id
int32 0
25k
| text
stringlengths 52
13.7k
| label
int64 0
3
| Generalization
stringclasses 1
value |
|---|---|---|---|
14,179 | I cannot accept the negative comments of other reviewers. They are too critical, perhaps because they are stuck in the past. I would like to see a comment from someone who had never seen Basic Instinct 1, perhaps someone very young ? I left the cinema feeling glad that I had not been swayed by the IMDb reviewers. 14 hours later I am still trying to find flaws in the plot but I cannot think of anything serious. My advice to everyone is see it for yourself and make up your own mind.<br /><br />It follows a similar pattern to Basic Instinct 1 but the plot is less confused. It still left me wondering at the end but in a more satisfactory way. Sharon Stone is as sexy and evil as before and wears her 48 years extremely well; this remains her defining role. David Morrisey was satisfactory even though he is no Michael Douglas. Of the supporting cast I particularly liked David Thewlis as the police detective. | 1 | trimmed_train |
12,455 | RUN...do not walk away from this movie!!!!! Aimed at the very young kids, this movie will bore you to tears. If the Gamera trilogy of the 90's raised the bar, this film just lowered it. It's slow paced and the monster fighting is good, but seldom seen. This movie had me dry heaving in the cat box. Just a very poor offering after a phenomenal 90's series.<br /><br />SPOILERS BEYOND THIS POINT!!!!!!!!!!! Here are the top 10 reasons Gamera fans of the 90's series will HATE this film.<br /><br />10. This movie is a drama that follows a kid trying to cope with the death of his mother and fears losing baby Gamera to a fight after knowing his father saw the adult Gamera die.<br /><br />9. You see the adult Gamera for maybe a minute at the beginning of the film. He gets his butt kicked by a few Gyaos and self destructs??? He looks old and lethargic. Plus he looks nothing like any gamera you've ever seen. His suit looked cheap and rushed.<br /><br />8. The young Gamera you see through the rest of the film looks like a Pokemon. Big-eyed and cute...it will remind you of the baby Godzilla from Godzilla vs MechaGodzilla 2. Gamera is now too cute.<br /><br />7. This movie has the pace of watching a NASCAR race during a 3 hour rain delay. I watched this movie with 2 other Gamera fans and nobody was happy with how slowly this film moved along. I've seen an SUV full of fat people going up a mountain road move faster.<br /><br />6. Like Godzilla:Final Wars, this movie had very little kaiju time on screen. Final Wars had much more, actually, and better fights although short.<br /><br />5. Kids take the title role. The friend of all children theme and poor writing killed the original Gamera series in the 1970's and history repeats itself in the 2000's. The most successful Gamera films abandoned the Sesame Street feel and went to a darker place. Why go back to a failed formula? This was to be a new trilogy and poor ticket sales killed any hope for this story to continue (thank god).<br /><br />4. Gamera lost his iconic roar. He now sounds like an Elephant with strep throat.<br /><br />3. This movie may produce a new Olympic event.....Imagine a relay race that involves sending very young children into harm's way. You have to see the ending to understand this point. Where were the parents? Oh yea..right there sending their kids into a kaiju battle zone.<br /><br />2. The special effects were good, but sub-par for a Gamera movie. Legion and Iris had better effects. The best effect was showing the apple sized baby Gamera fly. Not too impressive.<br /><br />1. This movie is just not what adult kaiju fans come to expect. The director was involved in Power Rangers and it shows. It comes off like a cross between ET, Always: Sunset on Third Street and TMNT. Kudos if you know all 3 references.<br /><br />Rental at best or watch once if you buy it to complete the DVD series. | 2 | trimmed_train |
7,546 | I am very disappointed with "K-911." The original "good" quality of "K-9" doesn't exist any more. This is more like a sitcom! Some of casts from original movie returned and got some of my memory back. The captain of Dooley now loves to hit him like a scene from old comedy show. That was crazy. What's the deal with the change of Police? It seems like they are now LAPD! Not San Diego PD. It is a completely different movie from " | 2 | trimmed_train |
10,693 | My friends and I rented this for "Bad Movie Night" with high hopes, but The Brain was something of a letdown. The Brain itself is gloriously goofy-looking, but it mostly just sits on its little platform. Who thought that it would be cool that the Brain only gets to munch on three people throughout 94 drawn-out minutes? This movie has a number of things going for it at first, including an Estevez-knockoff lead playing a rebellious genius (we're told that his enormous intellect is misdirected into his elaborate pranks and school stunts, which include putting krazy glue on someone's chair). It also has some great lines, a hilariously out-of-shape and out-of-breath henchman who just barely manages to be everywhere, and, yeah, some chick gets naked. However, the director desperately needs some schooling in the art of pacing. During the last half things just start to drag on and on, with at least 3 or 4 pointless, boring chase scenes making up the middle third of the plot. The scenes inside the PRI complex are especially bad. At least 15 minutes of this movie are people running up and down the same stairwell. I could've fixed the screenplay to this thing in half an hour- more cheese, more gore, more nudity, more Brain action. If you're going to make a bad horror movie, at least give me something cool to look at while my superego shuts down. Maybe the director was trying to really bring the audience into his movie- I started feeling like one of the zombified townsfolk by the end of this crapfest. | 2 | trimmed_train |
12,309 | There's nothing particularly original about this story of corrupt unions on one side and the "chief attorney" on the other. The stark but unimaginative lighting and photography stems from the fagged out noir cycle. The story could easily have been out of a Warner Brothers drawer with George Raft in the lead. The performances are routine, the direction flat, and even the set dressing perfunctory. (An alley is shown by a single plaster wall of simulated brick. It has one poster on it. The poster says, "Post No Bills.") We are introduced to the story and some of the characters by a portentous narrator who informs us that, while most unions work hard and honestly to advance the causes of their members, a few are corrupt. But we don't really get to know much about the unions or how they operate, although I suppose they were fair game after the success of "On the Waterfront" a few years earlier. Here they're just a peg to hang the tale on. The real ring leader is a disbarred lawyer who runs things through three or four thugs. The District Attorney (or whatever he is) finds out, like Dana Andrews did in "Boomerang," that the wrong man (Dick Foran) is charged with a murder and he spends the rest of the film almost alone, digging up evidence of Foran's innocence. He gets into fist fights and shoot outs like any inexpensive movie private eye.<br /><br />Brian Keith is the D.A. He's shown some insinuating displays of talent elsewhere, but here he spends most of the time speaking quietly and staring at the floor. Elisha Cook, Jr., is a likable rummy but can't do a good drunk. Beverley Garland is okay but is undermined by the direction, which has her gawking in a night club when she should be furtive. The remainder of the cast would be suitable for a TV series.<br /><br />And nobody is helped by the writing. When a "B girl" is about to be shipped by the union mob to the Filippines, someone advises her that she only has to learn a few words of Spanish. "I only know one word," she says, "Si. Yes." The writers have not trusted the audience to know that "si" in Spanish means "yes." The plot is clumsy and has holes in it. Keith visits a witness in her flat over a night club. He enters the door and has a gun shoved in his back by a yegg, but he outwits the heavy and knocks him out. Then the orders someone to call the police. The rest of the scene, played out at some length in the night club downstairs, forgets all about the police and they never show up, nor are they expected by anyone.<br /><br />It's nothing to be ashamed of, and some people might enjoy it, but there is similar stuff, better done, elsewhere. | 2 | trimmed_train |
531 | Loony Tunes have ventured (at least) twice into the future. The first time was with the brilliantly funny "Duck Dodgers". The latter time was with this
um
effort. "Loonatics Unleashed" isn't without merit, and might be considered a good product were it not that it isn't up to Warner Brothers quality. WB cartoons are noted for their cheeky humor, appealing at least as much to adults as to children. These pedestrian superhero episodes, on the other hand, cannot fail to convince adults to pass them up.<br /><br />The premise of the series is that 6 ordinary individuals (2 bunnies, a Tasmanian devil, a duck, a roadrunner, and a coyote) live on the "city-planet" of Acmetropolis and acquire super powers when a meteor strikes the planet in 2772. What's confusing is that the titles section features these individuals with a count-up to 2772 from the 21st Century. Cute, but frelling stupid.<br /><br />In each episode, the super sextet amid mildly amusing but essentially banal banter fight various super villains. For the most part, these are types that appear in every mediocre superhero adventure series and even some of the better ones. Like many mediocre superhero series, this one takes its villains far too seriously for the context. And of course these guys are the only characters that laugh the usual evil laugh, of course. Why is it that villains in predictable superhero adventures always ALWAYS laugh evilly at every opportunity? Animated material of this sort seems to leave laughter exclusively in the province of villains and (occasionally) their henchpeople and/or henchthings.<br /><br />In point of fact, the makers of this series missed their best bets right from the get-go. The superpowers of the characters are sometimes based on their previous normal abilities, but sometimes not. The problem here is that we don't see enough WB looniness. Lexi and Ace have fairly ordinary biologically generated energy weapons and have virtually no personality traits one could describe as "Bugs-like". What we have here is basically the silly and drekish "Teen Titans", including its overly "modern" animation "look", but with animals. Feh.<br /><br />The other misstep by the program's creators is (or are) the villains. As noted before, these are not terribly imaginative and do the evil-laugh bit excessively. Amazingly, the writers totally missed the obvious technique of making villains from stock WB characters as well as the protagonists. Adding to the fun could have been, say, Jupiter Sam as well as The Fudd, still hunting wabbits as well as Tech E. Coyote converted into a really neurotic villain and so on. Ah, the sadness of missed opportunities
.<br /><br />Sadly, this whole production has gone into too much overtime (that is, a 2nd season). Nevertheless, we can rejoice that there's something new out there for the 14-going-on-9 crowd. The rest of us can hope for a 3rd season of Duck Dodgers. | 0 | trimmed_train |
21,876 | This is a movie that gets better each time I see it. There are so many nuanced performances in this. William Tracey, as Pepi, is a delight, bringing sharp comic relief. Joseph Schildkraut as Vadas, is the only "villian" in the movie, and his oily charms are well used here. Frank Morgan, is delightful as the owner of the title shop, Mr. Matuschek, and his familiar manner is well used here. I especially liked the performance of Felix Bressart, as Pirovitch. Very believable in every facet of his role.<br /><br />The two leads are equally accomplished, with Margaret Sullivan doing an outstanding job of portraying a slightly desperate, neurotic, yet charming and attractive woman.<br /><br />This movie belongs to Jimmy Stewart though. The movie is presented from his point of view, with the action rotating around him. Mr. Stewart is more then up to the task of carrying the movie, with an amazing performance that uses a wide range of emotions. Just watch Stewart, when he is fired from his job, because of a misunderstanding. He is able to convey the shock, anger, fear and embarrassment that so traumatic an event causes, so perfectly. In my estimation, James Stewart is, without question, the greatest film actor in the history of the medium. There is no one else that has ever been captured on film that is able to so completely convey what he is feeling to an audience. At the time he made this movie, he still had most of his career ahead of him, yet he is completely the master of his craft. This is one of Jimmy Stewarts best movies, and also one of the sweetest, most enjoyable romantic comedies you will find. I greatly recommend this movie, especially for those that appreciate the work of Stewart. | 3 | trimmed_train |
10,575 | Please, be warned: this movie, though a pretty bad storyline, was one of the most gruesome movies I have seen...EVER. Just remember that before you settle on your sofa to enjoy the movie.<br /><br />So, it officially begins with a party. Just your average party but there's some guy there. He's pretty into Kate...if you know what I'm saying. Memorise his face; it'll help later.<br /><br />So anyway Kate goes of to find George Clooney (didn't I say the plot was bad?) and so takes the tube. That's London underground at the middle of the night, but she's just stupid like that. So the timetable says the next, and last, train will come in 7 minutes. Now Kate, dumb party girl that she is, decides that she can have a nap in the spare 7 minutes. Typically, she misses the train and finds herself locked in the London Underground. Alone. Well, almost...<br /><br />So the movie just carries on from there. Blood, guts, limbs, even certain parts of the body I shall not mention are slashed and gashed and eventually amputated from the body.<br /><br />In short, it's a typical horror; pretty but thick damsel in distress-type women and sick, weird psycho. Or as the case may have it, Creep.<br /><br />I'd say give it a go if you're into Saw, Hostel or the Texas Chainsaw Massacre but for the rest of us, Scream with satisfy out horror needs thankyou very much. | 2 | trimmed_train |
8,874 | Terrible acting by Potter and a flat plot with no tension what so ever. And as for the feminist polemic, it's laughable. I saw this garbage when it was first released and though I found it tedious beyond belief I'm glad I did go to see it. That's because I now have an immediate answer to the question 'what's the worst film you've ever seen?' Plus, I have the comfort of knowing that every film I see for the rest of my life will be better than The Tango Lesson. But I have to admit I was impressed with the way Potter wrote a script that would garner the maximum number of arts council grants from around the world (as is revealed in the closing credits).<br /><br />I only very recently saw Orlando and I can see how Potter learnt the wrong lessons from making that film. All it took was a bunch of frilly costumes, a few hard stares to camera by the leading lady, and a loose plot to seduce the cinema going public. So why shouldn't she think she could get away with the self-indulgent nothingness that is The Tango Lesson? | 0 | trimmed_train |
9,512 | I purchased this film for $5 in a bargain bin at my local video store for one reason only, Chase Masterson, but I should have crumbled up the five, thrown it in a toilet and flushed. The film is about a bunch of twenty somethings that peaked in high school and reunite on the anniversary of their idiot friends death, who got drunk and wandered into the woods and died. There problem is a reptilian monster is hunting them down one by one. The acting is abysmal, these worthless people were apparently cast offs on shows like 90210 and Dawsons Creek. The directing was on par with a twelve year old and the script was probably done by a thirteen year old. The entire set looks like someone's backyard in Malibu. The people on here that have praised this film are obviously friends of the director and/or actors. Avoid this pile of garbage at ALL costs. | 0 | trimmed_train |
23,416 | Show favorites Green Arrow (introduced this season), Aquaman (introduced in Season 5), "Impulse" (Season 4), and Cyborg (Season 5) all come together, along with Clark, to stop one of Lex's evil plans in this thrilling mid-season episode.<br /><br />Through his sophisticated technology, Green Arrow learns that Lex Luthor is constructing laboratories across the world that hold people induced by the meteor substance kryptonite and people with abilities to run tests on. Green Arrow over the past months has allied Arthur Curry (Aqua), Bart Allen (Impulse) and Victor Stone (Cyborg) to stop Lex and destroy these facilities. After recruiting Clark to help, the team puts on quite a show in interrogating and destroying a local laboratory.<br /><br />This episode is incredible. Full of action, humor, and fabulous dialog, it feels more like a movie. It is full of entertainment and provides as a springboard for the most interesting storyline of the sixth season. | 3 | trimmed_train |
