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I rank this the best of the Zorro chapterplays.The exciting musical score adds punch to an exciting screen play.There is an excellent supporting cast and mystery villain that will keep you guessing until the final chapter.Reed Hadley does a fine job as Don Diego and his alter ego Zorro.Last,but certainly not least,is the great directing team of Whitney and English. | positive |
First, this is a review of the two disc set that came together with the "Wonderland" DVD rental.<br /><br />The two movies included with the rental, "Wonderland" and the Johnny Wadd documentary, totally obliterate the myth created by "Boogie Nights". That myth being that the characters involved in the adult movie trade were considerably more than slimy lowlifes that would do anything for money, basically denying that they were anything other than detestable self-centered whores. This is amazingly similar to what the book "Wiseguy" and the movie "Goodfellas" did to "The Godfather" fable and most of the rest of the gangster romanticism lore.<br /><br />Now, what irritated me most while watching these movies, and will probably irk anyone who saw and liked "Boogie Nights", is how foolish and gullible supposedly educated and sophisticated people can be. "Dirk Diggler" in "Boogie Nights" is without a doubt John Holmes, who unlike "Dirk Diggler", had no redeeming quality. Holmes was a criminal sociopath who abused anyone close to him, was totally consumed by his quest for self-gratification, and was without a doubt a key participant in the brutal murders on Wonderland Avenue in Los Angeles in 1981. The movie lays bare the big lie that "Boogie Nights" was, and reinforces the Linda Lovelace description of the cruel and pathetic business that is known as the adult film entertainment industry. This should be required viewing, both features on the "Wonderland" DVD, for anyone who had any positive opinions on the story in the movie "Boogie Nights". | positive |
living in Romania, i was almost stunned by the very realistic setting for the scenes and the great care paid to local details by the director. The performance of Anthony Queen is absolutely great, and the rest of the cast does a great job supporting him. The movie does take a little knowledge of the east European context in order to be fully enjoyed, but it remains otherwise a great performance with some memorable lines. the ending is maybe a bit too melodramatic, but that's actually the way people are in this part of the world I believe the screenplay is great, because it presents the horrors of the 2nd WW in a most original manner - no blood, no battlefields. Still, lives are shattered, and the smiles you get every now and then throughout the movie are quickly killed by the war realities touching the characters. | positive |
Nina Foch insists that "My Name is Julia Ross" in this 1945 film noir also starring Dame May Witty and George Macready. It's short, and because it is, the film suffers. It could have stood to have been a good fifteen minutes to a half hour longer.<br /><br />When I was growing up, Foch was a fixture on television, playing a neurotic woman, the wife with the cheating husband, the nervous wreck. She became one of the great acting teachers in Los Angeles. Here, she's a pretty young ingenue playing the title role. Julia answers an ad for a secretary and is hired immediately by Mrs. Hughes and her son Ralph. Little does she know - though we learn immediately - that the employment agent is a front, set up to get just the right woman for this assignment, a woman with no family and no boyfriend.<br /><br />It's a live-in situation; once Julia gets to the house, she's drugged, and when she wakes up, she's told she's Mrs. Hughes and not allowed to leave.<br /><br />The acting is very good. Low budget but still entertaining - some things, particularly at the end, happen way too quickly, which is why I said the movie is too short. Nevertheless, I recommend it. | positive |
...may seem like an overstatement, but it is not.<br /><br />What is so hard to comprehend is - why didn't they make more musical shorts like this? Wasn't the beauty of it totally apparent to everybody involved? I guess not. So many shorts were made for commercial reasons only, and with some luck there may be some artistic value in there. This is one exception - the only one? - where it seems they were the director had a vision and clearly could appreciate the music as art. Why didn't anybody ever think to shoot Lester or Charlie Parker on a live date? Crazy, man.<br /><br />A pity there were no sequels. If you've seen anything of similar quality please share it! | positive |
