<br /><br />I didn't have any empathy for the main guy in it, i was constantly hoping that his recklessness would cause him to die. In fact the film would have worked much better if he had.<br /><br />I read some reviews and seemed to get the feeling that those who had been in the armed forces disliked it, and everyone else loved it. I have never been in the forces, and I'm with them. It's pretentious drivel. the 3 stars are for the cinematography.
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It is like what the title of this thread say. Only impression I got from that movie is that Marlee Matlin's character was always angry, so cynical, and so pathetic. Her character's first date with William Hurt's character where they were dancing were dumb. All in all, I've tried to finish watching the movie four times, and of all four times I fell asleep. I would keep watching that movie with one intention... to beat my problem with insomnia, because all it do is to put me to sleep. Sweet dream.
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Myself and my groovadelic 20-something pals just can't get enough of this awesome Parker Posey CLASSIC! I tried renting this on DVD, but can't seem to find it - too bad, as I'm sure the features would be "extra special" !! :) We all highly recommend this uber-cool comedy flickerino for a date, or even just a cozy night home alone! This would also be the purr-fect type of movie to watch with your cat, or even throw a party based on, like a "Party Girl" party, just like the one in the movie that the lovable, huggable, squeezable Parker Posey goes to at the end. Oh, and be on the lookout for a gripping and HILARIOUS surprise ending... move aside, The Sixth Sense, you've just been outdone by a way radder movie! Sorry, no offense, just calling it like it is! Take it from an old flick lover, comedy just doesn't get better than "Party Girl" with Parker P! Feel it! Yours, Ronald Marie MacDougall (aka DJ Cyber-Rap)
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This is one of the silliest movies I have ever had the misfortune to watch! I should have expected it, after seeing the first two, but I keep getting suckered into these types of movies with the idea of "Maybe they did it right this time". Nope - not even close.<br /><br />Where do I begin? How about with the special effects... To give you an idea of what passes for SFX in this movie, at one point a soldier is shooting at a "Raptor" as it runs down a hallway. Even with less than a second of screen time, the viewer can easily see that it is just a man with a tail apparently taped to him running around. Bad bad bad bad.<br /><br />How about the acting? If that's what you can call it. There is one character who, I suppose, is supposed to be from the south. However, after living in the south for six years now, I have never heard this way of talking. Perhaps he has some sort of weird disability - the inability to talk normally. I find it fascinating that the character does nothing that requires him to have that accent - therefore there was no reason for the actor to try to do one.<br /><br />How about the plot? It's pretty basic - Raptors escape, people with guns must hunt them down. I'm starting to wonder why the dinosaurs in these movies always seem to run into the nearest system of tunnels... wouldn't they stay outside to hunt prey? Oh well, at least they have the good sense to appear very very little in the movie which supposedly revolves around them.<br /><br />Other things - Let's say you are in a building and you know that there are man eating raptors running around in it. Would you decide to take time out to have an argument about who is better - Army or Marine? And then decide to have an arm wrestling contest to settle it? How about the idiotic idea that they have to track down the raptors - Split up into groups of two. Didn't they ever watch any horror movies (Or at least an episode of Scooby Doo)? In short, this is one of the dumber movies out there. Miss it unless you want to groan your way through a movie.
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Boy oh boy oh golly gee,<br /><br />The most interesting thing in the movie was the hilarity of the bluescreen effects used to create Mom's "invisibility." They looked like they were shot on cheap video, and it looks totally unreal, and not even in a good way where its so funny that you end up loving the movie...<br /><br />I did NOT end up loving this movie. The attempted "steadicam" shots were really pathetic as well. I mean, hey, if they had a low budget flick, that's fine. You can still make a great movie with a low budget. But, a BAD movie and a low budget AND effects. That makes for a bad combination. In this case, such a doomed combo created the craptastic film, "Invisible Mom." If you have kids, and your kids have no taste, perhaps they will stay awake through all of this one.
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With the release of Peter Jackson's famed "Lord of the Rings" trilogy, it is even easier to dismiss Ralph Bakshi's 1978 animated Lord of the Rings film as inferior. I agree with the majority that Jackson's trilogy is the essential film adaptation of Tolkien's work, but that does not prevent me from enjoying Bakshi's ambitious pioneering effort. Jackson has admitted that he received at least some inspiration from seeing Bakshi's film and there are some clear similarities between their adaptations.<br /><br />The film's colorful picturesque backdrops are excellent and the score is memorable. I was for the most part satisfied by the drawings of the characters. The pairs of Pippin and Merry and Eowyn and Galadriel are mostly indistinguishable from each other visually, the Balrog and Treebeard were unimpressive, but these points didn't bother me very much. However, the Nazgul are aptly drawn and made sufficiently eerie. The only character representation I was bothered by was Sam's; he was made to look unbecomingly silly.<br /><br />This film is novel for its animation techniques. In addition to hand-drawn characters, live actors are incorporated into the animation through rotoscoping. It is quite apparent which characters are hand-drawn and which are rotoscoped, but none the less I found that the film's style was a novelty. The use of rotoscoped live actors for the battle scenes was a good decision and helped these scenes turn out well.<br /><br />The voice acting was generally of high quality. Particularly good was John Hurt, who provided an authoritative voice for Aragorn. Aragorn isn't a favorite character of mine from the stories, but backed by John Hurt's voice he was my favorite character in this adaptation. My other favorite was William Squire, whose voice is appropriately strong for Gandalf. The only actor who seemed inappropriate was Michael Scholes as Sam, whose voice acting was irritating and added to Sam's unfortunately silly image. The only other bothersome part of the voice acting is the mispronunciation of character and place names. Particularly strange was the decision to frequently have Saruman referred to as "Aruman".<br /><br />In producing this film, Ralph Bakshi expected to have the ability to produce two films. Hence, this film contains about half the story, from the start of "The Fellowship of the Ring" to the end of the battle at Helm's Deep in "The Two Towers". The obvious implication of this is that the film's story is a highly condensed version of the story from the books. I enjoy the original stories and more thorough adaptations, but the liberties taken to compress the story didn't bother me, even the choice to leave Arwen out of the story. Enough of the key elements of the story were in this film to keep me engaged for the duration and there was even a novelty in being able to breeze through half the Lord of the Rings story in 132 minutes. The battle scenes were impressive and in particular the orc march to and battle at Helm's Deep were tremendous.<br /><br />Ralph Bakshi's version of "The Lord of the Rings" isn't perfect and no doubt a number of Lord of the Rings readers lament the cuts to the story. However, for me the drawbacks of this film were minor compared to the thrill of seeing an effective adaptation of half of a great trilogy. My only strong lament is that I am unable to see the second part of this "first great tale" of The Lord of the Rings since Bakshi was not given the budget to create a sequel.
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Ruth Gordon at her best. This episode is my favorite of the whole Columbo series. Peter Falk and Ruth Gordon worked so well together that they should both be inducted into the television hall of fame, regardless of the rest of their work. Even the music was outstanding in this episode.
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I quote Oedpius Rex because it is a tragedy that this film was even made!!!<br /><br />This is one of the worst movies I have ever seen! I am in no way an Uwe Boll hater like most of the humourless people on IMDb! <br /><br />Uwe Boll movies like Postal and Tunnel Rats are hilariously bad and therefore entertaining. But honestly, this movie was just horrible. I hated it so much that I'd give it a zero star rating if I could. The story is just crap! It spends four fifths of the film building the plot and then they have the middle which is just scenes of grizzly horrible tastelessly done murder! The finally end it with a "villan wins ending" which is totally acceptable but surely it could have been more tasteful than this! <br /><br />I am not against Uwe Boll (like I said earlier) nor am I against violent movies! I f**king love violent movies! I loved the Saw movies, the Hostel movies, Tokyo Gore Police, The New York Ripper, the 28 movies, Dog Soldiers, My Bloody Valentine, Last House on the Left, Watchmen, Wolf Creek, every Tarantino movie, every Sam Peckinpah, even Cannibal f**king Holocaust! But this! OMFG!!! <br /><br />This was just cruel, sadistic and perverted! And look at the movies I just listed! If I liked Cannibal Holocaust and not this then it must be bad! Uwe, don't go all dark again! You're funny when you are light hearted, just like Ed Wood. This was just an awful experience! I felt horrible all over after seeing this!<br /><br />DO NOT WATCH!!!! AVOID AT ALL COST!!!!!
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I think this is what this movie wants us to say at the end of the movie! or Damn Australian? I still don't know, but what I know is that I really liked this movie but that couldn't be my favorite movie!<br /><br />Great story with great actors but with a terrible end... To make you cry and say 'Oh, she's so good'... Still, who made it? What really happened? Who's that guy? No answer to these questions...<br /><br />Mysterious movie with a good mark overall... I give it a 8/10, going on the 8.5!
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Great cast. Great acting. Unpredictable story line for the first half<br /><br />hour or so. I was really wanting to know what was going to<br /><br />happen to each of these unredeeming characters, and how their<br /><br />seemingly disparate lives would become intertwined. But when<br /><br />the writers took out the glue to start connecting the players, they<br /><br />mistakenly used super glue and brought the movie to a standstill<br /><br />for the last two hours. I kept thinking it would get better, but it only<br /><br />got worse. Don't believe the reviews. This is a waste of time. <br /><br />Think about it -- Tom Cruise made ugly -- why? The gorgeous<br /><br />hunky bartender wearing braces -- why? I know it had to do with<br /><br />the plot, but without them, at least there would have been one<br /><br />attractive cast member to remember.
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I miss Dark Angel!..<br /><br />I understand not ever one likes it, but as far as I'm concerned the show should not have been canceled, especially for another space show mock up...<br /><br />I'm reading the books now. they are doing a pretty good job of explaining somethings, but I still think we should get a TV movie or something.<br /><br />THE FREAK NATION LIVES!!!!!!!!