22,229 | This final entry in George Lucas's STAR WARS movies is often regarded as the weakest of the lot. However, this is not to say that it is a totally worthless entry in the series. On the contrary. Sure, it's not as groundbreaking as its predecessors and a bit more slow-going at times, but RETURN OF THE JEDI still offers a lot to warrant the price of admission.<br /><br />The first third of the movie, where Luke and his friends rescue Han from the palace of Jabba the Hutt, is a classic. Jabba, a truly disgusting blob of bloated flesh who speaks in his own language, not only makes a great villain, but a memorable one, too. It must have been a nightmare to construct this giant puppet, much less give it the spark and life that we see on the finished product. Actually, what also makes this sequence fun is the clever use of puppets for the various members of Jabba's court, including the intimidating, slavering Rancor and scary Sarlaac pit monster. It builds masterfully to its climax and pulls punches all the while.<br /><br />Things get a little bit slower around the second act, where Luke discovers that he and Leia are related by blood and when we travel to the forest planet of Endor, home of the cuddlesome yet stalwart Ewoks. Most of the complaints about RETURN OF THE JEDI that I've read seem to be centered on these furry creatures, in that they somehow disrupt the tone of the saga. I don't totally agree with that, although this moment is probably played out a bit longer than it should. However, their leader, Wicket (played by Warrick Davis) is a delightfully memorable creation, and watching how they handle the Imperial Troops' technology with their simple, natural weapons provides a nice contrast.<br /><br />By the time we get to the third act, though, the pace picks up again, as we intercut between the Ewoks battle against the troops, Lando and the Rebel Forces launching an attack against the Empire's all-new half-completed Death Star, and Luke's final showdown with Darth Vader and the Emperor. The latter ties with the Jabba Palace sequence as the highlight of the movie. Mark Hamill flexes his acting chops once again as Luke Skywalker in these scenes, and watching him as a fully matured Jedi Knight makes for an unforgettable performance. Also, as iconic as James Earl Jones' voice as Darth Vader is, he is rivaled only by the shriveled, crone-like Emperor, played with deliciously raspy, frightening evil by Ian McDiarmid. The tension between this trio heightens the excitement of this climactic moment, which is appropriately darkly lit and menacingly underscored.<br /><br />The STAR WARS movies have always set standards for special effects, and the technical work in RETURN OF THE JEDI can easily hold a candle to its predecessors. The space battle fights are as exhilarating as always, and the speeder bike chase through the forest is a knockout. Of course, given that this movie was made after A NEW HOPE and THE EMPIRE STRIKES BACK, it probably shouldn't be so surprising that the special effects have reached an even greater level of excellence. The acting is classic STAR WARS fare; Hamill, Harrison Ford and Carrie Fisher all mature and deepen into their roles, and Anthony Daniels provides more hilarious moments as C-3PO. Frank Oz's Yoda only appears in two scenes, but he makes the most of it. And yes, there's also John Williams' music.<br /><br />All told, while RETURN OF THE JEDI falters a little bit in the middle, the first and third acts deliver in style, making this a rather satisfactory finale to one of the greatest sagas ever.<br /><br />In 1997, George Lucas re-released the classic STAR WARS in digitally restored (and revamped) "Special Editions", which featured added-in effects and/or shots as well as some enhancements. Of the three, RETURN OF THE JEDI appears to have caused the most commotion with STAR WARS fans. Perhaps it can be due to the jarringly out-of-place (albeit funny if you're not so easily offended) "Jedi Rocks" musical number in Jabba's Palace, which, although technically amazing, does disrupt the flow of the film. However, I DID like the ending montage scenes where we see victory celebrations occurring on the various planets of the galaxy. This DVD version features yet more tweaking--we get to see more montage finale scenes (notably on Naboo, where we hear what sounds like Jar Jar Binks screaming, "Wesa free!"), and, in what is probably the most controversial change, Hayden Christensen as the specter of Anakin Skywalker in the closing scenes. Probably due to the intense (and unfair) disdain fans have for his somewhat shaky work in EPISODE II: ATTACK OF THE CLONES it seems inevitable that fans would put this edition down for that alone. However, if you're watching the STAR WARS saga chronologically (and contemplating about it), chances are you may react a little differently. Nonetheless, it is an issue that fans have raised, so it's probably best to be warned beforehand.<br /><br />As nice as it would be to have Lucas release the original versions of these three classic films, he nonetheless stands by what he said about these revamps being the "definitive" editions of his classic trilogy, and, when viewing the STAR WARS movies altogether as one complete saga (as Lucas intended), it actually makes sense to keep them technically and aurally consistent. The original films will always be engraved in our memories, but these new incarnations are just as much fun, if one can give them a chance. | 3 | trimmed_train |
11,143 | Sadly IMDb does not allow me to rate Judges lower than 1. What a shame. This ghastly movie is so bad that I actually turned the damned thing off well before the ending. The script had a few bright moments, but the directing, editing, acting, audio quality, and especially timing on line delivery was so abhorrent as make Judges utterly unbearable.<br /><br />Judges was advertised as being like a modern day comic book style western, but in reality was nothing of the sort. What it is most like is dog poop on the bottom of your shoe. You can try to pretend it is okay, but it just keeps on stinking.<br /><br />Why video stores think it is okay to carry this kind of crap with constant gaps in the audio and worse than high school drama class acting is beyond me. We rent movies in order to see something better that what is on television. But Judges is worse than the most pathetic SciFi Channel original. I intend to demand my money back from Hollywood Video. | 0 | trimmed_train |
521 | This is one very confusing movie. The film is very hard to follow and the plot just didn't seem to make any sense. The Fury of the Wolfman was made in Spain and I think that when any film is dubbed from one language to another, it doesn't translate exactly as it was first meant. Maybe this is part of the problem but I doubt if it can account for all the problems with this film. The dubbing is pretty bad and the voices don't match the characters very well. The scenes are choppy, there is an array of strange and irrelevant characters that do little more than confuse the viewer even more. What I did like about this film was the look of the wolfman himself and the scenes where he attacks. Now if they could have put it all together and had it make some sense, they might have had something. Don't waste your time on this one. | 2 | trimmed_train |
6,065 | Daniella has some issues brewing under her attractive exterior. She starts to lose her mind when she finds out about a distant relative (who she resembles) that was burned for being a werewolf. She goes a bit feral when she beads horny men and slashes out their throats. She does eventually find a man that helps contain her inner beast but when others ruin their bliss she extracts her violent and furry revenge.<br /><br />'Werewolf Woman' isn't a very goof film but it does pose as a good crowd film. A fun time could be had by harping the bad acting / dubbing / translation and the just plain cheesiness of the production. But on it's own it moves slowly but does have ample nudity to keep you awake
barely. | 2 | trimmed_train |
16,717 | I remember watching this film on Saturday afternoon TV in the 1950s or 60s. It was well presented but I do remember there was a message of hope broadcast from transmitters secreted in lamposts in one of the last maniacal executions for impending liberation. I'm not sure that squares with the facts.<br /><br />Still the film is well done. The German High Command reports wryly without emotion "The Russians are advancing down The Fredrich Strasse" as if all went according to plan.<br /><br />it was my impression that this film and a later American made for TV knock-off was based on the British historian Trevor-Roper's account by a similar title Last Days of Hitler. I was surprised to see no credit to Trevor-Roper.<br /><br />I agree the newest German film on the subject DOWNFALL was as well done as the classic. The American knock-off was a little flat.<br /><br />Few figures have attracted as much attention from the cinema as Adolph. Yet I find it interesting that none of the many films and books that have come out ever speak of Hitler's double alluded to in passing in John Toland's magnificent historical piece.<br /><br />Was gibs? | 1 | trimmed_train |
21,456 | Although this film is somewhat sanitized (because it was made at a time when people just didn't talk about sex), it is an extremely helpful short film to show prepubescent girls so they know what to expect during menstruation. Not surprisingly, it was paid for by the Kotex company, though what may surprise many is that Disney made this film--as they made a lot of educational films during the 1940s-60s. However well made the film is, though, I think the film maker's missed a real opportunity. Instead of the nice female narrator's voice and the relatively bland visuals it would have been GREAT if they'd used Minnie Mouse and the rest of the Disney gang!! I know this would have given old Walt a heart attack, but wow that would have been a great film! By the way, although the notion of sex is barely hinted at in the film, it DOES adequately explain menstruation in general. However, it does lack some details (especially about intercourse) that I assume were included in the accompanying booklet.<br /><br />Now if only I can figure out why I watched a cartoon about menstruation. | 1 | trimmed_train |
15,693 | I disagree strongly with anyone who might dismiss this film as "just" entertainment. Set right after the carefree, roaring 20s, during the early days of the Great Depression, Dance, Fools, Dance is at its heart an earnest cautionary tale, with a clear message about how best to endure these hard times. Yet this fast-paced and tightly-plotted film is far from being a dreary morality tale.<br /><br />In the 30s, Hollywood had a knack for churning out one entertaining *and* enlightening audience-pleaser after another, all without wasting a frame of film. Dance, Fools, Dance -- one of *four* films that Harry Beaumont directed in 1931 -- is barely 80 minutes long, yet its characters are well developed, its story never seems rushed, and despite its many twists in plot, the audience is never left behind.<br /><br />With the lone exception of Lester Vail as flaccid love interest Bob Townsend, the supporting cast is uniformly strong. Worthy of note are William Bakewell as Crawford's brother, Cliff Edwards (best known as the voice of Jiminy Cricket) as reporter Bert Scranton, and Clark Gable in an early supporting role as gangster Jake Luva.<br /><br />But this is Joan Crawford's film, and she absolutely shines in it. Made when she was just 27, this lesser-known version of Crawford will probably be unrecognizable to those more familiar with her later work. However, here is proof that long before she took home an Oscar for Mildred Pierce, Crawford was a star in the true sense of the word, a terrific actress with the charisma to carry a picture all by herself.<br /><br />Score: EIGHT out of TEN | 1 | trimmed_train |
12,166 | Yeah i saw the rough cuts. The unedited sex scenes. The dire cut scenes. Almost on a par with the film 'The Need' for awful acting. This movie is as bad as bad films get.the bad script, bad acting, bad effects, bad locations, bad stunts bad everything. The best 'actors' in the film were the lap dancers they hired for the vampire extras!<br /><br />Sean Harry, the 'foppish actor' as someone else put it, makes a matchstick look talented here. His amazing ability to badly drive a car, when it is obviously being shook by people on the bonnet (check out the reflection in the windscreen), his inability to turn left, which is class. OH and don't forget the sex scene. plus his noteworthy use of a toy gun which the props guys couldn't even be bothered to disguise as a real gun. The other actors on screen could barely deliver their lines.It was as if half the time they were waiting for a line that wasn't there!<br /><br />The 'special effects' were soooo good to the point that the guys who did it took their real names off the credits!<br /><br />If you want a laugh at a party then rent this movie...then again there are plenty of good comedies that are just as funny and don't give money to people who don't deserve it. | 0 | trimmed_train |
15,437 | First off, this is an excellent series, though we have sort of a James Bond effect. What I mean is that while the new Casino Royale takes place in 2006, it is chronologically the first adventure of 007, Dr. No (1962) being the second, while in Golden Eye, the first film with Pierce Brosnan, Judi Dench is referred to as the new replacement for the male "M" so how could she have been in place in the beginning before Bond became a double-0, aside from the fact that she is obviously 14 years older? This is more or less a "poetic" license to thrill. We need to turn our heads aside a bit if we wish to be entertained. No, the new Star Trek movie does not have any of the primitive electronics of the original series from nearly half a century ago. In the 1960's communicators were fantasy. (now we call them cell phones) and there were sliding levers instead of buttons. OMG, do you think 400 years from now, they would have perfected Rogaine for Jean-Luc Picard? So, please, let's give the producers some leeway.<br /><br />But to try and make things a bit consistent, let us just ponder about the Cylons creation just 60 years prior to the end of Battlestar Galactica. If that is the case, where did all the Cylons that populated the original earth come from? We know that the technology exists for spontaneous jumps through space. Well, what happened if one of the Cyclon ships at war with the Caprica fleet was fired upon or there was a sunspot or whatever and one ship, loaded with human-looking Cylons, wound up not only jumping through space, but through time, back a thousand or ten thousand years with a crippled ship near Earth One. They colonized it, found out they could repopulate it and eventually destroyed themselves, but not before they themselves sent out a "ragtag" fleet to search for the legendary Caprica, only to find a habitable but unpopulated planet, which they colonized to become the humans, who eventually invented the Cylons. Time paradox? Of course. Which came first, the chicken or the road? Who cares? It's fraking entertaining! | 3 | trimmed_train |
15,854 | Way, way back in the 1980s, long before NAFTA was drafted and corporations began to shed their national identities, the United States and Japan were at each other's throat in the world manufacturing race. Remember sayings like 'Union Yes!,' 'the Japanese are taking this country over,' and 'Americans are lazy?'<br /><br />As the Reagan era winded down and corporations edged towards a global marketplace, director Ron Howard made one of several trips into the comedy genre with his 1986 smash 'Gung Ho,' which drew over $36 million in U.S. box office receipts. While in many ways dated, Howard's tongue-in-cheek story of colliding cultures in the workplace still offers hard truth for industrial life today.<br /><br />'Gung Ho' focuses on Hunt Stevenson (Michael Keaton), the automakers union rep from Hadleyville, a small, depressed town in the foothills of Pennsylvania. Stevenson has been asked to visit the Assan Motor Company in Tokyo (similar to real-life Toyota), which is considering a U.S. operation at the town's empty plant. With hundreds of residents out of work and the town verging on collapse, Assan decides to move in and Stevenson is hired as a liaison between company officials and workers on the assembly line.<br /><br />The 112 minutes of 'Gung Ho' is a humorous look at these two sides, with their strengths and weaknesses equally considered: on one hand, an American workforce that values its traditions but is often caught in the frenzy of pride and trade unionism; on the other hand, Japanese workers who are extremely devoted to their job yet lacking in personal satisfaction and feelings of self-worth. In Stevenson, we find an American working class figure of average intelligence with the skills to chat people through misunderstandings. With the survival of his workers' jobs and most of Hadleyville on the line, Stevenson proves a likable guy who wants nothing more than a fair chance, although his cleverness will sink him into a great deal of trouble. Besides answering to the heads of Assan, we witness a delicate balancing act between Stevenson and his fellow union members, many of whom he grew up with. This includes Buster (George Wendt), Willie (John Turturro), and Paul (Clint Howard, Ron's brother).<br /><br />The Japanese cast is headed by Gedde Watanabe, also known for 'Sixteen Candles' and 'Volunteers.' Watanabe plays Kazihiro, the plant manager who is down on his luck and begins to feel a sympathy for American life. He is constantly shadowed by Saito (Sab Shimono), the nephew of Assan's CEO who is desperate to take his spot in the pecking order. While given a light touch, these characters fare very well in conveying ideas of the Japanese working culture.<br /><br />With Hunt Stevenson dominating the script, Michael Keaton has to give a solid performance for this film to work. 'Gung Ho' is indeed a slam-dunk success for Keaton, who also teamed with Ron Howard in 1994's 'The Paper.' He made this film during a string of lighter roles that included 'Mr. Mom,' 'Beetle Juice,' and 'The Dream Team' before venturing into 'Batman,' 'One Good Cop,' and 'My Life.' It's also hard not to like Gedde Watanabe's performance as the odd man out, who first wears Japanese ribbons of shame before teaming up with Stevenson to make the auto plant a cohesive unit.<br /><br />The supporting cast is top-notch, including Wendt, Turturro, Shimono, and Soh Yamamura as Assan CEO Sakamoto. Mimi Rogers supplies a romantic interest as Audrey, Hunt's girlfriend. Edwin Blum, Lowell Ganz, and Babaloo Mandel teamed up for Gung Ho's solid writing. The incidental music, which received a BMI Film Music Award, was composed by Thomas Newman. Gung Ho's soundtrack songs are wall-to-wall 80s, including 'Don't Get Me Wrong,' 'Tuff Enuff,' and 'Working Class Man.'<br /><br />The success of 'Gung Ho' actually led to a short-lived TV series on ABC. While more impressive as a social commentary twenty years ago, Ron Howard's film still has its comic value. It is available on DVD as part of the Paramount Widescreen Collection and is a tad short-changed. Audio options are provided in English 5.1 surround, English Dolby surround, and French 'dubbing,' but subtitles are in English only. There are no extras, not even the theatrical trailer. On the plus side, Paramount's digital transfer is quite good, with little grain after the opening credits and high quality sound. While a few extras would have been helpful - especially that 'Gung Ho' was a box office success - there's little to complain about the film presentation itself.<br /><br />*** out of 4 | 1 | trimmed_train |