As John Grierson pointed out: "The documentary genre can be defined like this: the creative interpretation of reality"<br /><br />This fabulous 180-minute documentary marks the first time a computer-generated project about dinosaurs respects the intelligence of the viewer.<br /><br />When I saw Jurassic Park, which I was expecting with great excitement, I was left extremely disappointed. Of course the dinosaurs were great, but the story-telling was unnecessary. I thought: "What if they made a documentary on dinosaurs, with no crying children or bad puns, just dinosaurs made as realistic as possible, to let us marvel at what was once reality."<br /><br />My dream came true. The BBC has produced an exhilarating documentary exploring the different eras of the dinosaurs.<br /><br />This part is to all the people that seem to disagree with the fact that they had to guess at many points concerning the behavior, skin patterns etc: Of course they have to. Nobody was there. I think it is fantastic that they could present something as realistic as that. The guessings are all based on the knowings of many paleontologists, and it allows the viewer to have a pretty good idea of what it was like. If you wanna stick to what we know for sure, then just go visit a dinosaur bones museum. That is why I incorporated the Grierson quote at the beginning of this comment.<br /><br />Anyway, hats off to the creators of it. | positive |
i went to see this movie with a bunch of friends one night. I didn't really hear much about it. So I wasn't expecting anything. But after I saw it, I really liked it. Nicolas Cage and the rest of the cast were very good. But I do have to say Giovanni Ribisi's acting performace did need a little perking up. But such a small flaw, it could be overrided. <br /><br />Gone In 60 Seconds is about a retired car thief who must boost 60 rare and exotic cars in one night to save his brother's life. The movie is in no way predictable. So the ending should be a suprise. Think it's just another, fast car driving movie? Well you are partially right. There is much more to it. Everyone should take a look at this movie. | positive |
I loved this movie! Chris Showerman did an amazing job! Not only is he an incredible actor, but he is gorgeous with an awesome physique! He did a great job on the delivery of his lines, plus transformed into George better than Fraser did. A great performance for his first major roll! This movie is full of hilarious scenes that every child will love. My kids have watched this movie numerous times since we purchased the DVD the day it came out. In addition to the movie, the extras on the DVD are just as hilarious. Two thumbs up on this one! I highly recommend it to everyone! | positive |
Boris Karloff and Bela Lugosi made many films together, but on the whole (interestingly enough) Karloff usually is the better man of the two. The real exception is "The Black Cat" (1934) where Karloff is playing the evil head of a devil cult, and Lugosi is seeking revenge on him for destroying his life. But more usual is "Black Friday", where (whatever his motive) Karloff is trying to improve brain surgery while Lugosi is a murderous thug. In "The Raven" Lugosi is a sadistic surgeon, who blackmails Karloff to assist his evil plans until Karloff finally has had enough. Rarely are they both negative characters totally. In "The Body Snatcher", Karloff does kill Lugosi, but Lugosi is trying to blackmail him.<br /><br />The one exception where they are both extremely sympathetic but at cross purposes to each other is this 1936 film, which I feel has rarely had the audience acceptance of some of the other movies I have mentioned. In it Karloff's Dr. Janos Rukh is a hard driven scientific genius who has been sneered at by the "official scientific community" for his theory that a rare form of Radium is in Nigeria on a meteorite that landed centuries ago. He has finally gotten the support of a well financed expedition led by Sir Francis Stevens and his wife Lady Arabella Stevens (Walter Kingsford and Beulah Bondi), and has another scientist, a Frenchman named Dr. Felix Benet (Lugosi), Rukh's young wife Diane (Frances Drake) and a friend and protégée of the Stevenses named Ronald Drake (Frank Lawton).<br /><br />Before they leave, Rukh is warned by his mother (Violet Kemble Cooper) that he is possibly seeking wisdom that he shouldn't and it may end in tragedy. He tries to dismiss this, but he is worried by what she says, his scientific standing, and whether or not he is going to get his due credit.<br /><br />What he gets is a disaster. He finds the substance, but is infected by it's remarkable radioactivity. He finds that he is slowly burning up, and if he tries to touch people or animals they die. He's actually built up a friendship or understanding with Benet, who figures out a type of radioactive fighting cocktail for Rukh to use to counter the danger. But there are two things that are unbeatable here. The antidote can only last for a certain amount of time, and has to be replenished. And the radioactivity has affected Rukh's brain. He is increasingly jealous of Diane's friendship with Ronald (encouraged, unfortunately by Sir Francis and Lady Arabella), and he is equally upset that (due to his having to pretend to have died - the effects of the radioactivity are like that) Benet and several others are collecting the kudos of the wonders that "Radium X" is giving to man. Soon Rukh is on a murderous rampage that destroys many lives, ending with his own.