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It's a shame that this piece of work wasn't acknowledged as a piece of work. It has everything a historical film must have: a serious historical research, outstanding performances of every actor involved and a discrete but great direction.<br /><br />When I saw the movie I knew it should be a prototype for every biographical movie.
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Paul (Jason Lee) is an underachiever who just happens to be engaged to a type-A princess named Karen (Selma Blair). She chooses his clothes and his daily schedule. At his bachelor party, Paul gets a little too drunk and somehow ends up taking a pretty dancer named Becky (Julia Stiles) back to his digs. "Nothing happened", as they say, but the duo do wake up in the same bed. Suddenly Karen telephones. She's on her way to Paul's apartment. Understandably, Paul hustles Becky out of the place, although her underpants are left behind. But, there is even more fun ahead. At a family dinner at Karen's parents' home, Paul runs smack into Becky again, learning that she is Karen's cousin. Talk about some explaining to do! But, instead, Paul chooses to feign a stomach problem and hides out in the bathroom. Will Karen ever find out that Becky spent the night at Paul's place? And, what will be the consequences? I'm sorry for critics who pan movies like this. They should definitely lighten up, for this film is fresh and fun. Of course, it doesn't hurt matters that Lee is a consummate funny man, Stiles is a charming beauty or that Blair is a natural as a pretty but anal fiancée. The rest of the cast, including James Brolin and Julie Haggerty, is also quite nice. The look of the film is wonderful, as are the costumes and California settings. Best of all, the script is imaginative and inspired, creating big laughs for the audience. In short, if you want to tickle the proverbial funnybones, get this movie tonight. It may not be Academy Award material but it is absolutely guaranteed to turn a bad day into a darn good one.
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John Leguizemo, a wonderful comic actor, is a New York Latino, able to get inside a myriad of characters, both male and female, to show the bizarre foibles of an ethnic group trying to cope in an alien culture. He is not, however, Italian. He doesn't look, think or behave Italian...Especially Sicilian or Calabrese, immigrant groups who live in Bensonhurst or Bayridge Brooklyn. Every scene in which he interacts with his "Gumbas" rings false, as though he'd wandered in from a college production of "West Side Story" while the other guys were doing a low-rent "Mean Streets". That's only one problem with this ill-conceived, mean-spirited flick. Spike blew this one big time. Btw, CBGBOMFUG means "Country, Bluegrass, Blues and Other Music For Uplifting Gourmets [or possibly Gourmands] Ask Hilly Crystal who founded the club. <br /><br />
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Chris Kattan is a great sketch actor on Saturday Night Live...but he should probably leave the movie industry alone unless he gets some sort of creative control. He plays an annoyingly peppy character who basically comes off as mildly retarded and on speed. Wanna know the only funny parts? The stuff they showed in the previews. Yes, his rendition of take on me is funny. Nothing else is. ESPECIALLY when you can tell he's trying very hard to be a physical comedian, which he shouldn't have to try at because he is one. And yet, his 'demolishing the vet's office' bit comes off as cringingly bad. This movie made me develop an eye twitch. Avoid it at all costs, and keep watching SNL.
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Bette Midler is again Divine! Raunchily humorous. In love with Burlesque. Capable of bringing you down to tears either with old jokes with new dresses or merely with old songs with more power & punch than ever. All in All Singing new ballads, power-singing the good old/perennial ones such as "The Rose"; "Stay With Me" and yes, even "Wind Beneath My Wings". The best way to appreciate the Divine Miss M has always been libe - since this is the next best thing to it, I strongly recommended to all with a mixture of adult wide-eyed enchantment and appreciation and a child's mischievous wish for pushing all boundaries!
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Allison Dean's performance is what stands out in my mind watching this film. She balances out the melancholy tone of the film with an iridescent energy. I would like to see more of her.
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This is perhaps the creepiest display of Santa Claus ever committed to any medium, whether it be a book, a picture, or a movie. Santa looks like a perv looking down on the children and the twisted story of bringing Merlin in to help him defeat one of Satan's minions, Pitch, doesn't make things any better. It's laughable to say the least, with bad effects, even for 1959 standards. If a kid were to watch this movie, he'd have nightmares and never want Santa to visit. They'd be scarred for life. Imagine the kid's in "A Christmas Story" when they start screaming after being put on Santa's lap. That's how this would turn out if kid's see this movie.
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I was really horrified by this eerie movie. What an unusual dark atmosphere. And such a creepy musical score. Really promising! Indeed, after ten minutes you really start sweating, and feeling uncomfortable, for you start fearing the worst. This movie has the atmosphere of a true nightmare, and what's worse-it all comes out. For one hour and a half I have been trying to fight complete boredom and falling asleep, but the monstrous soundtrack kept me awake. Nuit Noire is a truly horrifying picture - for your eyes, your ears, your intelligence, and most of all: your wallet, since the thought of spending precious money on a movie ticket for this cheap amateuristic homevideo is the biggest horror of all.
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Gédéon and Jules Naudet wanted to film a documentary about rookie New York City firefighters. What they got was the only film footage inside the World Trade Center on September 11.<br /><br />Having worked with James Hanlon's ladder company before, Jules went with the captain to inspect and repair a gas leak, while Gédéon stayed at the firehouse in case anything interesting happened. An airplane flying low over the City distracted Jules, and he pointed the camera up, seconds before the plane crashed into Tower One.<br /><br />Jules asked the captain to follow him into the Towers. The first thing he saw was two people on fire, something he refused to film. He stayed on site for the next several hours, filming reactions of the firefighters and others who were there.<br /><br />The brothers Naudet took great care in not making the movie too violent, grizzly, and gory. But the language from the firefighters is a little coarse, and CBS showed a lot of balls airing it uncensored. The brothers Naudet mixed footage they filmed with one-on-one interviews so the firefighters could explain their thoughts and emotions during particular moments of the crisis. <br /><br />Unlike a feature film of similar title, most of the money from DVD sales go to 9/11-related charities. Very well made, emotional, moving, and completely devoid of political propaganda, is the best documentary of the sort to date.
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...in an otherwise ghastly, misbegotten, would-be Oedipal comedy.<br /><br />I was the lone victim at a 7:20 screening tonight (3 days after the movie opened) , so there is some satisfaction in knowing that moviegoers heeded warnings.<br /><br />The bloom is off Jon Heder's rose. The emerging double chin isn't his fault; but rehashing his geeky kid shtick in another bad wig simply isn't working. It would be another crime if this were to be Eli Wallach's last screen appearance. Diane Keaton will probably survive having taken this paycheck - basically because so few will have seen her in this, the very worst vehicle she's chosen in the last few weeks.<br /><br />Sitting alone in the theater tonight I came alive (laughed, even) whenever Daniels was given the latitude in which to deliver the film's sole three dimensional character. He really is among our very best actors.<br /><br />In summary, even Jeff Daniels's work can't redeem this picture.
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... but the keyword here is "usually." I have been known to adore movies EVERYONE thinks are dumb. But in the world of B-rated movies, THIS one is Z-rated. Absolutely ridiculous. The thing I respect about most of my favorite B-rated movies are that they don't take themselves too seriously. The makers of movies like that sort-of treat the movie lightly, even if it's a heavy topic. I get the impression, however, that the producers of this movie took themselves way to seriously, like they were putting together a 10-star classic, complete with poor attempts at poignant lines and dumb camera shots. Nevertheless, despite all this, I STILL gave it 4 out of 10 stars, as I am biased towards movies like this. If you're a B-rated fan, however, I would try too hard to find this one.
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You'll notice by the stars I've given this GREAT film that '...before you see it the first time,' is implied. I had never before heard of this film and happened across it just because this week (and last) was a very slow rental experience (not much great coming in). I'm not sure how this movie slipped past me -I love Lucy Liu and Jeremy Northam is great too. Still, it did.<br /><br />This movie is an awesome example of what to do if you don't have a large budget. It had just the right amount of plot and dialog to make it very interesting and keep the viewer in the dark; just enough. The entire film is you (the viewer) trying to figure out the plots many twists and turns. I would have given this film 10/10, however some of the shots were pretty fake looking. I don't hold that against this film too much, but I don't think it deserves a perfect score.<br /><br />Lucy Liu is beautiful and mysterious (as always). I think she's pretty underrated as a serious talent. Nevermind her beauty (which is difficult), she really takes her roles seriously and doesn't rest on her appearance to drive her through scenes of sophisticated emotion. And she can seem cold and even lifeless if needed, as well.<br /><br />Jeremy Northam does really well, at first, as quite a geeky corporate rat, willing to run through any maze to prove himself. However, as he changes throughout the film, it's like night and day. I know some fans of Clive Owen, Jude Law, or other hopefuls to become the next James Bond will hate me for this, but Northam would/could/should fit that bill. He's suave and cultured. He's got a great Bond posture and voice. I think he too can be cold if the situation calls for it, and rather down-to-Earth, as well.<br /><br />Great film and definitely this movie-buff recommends it to be seen at least once if you like corporate espionage films.
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I can't believe that the City of Muncie is so hard up for attention that they would embarrass themselves by allowing this show to be done there. This show is like a slap in the face to real hard working law-enforcement officers. I have never before in my life seen anything so stupid in my life. If they had billed it as a comedy that would be one thing but to say it is reality is nothing short of a lie. I only saw it once and was appalled at what I saw. I wanted to see the little guy get into a foot-chase with a bad guy. What a joke that would have been. Nothing on the show was even close to the real world. The city of Muncie, the Police Chief, and all the officers should be hanging their heads in shame and should never want o admit they come from that city. No wonder it didn't stay around on TV
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Iam a Big fan of Mr Ram Gopal Varma but i could not believe that he made this movie. i was really disappointed.<br /><br />Ram Gopal Varma Ki Aag doesn't come anywhere close to the real Sholay. It does not leave a lasting impression on a viewer. Ram Gopal Varma fails to create chemistry between the characters . There is no camaraderie between Heero(Ajay Devgan) and Raj(Prashant raj). There are hardly any scenes with more than two people in the frame together. The sequence outside the courtroom with Amitabh Bachchan and Mohanlal face off is remarkable. Amitabh Bachchan should not have done this movie. Ajay and Sushmita sen was trying their best but no use. Rajpal Yadav's voice modulation - ineffective and rather pointless. Mohanlal did full justice and proved it again that acting is all about facial expression and body language. Rest of the cast was below expectation. The comedy situation which was adapted from the original sholay fall flat in this movie.<br /><br />Ram Gopal Varma could have worked upon the script but because of the controversies surrounded against the movie he messed up and just for the sake of making he made this Aag. But there is no fire.