14,542 | A young solicitor from London, Arthur Kidd is sent to a small coastal town of Crythin Gifford to oversee the estate of a recently passed away widow Mrs Drablow. While attending her funeral, a mysterious lady dressed in black catches his attention. Supposedly Drablow lived a reclusive life, and locals kept pretty quiet about her. After this he heads to Mrs Drablow mansion that can only be reached on a causeway through the swamp during low tide. There he encounters the woman in black again in cemetery out back of the house, and things begin to get creepy as terrifying noises start coming from the marshes. Now can Mrs Drablow's belongings and listening to her recorded dairy entries help Kidd figure out this gloomy mystery that the locals fear to talk about.<br /><br />Often highly regarded amongst horror fans as being one of the most chilling ghost stories ever and I can see their point. But only in doses does it draw upon tag. Yes, from what you can gather I was left a 'little' under-whelmed, despite really liking it. I was expecting goose bumps throughout the whole feature, but that's probably it
expecting. Mainly I had a similar reaction with the 1980 haunted house thriller 'The Changeling'. When you hear so many good things, it's sometimes hard not get caught up with it.<br /><br />Anyhow what the British TV presentation of "The Woman in Black" effectively does is bring out a truly old-fashion, slow burn spine-tingling premise driven by its moody locations, disquieting atmosphere and first-rate performances. Subtly blankets the psychologically gripping story (adapted off Susan Hill's novel of the same name), as the simple mystery authentically opens up with a depressingly tragic tone and successfully characterises its protagonist. Little seems to happen, and can feel drawn out, but the fragile randomness of it catch you off guard. Whenever the camera focuses on the lady in black. Who mostly appears as a background figure, it's ultimately creepy. She might not appear all that much, but when she does
. Talk about unnerving! That also goes for that downbeat conclusion. Pauline Moran, who plays the woman in black, competently gets us nervous by just her gaunt appearance and sudden positioning. A pale look and those minor mannerisms just seem to haunt you. She's a spirit you don't want to cross paths with, yet alone let her see you. An accomplished performance by a marvelously moody Adrian Rawlins as the solicitor Arthur Kidd does hold it all together. In support are solid turns by Bernard Hepton, David Daker, Clare Holman and David Ryall.<br /><br />Drawing heavy on its lushly sombre rural town and foggy coastal locations adds more to the realistically eerie plight and the centre piece were everything unfolds in the forlorn, time-worn Victorian house that comprehensively suffocates the air with constant fear. Director Herbert Wise carefully fabricates alarming imagery that slowly covers one secretive piece at a time in a smoothly paved out rhythm of well-judged contriving. Instead of going out to shock us, some scenes contain a distressing intensity that won't let go. The sound effects are masterfully used, by surrounding and disorienting the air. Rachel Portman's harrowing musical score knows how to get under your skin during those eerie moments and then stay with you.<br /><br />This rarity made-for-television feat is a stimulating rich and unsettling supernatural spook-fest. It might not share much new to the sub-genre, but it competently sticks to it strengths to deliver what counts in this curse. | 1 | trimmed_train |
601 | This would have to be one of the worst, if not the worst, movie I've ever nearly seen. (I couldn't watch it all the way through). Purely and simply it's gratuitous violence just for the sake of it and the ridiculous story line only adds to the lacklustre and incompetent filming. Sick. And only suitable for those with a love for manic mutilation. After murdering several hundred men, women and children, Seed is finally caught after effortlessly killing several more police officers that finally get a tip as to his whereabouts. He's sentenced to death by electric chair and miraculously survives! Buried alive, he digs his way out and plots revenge against those that put him away and flicked the switch. Needless to say, more gruesome murders ensue... | 0 | trimmed_train |
9,803 | I consider myself to be a bit of a snob when it comes to everything and although the cinematic experience is more suited to explosions than high drama, I can be very stuck up about films, too.<br /><br />Not all art films, however, are better than King Kong. I quite possibly would give Kong two stars, double this film's haul.<br /><br />My guess is that people got so excited about this because it was almost identical in style to what you can see in a play. For the less discerning art-buff, a film that looks like a play is 'great art'.<br /><br />This film, however, was useless.<br /><br />There was hardly any story so it relied on high drama. The only drama in this film was whether the cat would drop off the roof or not. So, deep and meaningful dialogue, then? No. Great acting? Hardly.<br /><br />To be excessively fair: Some of the scenery was interesting, though: Communist flats, city vistas (Petersburg?) and the Soviet trams still in service. | 0 | trimmed_train |
11,268 | This is one of the worst film adaptations of a musical ever made. The stage version of A Chorus Line is wonderful. This movie misses the mark in almost every way. Even the casting is baffling. Take Audrey Landers as Val. "Dance 10 Looks 3" is Val's song. Val's story is that she is a great dancer but a 3 in the looks department. Yes, she finds a solution, but ultimately she's a great dancer. What do the brilliant filmmakers do? They hire an actress who can't dance and is famous for looking great. Way to miss the boat.<br /><br />Then there's the choreography. I'm sure Michael Bennett was turning over in his grave. Why didn't they use his choreography? It really can't be improved upon. | 0 | trimmed_train |
12,885 | The Sopranos is arguably the greatest show in Dramatic Television history.<br /><br />Its hard to think of another series that boasts so much intelligence, sublime writing or first rate performances.<br /><br />Across its epic scope it produces fresh and iconic characters and a constant level of high quality. Centering around the life of one Tony Soprano, a man who lives in two families. One is the conventional wife and two kids nuclear family the other a huge New Jersey Mafia group, of which he is the boss of both. Played by James Gandolfini, of True Romance and The Mexican fame, Tony is a fascinating, scary but also likable guy. Full praise must be given to Gandolfini for making a womanising and horrifically aggressive brute a genuinely identifiable and perfect leading man. Contemporay American drama has never had such an arresting and iconic figure as Tony.<br /><br />The cast of hundreds never boasts a flat performance and such stand out characters like Paulie Walnuts and Ralph Cifaretto will stick in your memory for ever.<br /><br />The true genius of this tale however, is the creator and writers bravery and revolutionary take on a conventional drama series. Twenty minute long dream sequences, powerful and original use of symbolism and metaphorical imagery and truly shocking scenes of violence. Yet all this style is met by truly touching themes of love, honour and respect for family. The series never becomes cold hearted or gratuitous.<br /><br />With TV now competitive and often poor The Sopranos stands tall above the rest as America's most original and compelling drama. Forget Family Redifined. This is Television Redifined. | 3 | trimmed_train |
11,357 | This movie is basically about some girls in a Catholic school that end up getting into trouble because of putting red dye in one in one of their school mates shampoo and after being reprimanded for this act they decide to take off to Florida for a vacation. On their way there they meet up with some guys in a local diner and decide that they would both meet up with each other in another location later on. The girls end up on a road side near the woods and stop for awhile and while one of the girls decides to walk around a bit she sees a murder happen in which the local sheriff himself is involved. She becomes scared and runs to tell the others what happened. The other girls decide to go take a look with her and two of them get killed by the killer. Then the two remaining girls are caught by the killer and are placed in local jail cell. The deputy sheriff meanwhile is keeping watch over the girls and despite their insistence that the sheriff is the killer he ignores them both and acts as ignorant and everybody else in this movie who just can't put two and two together much less some lousy detective work at that. The best part was the rape scene between the killer and one of the girls where he decides to rape her in her jail cell and it seems that the girl actually WANTS to be raped by this man and the bare chest scene I admit was good but before their lips meet he has other things in mind. This movie reminds me of the low-budget thriller "Blood Song" with Frankie Avalon staring in it, the same motive just a different character part. It's not a movie worth renting not even for an 80's low-budget movie and the ending was the worst ending I have ever seen in a movie and it left me wanting my money back! | 0 | trimmed_train |
10,213 | I don't know why this conduct was ever tolerated in the movie business! This movie (short) is gross (to say the least)! It is a bunch of 5-7 year old children wearing diapers with big bobby pins, acting like adults (and too much so!). However, it is interesting because it is a good example of how "the good old days" may not have been so good after all! (Thank GOD we have laws against this kind of material now!)<br /><br />{This is one short from the "Shirley Temple Festival"} | 2 | trimmed_train |
14,696 | This complicated western was a milestone in the career of JAMES STEWART after his return from war service, wanting to change his image by doing a western, which is largely regarded as the reason for the influx of westerns in the '50s since it's very impressive. Too bad it wasn't photographed in Technicolor.<br /><br />Stewart wins first prize for "the gun that won the West", but then has to spend the rest of the film trying to recover it when it's stolen. SHELLEY WINTERS is a shady gal with an unsavory reputation and STEPHEN McNALLY is the local bad boy gunman in Dodge City. WILL GEER is Wyatt Earp and DAN DURYEA is Shelley's bad boyfriend. And wouldn't you know that, it being a Universal-International film, TONY CURTIS and ROCK HUDSON (both quite unknown at the time) have bit roles.<br /><br />An interesting sequence features the first Indian attack, whereby CHARLES DRAKE reveals himself to be a coward who rides off, leaving Shelley alone in the horse-drawn wagon. He later redeems himself, but it's just one of the twists and turns that has the gun passing from one unsavory hand to another--but finally ending up with the rightful owner.<br /><br />STEPHEN McNALLY and JAMES STEWART have quite a final shootout that is almost as melodramatic (but not quite) as DUEL IN THE SUN's blazing guns finale. McNally makes the perfect villain and DAN DURYEA is equally treacherous in the kind of villainous role he played throughout the '40s as a low-life gunslinger.<br /><br />Tightly constructed story is extremely well directed by Anthony Mann, and it's fun to see ROCK HUDSON (credited as Young Bull) wearing Indian war paint and TONY CURTIS as a young soldier who casts longing glances at the then slim and attractive Shelley Winters.<br /><br />Well worth viewing and definitely an above average story. | 1 | trimmed_train |
10,536 | Ben a out-of-town cop is convinced his sister was brutally killed and wants to bring her killer to justice, but he's approached by Stefan who believes his sister was a victim of a werewolf cult. So Ben, his sister's best friend and Stefan travel to Transylvania to put a end to this evil.<br /><br />This is incredibly awful B-grade stuff and I wondered how it even got released. It makes the original 'Howling' look like a masterpiece. What was Christopher Lee thinking, as this has to be his worst performance I've seen.<br /><br />There was a lot wrong with this real cheap-ass film, ranging from the really hammy and wooden performances from Annie McEnroe, Reb Brown, Marsha A. Hunt and Sybil Danning (not to forgot Lee), cheesy fashion (those sunnies), cheap and lame special effects, bad use of lighting, the humour... if there was any, trashy 80s music (with some of the film just focusing on some unknown band playing), werewolf's having orgies which is a sight to see and a tiresome story with flat and annoying dialogue. I thought if it was that bad it would be awfully funny, but I was wrong. <br /><br />The positives were the location and settings of the film looked great, but that's about it... actually I'll add Sybil Danning short stripping scene too.<br /><br />During the end credits the band plays their crap-house song during a weird montage of scenes from the film, which I beckon the question why?<br /><br />An awful piece of mess, however at least it isn't boring.<br /><br />1/5 | 0 | trimmed_train |
7,888 | This movie is some of the worst crap I have ever seen. I literally got a sharp pain in my head while watching this movie. The CGI was awful, and the story was just a waste of ink. Dean Cain's character was Mr-Super-Intuitive-I-can-figure-out-anything, except he can't seem to work his own helicopter correctly. The biggest problem was the split screen camera work. I felt like I was watching the Brady Bunch or something, only it wasn't different people in the boxes, just close ups and different views of the same thing. I can only figure that the actors really needed the money, because this movie wasn't worth the film it was shot on. | 0 | trimmed_train |
12,605 | Starlift is a pleasant and interesting throwback to those all star musical pictures that every studio was putting out during the World War II years. When you've got such stars as Gary Cooper, James Cagney, Doris Day, Gordon MacRae, and Randolph Scott, etc., in the film and with such people as the Gershwin Brothers, Cole Porter, Jule Styne and Sammy Cahn supplying the music, it's an easy to take film. And the plot isn't even in the way.<br /><br />What plot there is involves two Air Force enlisted men, Dick Wesson and Ron Hagerthy, trying to meet Warner Brothers starlet Janice Rule using as a gimmick the fact that both come from Youngstown, Ohio and Hagerthy's father was Rule's dentist as well as half of the town's. The scheme works too well as Louella Parsons is soon putting them as an item in her column. Yes, Louella's in the film as well. She must have liked Warner Brothers or Jack Warner catered to her more than the other studio bosses because she also used this studio to publicize her Hollywood Hotel radio program back in the day.<br /><br />But the rest of the plot also touched on the real life efforts of Ruth Roman also playing herself to get her studio and others to do shows at the Air Force bases for the servicemen and women going to Korea. Some of the names I've mentioned and others sing and perform in a show at Travis Air Force Base where a lot of this film was shot.<br /><br />One specialty number was shot for the talents of Phil Harris who sing/narrates a ballad Look Out Stranger, I'm A Texas Ranger aided and assisted by Virginia Gibson, Frank Lovejoy and Gary Cooper. Yup, Cooper looked like he was having a great old time kidding his image.<br /><br />This is the oldest of clichés when you say they don't make them like this any more, but they really don't because you don't have a studio system that has all this talent under contract. That's one thing about the demise of the old studio system we can mourn. | 1 | trimmed_train |
6,481 | I really can't understand how could someone give this disgusting film more than 1 star... How can you like such a retarded film, where all the animal abuse scenes are real? I don't even want to imagine the excruciating pain those innocent and defenseless living beings felt in those horrific moments... Jesus... What kind of ''human'' would torture them like that for no reason, or just for money? I tell you, that director is either mentally retarded, or he's just a monster with a ''heart'' of stone. Or both. He truly deserves to get his hands cut off and burn alive.<br /><br />It contains various horribly barbaric scenes that may cause shock, especially to sensitive persons and children: a real frog is skinned alive, fish are sadistically mutilated and thrown back into the water, a dog is beaten, birds are thrown into the water...<br /><br />This movie is more than awful; it has to be the worst and most retarded film ever made, along with another one, called ''Cannibal Holocaust'' or something like that. I'll never watch or buy any film directed by this heartless monster. No one should waste their time watching it, especially when there are a lot of TRULY great movies out there, in which all the animal abuse scenes are staged.<br /><br />Fortunately, only a few people liked this - which is natural, since it's the worst film ever -, so it wasn't successful. I hope this will make the retarded director realize that such unjustified barbaric acts of extreme cruelty and violence to REAL animals will NEVER be praised, and that he will stage all the animal abuse scenes in his following films. I truly believe that everyone receives but what they give! There will be a day when all the retarded and cruel ''humans'' will feel the same pain they once inflicted to others.<br /><br />This, however, is probably my only ''negative'' review. I usually don't comment on a movie if I dislike it, but this time I just couldn't shut up. I had to speak the truth, because animal abuse must stop! | 0 | trimmed_train |
11,919 | This Movie is complete crap! Avoid this waste of celluloid at all costs, it is rambling and incoherent. I pride myself on plumbing the depths of 70's sleaze cinema from everything from Salo to Salon Kitty. I like being shocked, but I need a coherent story. However if watching horses mate gets you off this film is for you. The saddest part was that lame werewolf suit with the functional wang. I mean its just plain hard to sit through, not to mention the acting is terrible and the soundtrack is dubbed badly. Please, I know the cover is interesting (what looks like a gorillas hands reaching for a woman's bare ass)but don't waste your time or money as you won't get either back. | 0 | trimmed_train |
16,989 | Portrays the day to day stark reality of survival on a ranch in the old west. Outstanding acting by both principal actors. This doesn't even feel like a movie...you feel like you're there. Animal activists should beware...many scenes are obviously not just realistic...they are real. | 3 | trimmed_train |