<br /><br />The film certainly picked up on science to an extent. Madame Curie had died recently from cancer she got due to work with Radium. Few fully understood the dangers of radioactivity in 1936, but some idea of it was coming out. The wave of murders by Rukh cause the newspapers to talk about a "curse" on the expedition. Of course, with the idea of a "cursed" expedition (on the continent of Africa) for a hidden treasure buried centuries ago, financed by a titled Englishman, we have entered archeology not physics or geology (paging Howard Carter and Lord Carnaevon).<br /><br />On the other hand, Benet tries to settle the cause of the string of deaths, and reverts to an idea that was actually demolished in 1888 in England. During the Whitechapel Murders, Sir Charles Warren ordered the retinas of several of the dead victims to be photographed to see if the last image on the retinas was Jack the Ripper. It turned out he only got the photographs of the retinas of dead prostitutes. But the idea did not die. Jules Verne used it in his novel "The Brothers Kip" in 1899, and here Dr. Benet uses it. As this is a science fiction story, he finds the image of Rukh on the the plate, but Benet drops the plate accidentally and it shatters.<br /><br />The film is good on many grounds, the most interesting that for a change Karloff and Lugosi are not unsympathetic towards each other. There is a type of tragic fatalism in this story that is missing from their other films. The other performances are good as well, in particular Ms Kemble Cooper. She is best remembered as Basil Rathbone's frightening sister (Jane Murdstone) in "David Copperfield". Here her final act is the only way to bring this tragedy to an end, and who can say it did not hurt her more than her target. | positive |
If the ending hadn't been so fantastically unexpected, I don't think I could rate this movie so well.<br /><br />This movie has a lot of uncomfortable, distressing, "marriage falling apart" character interaction. That sort of thing is not my kind of drama, so the pace seemed to drag for me.<br /><br />In addition, the main characters are difficult to relate to and thus care much about -- the husband (Alan Rickman) is rather bitter and cranky and the wife (Polly Walker) is aloof and a little haughty. The acting was just fine (Norman Reedus was very alluring), but the characters themselves were perhaps a little TOO realistically flawed (for me).<br /><br />The setting was nice and appropriately isolated and a little spooky. The cinematography had something to it that seemed a little old-fashioned to me somehow.<br /><br />But the last 5-15 minutes of this movie are so ingenious that every uncomfortable scene, awkward conversation, and inexplicable character behavior absolutely worth it. I guessed every typical plot twist except the one that occurred.<br /><br />The ending definitely makes this movie worth watching. The intrigue and the drama, not quite as much. | positive |
The man who directed 'The Third Man' also directed the 'Who Will Buy' sequence in "Oliver!" Now that is talent.<br /><br />I raise my hat to Carol Reed.<br /><br />I know there are 'second units' involved, but still ...<br /><br />And he had to deal with Orson Welles and Oliver Reed ...<br /><br />I suppose quality will out.<br /><br />(It does show in the final scene with Nancy [ avoiding spoiler - everyone has to see Oliver! for the first time sometime ].) How many lines do I need to type.<br /><br />Encouraging people to type too much is not to be encouraged.<br /><br />I hope this counts as the "10th line". | positive |
Beverly garland was born in the wrong time. She was an actress ahead of her time, bringing power and grace to even such lame flicks as the Corman films she starred in. In Gunslinger, she's the town sheriff's wife. He gets offed, so she takes over his job to pursue his killers. She's better than the material she's working with, by far. The movie is gray, stilted, and mostly boring. There's some(unintentional)humor with the tire tracks everywhere, people running behind one building to emerge suddenly in front of another (I've heard of false fronts, but this is ridiculous!), and the truly stupid plot line of the newly widowed sheriff falling in love with the guy hired to kill her. Even if she hadn't loved her husband, it had only been something like a week or two since he'd died! And she ends up shooting the guy to death in the end, anyway. No luck with men, this one.<br /><br />The villain of the piece is another woman, the saloon owner. She's scheming to buy up a bunch of land just in case the railroad goes through and makes her rich. Her plan of action if it doesn't is pretty lame-she'll just steal as much from the town as she can and skedaddle. Hell, it's just her and her hired gun at the end against an entire town. Are you telling me these people aren't armed? Look what happened in real towns of the Old West when bank robbers came in to rob the bank, then were cut down in a hail of bullets by the armed and dangerous town folk.<br /><br />There'a a lot of pointless talking and riding around, interspersed with a few lame shoot outs. The ending is as grim as usual in a Corman flick, although thank goodness it lacks the moral proselytizing at the end that was in It Conquered the World. The sheriff turns over her badge to Sam Bass and rides off into the sunset, although the movie was so gray that you never saw the sun. | negative |