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This is probably my favorite movie of all time. It is perfection in its storytelling. It will break your heart not because it's over sentimental but because you will truly feel every emotion these characters go through. You feel for Doggie because of the hopeless situation that existed for young girls in China at that time.
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While returning from a Christmas Eve shopping trip, an abused suburban housewife (Basinger) finds herself in a fight for survival after a disagreement with a group of delinquent youths takes a violent turn.<br /><br />Suffering the indignity of a straight to DVD release here in the U.K., Susan Montford's directorial debut will perhaps not be given the recognition it deserves. This is a shame, as the standard of the writing, directing and acting is very good indeed, and certainly surpasses the quality of your average straight to DVD flick.<br /><br />Kim Basinger gives her best performance in some time as the downtrodden wife of an abusive husband (Craig Sheffer). While Sheffer is not really given anything more to do than be a threatening presence, it is in their brief scenes together that Basinger connects - showing painful vulnerability yet hinting at the rage that will eventually boil over in her confrontations with the youths. It's a truly great, understated performance, her transformation from victim to aggressor is seamlessly played.<br /><br />Lukas Haas I initially thought was miscast, as he (along with the other three youths) just did not seem much of a threat. However, had all four youths been more physically imposing, the later scenes in which Basinger turns the tables against them would not have worked at all. The fact that these are four average men, albeit slightly unhinged, is the key to why the film works as well as it does.<br /><br />Apart from a few pacing issues during the latter half of the movie and a couple of cheesy lines here and there, what we have here is a great thriller that actually leaves the viewer with something to think about when the film is over. Some may be put off by the slow - burn nature of the opening scenes, or the abrupt ending. Others by the at times brutal violence. I say give it a chance, it's certainly more deserving of your time than Saw V.
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5 minutes into this movie I was hyperventilating, shaking, and writhing in pain. And not in the good way. The story is about a troupe of idiotic children making prank phone calls to a psycho which is always a good idea. Turns out psychos don't like prank phone calls because in 2 minutes time he's at their door killing poor Williams mom and dad. Well skip ahead 15 years and guess what? Still prank phone calling people. Yep you would of thought that a horrible murder would of deterred them from doing that ever again but no. So after about two hours later and way too many scream ripoffs I realized that this movie gave me nothing but a terrible taste in my mouth and a severe urge to take my own life. This piece of crap isn't even worth laughing at the shoddy production, the "acting", or Rutger haurs dwindling career. I love crappy horror movies but this is the most unsatisfying piece I've ever seen. Just don't.
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'Chances Are' a big mistake to see. You could know director Emile Ardolino from 'Dirty Dancing' and 'Sister Act' and should expect something amusing from him. But I guess I have to disillusion you. He made a really, really bad movie.<br /><br />According to the story Christopher McDonald dies to reburn as a baby. The baby grows up Robert Downey Jr, and Jr returns his former home town where she meets his former daughter, Mary Stuart Masterson (complicated, huh?).<br /><br />They fall in love with each other. Then appears Jr former wife, Cybill Shepherd, and Jr falls in love with her too. I guess I don't even have to mention that she loves Ryan O'Neil.<br /><br />In one of his first roles Robert Downey Jr's on his worst. He copies Michael J Fox.<br /><br />After the 'Moonlighting' Shepherd proves that she's not suitable for acting in movies.<br /><br />Anyway, there's one thing this unfunny comedy can be used: as antidote to insomnia.
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The Twilight Zone has achieved a certain mythology about it--much like Star Trek. That's because there are many devoted lovers of the show that no matter what think every episode was a winner. They are the ones who score each individual show a 10 and cannot objectively evaluate the show. Because of this, a while back I reviewed all the original Star Trek episodes (the good and the bad) because the overall ratings and reviews were just too positive. Now, it's time to do the same for The Twilight Zone.<br /><br />While I have scored many episodes 10, this one gets a 3 simply because it was bad. The writing was in fact embarrassingly bad. Two people from opposing sides in a great war are seen wandering about through the entire episode. After a while, it's apparent that they are the only two people left on Earth--as you learn in the really stupid and totally unconvincing conclusion. Usually the twist at the end makes the episode great--this one killed it!
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In Holland a gay writer Gerard (Jeroen Krabbe) gives a lecture. He stays overnight with a beautiful woman Christine (Renee Soutendijk) and has sex with her (by imagining she's a boy). He plans to leave the next day, but gets a look at a picture of Christine's hunky boyfriend Herman (Thom Hoffman) and decides to stay to have a try at him. Then things get strange.<br /><br />A big X-rated art house hit in the US in 1983. Why was it X rated? Let's see...there's strangulation, full frontal male and female nudity, castration, mutilation, simulated sex, a scene in a church with a cross that will shock most people, a gay sex scene in a crypt...and it's all a comedy!!!!! Paul Verhoeven made this after "Spetters". "Spetters" was attacked by the critics for it's extreme sexual sequences and denounced as trash. So, Verhoeven filled this film with very obvious symbolism thinking the critics would think it was art and praise it. He was right! Critics loved the film not realizing that Verhoeven was playing a big joke on them. Still, it's a great film. <br /><br />It's beautifully shot by Jan de Bont (now a director himself) and there's so much symbolism and obvious "hidden" layers in the dialogue that you're never bored. All the acting is great--Krabbe plays a thoroughly despicable character but (somehow) has you rooting for him; Soutendijk is just stunning to look at and plays her part to perfection--the little smile she gives when Gerard agrees to stay with her is chilling; Hoffman is extremely handsome with a great body--he deserves credit for doing the church sequence and going at with Krabbe in the crypt.<br /><br />This is not for people easily offended or the weak of heart, but if you like extreme movies that playfully challenge you (like me) this is for you! A 10 all the way.
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This is one of the worse cases of film drivel I have seen in a long while. It is so awful, that I am not sure where to begin, or even if it is worth it. The plot is the real problem, and I feel sorry for 'Sly' as he puts in a decent performance for his part. But that plot ... Oh dear oh dear. I particularly love the way near the end he manages to pop from the foot of a mountain to the top, whilst the helicopter is on the way. A climb of a day or two takes him all of five minutes! I could go on: but it isn't worth it. Apart from the grim opening (which even a five year old would be able to predict the outcome of) the rest is drivel. Sorry folks, but this is about as bad as film making gets.
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I've rarely been as annoyed by a leading performance as I was by Ali McGraw's in this movie. God is she bothersome or what?! She says everything in the same tone and is horrible, so horrible in fact that, by contrast, Ryan O'Neal is brilliant. <br /><br />There is not much of a story. He's rich, she's wooden, they both have to Sacrifice A Lot for Love. His father is Stonewall Jackson, hers is called by his first name, in case you didn't notice the Difference in The Two of Them that They Overcame in the Name of Love. <br /><br />The Oscar nominations for this movie indicate it had to have been a bad year. John Marley is fine as Wooden's father, but a Supporting Nomination? At least Ali didn't win. <br /><br />I still think Katharine Ross should have played Jennifer, but then again, if it were up to me, Katharine Ross would have been in a lot more movies. She's certainly a better actress than McGraw. <br /><br />I didn't even cry when she got sick, never occured to me to even feel sad. <br /><br />It was nice to see Tommy Lee Jones looking like he was about 15, and the score is good. But this one is so old by now it has a beard a mile long, and the sin of that is its not that old, but it feels it.
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Discovery Channel/Animal Planet must be ashamed of themselves. This Fantasy is modeled after the "Walking with Dinosuars" series. Even though this is 100% fantasy it is presented in the same factual and archaeological way. Even mixing the fantasy dragons with T-rexs and the extinction of the dinos. Added to being shown on an educational channel instead of say Sci-Fi it gives an air of factual authenticity to this show.<br /><br />On its own the show is about an 7.5/10 far as entertainment goes. But the way in which it is presented I have to give it a 1/10. Don't get me wrong I have no problem with fantasy but they way they put this out is so wrong. I can really see young kids and slow adults believing that they did find a dragon and that this is real.<br /><br />I also think this weakens the great "Walking with Dinosuars" series because now you have to view that with a mind of how much is fantasy on that mini-series.
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13,031 |
There seems to be only two types of reviews of this film on the net. Those who hate it and curse Ralph Bakshis name and those love it and call it work of genious. I'm inclined to be in the middle. I'am forced to agree with most of the criticisms of this film (e.g.the cruel cutting of the story, badly rotoscoped charecters, over acting etc...) But dispite this I still love this film. The rotoscoping (when done properly)adds an eerie lifelike dimension to the charecters and the final battle scene at the end of the film is fantastic. The surrealistic scenes when the nineriders chase Frodo are stylish and well executed and the musical score... magic. Sadly the bad points outweight film but if you can bring yourself to ignore them it is a great film.<br /><br />(No doubt I'll be lynched by an angry mob of people who hate this film after writing this review, ah well, such is life)
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In my life I have seen many great and awful movies. I am not an expert in professional reviews, but I have definitely something to say about this one. Firstly, these actors are the worst I have seen... Their acting is so unreal that you even want to throw away the DVD in the first 2 minutes. I think that these actors were not interested in the quality. <br /><br />Another awful thing is about these dialogs - they are so lame. You sometimes feel uncomfortable when you hear them. It seems that your 14 year old son could act better. I feel that this movie had a budget similar to the cost of my 14 year old European car...<br /><br />Please, if my message reaches you - save your time and money.