22,133 | First of all, this movie is 34 minutes long, which means you could watch it three times in a row and still have spent less time than you would have watching most other movies. Second of all--you need to do this. This sensational short film explores the potential of animation through a world of playful or horrifying but always powerful images. Cats riding in and drinking out of a water elephant, a circus featuring a bird that has consumed the sky, and pigs eating their own fried flesh--that's only the beginning. The scenes and images, extraordinary on their own, flow together without obvious causal links in a way that demands re-watching. Furthermore, the DVD includes an amazing director's commentary, which, given the extremely spare dialog, only enhances the viewing. The commentary gives a few interpretations of scenes, but also provides priceless quotes on the crafting of Cat Soup, along the lines of: "well, the artists were asking what we should do in this scene, but I didn't know myself, so its hard to say why it turned out as it did" (that's a bad paraphrase by the way). Also, the sound throughout the film is very high quality, very precise, and very moody. In all, the absolute minimum viewing experience should go as follows:<br /><br />First viewing: Watch the DVD without the commentary. Second viewing: Watch the DVD WITH the commentary. Third viewing: Rewatch without the commentary.<br /><br />Once you've watched it three times, however, you're not going to stop there... | 3 | trimmed_train |
18,898 | This very funny British comedy shows what might happen if a section of London, in this case Pimlico, were to declare itself independent from the rest of the UK and its laws, taxes & post-war restrictions. Merry mayhem is what would happen.<br /><br />The explosion of a wartime bomb leads to the discovery of ancient documents which show that Pimlico was ceded to the Duchy of Burgundy centuries ago, a small historical footnote long since forgotten. To the new Burgundians, however, this is an unexpected opportunity to live as they please, free from any interference from Whitehall.<br /><br />Stanley Holloway is excellent as the minor city politician who suddenly finds himself leading one of the world's tiniest nations. Dame Margaret Rutherford is a delight as the history professor who sides with Pimlico. Others in the stand-out cast include Hermione Baddeley, Paul Duplis, Naughton Wayne, Basil Radford & Sir Michael Hordern.<br /><br />Welcome to Burgundy! | 3 | trimmed_train |
7,844 | First of all there is Gujarati Theatre then there is Bollywood. Both have their strengths and fan following. Director Vipul Shah should look elsewhere instead of Gujarati Theatre when making a Bollywood production. First he made Aankhen (adapted from a Gujarati play) - which had a unique plot, but could not hold as a Hindi film. Now he's adapted another Gujarati play and named it Waqt - a race against time. In sum, the emotions are alien. The plot development is not for Hindi films. For example, the role play between father and son is best left to Gujarati Theatre - don't bring it in a Hindi film. Even the comedy track is best left for the Gujarati stage. All performances are average - nothing to shout about - barring Shefali Chhaya Shah who is fantastic. | 2 | trimmed_train |
11,020 | Detective Tony Rome (Frank Sinatra) returns to the screen after his self titled debut, this time it's a film that's played for erm
laughs. While on a diving trip, Rome finds the body of a blonde beauty at the bottom of the sea, her feet as you might expect, encased in cement. Rome immediately on the case after being hired by man mountain Waldo Gronsky. Rome finds himself immediately at risk as he has to investigate some mafia types, who turn the tables on him and he is himself found to be the main suspect, he must now go on the run and hope to solve the case alone. The portly Sinatra tries hard to sell us the lame jokes and make us believe he is a good detective, oh and not to mention being sexually attractive to the foxy Raquel Welch, but he fails miserably, in this ham fisted vanity project. The frankly laughable denouement that surrounds every female is quite astounding, every woman in the film is a dither head, who likes bending over is front of the camera, Director Douglas of course obliges in zooming in on the cracks of their asses each time as they flex their posterior muscles. There's even a ridiculously campy gay character that beggars belief, this was a film made by "real men" for "real men" to reaffirm their own flagging sexuality, it's a shameful shambles. | 2 | trimmed_train |
15,147 | Masayuki Suo, who directed this fine film, is on a role. After the decent "Fancy Dance" and the classic (in Japan, anyway) college-sumo comedy "Shiko Funjatta", Suo has followed his own huge footsteps with a smashing success.<br /><br />The story is engaging. We both laugh often (Naoto Takenaka is hilarious, as he is in Suo's two previous films) and really root for the characters. But to me the big bonus is the look this movie gives the viewer into Japanese society - real life in Japan. Suo has a knack for showing real-life activities with entertaining flair. The result is a movie that will pull you in, make you laugh, make you think, and both entertain you and give you insight into today's Japan.<br /><br />Also look for the the main 8 actors from Shiko Funjatta, as they all appear again in various roles, from supporting characters (Takenaka) to short cameos (many). | 3 | trimmed_train |
10,374 | There are no spoilers in this review because everything was already shown in the movie's trailer. I am trying to be balanced in my review because I strongly support local movies, but I can't help but support the backlash against this movie. It is slow, boring and bordering on pointless. Even the "almost nice and believable moments" were immediately undercut by painful clichés and bad acting. Vernetta Lopez and Wong Li Lin, whom I usually love, were only passable in this movie. It felt like the director was trying to make a melodramatic TV Soap, then got carried away and decided to put it on the big screen. The Leap Years should come with an RA rating (Rated Awful) but it hasn't changed my faith in local movies. More good films will come, so long as more films like these don't get made. | 0 | trimmed_train |
2,597 | "This story is dedicated to women," according to the introduction, "who have been fighting for their rights ever since Adam and Eve started the loose-leaf system." When "Politics" was filmed, the Nineteenth Amendment, guaranteeing women the right to vote, was only a decade old. And, the film deals with the wielding of political power by women as a voting group. Advocating prohibition, and shutting down speakeasies, was a main concern for women at the time.<br /><br />Good-natured Marie Dressler (as Hattie Burns) becomes politically active, after a young woman is shot and killed coming out of a speakeasy. She wants the liquor-selling joints closed; and, is drafted into a Mayoral run, after delivering a powerful speech at a women's rally. Ms. Dressler is supported by her tenants, best friend Polly Moran (as Ivy Higgins) and her stuttering husband Roscoe Ates (as Peter Higgins). Dressler's run for Mayor of Lake City draws opposition from men in town; so, Dressler orders the women to go on strike, denying them, "everything" in the "parlor, bedroom, and bath." <br /><br />The film sounds much better than it turned out. The humor, frankly, isn't too good; and, it features some unfunny and moderately offensive situations ("You look like Madame Queen" refers to an Amos and Andy character). And, the mixing of shootings and slapstick doesn't mix well, this time. Producers might have considered making the film more dramatic, focusing exclusively on Dressler and the characters played by William Bakewell (as Benny Emerson) and Karen Morley (as Myrtle Burns).<br /><br />**** Politics (7/25/31) Charles Reisner ~ Marie Dressler, Polly Moran, Roscoe Ates | 2 | trimmed_train |
4,195 | Wha-BAM! Someone surely had fun devouring a whole truckload of acid-mushrooms and then subsequently scripting this crazy excuse for a motion picture! Writer Howard Cohen expands the "Sword & Sorcery" concept with a couple of extra S's, like Sex, Silliness, (more) Sex and Sheer Stupidity! This isn't just a movie, this is every juvenile pervert's dreams & fantasies come true! "Deathstalker" has it all: blood, violence, trolls, female mud-wrestling, attempted rape, successful rape, life-sized pigs (!), awful hairstyles, hideously oiled muscular bodies, multi-sexual orgies, gay warriors, tournaments-to-the-death, delirious witches, dismemberment, laughable villains and boobs, boobs, BOOOOOOOOOBIES!! "Deathstalker" literally wipes the floor with its obvious role-model "Conan: The Barbarian" when it comes to terms of cheesiness and sheer flamboyance. The story is, evidently, of minor importance. Lone and gay (only he doesn't know it yet) warrior Deathstalker goes on a mission, as commanded by an annoying witch, to gather the three notorious elements of creation
or something like that. On his journey he combines forces with a troll-turned-human, a fighter who's even gayer than he is and - last but not least - a luscious lady who doesn't really seem to be a big support of the concept of bras. Together they head for the kingdom of the ultimately evil Munkar where they'll participate in a warriors' tournament and conquer no less than two out of three elements. Munkar is bald guy with half a spider's web tattooed on his skull and an impressive harem that would even make the wealthiest oil sheik jealous. Okay, granted, "Deathstalker" is a pretty damn awful and at some times even unendurable movie. The fight sequences are lame and the costumes and make-up effects are downright pitiable. For a moment, when beholding the opening sequence, I actually feared I was watching "Troll; the Prequel". The monsters look incredibly cheesy and the complete opposite as menacing, but it's undeniable entertainment if you're in an undemanding mood. I presume this isn't a favorite amongst feminists, as the overall portrayal of women is somewhat
um
discriminating. Most of the gals exclusively serve as eye-candy in the harem. They're allowed crawl over the floor naked and play around in the mud, but strictly forbidden to open their mouths. The two "leading" ladies (Barbi Benton and Lana Clarkson) are ravishing but - in all honesty - if it wouldn't be for their continuously exposed racks, they would hardly be worth mentioning, either. | 2 | trimmed_train |
19,683 | A linear travel within a non-linear structure. It's a fact that time, in 12 monkeys, flows in this come-and-go between present, future and past. However, the movie's linearity can't be avoided: it's the very work of the projector, the unfolding of the narrative.<br /><br />What we can see underlying the temporal theme is a reflection on the inevitability of our actions. The world of this Terry Gilliam film is a world with little space for free-will.<br /><br />Right from the beginning we are informed about a schizophrenic's prophecy, according to which a plague would rule the Earth in 1997, forcing the few survivors to live underground - the only place not affected by the virus.<br /><br />Cole's (Willis) mission is clear: return to the mid 90's to investigate whatever and whoever is related to the release of the virus. There's no way to change the past: all that can be done is gather information that can help the scientists of the present (that, for us viewers, is the future) find the cure. Not to change what happened (the past is inevitable), but make the present better.<br /><br />In his "returns" in time, Cole gradually comes near a striking dilemma: his life in the past is better than his life in the present.<br /><br />The latter is dark and dehumanizing, controlled by totalitarian scientists that elect "volunteers" (this word is incisively ironic) to embark on the journeys to the past.<br /><br />The scientists have not yet reached the highest level of achievements in time travel, and Cole ends up on wrong dates - this will, later in the plot, work as a proof of his sanity for the psychiatrist Kathryn (Stowe).<br /><br />We can see, through the evolution of the story, that linearity and non-linearity interlace in a circular temporality.<br /><br />There is more than one moment in which the scene that is the first and ends up being almost the last - and certainly the climactic - appears. It modifies itself, according to the evocation of Cole's memories, that come up in his dreams.<br /><br />In an airport, a man is shot dead while running, armed, toward someone else. A blonde woman runs after the murdered one.<br /><br />This is the scene that connects the past (in which Cole is a kid that visits the airport with his parents), the present (the time of the narrative) and the future (adult Cole) Throughout the narrative, Cole has the feeling of having already lived the reality he is experiencing now. His prophetic dreams are the proof that it is impossible to escape or avoid what happened. The agents that shoot him stop him from killing the mad scientist, doctor Peters (Morse), that is the responsible for the dissemination of the disease.<br /><br />What was can't be changed. And, in Cole's case, what was is what will be. Eternally.<br /><br />A film not quite well understood for many. To me, nothing less than a masterpiece.<br /><br />Other good movies with similar theme: The Back to the future trilogy (that has another angle regarding the "mad scientist" character, and although it shares the atmosphere of decay - particularly in the second film -, it is way more optimistic than Gilliam's work, that is an odd Hollywood picture).<br /><br />In another register, there is "Wild strawberries", one of Bergman's masterpieces, that involves a striking and enlightening travel to the past through dreams and reminiscences.<br /><br />I've never watched "La Jetée", but only because I can't find it. | 3 | trimmed_train |
7,882 | ...had I watched it in my teenage years. This movie was mildly entertaining. What I liked about Soul Survivors were the gothic atmosphere during the party scenes, and the constant flips between 'dream' and 'reality.<br /><br />Had there not been movies like 'The 6th Sense' and 'Don't Look Now' I would have been surprised by the ending. | 0 | trimmed_train |
4,430 | I cannot believe that I wasted five hours of my life on this rubbish. The previous five day offering by this author was highly enjoyable and I was really looking forward to this. But most of the dialogue was completely incomprehensible. Suranne Jones was the principal culprit since she either mumbled or gabbled her lines, but most of the rest of the cast followed her example. Notable exceptions were Bernard Hill and Anne Reid, old stagers whose diction was exemplary. Do producers not listen to productions before they are aired to make sure the dialogue is audible? As a result I suppose I lost track of what was going on, and since the original plot line seemed to metamorphose into to the standard them-and-us thing between Muslims and the rest I soon lost interest. The ending was a complete anti-climax. A complete dud. | 0 | trimmed_train |
18,104 | A must see by all - if you have to borrow your neighbors kid to see this one. Easily one of the best animation/cartoons released in a long-time. It took the the movies Antz to a whole new level. Do not mistake the two as being the same movie - although in principle the movies plot is similiar. Just go and enjoy. | 3 | trimmed_train |
23,315 | It is a tricky thing to play a queen. On the one hand, the actress has to be majestic and imperious, and on the other, she has to show vulnerability in a tough situation as well as the gathering of the courage and resolution to overcome the odds, since almost all movies about queens have that basic plot line. <br /><br />Emily Blunt is quite radiant as Victoria, but it's not as full a performance as I'd like, no blame to her. I can't help but feel like this is a Mills & Boon novel adaptation compared to a darker, more dramatic movie about another young queen, Elizabeth. Hence Blunt doesn't get to run the gamut of queenly emotions, at least not to the full extent, since she's, y'know, the young Victoria. To see the old Victoria, check out Mrs Brown.<br /><br />Jean-Marc Vallee is an interesting choice of director for the movie. He last did C.R.A.Z.Y., which was excellent and propelled him to fame. It was quite a different movie but I remember it looking gorgeous and that's probably the main similarity between the two movies. But while Vallee wrote C.R.A.Z.Y., this one was by Julian Fellowes, and though I really enjoyed his Gosford Park, the story for this movie was much less interesting. I soon got lost with all the governmental politics. Maybe it was less engaging because there was no potential beheading of the monarchy. I'm just saying. | 1 | trimmed_train |
24,883 | As with a bunch of guys at school we must give this a thumbs up. Even the Grim Ripper made us smile. Those two alien things made me laugh, Bill and Ted were the stupidest yet the funnest in the entire movie. This is a lot better than the first one. And yet for some reason I feel that it misses something. Something big. Something important. Made a better house and girlfriends. No, I'd say better villains. Use clones instead of robots.I gave this a 7 out of 10 because of those two robotic doinks.<br /><br />The Grim Ripper, don't be scared he's not the deathy kind, is funny. When he fell from the sky I split a gut. Splat, I'm not sure about those aliens. What where they? Scientists? No way. | 1 | trimmed_train |
21,181 | I can't tell you all how much I love this movie. I have read reviews that say that this move is "too confusing" or "like swimming in drying concrete". I say that these reviewers have no imagination! For anyone who loves Fantasy Fiction, this movie is for you. If you ever loved playing Dungeons & Dragons... this movie is for you, (especially if you got into the Oriental Adventures) I'm just sorry that I did not get to see this movie on the big screen. (Just more incentive to get my own big screen t.v. :-) | 3 | trimmed_train |
13,983 | There's some very clever humour in this film, which is both a parody of and a tribute to actors. However, after a while it just seems an exercise in style (notwithstanding great gags such as Balasko continuing the part of Dussolier, and very good acting by all involved) and I was wondering why Blier made this film. All is revealed in the ending, when Blier, directing Claude Brasseur, gets a phone call from his dad (Bernard Blier) - from heaven, and gets the chance to say how much he misses him. An effective emotional capper and obviously heartfelt. But there isn't really sufficient dramatic tension or emotional involvement to keep the rest of the film interesting throughout it's entire running time. Some really nice scenes and sequences, however, and anyone who likes these 'mosntres sacrés' of the French cinema should get a fair amount of enjoyment out of this film. | 1 | trimmed_train |