OK end of the story is - all the kills were a joke on the main character and no one is actually dead. Yes I know Cry Wolf did it and did it well, but this isn't "Cry Wolf", it's "Scream Crap"! Even though the "characters" don't apparently die, we SEE them get stabbed to death (and other ways they are killed) even though these "kills" do NOT take place as anyone can see them. Mr. Director, if you're gonna show people getting killed, someone needs to see it, if they're off camera and the character getting faked killed is alone it doesn't work - and until the end I liked a couple of scenes but your end ruined the whole thing.<br /><br />The acting is horrid (especially the kid at the beginning who really thinks he tricked his friends into believing they were playing with his dead grandmothers brains) the script is less-than half baked (though if you're half baked you might like the movie) the only reason I gave this movie a 3 is because a) they actually made something b) they got it released and c) they shot on film Yes you read right, they wasted (at least) $5,000 on film stock for this crap. Sad, if they'd shot DV they'd had some cash for a better cast and another writer to go through the script and make it good.<br /><br />I admire the fact that the director made something (as most don't) but HATWE the fact that he comes on IMDFB talking about how "original" the movie is.<br /><br />Avoid the movie if it means buying it to see, if a friend has it, it might be a funny movie to borrow. | negative |
On paper this looked like a great concept: Average guy on the rebound dates up tight bookish museum curator, who is really a hot Superhero who saves the world on a regular basis. However, director Ivan Reitman and writer Don Payne (of the "Simpson's") almost fatally miscalculate in having their hero G-Girl (played by striking Uma Thurman) come off as a total nut job as both Superhero and secret identity persona Jenny Johnson. The movie even cops to this in a conversation between Jenny and Matt Saunders (Luke Wilson) following his rescue by G-Girl from the Statue of Liberty. Jenny curiously asks Matt what was G-Girl like. Matt replies, "She's kind of nutty
" I think the intent was to have Jenny (Thurman) be this lonely young woman, who has no one in her life, isolated by her great physical powers. Thurman does the best she can, but her Jenny is a terrifying mood swing in dire need of Prozac. Luke Wilson is way too breezy in the role reversal of boyfriend and superhero girl friend.<br /><br />"My Super Ex-Girlfriend" is also a victim of bad timing, coming on the tail end of "Superman Returns" which plays Superhero straight up, so to speak. With all its quirks and inconsistent writing I still thought "My Super Ex-Girlfriend" was funny and enjoyed the movie. Given that this is an Ivan Reitman movie, this could have been a lot better. Reitman starts with a great premise, and really squanders it. First off, we all love the hero. Here neither Jenny nor G-Girl is really all that likable. This is surprising for Uma Thurman, who is normally a charismatic and powerful presence. In the beginning her Jenny/ G-Girl is just plain weird. Shocking. Because if there is a woman who can play a Superhero, she is Thurmanshe looks great. Only toward the end does her Jenny become more sympathetic, instead of caricature. Although "My Super Ex" is not a straight Superhero story, rather a romantic comedy of sorts, it does not provide what every Superhero mythology requiresa great super villain. Here we have Professor Bedlam aka Barry (Eddie Izzard) who really is evil lite. He is no Lex Luthor. No plans for Global domination. Bedlam rather Barry does hold a grudge against G-Girl, and expectedly it has to do with their shared past. What is bizarre you don't know who you would rather spend time withBedlam or G-Girl? Luke Wilson's Matt is just "some dude" who happens to hook up with the psycho superhero. One of the annoying things he does is that he confides in his repugnant loser friend Vaughn (Rainn Wilson doing a bad whacked out impersonation). Wilson sometimes plays it a little too dense, and this dilutes his likable charm. This does however work, in the comic sex scene with Jenny. Matt while dating Jenny/ G-Girl realizes that he is in love with his co-worker Hannah (perky Anna Faris). So how does Matt break up with G-Girl? Well, it's not pretty and for the most part hilarious.<br /><br />Dramatic Superhero movies work. Romantic comedies with chemistry work. What may be inherently difficult are Superhero satires disguised as romantic comedies. Everyone loves the hero. However, hero nut job? Maybe not. With all Uma Thurman's talent she is unable to accomplish this convincingly. And she does not get sufficient support from Reitman and Payne. Thurman and Wilson have enough charm and presence to survive their narrative failings. "My Super Ex-Girlfriend" is fun and funny. Though given all involved, the movie could have been super. | positive |