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2,396 |
I hate this movie! It was NOTHING like the book, and just thinking about it makes me mad. If you watch the movie before reading the book, then yeah, it's a good movie. But King's book was AMAZING and this movie was nothing like it. I mean, the general meaning might be sort of similar but most aspects of the movie are completely different. The ending for example! So in the book it is extremely intense and Danny and Wendy escape seconds before the hotel explodes. but in this horrible movie version jack like takes them through a stupid maze... yeah, there is no maze in the book and there is no reason for it. Another part that made me angry was that jack just kills Mr. Halloran! what the heck, he is basically the hero of the book and they just kill him off like he wasn't important. Overall, it was just bad that the movie was so extremely off.
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11,263 |
Airport '77 starts as a brand new luxury 747 plane is loaded up with valuable paintings & such belonging to rich businessman Philip Stevens (James Stewart) who is flying them & a bunch of VIP's to his estate in preparation of it being opened to the public as a museum, also on board is Stevens daughter Julie (Kathleen Quinlan) & her son. The luxury jetliner takes off as planned but mid-air the plane is hi-jacked by the co-pilot Chambers (Robert Foxworth) & his two accomplice's Banker (Monte Markham) & Wilson (Michael Pataki) who knock the passengers & crew out with sleeping gas, they plan to steal the valuable cargo & land on a disused plane strip on an isolated island but while making his descent Chambers almost hits an oil rig in the Ocean & loses control of the plane sending it crashing into the sea where it sinks to the bottom right bang in the middle of the Bermuda Triangle. With air in short supply, water leaking in & having flown over 200 miles off course the problems mount for the survivor's as they await help with time fast running out...<br /><br />Also known under the slightly different tile Airport 1977 this second sequel to the smash-hit disaster thriller Airport (1970) was directed by Jerry Jameson & while once again like it's predecessors I can't say Airport '77 is any sort of forgotten classic it is entertaining although not necessarily for the right reasons. Out of the three Airport films I have seen so far I actually liked this one the best, just. It has my favourite plot of the three with a nice mid-air hi-jacking & then the crashing (didn't he see the oil rig?) & sinking of the 747 (maybe the makers were trying to cross the original Airport with another popular disaster flick of the period The Poseidon Adventure (1972)) & submerged is where it stays until the end with a stark dilemma facing those trapped inside, either suffocate when the air runs out or drown as the 747 floods or if any of the doors are opened & it's a decent idea that could have made for a great little disaster flick but bad unsympathetic character's, dull dialogue, lethargic set-pieces & a real lack of danger or suspense or tension means this is a missed opportunity. While the rather sluggish plot keeps one entertained for 108 odd minutes not that much happens after the plane sinks & there's not as much urgency as I thought there should have been. Even when the Navy become involved things don't pick up that much with a few shots of huge ships & helicopters flying about but there's just something lacking here. George Kennedy as the jinxed airline worker Joe Patroni is back but only gets a couple of scenes & barely even says anything preferring to just look worried in the background.<br /><br />The home video & theatrical version of Airport '77 run 108 minutes while the US TV versions add an extra hour of footage including a new opening credits sequence, many more scenes with George Kennedy as Patroni, flashbacks to flesh out character's, longer rescue scenes & the discovery or another couple of dead bodies including the navigator. While I would like to see this extra footage I am not sure I could sit through a near three hour cut of Airport '77. As expected the film has dated badly with horrible fashions & interior design choices, I will say no more other than the toy plane model effects aren't great either. Along with the other two Airport sequels this takes pride of place in the Razzie Award's Hall of Shame although I can think of lots of worse films than this so I reckon that's a little harsh. The action scenes are a little dull unfortunately, the pace is slow & not much excitement or tension is generated which is a shame as I reckon this could have been a pretty good film if made properly.<br /><br />The production values are alright if nothing spectacular. The acting isn't great, two time Oscar winner Jack Lemmon has said since it was a mistake to star in this, one time Oscar winner James Stewart looks old & frail, also one time Oscar winner Lee Grant looks drunk while Sir Christopher Lee is given little to do & there are plenty of other familiar faces to look out for too.<br /><br />Airport '77 is the most disaster orientated of the three Airport films so far & I liked the ideas behind it even if they were a bit silly, the production & bland direction doesn't help though & a film about a sunken plane just shouldn't be this boring or lethargic. Followed by The Concorde ... Airport '79 (1979).
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This film differentiates itself from the run-of-the-mill "wonder of the human body" documentaries by bravely, if bizarrely, opting to elicit disgust in the viewer. In one scene, the camera closes in on a gigantic 50-foot zit as a teenager squeezes pus and fluid out of it. In another, the camera is semisubmerged in a swamp of half digested food and stomach acid as parts of a pasta salad drop in from the esophagus and plop into the goo. In a final tour de force, the camera takes the viewer on a harrowing ride through a forest of...teenage armpit hair. Unfortunately, I'm not making any of this up. See this film if you must, but: bring your vomit bag, and don't have pasta salad beforehand.
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20,133 |
I don't know why I picked this movie to watch, it has a strange title and from the description it just looked like something different. Every once in a while its good to try a film that's slightly different from the mainstream Hollywood hero/thriller flick and this film certainly was different. Right from the beginning this film had me intrigued but I couldn't figure out why until the end if the film when I realized that the movie was great because the characters were so real. I thought the acting was superb and the character development really makes you care about them and hope things turn out well for them in the end. I think that everyone who watches the film could in some way relate to one of the characters and this makes for great viewing and some good laughs at the sheer ordinariness of the actors. <br /><br />At the culmination of the movie you definitely get a sense of well being, and are left with the 'things are going to be OK' type of a feeling. I'm sure this will have wide appeal and should be given a chance.
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12,771 |
I was up late flipping cable channels one night and ran into this movie from about 10 minutes into the start - every time I even thought going to bed, something kept on telling me to keep on watching it even though it was way way way past my bedtime.<br /><br />This movie could have been another easy slam dunk anti-gun film, but instead they chose to examine the aftereffects of the shootings. And even better, the movie kept on with the real life - just when you think they are going to take the easy and obviously contrived way out, a twist comes along and changes the whole outlook of the movie. This film not only doesn't follow the formula, it shows how other events often lead up to and/or affect what happens afterwards.<br /><br />I only wish the filmmakers had explored the issues around anti-depressant drugs more - the kids from Columnbine who did the shootings were on them for years and it was frightening to watch the way Deanna popped them every time the nightmares started. Up until recently they were dispensing the stuff like candy and only now do they even begin to understand what long term effects the drugs have. It was very refreshing to see that the mental illness aspect of the story was given quite a bit of film, having a relative who suffers from a mental illness, I can say that the movie was dead nuts on in every aspect of mental illnesses. Bravo to the director and writer who obviously did their homework on those issues. And for those who think certain things couldn't happen in a hospital (I don't want to tell any particulars), you're dead wrong on that too - I've been there. The script was so real it was amazing.<br /><br />Go BUY this film and show it to your teenage kids before it's too late. Someday they'll thank you for it.
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This is probably the best television show I've ever seen. I first saw it on Comedy Central several years ago. At the time I was unaware that it had been dramatically edited and was shown out of order, and having just watched all three series in order and unedited (thank you internet and your wondrous "series of tubes") I am SO GLAD I rediscovered it! I think Comedy Central sort of picked and chose their way through series one and two to make a "season"......and I tried to get friends and family to watch it, but nobody really seemed to like it (I need new friends). So, on my own, I made the best out of it that I could. Even when I felt like it was waning a bit, I still felt compelled to continue watching. Years after when I discovered Little Britain, I immediately recognized Pauline from LoG as having influenced Marjorie in Fat Fighters. Also, I love the idea of writers who act the entire show....(not new, but done impeccably here). LB has nothing on LoG! (No offense, Matt & David....Love you)! This is indeed a darkly comedic piece of genius. Serial murder, implied cannibalism.....you name it and it's probably found in this wonderful, unique piece of TV art. The location shots from the very first scene themselves are chilling and seem to beckon you to the town of Royston Vasey.....You'll Never Leave! I think my favorite character would have to be Tubbs, but each character as portrayed has it's own "charm". My least favorite was Papa Lazarous, that was until he re-surfaced in series three (clever and wholly unexpected)! It's best to watch several episodes in a row as it drives the continuity and as I said before, becomes so compelling (while repulsing) that you really CAN'T stop watching. This is not for those with weak stomachs, kids, conservatives or Grandma (unless you've got one saucy granny)! I have always loved British TV, particularly comedies, from Monty Python to Benny Hill, Red Dwarf to Keeping Up Appearances, Absolutely Fabulous and the British originals Coupling and The Office (but not their US counterparts....sorry). This is unlike any of those in that it completely redraws the line between what's funny and what's just sick and twisted. Nothing, NOTHING on US TV has ever come close to this level of entertainment. US broadcast TV is so sad and lame, I can barely stand to watch ANY of it. It's kind of sad that even our cable channels don't have the guts to show unedited versions of this gem (your loss, Comedy Central). Thankfully there are shows like this one that come from the "across the pond" that redeem the entire medium every decade or so. Basic cable here in the US has been making tiny steps the last few years in confidently "crossing lines" with more graphic sexual content, drug use and adult language, but they are still years away from just deciding to be Adults about showing real life, adult behavior (instead of just murder obsession and blowing things up, sheesh, it's like the same basic show format for the past 35 years)! Don't even get me started on US sitcoms! Waste of time and lots of wasted money......did you know that "According to Jim" has been on the air for 10 years??? 10 YEARS?? Anyway... Watch this show, get it on DVD, do what you must and then make your friends watch it as well! You've never seen anything like it. There are three specials that I have not watched yet....I'm saving them to spring on my best friend next time he visits. He'll watch them, even if I have to chain him up and paint him with Excrement! Lines and lines and lines and lines! Note that series three departs from one and two....the greater town seems to fall away to concentrate on newer characters, the laugh track is gone (thank bloody hell), the theme is more band and less orchestra and a bit of the story takes place outside of Royston Vasey. Don't be thrown by any of that as by the end, the series has preserved the quiet perversity first demonstrated in series one and two. I think these four guys have created something sort of undefinable. Brilliant, confident and absolutely demented. You will want to re-watch it again and again. It's amazing that in 5 seconds of screen time they can go from cheap sight-gag to horrifying blasphemy then end with a single actors close-up facial expression. If ever I were to meet any of the writer/performers, I'd implore them not to recreate it or try to top it.....I'd just say "Can I help you at all?" (Then they'd probably slap me, so I'd ask them to sign the slap-mark)! 10 out of 10
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"The Last Wave" is one of those movies that relies heavily on the mind. The title refers to the Aboriginal doomsday theory: there will be one last wave that wipes out everything.<br /><br />David Burton (Richard Chamberlain) is a Sydney lawyer hired to defend some Aborigines accused of murder. Around this time, there has been unusually heavy rainfall in Australia. While defending the Aborigines, David learns the last wave theory, and begins to wonder whether it's just mythology.<br /><br />The movie's last sequence is a metaphor for descending into the depths of one's mind. Peter Weir created a perplexing, but thought-provoking, movie. Aboriginal actor David Gulpilil (whom you may have seen in "Walkabout", "Crocodile Dundee" and "Rabbit-Proof Fence") provides an interesting supporting role as one of the defendants.<br /><br />If you get a chance, watch the "making of" feature on the DVD. Peter Weir explains some of the film's undertones, some of which relate to Richard Chamberlain's background.