3,858 | The Radar Men from the Moon is a pretty typical fare of 1950's serials. The special effects are pretty cheap, the lunar rovers are obviously World War II surplus jeeps with painted plywood over them, and the like. The acting is only so-so. It does inspire the imagination of children, to whom I believe this was directed to. By today's standards, it's boring, cheap, and bad. There's also a hefty amount of stock footage in the first 9 episodes of natural disasters. | 2 | trimmed_train |
18,158 | This movie was released by Roger Corman, so you know that the filmmakers didn't have much money to work with.<br /><br />Although, some viewers may miss the subtleties in this movie because of the very typical "obsessed killer" type marketing approach, there are unique differences about this movie.<br /><br />AMANDA, as played by the obviously talented Justine Priestley, is a complex character. Some people like these movies precisely because the violence can seem random, but here the ramifications of past abuse (dealt with in a realistic but tasteful manner) are what shape the psychosis of AMANDA. Surprisingly, Amanda redeems herself at the end with an act of love, where most of these movies turn into the typical, all out fight to the death and the evil character dies just as evil in the end as to begin with.<br /><br />Some rough edges in this picture, but I have to give it 7 out of 10 stars based on its thoughtfulness and yes, originality as compared to the usual -- especially on a budget. | 1 | trimmed_train |
18,224 | That's what t.v. should be. And Pushing Daisies lives up to those expectations. A beautifully crafted and well-designed show, Pushing Daisies is one of the few shows left on prime-time that has integrity, is good for the entire family and sparks your imagination. It's not about the normal action, sex, money or murder angles of every other show on t.v. It's a show that makes you think and laugh, but although the basic plot may seem impossible, the concepts are real to us all. Wanting something you can't have, hoping for someone to want us, running away from your past and searching for family, even in the most unlikely of places, etc...<br /><br />I realize that ABC has basically canceled this wonderful show at this point, and will most likely replace it with some show beyond the point of integrity. I suppose everything does come back to money... it's too bad that there are now no other shows on ABC that actually make you feel good after watching. | 3 | trimmed_train |
23,604 | Good for an evening's entertainment - but the plot was unconvincing. Garrison's affair with the First Lady was unreal and passionless; the President was a cardboard cut-out. And who were the real villains anyway? Nothing was developed or explained sufficiently. I still don't know why they wanted to kill the President or how the mole got involved. The villains were nameless and undeveloped, so you never felt involved in their plot. Michael Douglas and Kiefer Sutherland did their best to inject some reality into the story - the chase and confrontation were good. But Kim Basinger and Eva Longoria were both unbelievable in their roles, Basinger totally lacked character and no way could Longoria have been a Secret Service agent. This could have been a very good film but somehow it missed the way, with too many unanswered questions. Disappointing on the whole despite some very good scenes. And did they use the 'West Wing' set for the White House scenes? - I kept expecting CJ or Charlie to appear! | 1 | trimmed_train |
20,732 | What happens when the average joe finds out he has supernatural powers? The premise may sound familiar. The Watchmen? Unbreakable? However, the Russian sci-fi action flick, The Sword Bearer, is far from the standard stock.<br /><br />The story revolves around a man named Sasha who as a boy was shunned from society, his peers and family due to a supernatural power that he possess. When he wishes or his anger allows, a sword extends from his arm piercing his own skin. Very wolverinish? Maybe... but that's not the interesting part of this film. Shunned all his life and driven by anger (and a temper he does have) our "hero" returns to his home town to turn his life around or find a reason to. The only thing he encounters here is trouble when an encounter with an old flame's new boyfriend leaves him bloodied on the ground. This is where the vengeance and anger comes into play. This is a man you do not want to cross and from this point the mafia and the police are on his tail. He meets a girl and falls in love instantly as does she and this is really what the movie is about.<br /><br />The film is highly impressionistic with bold colors and noir overtones spliced with short yet extreme action sequences. This is art house at it's core, beautifully filmed with such attention to details in every scene over gruesome sci-fi action. It's this odd mash that interests me so much in this film. The directors approach for this genre is refreshing focusing on the emotional journey of Sasha and not a straight action film. Don't worry though, the action is there and plenty of it. However, much of these sequences show only implied violence with pictures of the horrific aftermath. This is not to say that action is not shown. These scenes are here and are fantastic (especially the ending where we see Sasha's full powers unleashed in desperation). The director chooses to imply the violence of many scenes to keep the focus on the character's emotional struggle at hand. This is a tragic love story and a refreshing entry into the genre. | 1 | trimmed_train |
12,676 | Jackie Chan is considered by many film and martial arts movie fans as one of the greatest action stars ever to grace the silver screen and Police Story cemented his reputation as the likely successor to the late, great Bruce Lee. If Enter The Dragon bared the so-called bench mark of Lee's greatness in the 70s, then the same can be said about Police Story and Jackie Chan in the 80s.<br /><br />Forget about the Rush Hour trilogy, or any of his US efforts- the one film that really typifies Chan's excellence, not to mention kick starting his status as a high kicking, bone-crushing kung- fu talisman, as well as his movie career was this, Police Story- the first in a series of successful cop films, set in mainland, present day Hong Kong.<br /><br />I've seen many of his efforts- likewise the US-based Rush Hour, Rumble in the Bronx, The Medalian and The Tuxedo to name- and frankly many of them pale into insignificance compared to Police Story. In those movies, we saw a less 'dumbed down' version of Jackie, of whom didn't get the opportunity to utilise his fighting abilities to the maximum, not to mention the fight sequences were no where as good as those in such efforts as Drunken Master, Police Story to name. <br /><br />The stunts in this movie are extraordinary and are the best featured in any action movie. The shopping mall scene is literally one of a kind and has to be seen to be believed: the flying shards of glass, Chan who is left dangling outside the bus only by his walking stick as a madman frantically drives through the streets of the town, and Chan successfully making usage of all sorts of inanimate objects and prop devices as weapons to fight the bad guys with. <br /><br />Considering he is known for injuring and breaking every bone in his body and putting himself in harm's way, Jackie's persistence in showing his versatility as a stuntman himself by not relying on one, is somewhat of a testament to his reputation as a kung fu expert. Especially as he has the bruises to show for it. Thus, he has proved that he is no one-trick pony when it comes down to devising and coming up with various and clever looking moves.<br /><br />Story-wise, there is not much to discuss but what it lacks in narrative, it makes up with its end-to end action and fight sequences. As for the dialogue, well it's not a really huge aspect of the film- which is why most fans of Jackie's and martial arts films are more interested in action, as opposed to the story.<br /><br />Unlike say The Matrix, there are no wires or CGI, or any form of computer trickery involved. What you see is what you get- and what you get with Police Story is a great Jackie Chan epic, full of action and pulsating stunts.It is miles better than Rumble In The Bronx, Rush Hour and all his other American efforts.<br /><br />Police Story is an excellent film and one I'd definitely recommend to anyone who is a novice Jackie Chan fan, but of whom are unsure which one they should watch first. | 3 | trimmed_train |
4,863 | This picture seemed way to slanted, it's almost as bad as the drum beating of the right wing kooks who say everything is rosy in Iraq. It paints a picture so unredeemable that I can't help but wonder about it's legitimacy and bias. Also it seemed to meander from being about the murderous carnage of our troops to the lack of health care in the states for PTSD. To me the subject matter seemed confused, it only cared about portraying the military in a bad light, as A) an organzation that uses mind control to turn ordinary peace loving civilians into baby killers and B) an organization that once having used and spent the bodies of it's soldiers then discards them to the despotic bureacracy of the V.A. This is a legitimate argument, but felt off topic for me, almost like a movie in and of itself. I felt that "The War Tapes" and "Blood of my Brother" were much more fair and let the viewer draw some conclusions of their own rather than be beaten over the head with the film makers viewpoint. F- | 0 | trimmed_train |
15,596 | This is a great adaptation and a great miniseries in its own right. The plot cutdowns might disappoint the fans of the book (but really how many modern readers have read Bleak House without seeing a film version first? I know of only a few). <br /><br />I think it is quite appalling to see reviews critical of the series which have clearly been written by people who haven't a clue about the story - did you actually SEE the series or did you just bag a BBC production because Gillian Anderson was in the newer version?<br /><br />The series captures the mood, pace, characters and plot-drivers (cutting out the Dickensian flourishes which aren't needed and detract from a film treatment like the Turveydrop story, the Smallweed family dynamic and the extra lawyers - Tangle, Vholes etc are very truncated). The only omission that I wish had been kept was the Jellyby incident but as the first episode is already a trifle slow (after the first episode the pace is perfect) I can see it had to go. <br /><br />The only other criticism I have is that Jo's death could have been more faithfully done. I can see that would have practically canonized Woodcourt and he's kept a little more human for not having that scene but really I think Jo's death is one of the most poignant points of the book and I missed it even though it always makes me cry.<br /><br />Has theowinthrop actually seen the series? HOW did he think that Esther was raised by her aunt and UNCLE?? Who is this uncle? I suppose someone who could mistake the name of DENHOLM Eliott for Desmond isn't really an appreciator of English art (film or literature).<br /><br />I also think he mistakes the treatment of the law. YES the law is drawn VERY badly in Bleak House. It fails the descendants of Jarndyce whose valuable inheritance is eaten up by the costs of litigation, it fails the deceased Tom Jarndyce and Rick Carstone and all who have faith in the suit. It fails Miss Flyte. In some sense it also fails Captain Hawdon who is driven to his death by the monotony of law copyist work. Yes it feeds the scavengers of Vholes and Tangle. But it also makes men like Guppy and Kenge able to move beyond their station in life. Though not kind to social status-climbers Dickens clearly would have preferred that they weren't bound to being stuck in the station to which they were born (contrast Jo and the brickmakers' families to the climbing out of poverty by Charley Neckett). <br /><br />Also, the law, while misused by Tulkinghorn and the Chancery vultures, is actually the source of security for the wards of the Court Ada and Richard, and for Esther who is simply Jarndyce's ward. Their security was ensured by the law which delivers them to Jarndyce.<br /><br />I can't see how anyone could have trouble following the story - remember you aren't supposed to realize Esther is Lady Dedlock's daughter right at the beginning. Neither are you supposed to "get" all the connections immediately. Instant gratification just doesn't happen in Dickens.<br /><br />As for "seeing clearly" through the fog - gosh the Gillian Anderson had such scatty editing that I found IT impossible to follow and I knew the plot already!<br /><br />I found Diana Rigg absolutely brilliant (overacting and drama don't make a good Lady Dedlock but if you think they do try the Gillian Anderson version).<br /><br />It's ADA and Rick not "Kate"! and you get all you need of the Rouncewell subplot. | 3 | trimmed_train |
23,536 | 1927, and Hollywood had been on the map as the centre of the cinematic world for a little over a decade. Now that it had become the site of a multi-million dollar industry and the vertically integrated studio system had been established, some of those in the calmer quarters of this film-making factory were taking the time for a little self-reflection. The Last Command, while its heart may be the classic story of a once prestigious man fallen on hard times, frames that tale within a bleak look at how cinema unceremoniously recreates reality, and how its production process could be mercilessly impersonal. It was written by Lajos Biro, who had been on the scene long enough to know.<br /><br />Taking centre stage is a man who was at the time among Hollywood's most celebrated immigrants Emil Jannings. Before coming to the States Jannings had worked mainly in comedy, being a master of the hammy yet hilariously well-timed performance, often as pompous authority figures or doddering old has-beens. He makes his entrance in The Last Command as the latter, and at first it looks as if this is to be another of Jannings's scenery-chomping caricatures. However, as the story progresses the actor gets to demonstrate his range, showing by turns delicate frailty, serene dignity and eventually awesome power and presence in the finale. He never quite stops being a blustering exaggeration (the German acting tradition knowing nothing of subtlety), but he constantly holds our attention with absolute control over every facet of his performance.<br /><br />The director was another immigrant, albeit one who had been around Hollywood a bit longer and had no background in the European film industry. Nevertheless Joseph von Sternberg cultivated for himself the image of the artistic and imperious Teutonic Kino Meister (the "von" was made up, by the way), and took a very distinctive approach to the craft. Of note in this picture is his handling of pace and tone, a great example being the first of the Russian flashback scenes. We open with a carefully-constructed chaos with movement in converging directions, which we the audience become part of as the camera pulls back and extras dash across the screen. Then, when Jannings arrives, everything settles down. Jannings's performance is incredibly sedate and measured, and when the players around him begin to mirror this the effect is as if his mere presence has restored order.<br /><br />Sternberg appears to show a distaste for violence, allowing the grimmest moments to take place off screen, and yet implying that they have happened with a flow of images that is almost poetic. In fact, he really seems to have an all-round lack of interest in action. In the scene of the prisoners' revolt Sternberg takes an aloof and objective stance, his camera eventually retreating to a fly-on-the-wall position. Compare this to the following scenes between Jannings and Evelyn Brent, which are a complex medley of point-of-view shots and intense close-ups, thrusting us right into the midst of their interaction.<br /><br />As a personality on set, it would seem that Sternberg was much like the cold and callous director played on the screen by William Powell, and in fact Powell's portrayal is probably something of a deliberate parody that even Sternberg himself would have been in on. Unfortunately this harsh attitude did not make him an easy man to work with, and coupled with his focus on his technical resources over his human ones, the smaller performances in his pictures leave a little to be desired. While Jannings displays classic hamming in the Charles Laughton mode that works dramatically, it appears no-one told his co-stars they were not in a comedy. Evelyn Brent is fairly good, giving us some good emoting, but overplaying it here and there. The only performance that comes close to Jannings is that of Powell himself. It's a little odd to see the normally amiable star of The Thin Man and The Great Ziegfeld playing a figure so stern and humourless, like a male Ninotchka, but he does a good job, revealing a smouldering emotional intensity beneath the hard-hearted exterior.<br /><br />The Last Command could easily have ruffled a few feathers in studio offices, as tends to happen with any disparaging commentary on the film-making process, even a relatively tame example like this. At the very least, I believe many studio heads would have been displeased by the "behind-the-scenes" view, as it threatened the mystique of movie-making which was still very much alive at this point. As it turned out, such was the impact of the picture that Jannings won the first ever Academy Award for Best Actor, as well as a Best Writing nomination for Lajos Biro and (according to some sources, although the issue is a little vague) a nomination for Best Picture. This is significant, since the Academy was a tiny institution at this time and the first awards were more than ever a bit of self-indulgent back-slapping by the Hollywood elite. But elite or not, they recognised good material when they saw it, and were willing to reward it. | 3 | trimmed_train |
11,899 | From a plot and movement standpoint, this movie was terrible. I found myself looking at the clock in theater hoping it would end and relieved after 80 long minutes that it mercifully did. Basically, five characters appear in the movie, A Son & Father, son's girl friend, and two male characters of the son's age who appear and then disappear without context or explanation. The movie and scenes seemed to suggest homo-eroticism, but nothing ever actually happened to reveal this one way or another. There were a couple of brilliant scenes. At the beginning of the movie, the son's girl friend shows up at a window outside his room and they engage in an odd conversation. The photography and acting lent an incredible seductiveness to the interaction between the two, ending with her admitting to having another man who was "older". End of that story. | 0 | trimmed_train |