Ernst Lubitsch's contribution to the American cinema is enormous. His legacy is an outstanding group of movies that will live forever, as is the case with "The Shop Around the Corner". This film has been remade into other less distinguished movies and a musical play, without the charm or elegance of Mr. Lubitsch's own, and definite version.<br /><br />Margaret Sullavan and James Stewart worked in several films together. Their characters in this movie stand out as an example of how to be in a movie without almost appearing to be acting at all. Both stars are delightful as the pen pals that don't know of one another, but who fate had them working together in the same shop in Budapest.<br /><br />The reason why these classic films worked so well is the amazing supporting casts the studios put together in picture after picture. In here, we have the wonderful Frank Morgan, playing the owner of the shop. Also, we see Joseph Schildkraut, Felix Bressart, William Tracy and Charles Smith, among others, doing impressive work in making us believe that yes, they are in Budapest.<br /><br />That is why these films will live forever! | positive |
There is something in most of us, especially guys, that admires some really working class small town "real men" populist fare. And Sean Penn serves it up for us with a cherry on top. Hey, A lot of people use Penn as a political whipping boy, but I don't rate movies or actor/directors based on politics or personality. That is what right wing commentators like excretable faux movie reviewer Debbie Schlussel does. While acknowledging he is one of our best actors and a good director, I think this picture was a simplistic piece of aimless dreck that he has atoned for since. <br /><br />Okay, you have the gist of this there is this good cop, a small town trooper, Joe, played against type by David Morse, who in the opening scene chases some guy on a country farm road in big sixties cars. The bad guy stops, gets out, shoots at him so Joe has to blast him dead. There was no explanation what drove this man to do such a desperate violent thing and the dead man's parents do some redneck freak out at the police station while Joe feels real sad and guilty that he had to kill someone. So we know that Joe, the farmer forced off his land into a cop job, is a good basic sort of guy. Then his brother Frank shows up, he is a sadistic, amoral bully, fresh out of the Army and Nam where the war got his blood lust up. Some people here and in other reviews called him just an irresponsible hell raising younger brother and Sean was trying to make some point about what our John Wayne tough guy culture and war does to otherwise good people but what I saw was an amoral, sadistic bully who enjoys hurting and ripping people off. Then there is mom and dad, Marsha Mason and Charles Bronson, who do the requisite turn as old fashioned country couple, then die off; she by illness and he by shotgun suicide, to advance the story for us. Both times Frank the bad guy is away being a miserable SOB. But good Joe brings him back to Podunksville from jail so Frank can straighten his life out by welding bridges and living with his utterly stupid screaming trashy pregnant wife. But Joe has a nice wife, played by Italian actress Valeria Golina, who is Mexican and Sean uses this as an exercise in some affirmative action embellishment of goody Joe and his real soulfulness underneath his uniform and crew cut. For me, that was an utterly pointless affirmative action subplot that Sean uses to burnish his tough guy creds by sucking up to Mexicans because Mexicans are so tough and cool.<br /><br />But Frank is bad and we get the requisite events like stealing friend's car, robbing gas station by beating the clerk over the head then torching the car and all those cool things that hell raisers do. Then there are the mandatory 8mm film childhood flashbacks of young Joey dutifully moving the lawn and cowboy dressed Franky jumping on his back and wrestling him and yadda yadda so we all know what deep bond there is between the two of them.<br /><br />So the film meanders around with a lot of small town schlock to warm the heart of any red stater. Accompanying the film was a great soundtrack of good sixties songs like Jefferson Airplane and Janis Joplin which were totally inappropriate, except for the 60's era effect, to win the hearts of old hippies. The worst offense is that, since the movie was inspired by a Springsteen song, "The Highway Patrolman", that song was not included. <br /><br />So Joe's brain dead wife goes into labor and Joe runs off to the bar to get loaded and spout some populists drunken victim's spiel about how tough things are while good Joey comes to drag him back to his wife. The bartender is good Ole Ceasar, played by Dennis Hopper. So Viggo - Frank whigs out for no particular reason and beats his pal Ceasar to death after good Joe the Cop leaves.<br /><br />So Joe has chase his bad brother down and I was so hoping that he would do the right thing and blow that menace to society away. Instead we get a scene where his brother stops ahead of him in some old 50's junker on some lonely road at night, and little Franky in his cowboy suit and cap guns gets out of the car to face good Joe, the kid from the 8mm flashback home movie sequence. Oy, such dreck! Then to top off this drecky sap fest, there is some Zen crap about the Indian runner, who is a messenger, becomes the message, ala Marshall MacLuhen? See what I mean, Sean has done much better than this so don't be afraid to miss this one. | negative |