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13,257 |
Very good except for the ending which was a huge disappointment.<br /><br />The script was very good as was the acting. The visuals were often very grainy but this in a way added to the film as the snowy features were in good places that helped create a mood towards the film. This affect was ruined by the extremely unbelievable ending. <br /><br />I was going to give this film an 8 out of ten but the ending knocked it down a point to 7 because it seemed to depart radically from the first 75 minutes of the movie and seemed quite forced at the end to make the film makers look clever. <br /><br />This movie though was much better than films with quite a lot larger budgets and seemed to be filmed like a home movie with some extra equipment. Not much in the way of special effects as these go but for suspense it was very good.
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10,697 |
When I was at the movie store the other day, I passed up Blonde and Blonder, but something about it just seemed like it could possibly be a cute movie. Who knows? I mean, I'm sure most people bashed Romy and Michelle before they saw it, Blonde and Blonder might have just been another secret treasure that was passed up. But when I started watching it: Executive Producer Pamela Anderson, wow, I knew I was in for something scary. Not only that, but both of what were considered the pinnacle of hotness: Pam Anderson and Denise Richards, not to offend them, but they were not aging well at all and they're playing roles that I think were more meant for women who are supposed to be in their 20's, not their 40's. The story was just plain bad and obnoxious.<br /><br />Dee and Dawn are your beyond stupid stereotypical blonde's, they really don't have a clue when it comes to what is going on in the world, it's just really sad. But when the girls are somehow mistaken for murder assassins, the cops are on their tale and are actually calling the girls geniuses due to their "ignorance is bliss" attitudes. They are set up to make a "hit" on a guy, and they think they're just going to "show him a good time", but the real assassin is ticked and wants the case and to kill the girls.<br /><br />Denise and Pam just look very awkward on the screen and almost like they read the script the day before. I know that this was supposed to be the stupid comedy, but it was more than stupid, it went onto obnoxious and was just unnecessary. Would I ever recommend this? Not in a million years, the girls are just at this point trying to maintain their status as "sex kittens", it's more a sign of desperation and Blonde and Blonder is a huge blonde BOMBshell.<br /><br />1/10
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8,476 |
This may be the worst film adaptation of a Broadway musical ever. Even the music has been destroyed. Attenborough knows nothing about theater - almost every shot and moment ring false. I will say, though, that it is almost bad enough to be funny.<br /><br />The hairstyles are remarkably dated. I can not for the life of me understand what is meant (conceptually) by opening the film with an exterior of the theater where "A Chorus Line" is playing. Are we to think that these people are auditioning for "A Chorus Line," which contains the stories about the people who are auditioning? Oh no, the show is collapsing on itself.<br /><br />I saw the original production, and have listened to the album hundreds of times. Why, oh, why, did they do this?
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22,379 |
Not only do the storylines in "The Sopranos" engage audiences from all over, but I think (for me at least) what brings the viewers back is the acting. (Not even you, Gary, can dispute that claim) James Gandolfini, who plays the lead-man, Tony Soprano, has become (in this viewer's opinion) one of the "Hollywood Elites" as far as acting in a television series goes. I wouldn't go ahead and compare him with Robert DeNiro or Al Pacino, or at least, not just yet. He, however, does do a hell of a job playing the part of Tony Soprano. In the years since 1999, Gandolfini has risen so much so as an actor (mainly thanks to his role in The Sopranos) that today he is considered to be among the best in the business. And it's not just him. "The Sopranos" fields a great supporting cast including that of Lorraine Bracco, Edie Falco, Michael Imperioli, Dominic Chianese, and the late Nancy Marchand who played Tony's dreadful mother. At this point in the show's existence, it's being considered a cult-classic and rightfully so. The first two seasons were extraordinary. Violent and quite gruesome in a pretty frequent manner, but without a doubt, extraordinarily done. The third season was great, but didn't quite live up to the hype of seasons 1 and 2. Season 4, which wrapped up right before new-years, was the weakest season yet (or at least, in my opinion it was). Despite a dry-spell, I still found it (season 4 of "The Sopranos") to be more entertaining than most of its competition and that's saying a lot because lately I've been noticing a trend in good new television shows. Examples of this: Six Feet Under, The Shield, Curb Your Enthusiasm, and OZ (which is not technically a new show but ended with an unforgettable final season this year). To get back to my point though, to consider a show better than all the competition during a particularly bad year, no less, is quite an accomplishment on the part of the writers. "The Sopranos" ranks above and beyond all other television shows in its era and its writers deserve a lot of credit. To close, I'd like to say, "The Sopranos" is the real deal folks. For the average mature viewer (17 and above) who enjoys drama and doesn't mind a mixing of a little violence and profanity, you might want to check out "The Sopranos" if you get the chance. Trust me in that it will be well worth the time.
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19,175 |
This is a comedy based on national stereotypes, no doubt. If you leave away pretending you know or you care what Communism was about and how real Russians or Brits are, if you accept and are not hurt by the conventions, you can have fun with this film. Nicole Kidman is at her best, sexy, moving and funny. Ben Chaplin succeeds to avoid being completely out-shadowed by Nicole, and the rest of the cast does good work as well. The final is moving, and logical - movie logics, of course. Worth watching, if you accept the rules of the game.
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12,717 |
This film, as low budget as it may be, is one of the best psychological thrillers I've ever seen. If you accept that it's low budget from the start, you can appreciate just how good of a story it is, how very well written the script is, and how great the filmmaker was to produce something so wonderful with so little money.<br /><br />All the elements of a great film are here. The visuals, though shot on digital, were gorgeous in places. The bizarre, dreamy feel of the film is captured particularly well in the scene with the talking dog, that scene was just amazing. It's such a trippy piece of work, but not done in a pretentious way, and because of that I have a whole lot of respect for this film. It comes highly recommended to anyone looking for something unique and captivating, and different from much of the repetitive films that are out there.
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7,013 |
This movie was horrible. I watched it three times, and not even the whole thing. It's just impossible to watch, the story line sucks, it's depressing, and utterly disgusting. I don't write spoilers for anything, so if you want to know why it's so disgusting, see it for yourself. The only good thing about this movie was John Savage, his dialogue at the beginning, and some funny parts in the movie. The little kid in this movie is annoying, and the whole situation is bullshit. I saw this movie at movie stores around America, so I assumed it would be a good movie. Jesus Christ, was I wrong!!!! The acting is all horrible, and the nudity itself is lame and nasty. Another thing is, Starr Andreef, the other main character, hasn't been in such bad movies in the past, in fact, she was in some pretty good ones. Same with John Savage. This movie SUCKS!
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11,301 |
I rented this movie because I was browsing through the horror movie section for those movies that no one's heard of and could be a possible gem. I saw this and, since I'm a fan of violence and gore, I got it. It got the rating of EM which means: Extremely Mature. Thinking that this rare and high rating was totally meant for violence and everything else, I got it. The warning on the box said: Extreme Violence, Extreme Langauge, and Nudity. The "extreme violence" struck my fancy. The movie ended being a pretty tame slasher flick. It had one or two gory scenes but I've seen worse in a PG-13 movie. Of course the amount of gore in a movie isn't all that counts, right? You have plot also. Well, the plot was boring and there nothing really special about it. Don't rent it. I speak the truth. I can't imagine how someone could really enjoy it to the point where they say: "I'm gonna rent that again." It had it's moments where it kept you going but I'm never going to see that film again.
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This was awful. Andie Macdowell is a terrible actress. So wooden she makes a rocking horse look like it could do a better job. But then remember that turn in Four Weddings, equally as excruciating. Another film that portrays England as full of Chocolate box cottages, and village greens. I mean that school, how many schools apart from maybe Hogwarts look like that? The twee police station looked like the set from Heartbeat ( a nauseating British series set in the 60s).This film just couldn't make its mind up what it wanted to be- a comedy or a serious examination of the undercurrents in women's friendships. If it had stuck to the former then the graveyard sex scenes and the highly stupid storming of the wedding might just have worked( i say just). But those scenes just didn't work with the tragedy in the second half. I also find it implausible that Kate would ever speak to Molly again after her terrible behaviour. A final note- what is a decent actress like Staunton doing in this pile of poo? Not to mention Anna Chancellor. Macdowell should stick to advertising wrinkle cream.