5,117 | This was among the STUPIDEST and PREACHIEST of the anti-nuke films out of the 1980s.<br /><br />The idea that a kid and a basketball star could "change the world" is pretty far-fetched, given how many "children's peace marches" and "celebrity protests" there were and ARE.<br /><br />But the idea that the Soviet Union would agree to a TOTAL nuclear disarmament, because some apparatchik kids learned of a "silent protest" in the West, is ludicrous.<br /><br />What ended the Cold War? America's tough, dare I say "Reaganesque" stance and the internal failures of socialism. It was NOT the peace marches, the "die-ins" or films like "Amazing Grace & Chuck", "Miracle Mile", or "Testament". | 0 | trimmed_train |
8,106 | This movie couldn't decide what it wanted to be. There were a couple of sub-plots that for awhile made you think these items would all come together in the end... but they didn't. If you want a "alien in the frozen waste" story, stick with the 1950's version of THE THING (not the abomination that was remade in gore-o-vision 20+ years later).<br /><br />I couldn't get over the fact that the "alien" looked pretty much recycled from INDEPENDENCE DAY. <br /><br />The "bare minimum" sets would have been more effective if they had hired actors who could actually act and carry off the intended mood.<br /><br />Lots of scenery chewing with little payoff. | 0 | trimmed_train |
13,035 | A prequel to the re-imagined Battlestar Galactica series, from the same creative team Ronald D. Moore and David Eick as well as new series co-creator Remi Aubuchon. Caprica is set in the twelve colonies some 58 years prior to the events of Battlestar Galactica. The new series in addition to its human drama also chronicles the key steps in the development of what would become the Cylon race.<br /><br />The pilot and the series are set to follow two families; the Graystone's which include Daniel (Eric Stoltz) a computer genius and corporate tycoon and his equally brilliant but rebellious daughter Zoe (Alessandra Toreson), while the Adama's include Joseph (Esai Morales) a lawyer and his son William the future Admiral of Battlestar Galactica.<br /><br />Like Battlestar Galactica the series includes some great experienced actors in Eric Stoltz, Esai Morales and Polly Walker as well as some very talented relatively new actors including Alessandra Toreson and Magda Apanowicz.<br /><br />For fans of Battlestar Gallactica there are similarities and continuities with that series but it is also very different. In the pilot at least the science fiction elements are definitely present but are smaller part of this series. The scenes on Caprica while reflecting a more technologically advanced society also have retro feel, this is achieved through some of the architecture, the costumes and the way it is shot.<br /><br />While the look and feel of the two series have some substantial differences some of the themes will seem very familiar, religion is again very important here, while the racial theme rarely touched on in BG is far more important. We also touch on terrorism the existence of a soul and whether or not a machine can have one, as well as issues related to crime and government.<br /><br />The pilot has been released direct to DVD in an extended and unrated version prior to airing on TV, the series is set to start in 2010.<br /><br />Like Battlestar Galactica this series is filmed in Vancouver | 1 | trimmed_train |
6,196 | "Sky Captain and the World of Tomorrow" (an amazingly incovenient title) is simply a bad movie; it has no heart, no deep ideas, nothing very special about it. Yes, the CGI backgrounds look interesting, but the result is that the whole thing is shot in an annoying soft focus. Additionally, the movie uses music the same way as, say, "Gilligan's Island" or the Scooby-Doo cartoons-- IT NEVER STOPS. Terribly, simply terrible. There are no fresh ideas, either, just gobs and gobs and gobs and... etc., of bits taken from older movies and serials. There is no gatekeeper here, the movie just seems to exist because it can. Save your money and your time. Not entertaining at all. | 0 | trimmed_train |
19,451 | I loved the movie, but like everyone said, there were some bits that weren't developed enough. I thought personally that the girls were very vapid before they landed in prison; sure, they were supposed to be innocent American girls but still...I felt like they lacked that bond that best friends are supposed to have. For example, in the montage where they're sight-seeing, the way they held each other for the photograph was very awkward-looking.<br /><br />Then, there are some parts that were very ambiguous. I think it's pretty much understood that Danes' character didn't do it, but I can see how that could be confusing. Also, why did the camera dwell on Manat bearing a very grim expression after he put the bags in their taxi trunk? I thought it was suggesting something, but it turned out to be nothing.<br /><br />Apart from that, the movie was great. I cried when Claire Danes took the blame; she's a GREAT actress.<br /><br />Also, I wanted to see that bitchy Thai inmate get her ass kicked. Talk about lack of closure... | 1 | trimmed_train |
16,699 | It is no surprise that writer/director Michael Powell considered "A Matter of Life and Death," his and Emeric Pressburger's spellbinding fantasy from 1946 to be his favourite of their films together. Released during the aftermath of World War 2, this colourful romantic adventure would have provided just the tonic for a traumatised, recovering nation in need of a good uplift.<br /><br />Following a string of other patriotic war films, 'The Archers' made this one their quirkiest, skittish and most patriotic of the lot. Quintessentially British for upholding British heritage (Shakespeare, beer, fair play, good manners), it is also visibly Americanised in its baroque compositions, technical inventiveness and a fine multi-ethnic cast.<br /><br />Oddly echoing another 1946 classic, "It's a Wonderful Life," AMOLAD opens on a grand firmament, with one of those jolly voice-overs preaching about the earth and the heavens, and what a big, wonderful world we live in. <br /><br />It then cuts to the inside of a British cockpit, badly hit, up in flames and with the co-pilot already dead. It sounds misconceived, but the connection is soon made lucid with the events that follow.<br /><br />Clocking in at nearly 5 minutes, the rapid-fire exchange between British pilot Peter (David Niven) and American radio contact June (Kim Hunter) is breathtaking in its intimacy. Resigned to dying, Peter nevertheless exhausts plenty of vigour, charm and outpouring confessions, and his warm affiliation with June closes with a mutual exchange of 'I love you.' <br /><br />Keeping with the magic of the moment, Peter, by oversight of his Conductor 71 whose job it was to transport him to the 'Other World,' escapes death and finds himself stranded on a beach. He later encounters June riding a bicycle, and instantly matches the body with the voice. <br /><br />But realising their error, the high court want Peter sent back, and order the French Conductor (Maurice Goring) down to earth to retrieve him. But Peter is adamant to live because of June and the Conductor's mistake, and wilfully guards his corner.<br /><br />Peter's fate ultimately lies with the heavenly court and American prosecutor (Raymond Massey), whose jury consists of several deceased war heroes and posh British delegates. The surreal trial, which dissolves from b/w back into rich Technicolor, once the verdict is announced, may well be a dream, but the final shot in the hospital validates the predictable outcome.<br /><br />The abstract, frame filling "stairway to heaven" (the American title of the film) is used twice: the first time in b/w, when it elevates Peter and his enigmatic French guardian upwards, crossing giant statues of Peter's potential attorneys for the trial, including Abraham Lincoln and Plato. The second time, the softly lit colour stairway provides the setting for what is an iconic image in cinema - Peter and June frozen side-by-side, their marvelled eyes fixed forward in the frame, their fate sealed.<br /><br />The unlikely affection shared between Peter and June never turns mushy or verbose; it's treated with nobility and the perception that the couple are already suitable enough to be married and simply need to convince people of their love, so it can keep them together. <br /><br />The French Conductor, who can freeze time and people's bodies, obtrudes many of their key moments together, lecturing Peter about history and among his mischievous tricks, pinching Peter's 'Top 100 Game Tricks' book and his coffee cup.<br /><br />As visually inspired as other Powell/Pressburger collaborations, this was the first time they combined colour with b/w the latter having a cheerful quality when used for the heaven scenes, and both are equally captivating. <br /><br />The outstanding script more than matches the imaginative set design, with dialogue that sounds so immediate that is doesn't feel like it was written or performed for the screen. Amusing and witty, Powell/Pressburger's writing deserves equal acclamation with their forte for colour and composition.<br /><br />Made in 1946, "A Matter of Life and Death" is one of those films that defies it age, looking fresh and inventive, even in this age where CGI would vamp up its artificial effects, probably stripping them of their emotional wonder. <br /><br />Other jarring changes would include the need for reduced average seconds for cutting and the inevitable plea to shorten dialogue so it can preserve the low attention spans of most audiences. Powell weaves a spell that subconsciously absorbs the viewer from the first frame, giving him freedom to experiment with images without betraying the logical development of Peter's predicament. | 3 | trimmed_train |
21,894 | What can you say about the film White Fire. Amazing? Fantastic? Disturbing? Hilarious? These words are not big enough to describe the event which is White Fire. From wobbly, garbled beginning to profound end, this movie will entertain throughout.<br /><br />Our movie begins in the woods of a country somewhere in the world. A family is hiding from unmarked soldiers in costume shop uniforms. When the father separates from the mother and their childen, you get a real sense of what kind of movie you're about to watch. Father makes sure to roll down hills in his all white outfit, and is polite as he gets people's attention before he shoots them, but alas, dad is burned alive in what looks like a very unsupervised, unsafe stunt. Meanwhile, mom and the kids are running down a beach with an armed soldier trailing about 5 feet behind them. He too gives a stern warning before action in the form of a bizarre "HALT!", and then promptly wastes the mother. This action sequence sets up the happy childhood of our heroes Bo and Ingred.<br /><br />So now we fast forward about 20 years (30 if you're honest about the hero's age) to beautiful Turkey, where Bo and Ingred have settled as professional thieves, or diamond prospectors, or something. Ingred works at a diamond mine where she helps herself to the goods, while Bo (masterfully played by the dynamic Robert Ginty) drives around the desert in his denim outfits. Bo and Ingrid have an interesting relationship. They don't seem to have any friends other than each other, and they spend all of their time together. That coupled with the fact that Bo has expressed his desire to sleep with his sister as evidenced in lines such as "you know its a shame you're my sister" he says to her while she's stark naked, make for a very dynamic duo. Bo is then crushed when Ingrid is killed, as he wanders the beaches of Turkey with his ceremonial pink grief scarf. A renewal of hope occurs when Bo finds a girl who looks like Ingrid, and gives her plastic surgery to make her look exactly like Ingrid. This opens the door for Bo to have sex with his sister without it being technically wrong. Bo is a real fan of ethical grey areas, and he is overjoyed with his new love.<br /><br />So anyway, there's a lot of fun action scenes, ridiculous violence, great acting, impossible to follow plot-lines, Fred "the hammer" Williamson (for some reason), and a big chunk of dirty ice which is supposed to be a giant diamond (which later explodes). All of these things are great, but the Bo and Ingrid relationship is what makes this movie special....really special. So I heartily encourage everyone to behold the majesty that is White Fire. You may be glad you did..or not. | 3 | trimmed_train |
506 | A young boy sees his mother getting killed and his father hanging himself. 20 years later he gets a bunch of friends together to perform an exorcism on himself so he won't turn out like his father. All the stock characters are in place: the nice couple; the "funny" guy; the tough (but sensitive) hood; the smart girl (she wears glasses--that's how we know); the nerd and two no-personality blondes. It all involves some stupid wooden statue that comes to life (don't ask) and kills people. I knew I was in trouble when, after a great opening scene, we jump to 20 years later--ALL bad horror movies do that!<br /><br />The dialogue is atrocious, the acting is bad (except for Betsy Palmer--why Betsy?) and the killings are stupid and/or unimaginative. My favorite scene is when two people are supposedly having sex and the statue knocks the guy off the bed to show he's fully dressed! A real bad, stupid incoherent horror film. Avoid at all costs. | 0 | trimmed_train |
5,973 | Dahmer, a young confused man. Dahmer, a confusing movie. Granted, I had a few beers while watching the movie, but that doesn't explain why I got so bored by this flick.<br /><br />Its flashbacks are nothing but confusing and annoying, and there's no real storyline with a beginning and an end, the only thing that made sense in the movie was the explaining text in the beginning and at the very end of the movie. The inbetween stuff, which would be the movie, is just boring images and a waste of time. <br /><br />We never see actual murders, everything is just a bunch of insinuations. Sometimes you even just get a feeling that Dahmer's dreaming the entire thing, but you know he isn't, since it's<br /><br />based on a true story and this actually happened, at least most of it. But what happened? It's not easy to tell.<br /><br />I do not encourage people to waste time on this movie. I<br /><br />didn't like it one bit and I felt cheated when it suddenly ended. <br /><br />*/***** | 2 | trimmed_train |
19,218 | I was a little skepticle if I should watch this when it was first shown on CBS. I was one of the many people who were in NYC on that day, I was going to school at Hunter College. I didnt want to see all the devistation and carnage again, but like many I was curious to see what this was all about. Tears came to my eyes watching this documentary. All my memories returned and just the intense images were unbelievable. I bought the DVD on the one year anniversary and watched it a few times. How these guys were able to capture this footage was incredible. If you have not seen this documentary, do yourself a favor and check it out. It is obviously depressing and will bring tears to eyes, but it's an incredible document of this countries darkest hour. | 3 | trimmed_train |
3,913 | I had the "privilege" of attending a special screening of 'The Absence of Light' at a horror convention in Ohio.<br /><br />First off, you know you're in trouble when the director introduces a film, saying: "Now keep in mind, we didn't have much money..." Not that no-budget films are bad, but when a filmmaker uses this as an excuse, the results are always poor. And there is no better example than this unwatchable sleep-fest. <br /><br />Actually, 'Absence of Light' marks a first in the world of underground cinema: It's the only time I've seen a dream-cast of talented genre vets actually bore me. Charismatic actors like David Hess, Tony Todd and Reggie Banister randomly enter and exit the movie and prove to be every bit as uninteresting as the amateurish no-names. Who are their characters? What are they talking about? Who cares? It's all so dull, you'll cease to care about anything or anyone.<br /><br />After thirty minutes of this endurance test, I gave up and walked out of the theater. Not surprisingly, so did most of the cast members in attendance. <br /><br />Any curious genre fans would do well to stay away from this. With a little luck, this movie won't ever see the "light" of day. | 0 | trimmed_train |
20,973 | The Stone Boy is an almost forgotten drama from the 1980s. Considering how many famous or soon to be famous people are in the film, one wonders how it could have been so overlooked. This is a slow, moody, but touching account of a tragedy that befalls a farm family. The film is more or less an indictment of Midwestern stoic values and suppression of emotion. The film will not be for all tastes, but anyone who can appreciate real human drama should like it OK.<br /><br />In the early moments of the film, we see two brothers head off in the early morning hours to pick some peas and maybe shoot a duck or two if they're lucky. While climbing through a barbed wire fence, the gun accidentally discharges and the younger boy fatally shoots his older brother. These boys have apparently never taken a hunter safety course. The way for two men to properly go through a fence like this with one gun would be as follows: First man climbs through. Second man then passes him the gun through the fence. The first man then sets the gun down and helps the other through the fence. At no time should either man have his hands on both the gun and the fence.<br /><br />Anyway, once his brother is killed, 12-yr-old Arnold regresses into his own world. He does not even run for help after his brother is shot. He simply goes ahead and picks the peas and tells his family about the accident later. At no point during the funeral or inquest does Arnold seem to show any regret or sorrow at all. His family seems to shun him. Perhaps they are even angry at him for killing his brother. An ornery uncle played by Frederick Forrest is outwardly upset with Arnold, even though the older brother's death allows him to hit on the kid's girlfriend. Arnold's parents don't seem to understand how to deal with their son. They really don't even try to talk to him. About the only person he can communicate with is his grandfather who is played in typical grandfatherly skill by Wilford Brimley. After a while, Arnold even moves in with the old timer.<br /><br />Nothing seems to get Arnold to open up until he takes a bizarre road trip to Reno Nevada to inexplicably look up his uncle's ex-wife. Once he meets her, he begins to emerge from his shell after apologizing to her for breaking up her marriage by starting all of the family's turmoil with the accident. From here on, the film becomes a quick study in reconciliation and reawakening.<br /><br />The acting is hauntingly distant in most cases. Robert Duvall and Glenn Close make the perfect stoic farm parents. Forrest is good, but maybe trying too hard to channel Paul Newman's performance in Hud. The cinematography is exceptional, too. If you like moody pictures about common folk, this one may be for you. Some even may be advised to bring some tissues. 8 of 10 stars.<br /><br />The Hound. | 1 | trimmed_train |