I LOVE this film. It was made JUST before the LA punk scene changed for the worse. It perfectly preserves the mood and attitude of that time and place. I feel really lucky to have been present at the filming of four of the bands at the Fleetwood that night. The only part that doesn't fit in too well is the sections with Catholic Disipline and their socio-political commentary. I didn't see too many people who were into that at all. The rest of the film shows attitudes that I witnessed a lot; people dealing with hard lives, or taking a swing at the music industry and/or lousy hippies. I don't think I've seen a documentary that captures so authentically and personally the subject matter being covered. | positive |
Sure, it seems like there is only about 17 minutes of actual content in each episode, but it is certainly fun to watch. You might find yourself cringing in your chair as buddy sticks his foot in his mouth and gets shot down, or chuckling and shaking your head when some ridiculous line actually works. The panel of hosts have more of a good-natured, friendly (dare I say Canadian) style of commentary compared with cutthroat US reality programming. I think the people who complain about this show don't get the joke. They are taking the show more seriously than the show takes itself. Keys to the VIP is a great caricature of reality shows, sports TV culture, and the club scene. I hope they do another season, and I'd be interested to see if a US version appears. It's certainly a fun, original premise. | positive |
CITY HALL is a somewhat mixed bag. Part vignettes of NYC political life, and part moralizing tale. Al Pacino, a Dukakis-esque Boss with Presidential dreams, gives an oft times sullen or subdued performance. There's a couple times when he chews the scenery, and in the case of CITY HALL, this is where he shines. John Cusack gives a subdued and generally flawless performance, without going into caricature of a New Orleans dialect, or sliding into melodrama during the films climax. Danny Aiello as a burrough political chief, is also very good. I love showtunes, too.<br /><br />The major problem with CITY HALL, and it is a good movie in many ways, is the general feeling of a lack of momentum. It comes off more like a documentary, than a motion picture. We see the action or follow the story from a detached perspective, and naturally, the viewer doesn't become involved. When the viewer doesn't get involved to a certain degree, they become apathetic towards the characters, and eventually, the plot.<br /><br />This tends to alienate, and what should have been a riveting, detail divulging finale, came off as a "Hmmm...uh...okay." They say you "Can't fight city hall," as the tread worn cliche goes. Yet, it still can't stop you from thinking what might have been, if they had just tightened up the screenplay and pacing of this movie. | positive |
The Kite Runner began as one of those "important" films that most people fawn over because they are told that they should if they want to be among the elite and quickly descended into an idiotic film of absurdly outlandish proportions.<br /><br />I've never read the book, and never felt the need because I honestly don't care. Sure I'm called uninformed for saying it but I truly have no interest whatsoever in just another "pull at your heartstrings, copy off of all other story lines to get emotion from the readers" novel, even if it is set in Afghanistan.<br /><br />That said, I watched the movie. I heard good things about its beauty, and how touching it was and decided why not? As it turns out, there was a very good reason why not. Not only was the so called main character completely unsympathetic (I get it, he was young and this is a film about redemption but honestly he was horrible. I hated him and not in that good 'Anti-hero' way, he was just a dull, idiotic, self-absorbed character that I felt nothing towards) but the rest of the story was so completely absurd that I couldn't believe how everyone else was fawning over how beautiful it was, and how they cried and it moved them. I'm sorry, but I only feel moved by something that feels realistic, Sci-Fi has been known to move me, fantasy as well...but this? Please. This surpassed many other movies for pure absurdity! My biggest peeve, Hassan was Amir's brother...really? You sure you didn't just rip that off from a thousand other stories? Positive that that particular tidbit wasn't just added in to try to pull more tears out of your audiences (y'know the type of people