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In all truth, this really isn't a "movie" so much as an extended final episode; by this I mean that, had you NOT followed the TV series (Homicide: Life On The Street) I suspect that you would have a hard time following this made-for-tv movie. Having said that, "Homicide: The Movie" is still a great watch. I think it says a lot about a television production that EVERY single cast member would return, many after years of absence, to once again portray their characters and bring closure to an incredible program. The movie brings out that sense of "family", not only amongst the characters, but amongst the actors, as well. It's all very bitter-sweet knowing that this will be the LAST time we will see them all together again under the title of HOMICIDE. Story-wise, I found this film somewhat lacking. Giardello's mayoral candidacy seems particularly contrived, and I felt his shooting could've been dealt with within the parameters of his regular position, as Leiutenant. Also, Det. Bayliss's extreme plot twist, which was left hanging at series end, is finally resolved, but I, for one, NEVER felt that it needed to be; I enjoyed being left with a mystery (let us recall that the very first episode's first case also went unsolved for the entire series run!). As a DEVOTED fan of the TV series I can love this movie, and the fact that it even got made after H:LOTS had been canceled, but I would not recommend it to anyone who hasn't had the slightest exposure to the series. Now, if they'd just release it on DVD...
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The original "les visiteurs" was original, hilarious, interesting, balanced and near perfect. LV2 must be a candidate for "Worst first sequel to a really good film". In LV2 everyone keeps shouting, when a gag doesn't work first it's repeated another 5 times with some vague hope that it will eventually become funny. LV2 is a horrible parody of LV1, except of course that a parody should be inventive. If you loved LV1 just don't see this film, just see LV1 again!!
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I wouldn't be surprised if Soderbergh was pressured to avoid making pre- revolution Cuba as graphically corrupt as it was. Merely reciting a few statistics isn't going to make it with the younger crowd. Still, part one, which is almost entirely shot in the jungle, does capture the feel of that place, especially when traversing the mountainous areas of Cuba. I liked Del Toro's interpretation of Che Guevara's personality. And the actor who plays Castro, Bichir, also did a great job, against all odds. It's clear Soderbergh doesn't look down on these people, but it's also clear he's not going to plea their case to 'yanquis' far removed from the recent past. Some of the more important historical aspects contradict what I've read. To my knowledge Castro did not court the Soviet Union until all attempts to gain acceptance from the United States were exhausted. But on other aspects he is right on, especially as to the looting by the expatriates as the island went other rebel control. The country's treasury was left empty.
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I had high hopes for this movie, because I enjoyed the book so much. However, I don't think I would have understood the premise of the movie if I hadn't already read the book. The movie is a noble attempt to show the despair of people trying to break the bonds of overpowering government rule, but the book portrays the suffering much more thoroughly. The corrupt government officials have comfortable, almost luxurious lives, while the common people struggle to obtain the bare necessities for survival. Perhaps most people feel this way toward their leaders and rulers regardless of whether or not they are actually oppressed or repressed. Orwell's dystopia seems as if it could exist in many places in our modern world. It has been several years since I've read the book, but one hears references to Big Brother, the Thought Police, and Newspeak frequently in the media and casual conversation. Probably many people using these terms don't realize where the terms came from. I strongly recommend that you read the book.
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There is a story (possibly apocryphal) about an exchange between Bruce Willis and Terry Gilliam at the start of Twelve Monkeys. Gilliam (allegedly) produced a long list (think about the aircraft one from the Fifth Element) and handed it to Butch Bruce. It was entitled "Things Bruce Willis Does When He Acts". It ended with a simple message saying: "please don't do any of the above in my movie".<br /><br />There is a fact about this movie (definitely true). Gilliam didn't have a hand in the writing.<br /><br />I would contend that these two factors played a huge role in creating the extraordinary (if not commercial) success that is The Twelve Monkeys.<br /><br />Visually, the Twelve Monkeys is all that we have rightly come to expect from a Gilliam film. It is also full of Gilliamesque surrealism and general (but magnificent) strangeness. Gilliam delights in wrong-footing his audience. Although the ending of the Twelve Monkeys will surprise no one who has sat through the first real, Gilliam borrows heavily from Kafka in the clockwork, bureaucratic relentless movement of the characters towards their fate. It is this journey, and the character developments they undergo, which unsettles.<br /><br />I love Gilliam films (Brazil, in particular). But they do all tend to suffer from the same weakness. He seems to have so many ideas, and so much enthusiasm, that his films almost invariably end up as a tangled mess (Brazil, in particular). I still maintain that Brazil is Gilliam's tour de force, but there's no denying that The Twelve Monkey's is a breath of fresh air in the tight-plotting department. Style, substance and form seem to merge in a way not usually seen from the ex-Python.<br /><br />Whatever the truth of the rumour above, Gilliam also manages to get a first rate (and very atypical) performance out of the bald one. Bruce is excellent in this film, as are all the cast, particularly a suitably bonkers - and very scary - Brad Pitt.<br /><br />It's been over a decade since this film was released. When I watched it again, I realised that it hadn't really aged. I had changed, of course. And this made me look at the film with fresh eyes. This seems to me to be a fitting tribute to a film that, partly at least, is about reflections in mirrors, altered perspectives and the absurd one-way journey through time that we all make. A first rate film. 8/10.
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I honestly can't believe what passes for entertainment now. Death (and making fun of death), violence, sexual innuendo, adults threatening children, crudeness, alcohol abuse by minors, drug theft, dysfunctional parents, babysitter from hell, stereotypical jokes about African Americans, police and fat people, and kids sneaking out of the house in the middle of the night - yup, sure sounds like a kids movie to me - NOT!!! Add to that the dark and scary elements - a dead woman possessing and turning into a house and keeping her loving husband a prisoner inside for over 20 years, and also terrorizing an entire neighborhood - how sweet for kids. PARENTS - is this really what you want your kids to be watching - is this what you want to teach them about life?!<br /><br />This movie is too scary for young kids, and i'm afraid that teens today may be living some of this movie scenario - so why rub it in their faces? As for an adult audience - you won't find it scary or amusing - just boring, contrived and predictable. And the characters are just wrong - clueless parents, ignorant police, stupid and annoying friends, nasty and manipulative babysitters, and beer drinking/womanizing boyfriends. What great material for kids - does this really sound like a children's movie to anyone? Even the computer animation and good voice work aren't enough to redeem this terrible flick. Save your money, save your time, and save your children's minds - go rent Ice Age, Monsters Inc., the Incredibles, Shrek, A Bug's Life - ANY of them are way better than this horrid film. Spielberg and Zemeckis - shame on both of you for making such a disaster and then billing it as a children's/family movie!!
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I thought this had the right blend of character, plot, futuristic stuff and special effects without going over board. It will take a while to get going, but the acting was good and I was intrigued by the angel who is not to hard to look at. I like the attitude too! Certainly not like other attempts at futuristic stories.
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Didn't care for the movie, the book was better. Does anyone know where it was filmed? *** this was my first visit to your site...just found the answer to my question. so now I look like a dummy, but I think I'll still submit my comments. and yes, British Columbia is lovely ***Or why they took it from its South Carolina Coastal setting?(this question stands) The place was essential to the fabric of the book and its change was part of my disappointment with the movie. Oh, I just read where I need to write at least ten lines. Here's my other main issue with the film. Kim Bassinger was too vapid and not at all what I pictured from the book. I know, the book was the book and the movie; well not so good. I found the character in the book much more empathetic. Also the book evoked rustic, almost primitive images of the monastery. While the "castle" in the film was much more visually impressive, it distorted the feel of the story and seemed at odds with the characters.
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When I look back on my college days at Ohio University, there will always be one event in which I will remember with fond memories. Channel 23 is OU's local access channel and until the last few years, pretty much played anything they were sent. This included many DIY movies ranging from a guy microwaving marshmallow Peeps and then scanning pictures of them online, to a version of Macbeth starring 8th graders who had apparently just learned how to make squibs.<br /><br />However, the king, in my opinion, of the channel 23 lineup was Midnight Skater. The first time I watched it was around 2AM. I should have been studying. Or sleeping. Or watching regular TV. But no, all that is for pussies. My roommate and I watched Midnight Skater, and when it was complete, I don't think either of us believed that any of the movie had just happened. But sure enough, it was on a few nights later, and we had to come to grips that this movie did, in fact, exist.<br /><br />I could go on and on about how awful it is, but its the sort of awful that makes life worth living. The plot is disjointed, the acting terrible, the everything soul scarring, but by god, if there are others watching with you, its impossible not to have a good time watching it. Its sort of like the first time you hear "Guts" by Chuck Pahalniuk. You hear it, you're disgusted and shaken, but five minutes later, all you want and desire is to make someone else experience the abject horror you just endured.<br /><br />Long story short, Midnight Skater, for all of its epic flaws, makes for some very late night fun. Plus, I desperately want the Theme to Midnight Skater. Kudos to whoever wrote it and sang it. Sweet God I love that song.