19,345 | I have to start off by apologizing because I thought the first 75-80% of this film was hilarious. It's mostly because of Brad Pitt's performance. Spot on.<br /><br />The acting by all involved was quite good but Brad stole the movie. The atmosphere was perfect in all respects. I'm not a giant Pitt fan but this has got to be one of his best roles ever.<br /><br />Brutal,Honest,Gritty. All good words to describe this movie.<br /><br />I was reading a previous review and the person said that the reasoning behind Early's violence isn't explained. It is explained but they thankfully don't have to go into graphic detail to get their point across.<br /><br />Overall I gave this a 9 because every scene bar 1 or 2 was effective. I think the humor in the first half or so is perfect for this movie. Underrated. | 3 | trimmed_train |
21,566 | First than anything, I'm not going to praise Iñarritu's short film, even I'm Mexican and proud of his success in mainstream Hollywood.<br /><br />In another hand, I see most of the reviews focuses on their favorite (and not so) short films; but we are forgetting that there is a subtle bottom line that circles the whole compilation, and maybe it will not be so pleasant for American people. (Even if that was not the main purpose of the producers) <br /><br />What i'm talking about is that most of the short films does not show the suffering that WASP people went through because the terrorist attack on September 11th, but the suffering of the Other people.<br /><br />Do you need proofs about what i'm saying? Look, in the Bosnia short film, the message is: "You cry because of the people who died in the Towers, but we (The Others = East Europeans) are crying long ago for the crimes committed against our women and nobody pay attention to us like the whole world has done to you".<br /><br />Even though the Burkina Fasso story is more in comedy, there is a the same thought: "You are angry because Osama Bin Laden punched you in an evil way, but we (The Others = Africans) should be more angry, because our people is dying of hunger, poverty and AIDS long time ago, and nobody pay attention to us like the whole world has done to you".<br /><br />Look now at the Sean Penn short: The fall of the Twin Towers makes happy to a lonely (and alienated) man. So the message is that the Power and the Greed (symbolized by the Towers) must fall for letting the people see the sun rise and the flowers blossom? It is remarkable that this terrible bottom line has been proposed by an American. There is so much irony in this short film that it is close to be subversive.<br /><br />Well, the Ken Loach (very know because his anti-capitalism ideology) is much more clearly and shameless in going straight to the point: "You are angry because your country has been attacked by evil forces, but we (The Others = Latin Americans) suffered at a similar date something worst, and nobody remembers our grief as the whole world has done to you".<br /><br />It is like if the creative of this project wanted to say to Americans: "You see now, America? You are not the only that have become victim of the world violence, you are not alone in your pain and by the way, we (the Others = the Non Americans) have been suffering a lot more than you from long time ago; so, we are in solidarity with you in your pain... and by the way, we are sorry because you have had some taste of your own medicine" Only the Mexican and the French short films showed some compassion and sympathy for American people; the others are like a slap on the face for the American State, that is not equal to American People. | 1 | trimmed_train |
22,688 | Maria Braun got married right in the middle of combat all around her and her husband Hermann. An explosion ripped through the building, to begin with, and she and Hermann had to sign the papers on a pile of rubble on the street. Perhaps this may strike some as a heavy-handed metaphor for what's about to come: marriage on the rocks, so to speak. It's a betrothal where the husband goes off to war and is held in a Russian prison camp, unbenownst to the helpless but hopeful and proud Maria, who keeps standing by the depressing rubble of the train station as some come home, others don't, with a sign awaiting Hermann.<br /><br />Trouble arises, as happens in Rainer Werner Fassbinder's melodramas, and as its one of his best and most provocative, we see as Maria (uncommonly gorgeous Hanna Schygulla in this role) will do a two-face: she'll stand by her man, even if it means working at a bar for American GI's and, even still after she hears from a fellow soldier that Hermann has died will still stand by him as she sleeps with a black GI and comes close to bearing his child (that is, naturally, until he reappears and a murder occurs and he takes the rap so she can be safe), or working for a German businessman (effectively sympathetic Ivan Desny) and becoming his sometimes mistress and rising star in the company. Maria will do whatever it takes to be successful, but she'll always be married.<br /><br />It's hard to say there's anything about Maria that isn't fascinating. Money, sex, power, all of these become interchangeable for Maria. She's like the feminist that has her cake and eats it with a sultry smile: she gets to have a husband, more or less (actually a lot less until the last ten minutes of the film) while obtaining things- a man who dotes on her whenever he can, a new and expensive house with servants, a secretary, money- that others around her aren't getting due to already being with a man or too weak in a position to rise anywhere (such as the secretary, played interestingly enough by Fassbinder's own mother).<br /><br />Maria is sexy, confident, and all alone, with an idealized life going against a life that should be made in the shade. She says of the two men- the American soldier and poor old and sick Oswald- that she's fond of them, and at the same time will stick by those roses the confused and soul-searching husband Hermann sends from Canada, after being released from prison. She's casts a profile that a feminist would love to trounce, but understand where she's coming from and going all the way.<br /><br />Fassbinder employs this inherent contradiction, and moments with Maria appear to go against the conventions of a melodrama (for example, Hermann walking in on the jubilant and half-naked Maria and GI is just about a masterpiece of a scene, with Maria's reaction not of surprise or guilt but pure happiness to see that he's there let alone alive), while sticking to his guns as a director of such high-minded technique with a storyline that should be predictable. But it isn't really. It's like one big metaphor for a country that, after the war, couldn't really move on to normalcy. A few times Fassbinder puts sound of the radio on in the background, and we see Maria walking around her family house, hustle and bustle going on around her, and the radio speaks of a divided Germany, of things still very unsettled, of a disarray. Maybe the only way to cope is excess, or maybe that's just my interpretation of it.<br /><br />It's hard to tell, really, under Schygulla's stare face and eyes, anyway. It's such an incredible performance, really, one of those showstoppers that captures the glamor and allure of an old-time Hollywood female star while with the down-and-dirty ethic of a girl of the streets. Most telling are the opposing costumes one sees in one scene when she finally is with her husband, where she stars in one of those super-lustful black lingerie pieces and high heels, and then moves on to a dress without even thinking about it. That's almost the essence of what Maria is, and Schygulla wonderfully gets it down, a headstrong but somehow loving figure who is adored and perplexed by the men around her, sometimes in a single sentence. This is what Fassbinder captures in his wonderful first part of his "trilogy"; while I might overall prefer Veronika Voss as a masterpiece, Maria Braun is perhaps just as good as a character study, of what makes a woman tick and tock with (almost) nothing to lose. | 3 | trimmed_train |
3,893 | In 1967, mine workers find the remnants of an ancient vanished civilization named Abkani that believe there are the worlds of light and darkness. When they opened the gate between these worlds ten thousand years ago, something evil slipped through before the gate was closed. Twenty-two years ago, the Government Paranormal Research Agency Bureau 713 was directed by Professor Lionel Hudgens (Matthew Walker), who performed experiments with orphan children. On the present days, one of these children is the paranormal investigator Edward Carnby (Christian Slater), who has just gotten an Abkani artifact in South America, and is chased by a man with abilities. When an old friend of foster house disappears in the middle of the night, he discloses that demons are coming back to Earth. With the support of the anthropologist Aline Cedrac (Tara Reid) and the leader of the Bureau 713, Cmdr. Richard Burke (Stephen Dorff), and his squad, they battle against the evil creatures.<br /><br />In spite of having a charismatic good cast, leaded by Christian Slater, Tara Reid and Stephen Dorff, "Alone in the Dark" never works and is a complete mess, without development of characters or plot. The reason may be explained by the "brilliant" interview of director Uwe Boll in the Extras of the DVD, where he says that "videogames are the bestsellers of the younger generations that are not driven by books anymore". Further, his target audience would be people aged between twelve and twenty-five years old. Sorry, but I find both assertions disrespectful with the younger generations. I have a daughter and a son, and I know many of their friends and they are not that type of stupid stereotype the director says. Further, IMDb provides excellent statistics to show that Mr. Uwe Boll is absolutely wrong. My vote is three.<br /><br />Title (Brazil): "Alone in the Dark O Despertar do Mal" ("Alone in the Dark The Awakening of the Evil") | 2 | trimmed_train |
7,814 | Manmohan Desai made some entertaining though illogical films like AAA, PARVARISH and NASEEB but he made some craps like COOLIE and MARD and then GJS<br /><br />This movie is one of the worst movies ever made by him the dial became famous Mard ko dard nahin hota but the film is so bad you cringe<br /><br />The British are made carricatures and the film looks so weird The scene in the British hotel is damn stupid <br /><br />The film has many stupidities like Amrita assaulting Amitabh and then the entire scene plus towards the climax the film becomes even worse There are more gems like the horse statue getting life, The masks of Amitabh haha and more<br /><br />Direction by Manmohan Desai is bad Music is okay<br /><br />Amitabh does his part with style, nothing different from COOLIE, LAAWARIS type roles Amrita Singh is okay Satyen Kapuu is okay Prem Chopra is as usual, Nirupa Roy is again her usual self Dara Singh is also as usual | 0 | trimmed_train |
11,744 | After seeing a heavily censored version of this movie on television years ago, I was curious to see the unedited version. I was surprised that it was more believable and well acted than I remembered, but one thing really stood out. I think other reviewers have mentioned this also, namely, what exactly is the nature and motivation of the Chris Sarandon character? Has he raped other victims before? Is he completely psychotic or an "average" sociopath? How did he expect to get away with his attack on the younger sister? Is this character at all credible, or is it just a matter of more background being necessary? He seems almost simultaneously to be an uncomfortably believable character, and too crazy to actually be able to hold on to a teaching job that puts him in contact with young, vulnerable girls. This seems to to be the biggest complaint of viewers in general. It has nothing to do with his performance, which is terrifyingly convincing.The movie occupies an uneasy position between sheer exploitation and a half way serious treatment of the subject, without quite settling into either mode. Not the worst movie ever made, but not all that good, either. | 2 | trimmed_train |
19,307 | Hrm-I think that line was from the old movie posters.<br /><br />This is a dumb movie that seems to have been translated from some language that was totally unfamiliar to the translator. Here's a tip: Any movie that starts with a black screen and text reading "In the future..." is going to be fun. This means that the premise is so implausible that they have to explain it to you.<br /><br />In this case, "In the future..." means that, instead of fighting wars, nations have guys climb into giant robots and duke it out to determine, well, that's never terribly clear, but it's probably something really important. There are good guys (obviously capitalists, i.e. "us") and bad guys (Commies!) and there are big stop-motion robots.<br /><br />Sadly, the effects budget was pretty slim, so we don't get to see a lot of the big robots. There are plenty of cheap looking interior scenes, and then a big space fight near the end. The space fight is especially nice, as it serves precisely no purpose other than the blow the remainder of the effects budget.<br /><br />With said money now spent, the climactic fight degenerates into (and I'm not making this up) two guys hitting each other with sticks. I can always get a laugh in a bar by re-enacting the final scene, complete with a last line guaranteed to leave any audience scratching their heads.<br /><br />Like I said-it's dumb. That's why I bought the tape. | 1 | trimmed_train |
21,639 | I am obsessed! The story is amazing and the show is highly addictive, but I love it. I am on Season 2, disc 5, and I tell you that I am too attached to the characters now. For anything bad to happen to them would seriously affect my vote for the show. And, Michael is on my list now. Kidding... I am so happy to see there is a Season 3, because I was too afraid to go onto disc 6 thinking that it would be ending. I can't wait to see the rest now. Thanks to the directors/producers/and actors of Lost...I enjoy watching TV again. Before Lost I surfed through every channel going to bed sad because of my disappointment in television, but I have to say that Lost is my kind of entertainment! | 3 | trimmed_train |
22,546 | This move actually had me jumping out of my chair in anticipation of what the actors were going to do! The acting was the best, Farrah should have gotten a Oscar for this she was fabulous. James Russo was so good I hated him he was the villain and played it wonderful. There aren't many movies that have riveted me as this one. The cast was great Alfie looking shocked with those big eyes Farrah looking like a victim and you re-lived her horror as she went through it. Farrah made you feel like you were there and feeling the same anger she felt you wanted her to hurt him, yet you also knew it was the wrong thing to do. The movie had you on a roller coaster ride and you went up and down with each scene. | 3 | trimmed_train |
10,046 | In its way, Mister Foe (originally, and more appropriately, titled Hallam Foe I can't see addressing its title character as "mister"), is a tribute to good acting. Both Jamie Bell, as Hallam, a physically attractive voyeur/creep, and Sophia Myles, as Kate, his kinky partner in sex and fantasy romance, are convincing. The problem comes when you try to connect their roles to anything that happens in real life. A young man who spies on the intimate details of people's lives the way Hallam does would be deservedly beaten to a pulp. And a woman in Kate's situation would be repulsed and frightened - she would probably call the police.<br /><br />These things are not, however, what happens in the movie. Poor Hallam's mother has died and his father married a woman with whom he's been having an affair. Hallam, of course, hates his stepmother and lets he know it. She has sex with him. Kate's some kind of an employment person who places Hallam in a dish washing job and plays sexual games. She looks like his birth mother. It all ends happily with Hallam "resolving" his "issues".<br /><br />Forty some years ago, the play and brilliantly acted movie, Who's Afraid of Virginia Woolf, had a similarly optimistic ending, with characters becoming wiser and better after tearing each other apart. The trouble is, it doesn't always work that way, especially when nobody really cares. In Virginia Woolf, the ending's plausible because of the intensity of the emotional revelation. In Mister Foe, the emotional revelation never really happens. | 2 | trimmed_train |
11,123 | Who did the research for this film? It's set in Baghdad in 2004, however all the Soldiers are wearing ACUs and have all Universal Camouflage Pattern gear. No one was wearing that stuff in 04. <br /><br />I just saw this film while deployed overseas and I can say that the overwhelming feeling from the audience was WTF? This movie made no sense, had characters come and go with no explanation, and people doing ridiculous things that would NEVER happen in real life. I realize that it's a movie, but it's obviously trying to portray something realistic. It fails miserably, but it's trying. <br /><br />It's like someone came up with a bunch of random ideas, chewed them up and swallowed, then vomited out a film. I would not recommend this film to anyone. I'm still not sure why I sat through the whole thing. GI Joe was one that really made you think compared to this. STAY AWAY! | 0 | trimmed_train |
19,217 | This is an excellent show! I had a US history teacher in high school that was much like this. There are many "facts" in history that are not quite true and Mr Wuhl points them out very well, in a way that is unforgettable.<br /><br />Mr Wuhl is teaching a class of film students but history students and even the general public will appreciate the witty way that he uncovers some very well known fallacies in the history of the world and strive to impress them upon that brains of his students. Use of live actors performing "skits" is also very entertaining. <br /><br />I highly recommend this series to anyone interested in having the history they learned as a child turned upside down. | 3 | trimmed_train |