who look for reasons to cry during a movie)? I was rolling my eyes when that "twist" was revealed knowing that it could only go downhill from there (not to mention flashing back to Star Wars "Amir, Hassan is your brother" "NOOOoo, that's not true, that's IMPOSSIBLE!") Oh, and it certainly did. Filled to the brim with cliché's and just plan dumb storytelling. Like "good guy miraculously escapes bad guy against all odds with help from spunky kid who despite being viciously sodomized and having no clue who you are is willing to help out with a conveniently placed weapon that holds special meaning to you". Ooh and don't forget the oh so idiotic "finally getting vengeance on the kid who teased you when you were little who, surprise surprise, has turned into a psychopathic adult" (trust me guys, I understand you like to live vicariously through movies but that'll never happen. You know that kid who teased you in high school...he's no terrorist, he's probably an accountant.) <br /><br />Oh, and I must mention the CGI-tastic kites! I think those were on par with the "Matrix" movies and "Transformers" bravo you guys! BRAVO!<br /><br />It seems this movie was just made for western audiences who need to a reason to care about the Middle East (hey an overly emotional friendship story will work!) This is one of the most shallow movies I've had the misfortune of seeing, it poses as deep well...but when you get right down to it, it's nothing special.<br /><br />Unfortunately, the core of America's audience will do what they're told and follow the "It's about controversial material so it must be good!" way of thinking. | negative |
While the title "Before the Devil Knows You're Dead" comes from an Irish proverb the film plays out like a Greek tragedy. It all starts with a botched robbery and continues to spiral out of control as two brothers attempt to escape the mess they've gotten themselves into.<br /><br />The cast is well-assembled with Philip Seymour Hoffman & Ethan Hawke playing the aforementioned brothers. Notable support includes Albert Finney as their father and Marisa Tomei as the wife of one brother and lover of the other. Beyond these principals the acting is unremarkable.<br /><br />The story is compelling and is told with a certain degree of verve. The narrative structure keeps things interesting by providing different points of view and frequent time shifts. That being said, the film's unpredictability is somewhat muted since it becomes apparent early on that this story is a tragedy, through and through. All in all, a pretty impressive debut for first-time screenwriter Kelly Masterson.<br /><br />Sidney Lumet's direction is well handled but I'm more impressed by the fact that he's still directing at over eighty years old. I was less impressed by the score by Carter Burwell but it isn't a major distraction.<br /><br />In the end, the film proves to be compelling viewing and while the story & presentation may have superficial similarities to other films this one remains a unique experience. | positive |
A good example of the differences between American and foreign cinema can be seen in a film I recently watched on television: Indecent Proposal.<br /><br />Indecent Proposal's two protagonists, David and Diane Murphy are played Woody Harrelson and Demi Moore. I'm not sure if it was their total lack of chemistry or that they were not acting well, but why we should care so much whether these two stay together was beyond me. Love, affection, playfulness, attraction none of these materialized on screen in their interactions together.<br /><br />Since I knew that eventually Robert Redford would show up, it was clear from the beginning that the good part, the meat of the movie, would be the scenes between him and Demi Moore. Poor Woody Harrelson just could not muster any emotion at all for the film. He seemed to be holding back, preoccupied with his receding hairline.<br /><br />OK, so fast forward. What idiots these two (Diane and David) are for thinking they can win back the $50,000 they owe by gambling. No acting faux pas there, just hideously bad, lazy, unforgivable writing. Of course they lose all their money. Surprised? I know I wasn't. Enter Robert Redford (John Gage in the film) a romantic, perhaps emotionally frigid man, an updated Gatsby. A very good role and though not a great, great actor, next to those two, Redford looks like Olivier. He immediately falls in love and lust with Diane and we the viewers for once FEEL it. This is how to love a woman! Not David's way, trading gum mouth to mouth with Diane on a slimy pier. (Did I see that right?) As Gage, Redford wears a suit and tie in every scene. Yes it's meant to instruct the seemingly brain dead audience that here is a Rich Man, but he also looks damn good and by this point the brain dead audience appreciates it! Other wardrobe symbolism includes David's now-ironed shirts at the end of the film, signifying resolve, getting it together after a long interlude of forlorn wrinkled shirt wearing.