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At the end of "Dragon Heat," all I could think of was why I bothered sitting through the whole thing.<br /><br />The film's premise is interesting and that - as well as Maggie Q - is what attracted me to the film in the first place. But was I ever disappointed. Writer-director Daniel Lee can't hold a candle to the likes of John Woo, Ringo Lam and Corey Yuen.<br /><br />This has to be one of the most annoyingly-directed films I have ever seen. Lee is so wrapped up in his visual style - and I use that phrase incredibly loosely - that he fills the film with completely needless black-and-white stills, freeze frames, slow-motion, fast-motion and other visual nonsense. I suppose he did all that to make up for the lack of a good story or dialogue.<br /><br />The action scenes are nothing special and play out like some hopped-up music video more than anything else. There is little to care about any of the characters - including two supposedly professional snipers who couldn't hit the broad side of a barn from the inside! - who are then laden with some of the cheesiest dialogue I have seen in one of these Hong Kong actioners.<br /><br />The plot is devoid of any twists and turns - from the initial set-up, everything unfolds in predictable fashion - and Lee feels the need to keep reminding us of the characters' back stories in case we didn't get it the first several times. This is awfully amateurish writing and film-making and wastes the talents of Sammo Hung, Michael Biehn and Maggie Q. Though, to be frank, I am hard-pressed to remember Biehn being in any good film that was not directed by James Cameron.<br /><br />If you really are in the mood for a great Hong Kong actioner, you are much better off sticking to some of the staples - John Woo's "The Killer" (1989) and "Hard-Boiled" (1992), Ringo Lam's "City on Fire" (1987) - which Quentin Tarantino stole for "Reservoir Dogs" (1992) - or his "Point Blank" (1967) remake, "Full Contact" (1992). Or, even check out Yuen's "So Close" (2002), a supremely entertaining, yet preposterous, popcorn flick. And there's always the terrific French police actioner, "The Nest" (2002).<br /><br />True, most, if not all, are a bit over-the-top, but they were films that remain exciting, thrilling and even suspenseful. They have characters we care about and mind-blowing action sequences.<br /><br />"Dragon Heat," on the other hand, is just terribly mediocre. The trouble is that Lee has not made a bad action film, he has made a dull one.
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i really in enjoyed watching this movie. like most of the people that watched it. i wasn't sure that i was getting. Whoopi Goldberg is a very funny comedian and she has done a lot of funny movies; i.e. sister act.<br /><br />however this was not really comedy. it is a drama with comedic moments. so if your looking for a laugh riot then keep looking.<br /><br />this movie is about a black family moving up from a nice neighborhood in the city to an upper middle class neighborhood. i would say more but it think it would spoil the movie. this movie does not just deal with race relations between whites and blacks, but also about relations with in the black community. i do think that it is worth a chance. if your not really interested in see another movie about race relations then this movie isn't for you
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Scary Movie 3 is such a stinkfest its hard to put it in words. It makes movies like Malibu's Most Wanted look like Oscar material, lets just say that.<br /><br />The original Scary Movie was great fun, one of the better 90s spoof movies, coming from a great team who previously rocked our world with Dont Be A Menace to South Central Whilst Drinking Your Juice in the Hood. But what the hell happened?! After the tragedy that was Scary Movie 2, i thought the cast and crew change would help matters, but its even worse.<br /><br />Within 20mins i'd smiled twice. Not one laugh, the jokes were recycled and originality was obviously no factor. The fact that at this point in writing, the majority of people on this site have voted it 10/10 has made me feel physically ill. When there's great flicks like School of Rock out, which actually have jokes that are *gasp* funny, anyone wasting their money on tripe like this needs their head examined.<br /><br />no stars/****
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I want to warn you that there is a very bittersweet quality to this comment. Also, this comment will be much more meaningful to you after you have seen the movie.<br /><br />Although it is tragically sad to say, that movie bears a resemblance to my life that is so striking that it is truly scary. The rest of you will never know how accurately that movie depicts how persons who have been in situations like that act and react in their later lives.<br /><br />This could not have been a work of fiction; it had to be based on personal experience.<br /><br />My testament to the how good the movie was is shown by the fact that, although it was one of the best movies I've ever seen, watching my life portrayed on the silver screen was such a searingly painful experience that I will never be able to see it again.<br /><br />But I endorse it heartily to all others as a chance to peer into the soul of another human being to the extent that you probably never experienced before or will ever again. I know that for a fact, because that's my soul you will be observing.
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I have seen all the films directed by Robert Redford and appreciated his love of the American people and the land. In A River Runs Through It, Redford displays the lyric romanticism and visual splendor of the high Rocky Mountains of Montana as if he were a 19th century landscape painter of the ilk of Thomas Moran or Albert Bierstadt. This film makes love to the visual and the word with text by author Norman Maclean, and stunning camera work by Phillippe Rousselot (Serpent's Kiss, Reigne Margot).<br /><br />Redford's cast is perfect. Tom Skerritt is the Rev. MacLean, a man whose methods of education include fly fishing as well as the Bible, Brenda Blythen, the mother, and his sons, Craig Schaffer and Brad Pitt create a family whose interactions reflect the same problems all encounter with growing teenage sons, and later, complex young men. Both Schaffer and Pitt are totally believable as the brothers whose love of fly fishing and each other will tie them together forever. It is the relationships between men, father and sons, brothers, and their women to the outside world that grounds A River Runs Through It to a vein of storytelling that is missing in so many of Hollywood films produced in recent years.<br /><br />What makes these relationships special however, is the attention Redford gives to the language as spoken in dialogue. This is a literate script, beautiful to hear and unforgettable when coupled with the stunning Montana rivers and mountains. The words and setting are equal to performances by a cast that rises to their material. While the idea of fly fishing may seem an odd device to center a story, it is not so implausible in Redford's directorial hands. Given the material, Redford's ode to a simpler time and life is worth revisiting again and again.
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... You can't exactly shove her out of the way, because she's old; and if you were being charitable you might say that the ponderous gait she ambles along with isn't really her fault. Nevertheless, in these circumstances it's often difficult not to become irritated when you find yourself dragging your heels in her wake. So it is with "The Pallbearer", an attempt to do something 'different' with a romantic comedy that in this way is chiefly hamstrung because the venue is all wrong; sort of like showing off your 'breakdancing' skills at a grandparent's funeral.<br /><br />To further extend the metaphor (perhaps unwisely!); like the old lady, one starts to feel with the set-up of the film that its demise cannot be far away. Sure enough, this particular 'death' is agonizingly protracted, slowly chipping away at our reserves of empathy in tiny little increments, as depressingly we come to the realisation that the proceedings are only headed in one direction: Downhill. Its laboured attempts at 'humour' can be seen coming a mile off - again, not unlike the grim inevitability of death!<br /><br />Returning once again to the image of 'dragging heels', the main character, Tom, is shown to ceaselessly repeat this action throughout his life. If there are indeed degrees of 'pathetic', then this sap is possibly a good few notches ahead of Schwimmer's other - more famous - role. To find oneself in the awkward position of having to align audience sympathies with a character even MORE 'clueless' than Ross is certainly a tough ask even for as 'able' a comic performer as Schwimmer, but I guess he can find fault with himself for signing on to some seriously 'echoing' situations in the first place.<br /><br />How will he ever escape his most famous portrayal if he's picking scripts where the characters could almost be 'interchangeable', even if the situations aren't? A man with a longstanding high-school crush on someone he hasn't seen for years. Sound familiar... ? Paltrow is nothing else if not bland in her 'Rachel' role, but all of this going over old ground would perhaps be forgivable if the noticeable DIFFERENCES present weren't so incongruous as well. Unfortunately, the romantic element is so well-worn it's threadbare, and the 'backdrop' is so inappropriate that it seems the best way to describe the resultant film is as something of a 'stiff'... ! 2/10.
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The movie was very moving. It was tender, and funny at the same time. The scenery was absolutely beautiful! Peter Faulk and Paul Reiser gave award winning performances. Olympia Dukakis was great. I understand due to the story line her part had to be brief, but I did wish I could have seen more of her-she is a true pro.You will be able to recall experiences from your own life , hopefully in a positive way after seeing this movie. We were fortunate to see Paul Reiser at a Q and A after the viewing. He is a wonderful man, clever, eloquent and a "real Person". It was truly an enjoyable night out!This is a must see movie. You will be so grateful you went.
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I, too, was fooled by the packaging. I, too, fell for the gory packaging and the DVD casing that claims "grieved fans as every copy was pulled from shelves". Though it was inexpensive ($6.99), it wasn't really all that worth it - no scares, and very limited gore. The ending was very cheesy and didn't deliver the punch it should have. I really don't even know how it became a "Video Nasty" with how very tame it is. The story drags, the characters are obvious amateur actors...it doesn't live up to the promise. The DVD bonus feature (the "interview")is very strange as the director appears very incoherent and not all there. The lead actress talks like she's appearing in a Shakespearean production. It's a great laugh.
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I saw this film at its premier at Sundance 09.<br /><br />Since American Beauty is a movie that had something to say, I had hopes for Towelhead. Unfortunately, it was a disappointment. In fact, of countless movies I've seen in almost a dozen Sundance festivals, Towelhead is the only Sundance movie I've ever wanted to walk out early from.<br /><br />The worst problem with Towelhead is that it so obviously originates with a collection of "provocative" concepts concerning cultural stereotypes, rather than with an organic human drama. The screenplay derives from the novel of the same name by Alicia Erian. The famous Edith Wharton quote comes to mind: I have never known a novel that was good enough to be good in spite of its being adapted to the author's political views. That observation is especially devastating for Towelhead because its political views are so stale and simplistic. If there ever was a time when Towelhead's white male villains, condescending portrayals of blacks, ironic treatments of foreign cultures, etc., were fresh, it's long past.<br /><br />For a more detailed review, please look up any of the many professional reviews available online. Almost all rate this movie poorly and expose the shallow and manipulative tissue it is based on.<br /><br />On the other hand, the amateur reviewers seem more easily bamboozled. As you read through the reviews in this and similar sites, you'll frequently come across superlatives: "stunning," "breathtaking," "profound," "shocking," ... It embarrasses me to read them, but it does not surprise me. Indeed, I've encountered many people who seem to regard any book or movie dealing with racial, cultural, gender, or sexual issues as deeply moving, thought provoking, full of profound insight. If you are such a person, by all means, rent Towelhead and be moved by it. On the other hand, if you set your standards higher, you can safely pass on this one.