24,710 | I always wondered what happened with that magic kind of feeling the old Slovenian movies seemed to have in them... Well, in time I wondered if that feeling was just the nostalgia. Or did that "feeling" decide to pack its bags and say "goodbye" somewhere in the middle of our cinematic history, and then never came back? Or did it? Because for me, it came back the first time I saw "Ekspres, Ekspres". And it was it's old self again.<br /><br />There are three qualities of this movie that makes it somewhat unique and as enjoying as it is to watch - the smooth flow of the story, the warmth of the colors and, what I appreciated the most - the lack of excessive use of verbal communication (something many of other (not just) Slovenian screenwriters should at least consider). There is no use for words, when you can understand each other just as well (yeah, or better) by other means in use. Just watch Bakovic and Cerar. Uh.<br /><br />So this, in only so many words, is why I would recommend "Ekspres, Ekspres" to all of you, as a must-see Slovenian movie, regardless of what you may heard of Slovenian films (if you ever even heard anything , that is...).<br /><br />Oh, and that scene, where Bakovic is dancing to Vivaldi's music... A treat.<br /><br />Treat yourself. Watch it. | 1 | trimmed_train |
11,969 | This movie goes beyond just being bad, it is definitively the worst movie I have ever seen in my entire life. Unless you yourself have a problem with necrophilia than you will not enjoy will not enjoy the scenes depicting it in this film, (if you can call it that). | 0 | trimmed_train |
24,446 | This is the only David Zucker movie that does not spoof anything the first of its kind. The funniest movie of 98 with Night at the Roxbury right behind But I did not think Theres something about mary was funny so that doesnt count except for the frank and beans thing he he. Dont listen to the critics especially Roger Ebert he does not know solid entertainment just look at his reviews.Anyway see it you wont be dissapionted | 3 | trimmed_train |
11,503 | Satan's Little Helper is one of the better B Horror movies I have seen. When I say better I mean the story. The film hatches a new plot, something that's not so cliché in the Horror genre - something fresh. But there are also some ridiculous questions that come along with it. Questions you will be asking yourself throughout the movie.<br /><br />The film first caught my attention while I was cruising the Horror section in HMV. I was tired of all the so called "terrifiying" Hollywood blockbusters and wanted something different. The cover art for Satan's Little Helper immediately caught my attention. As you can see, the image draws you in - it's chilling! I knew it was a straight to DVD release - but I took a chance. I mean, I just seen "Boogey Man" the night before - so It couldn't get any worse! After I watched the movie, I was semi-satisfied. I loved the plot of the movie. It was really creepy how the killer was pretending to be the little boys friend, so he could kill. In some sick deranged way, he actually thought he and the little boy would become partners - a duo of terror. It was a great idea to set the film on Halloween night. This way, no one would think anything of a masked man beside a little kid. They would simply think he was his guardian. But, this is also where the "plot holes" begin to surface.<br /><br />If your son came home with a "friend" he met trick or treating - that's fine. You wouldn't think anything of it - if he was 9!, or round about the same age as him. If however, he appeared with a strange man in a mask, you would be startled and protective of your child. You would ask the man to remove his mask and identify himself. You would ask why he is with your son. He doesn't know him. You would tell him to please leave. He isn't a family friend. He's a stranger. Now, we're supposed to teach our child not to talk to strangers. In this case, the mum is completely fine with it. Huh? They never seem to think it's a tad odd that the "man" doesn't speak - at all. Gruanted they think it's the daughters boyfriend, but after 10 minutes of not talking you would pull the mask off and ask him why he's not saying a word.<br /><br />The film goes down hill from there. The thing that got me the most was, all the mum said was "Do you want some cider?". I can't count how many times she says this in the movie. It's like, oh you're dying - we have cider though, it's all good!! The movie started promising, and failed to deliver. It was more of a horror/comedy, and even as that it fails to deliver. I guess you could call it a "Dud","Flop" etc..<br /><br />The best thing about the movie is the cover art. Though, something tells me that's not worth the 12 dollars! | 2 | trimmed_train |
16,053 | Recap: Zandalee is a young woman that feels more and more trapped in her marriage with Thierry. Thierry himself is struggling with the death of his father the previous year and has lost his way. He has submerged himself in work, laid of his writing, and Zandalee desperately misses the attraction between them. Into this enters Johnny, and old friend of Thierry's who once were artists in exile together. But Johnny has kept on painting, and just have a day job for the rent. He takes the day as it comes and leaves tomorrow to its destiny. There is an instant raw attraction between Zandalee and Johnny, and they enter into an affair. But Zandalee struggles with her lust to be desired and her conscience and love for her husband. But none of them, not Zandalee, not Johnny and not Thierry can stop the relationships between them to spin totally out of control.<br /><br />Comments: It is set as a thriller. But maybe more a thriller of heart than a normal thriller where it's about life and death, and threat of violence. Not that a thriller of heart can't take on fatal proportions, but the threat comes from a different angle. And it is not really until the second half in Zandalee until the thriller emerges, and even though the foundation for it is laid in the first half, I can't really describe the genre as a thriller then. Much more of a romantic drama than anything else, but with the underlying currents of other genres. The developing thriller is there, but it also has more than a little tint of a sensual erotic kind. Because that is what it is all about, what drives the characters and therefore the entire story. Desire. The need to have, and the need to be.<br /><br />In my opinion it is quite good, definitely a lot better than its current (4.1) rating anyway. It takes its time but it grows a good feeling of suspense, and it handles the erotic part very well, with taste. It is always an integral part of the story, needed to be there to give the story it's needed weight, and I never felt it was an excuse to show a naked breast or anything like that. But unfortunately the climax of the story comes well before the end, and the end itself feels kind of flat, even if in its own way kind of dramatic.<br /><br />The cast is impressive, spearheaded by known actors like Nicholas Cage and Judge Reinhold. But the show is almost completely stolen by Erika Anderson. Beautiful and very adept at acting out the sometimes subtle feelings of desire, she excels were both Cage and Reinhold sometimes goes a bot overboard and become a little rough. Her career afterward is too thin for the talent she shows in Zandalee, I can only hope it is because of her own choices. Also two personal favorites appear in small roles that give some extra edge to the movie, it is Steve Buscemi and Joe Pantoliano.<br /><br />When you're in the right mood this is a very good movie, it could have used another end to get the credit it really deserves.<br /><br />7/10 | 1 | trimmed_train |
16,859 | Minor Spoilers<br /><br />Alison Parker (Cristina Raines) is a successful top model, living with the lawyer Michael Lerman (Chris Sarandon) in his apartment. She tried to commit suicide twice in the past: the first time, when she was a teenager and saw her father cheating her mother with two women in her home, and then when Michael's wife died. Since then, she left Christ and the Catholic Church behind. Alison wants to live alone in her own apartment and with the help of the real state agent Miss Logan (Ava Gardner), she finds a wonderful furnished old apartment in Brooklyn Heights for a reasonable rental. She sees a weird man in the window in the last floor of the building, and Miss Logan informs that he is Father Francis Matthew Halloran (John Carradine), a blinded priest who lives alone supported by the Catholic Church. Alison moves to her new place, and once there, she receives a visitor: her neighbor Charles Chazen (Burgess Meredith) welcomes her and introduces the new neighbors to her. Then, he invites Alison to his cat Jezebel's birthday party in the night. On the next day, weird things happen with Alison in her apartment and with her health. Alison looks for Miss Logan and is informed that she lives alone with the priest in the building. A further investigation shows that all the persons she knew in the party were dead criminals. Frightened with the situation, Alison embraces Christ again, while Michael investigates the creepy events. Alison realizes that she is living in the gateway to hell. <br /><br />Although underrated in IMDb User Rating, 'The Sentinel' is one of the best horror movies ever. I have seen this film at least six times, being the first time in the 70's, in the movie theater. In 07 September 2002, I bought the imported DVD and saw it again. Yesterday I saw this movie once more. Even after so many years, this film is still terrific. The creepy and lurid story frightens even in the present days. The cast is a constellation of stars and starlets. You can see many actors and actresses, who became famous, in the beginning of career. Fans of horror movie certainly worships 'The Sentinel', and I am one of them. My vote is nine.<br /><br />Title (Brazil): 'A Sentinela dos Malditos' ('The Sentinel of the Damned')<br /><br />Obs.: On 02 September 2007, I saw this movie again. | 3 | trimmed_train |
1,530 | It's hard to praise this film much. The CGI for the dragon was well done, but lacked proper modelling for light and shadow. Also, the same footage is used endlessly of the dragon stomping through corridors which becomes slightly tedious.<br /><br />I was amazed to see "Marcus Aurelius" in the acting credits, wondering what an ex-Emperor of the Roman Empire was doing acting in this film! Like "Whoopie Goldberg" it must be an alias, and can one blame him for using one if he appears in this stinker.<br /><br />The story might been interesting, but the acting is flat, and direction is tedious. If you MUST watch this film, go around to your friend's house and get drunk while doing so - then it'll be enjoyable. | 2 | trimmed_train |
18,370 | I originally reviewed this film on Amazon about 6 or 7 years ago, and blasted it. I believe I called it "wretched" and a "turkey." Okay, well, by most standards, it's still a turkey. It's got almost no production values, what little plot there is makes almost no sense, and the acting is on the level of a third-grade play. That said, this has really grown on me over the years as a sort of camp classic. In fact, all of director Todd Sheets' films have had this effect. They're almost like Ed Wood in that regard: Watch them over and over and pick out the flubbed lines, continuity errors (same zombie, two different locations!), and other flaws.<br /><br />I'll say this: Sheets is a very nice guy, and while this, one of his first productions, isn't that great, he has gotten better. And I must add that the only really decent actor/actress in the film is Kasey Rousch, though I may be biased, as I attended school with her. | 1 | trimmed_train |
21,435 | Eddie Murphy spends his time looking for lost children, so when a very special magical child is kidnapped in Tibet, the sexy Charlotte Lewis asks for his help to rescue this child from the clutches of evil itself.<br /><br />Although the story is a bit silly, it never quite feels corny, despite the hilarity of the comedy throughout the film; Charles Dance off-sets the comedy with his very serious and dark characterisation of the evil that holds the child hostage.<br /><br />The Golden Child is very funny, action packed and really quite compelling in a charming, almost magical way.<br /><br />7/10 Great for all generations. | 1 | trimmed_train |
15,003 | This had a good story...it had a nice pace and all characters are developed cool.<br /><br />I've watched a whole bunch of movies in the last two weeks and this had to be the best one I've seen in the two weeks.<br /><br />Jason Bigg's character was the best though.<br /><br />Even though it was small, it was cleverly crafted from the very beginning.<br /><br />This may be a romantic comedy and I don't like most, but the writing, direction, performing, sound, design overall in all capacity just was really thought out pretty cool.<br /><br />This film scored pretty high out of all the movie's I've seen lately - and the rest were big budget or better publicized.<br /><br />Good job in writing. | 1 | trimmed_train |
649 | In this paranoia-driven potboiler, our reporter hero battles hindersome authorities, duplicitous co-workers, renegade UFO debunkers, and silent, skulking aliens. (Though capable of mind control and zapping objects from afar, it takes three of them to operate a control panel of about two dozen buttons.) The script clomps from event to event,leaving puzzlers aplenty. Why did the aliens blind the dog? Why do they fry the soldiers with radiation when they're only patrolling an empty landing site? And what space dudes worth their moon cheese abduct the ugly photographer first instead of his model? Inquiring minds want to know! Writer-director Mario Gariazzo apparently researched his subject by skimming a stack of UFO-themed tabloids as he took in a Sunn Classics double feature. (The closing screen crawl boasts that it's based on actual events...just like "Plan 9!") Some may feel burned by the abrupt finale, but it should still appeal to conspiracy cranks. | 2 | trimmed_train |
3,301 | For the life of me I can not understand the blind hype and devotion to this totally unbelievable movie......and I think I have the qualifications to say so.... I am a former Special Operations soldier with 14 years in the "lifestyle" ... This movie was totally totally unreal and obviously written by someone that did very little research into life in the Army, in combat or at a team or platoon level.<br /><br />Three EOD guys trouncing around Bagdad on their own????? Get Real... No chain of command????? Get Real... EOD clearing buildings??? Get Real....EOD/ Military Intelligence / Sniper qualified buck sergeant???? Get Real.... Wait... I shot and killed a bad guy and then let two guys take me without firing another shot or being injured at all???? Get Real....I carjack an Iraqi civilian, while I am only armed with a 9 mil, break into another civilians house, get punked by his wife then make it back to camp on foot in the middle of Bagdad at night without as so much as a scratch or confrontation???? Get Real...<br /><br />There is absolutely no adherence to military protocol {Army} and no resemblance at all to any Army unit that I have even encountered. Totally unbelievable and disrespectful to the men and women of EOD who contrary to this poor film are not wild adrenaline seeking yahoos but extremely qualified professionals doing an incredibly hard job. | 0 | trimmed_train |
11,635 | Unashamedly ambitious sci-fi from Kerry Conran, for whom this is clearly a labour of love. Unfortunately it's just not that good. It all starts well enough - with an epic but restrained score, a mixture of Lucas and Hitchcock style editing and the glossy cinematography of a Spielberg. The movie also references many pulp sci-fi novels, serials and films as diverse as The Day The Earth Stood Still, Superman, Metropolis, Planet Of The Apes, The Iron Giant, Star Wars and The Spy Who Loved Me. The film however, fails to be as good as any one of those for several reasons: the main being that it's such a labour of love, so concerned with throwing everything at the screen and creating a brave new world, Conran actually forgets about making a movie. There is little to no tension, atmosphere or magic on offer here despite aerial battles, dinosaurs and race-against-time set-pieces. Even the noir elements fall flat. This is a broad way of looking at things though - those elements mainly fail because nothing feels at all real and is so obviously fake - the green-screen just looks like a video game half the time and it's obvious the actors have been pasted on afterwards. The actors don't get to do much either - Jude Law is wooden, Gwyneth Paltrow is annoying and stupid, Angelina Jolie is wasted - and it's all because of an awful script - the sort that has to explain nearly everything. It is a decent experience and some might get a nostalgia feel but ultimately this is a pointless step into the world of yesterday. Nice ending though. | 2 | trimmed_train |
13,659 | An enjoyable game, which offers fun and easy game play and fair replay ability. Staying true to the comic and providing a low learning curve gives this game something not seen in most action cartridges today. Also, the narration and animated scenes used (though lengthy animations are replaced by slide shows on the Nintendo 64 version) use full advantage of the platforms' capabilities. | 1 | trimmed_train |
14,933 | With the badly injured Tony in an induced coma, two things happen: Tony imagines himself leading the life of a salesman attending a business convention, while his family and friends go through hell trying to cope with the possible loss of the big man. The dream sequences are right out of an old TWILIGHT ZONE episode, as Tony finds himself transformed into an Average Joe trying to deal with a missing wallet and mixed-up identities while on a cross-country business trip. His intonation as a blazer- and khaki-wearing schnook is more mid-American and less that of an Italian thug from Noo Joisey. A nice touch. The shockingly long-haired, hippy-dippy AJ (whom Paulie calls "Van Helsing" at one point) has a nice scene with his comatose old man. The best moment has the big boys trying to talk about life without Tony, which immediately breaks down into a territorial dispute. Vito gets off a line about the new-dead Gene possibly having been a closet case, which is interesting in light of what we are about to learn about Vito. | 1 | trimmed_train |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.