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This movie masquerades as a social commentary, when in fact it is every bit as ridiculous as the very racism it condemns. The premise of this movie: African-American = Strong... any other race = weak. The worst part is when Rapaport pulls a gun on Omar Epps and a Jewish guy. The Jewish guy, in stereotypical fashion, crumbles in fear and starts pleading for his life... but the big, strong, defiant Omar Epps stands strong with no fear. We also have the condemnation of every fraternity member as being a arrogant preppie drunk or rapist. The raped white girl, of course, begins considering lesbianism since she's just a weak white girl after all. When the nerdy white guy is rejected by the fraternity members he of course must fall in with the skinheads, who are incredible cowards; especially the big muscular guy who is beaten down quickly by the strong black men. Wait... BUSTA RHYMES BEAT UP A GUY TWICE HIS SIZE??? Yeah, right.<br /><br />Of course the black men NEVER reject their own people and Omar Epps moves in with them easily. The scenes where Ice Cube threatens his white roommates and keeps them in line are just stupid -- of course he is the dominating one while his weak white roommates sit in fear of him and eventually move out. This movie was just terrible and the ending made me actually laugh out loud. The overly long slow-motion between Epps and Banks gets hilarious with the faces they make -- it's like watching my nephew and cousins making faces at each other (and they're all under 5). Do yourself a favor and skip this crapfest.
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My 2 year old likes the Doodlebops show, it seems to keep his attention for awhile. The characters are interesting, vibrant with primary colours and all. There's not much educational content that the intended target audience could benefit from, but they do seem to have a theme each show and try to teach kids about sharing and respect and other basics, so I like it for that. It's well produced with high production values. But it's really just an average show like most of the shows on TV these days. We don't buy into the merchandise angle and have our son wearing everything Dooblebop. I don't think we'd spend money to go to a live show, if they ever came to town. Going to The Zoo or the Science Centre is a far better experience for everyone involved and in my opinion is money better spent.
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I had to register for IMDb just to post a comment on just how awful this movie is...my cats and a ball of string have a better storyline than this. Not the worst acting I've ever seen, but when you wipe out almost the entire cast of the movie within 5 minutes, it leaves a bit to be desired. There wasn't a single 'scare' moment in the movie, with the exception of when they were watching the movie 'Halloween' on the TV. All around, it seems like it could've been a good story, rolling the credits and saying that Chasey Lain was in it was a bit of a loss as I didn't recognize her right away and her scene was already over before I could've said 'oh yeah, there she is'. I'm so glad I saw this in a hotel and didn't pay for it as I'd be real ticked if I had payed a cent to see this. I normally like or can at least find a redeeming factor in a movie, but this one is an exception. It's so bad that it's not even that amusing so-good-it's-bad....it's just plain bad.
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This is the moving tale of Scotland's legendary hero, Rob Roy, and his battles with the feudal landowners. Like Braveheart to which it is frequently compared, it is not very historical. Despite their primarily fictional nature, I rate both of these movies highly and would be hard pressed to choose between the two. The 13 Century William Wallace is, as others have noted, a larger than life national figure, while the early 18th Century Rob Roy comes across as an honourable but ordinary Scotsman.<br /><br />The story revolves around a clan chieftain, Robert Roy McGregor, who lives in a Scottish highland cottage with his wife Mary and their two young sons. As the movie begins, he and his fellow clansmen are hunting down some thieves who have stolen the local lord's cattle. Rob Roy then wishes to improve the living conditions of his people so arranges to borrow one thousand Scottish pounds from a local noble, the Marquis of Montrose, in order to buy cattle to herd to market. He temporarily entrusts this money to his friend, Alan McDonald. When both McDonald and the money turn up missing, Rob Roy finds himself in conflict with Montrose as well as his despicable protégé, Archibald Cunningham, and his sleazy factor, Killearn. Rob Roy's honour is also tested when Montrose seeks to involve him in false testimony against his rival, the Duke of Argyle, whom he wishes to accuse of being a Jacobite.<br /><br />The charismatic Liam Leeson is brilliant as the kilted highlander Rob Roy, an intelligent, virile, and noble hero and a man whose sense of honour is pivotal to this tale. Personally, I feel that this is Neeson's best performance, his brogue (albeit Irish) adding authenticity for the average viewer. Rob Roy is a stubborn, proud, courageous, and honest man whose word can be trusted. He is a loving husband & father, and also touchingly loyal to his friend, McDonald, who is accused of robbing him. <br /><br />Tim Roth masterfully portrays his major adversary and surely one of the most heinous and sadistic cinematic villains, Archibald Cunningham, an egotistical, ruthless strutting peacock. He is very effeminate for someone who makes it his major business to ravish the local women, whether willing or otherwise. The pathetic Cunningham himself constantly refers to the fact that he is a bastard unaware of his own father's identity, though this hardly justifies his horrendous misdeeds of murder, rape, and thievery. Also, he mercilessly casts aside the young servant girl, Betty, after she becomes pregnant with his child, resulting in her suicide. John Hurt plays the arrogant and foppish Montrose, who is eventually implied to be Cunningham's father.<br /><br />The movie is essentially the very believable love story between an ordinary man and his wife, beautifully depicting the passionate relationship between Rob Roy and Mary. Those who question the presence of passion within marriage should watch this husband and wife! I think the phrase used by this pair, 'How fine you are to me...' is surely one of the most beautiful expressions of love in all cinema. <br /><br />The most compelling performance is possibly by Jessica Lange as Rob's wife, Mary McGregor. Lacking make up, she has the pretty but natural look of a sturdy peasant wife and mother. The actress brings great courage and dignity to her role when she is brutally raped by the despicable Cunningham, while the disgusting Killearn looks on. Her dialogue is plain spoken but filled with pride and grace. I give Hollywood its due that for once they showed just enough in the rape scene to reveal its cruelty as well as Mary's pain and humiliation, but nothing intended to sensationalize. Their kinsman, Alastair McGregor, shows emotional anguish when he learns of Mary's rape, and further torment when she swears him to secrecy never to reveal to her husband her violation by Cunningham. <br /><br />Of course this film features the beautiful scenery of the Scottish highlands, also lavish period costumes and appropriate musical scoring. There are no grand battle scenes as in Braveheart, but continuous engaging action and a particularly gripping sword fight in the final duel between Rob Roy and Cunningham. This is a captivating movie featuring both tense action and a beautiful love tale.
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Here is the example of a film that was not well received when it was made, but whose standing seems to be raising in time. 'The Tenant' is quite an interesting work by Polanski, one of the first of his European exile. It is set in Paris, and as in so many other exile films the city, its streets, the Seine and especially the building where the action takes place play an important role. It is just that Polanski chooses his principal character not to be an American (as in 'Frantic' for example) but a Pole, as himself was when going West. There is actually a lot of personal commentary in this film, made at what must have been a time of crisis in the director's life, and the fact that he decided to play the lead role (and does it masterfully) may also be seen as some kind of exorcism.<br /><br />It's in a way a circular story. The hero named Trelkovsky rents an apartment in old Parisian building, inhabited by what seem to be first a well assorted team of grumpy old or just ridiculous neighbors. The previous tenant tried to commit suicide by jumping out of the window of the flat, and Trelkovsky has just the time to visit her in the hospital before she dies and meet there her young and beautiful friend Stella (a spectacled Isabelle Adjani in her first role after Truffaut's 'L'histoire d'Adele H.'). Soon the neighbors do not seem to be what they are, it's a conspiracy to make him crazy, or to make him enter the life and role of the dead girl. He fights, tries to run, enters the game and ends by entering the circle and slowly becoming her. The circle is closed.<br /><br />It's not the most believable story we may have seen or heard, but the strength of the film does not reside in the story but in the details of the psychology, in the slow degradation of the mental state of the hero, in the permanent balancing game between reality and delusion. To a certain extent it is not what happens on the screen that matters, but how it happens, reminding the classical 'Knife in the Water' made more than a decade before, at the end of the Polish period of Polanski. There are many details that are never explained, but then this is how mystery films must be and this is actually how life is sometimes. The feeling of claustrophobia slowly contaminates the viewer. Unfortunately some of the graphical details in the last part of the film are not too well executed and the English spoken dialogs (the film was made in English) almost neutralize the overall atmosphere. However, waiting for the final punch scene is very worth the patience.<br /><br />It's not the best film that Polanski made, yet has many good parts, it shows the hand and the style of the director, and was a significant step in the building of his career.
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CRIME BOSS is directed by Alberto De Martino; an Italian crime drama partially filmed in Hamburg, Germany. An easily forgotten movie. Even in spite of a good car chase sequence, this flick seems to lumber on almost aimlessly. A new Don takes over a powerful Mafia family and finds himself fighting for his own life. Unwritten laws and ethics of the Mafia code make it hard to trust in anyone especially when millions of dollars are at stake. Brutality and violence breed the same in return. This can not be put on a shelf with the real gangster epics. Just the look of the film brings back memories of American drive-in fare. Even the popular American actor Telly Savalas can't boost the calibre of this crime drama. Antonio Sabato also stars with:Paola Tedesco, Guido Lollobrigida, Serio Tramonti and Piero Morgia.
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On the 28th of December, 1895, in the Grand Café in Paris, film history was writing itself while Louis Lumière showed his short films, all single shots, to a paying audience. 'La Sortie des Usines Lumière' was the first film to be played and I wish I was there, not only to see the film, but also the reactions of the audience.<br /><br />We start with closed doors of the Lumière factory. Apparently, since the image seems a photograph, people thought they were just going to see a slide show, not something they were hoping for. But then the doors open and people are streaming out, heading home. First a lot of women, then some men, and one man on a bike with a big dog. When they are all out the doors close again.<br /><br />Whether this is the first film or not (some say 'L'Arrivée d'un Train à la Ciotat' was the first film Lumière recorded), it is an impressive piece of early cinema. Being bored by this is close to impossible for multiple reasons. One simple reason: it is only fifty seconds long. But also for people who normally only like the special effect films there must be something interesting here; you don't get to see historical things like this every day.
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I can't believe they got the actors and actresses of that caliber to do this movie. That's all I've got to say - the movie speaks for itself!!
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