<br /><br />And what is it with California garden parties as depicted in Hollywood movies? Suddenly everyone appears British, complete with lacy dresses, three piece suits for the men, hats (HATS!) and of course the parasol. Yes Diane, her transformation to Rich Man's fiancée now complete, is there at the auction daintily twirling a parasol. Though she insisted that she couldn't be bought, she succumbed at last to the sexual tension. Here is where the film branches off into pure Americana. I mean, of course David and Diane will end up together, my question is: WHY? Diane was bored with David, why not let her ride the Robert Redford wave? And I mean for a good long while? How can she pull herself out of the sexual-romantic thrall of this sexy older man so easily just because Woody Harrelson brings his receding hairline to the garden party, sits himself down and looks Demi Moore in the eyes. That's just not how it goes. He was so WEAK.<br /><br />But we must have our happy ending. We have to swallow the Moral Lesson. We're not sophisticated enough yet to have it otherwise. Director Lyn tried to make a Fatal Attraction for the juvie set, the young'uns.<br /><br />In addition to garden parties in which there's nary an SUV, tee shirt, or baseball cap in sight, such films also feature a reliable public transportation system that connects far-flung California cities and municipalities. How else to symbolize the return to middle class or working class life? | negative |
I've just finished listening to the director's commentary for this film, and I think the one big thing I got from it that I agree with is that this film, like Mann's The Insider, is completely subjective. It's from Howard's POV. So, any review or attempt at contemplating a set of comments about it, as Ebert did, is really about Nolte's character actually. If you feel, as he did, that the film "does not work", then you're saying, I think, that Howard does not work. And, to be frank, you might be right. Howard's reasoning and personality really wouldn't stand up to professional mental treatments and analysis.<br /><br />But, hey, that's the nature of people.<br /><br />Andrew. | positive |
Famous movies are subject to Freudian analysis: Possessed, The Matrix, The Birds, Psycho, Vertigo, Duck Soup, Monkey Business, The Exorcist, The Testament of Dr Mabuse, Alien, Alien Resurrection, The Great Dictator, City Lights, The Tramp, Alice in Wonderland, The Wizard of Oz, Dr Strangelove, The Red Shoes, Fight Club, Dead of Night, The Conversation, Blue Velvet, Solaris, Stalker, Mulholland Drive, Lost Highway, Persona, In The Cut, Eyes Wide Shut, The Piano Teacher, Three Colours: Blue, Dogville, Frankenstein, The Ten Commandments, Saboteur, Rear Window, To Catch a Thief, North by Northwest, Star Wars, Dune, Kubanskie Kazaki, Ivan The Terrible, Pluto's Judgment Day (Walt Disney), Wild at Heart.<br /><br />You may wonder how the Marx Brothers come into play. According To Slavoj Zizek, the host and analyst of this intellectually tickling tour de force, Groucho is the superego, Chico the ego, and Harpo the id.<br /><br />Scenes from the above listed films are used to illustrate concepts: the role of fantasy in shaping reality and vice-versa, the father figure, male and female libido, death drive, etc. Here are some of Slavoj utterances (most as paraphrases): "desire is a wound on reality", "fantasy realized is a nightmare", "music is the opium of the people" (borrowing from K. Marx), "of all human emotions, anxiety is the only one that is not deceiving". The whole is bracketed by an intro that declares "you don't look for your desires in movies, instead cinema tells you what you should desire" and concludes with the cineaste view that "cinema is needed today so that we can understand our current reality" -- I say, as long as censorship doesn't derail it.<br /><br />The three part subdivision is merely mechanical, possibly with TV screening in mind. For the theater goer it is irrelevant. | positive |
This movie is quite possibly one of the most horrible horror flicks I've seen. The length wasn't nearly long enough to include a good storyline. Also, the way the foster parents died was just plain ridiculous. The mother suddenly dies from falling through a shower after tripping over an action figure, and the dad is shot by a police officer? I can see where some originality might have been what they were going for, but it could have been better. Also, the cheesiness of it all made me want to press stop before it was over. After hearing all of Lucy's name and figuring out it was 'Lucifer', I wanted to gag. Yes, it's interesting that Lucifer was a woman, but look at the name. It's a male's name. It should be given to a male character. All in all, the movie was a bore, and could have used a better plot. | negative |
Paint by numbers story and mediocre acting saved by some authentic color - and a few moments that are really wonderful and deeply felt. It does effectively capture the delicate transition of a girl into adulthood, and deals very sensitively and inventively with the cultural conflict the main family experiences.<br /><br />Unfortunately this germ of a good movie is imprisoned in an aimless and extremely convoluted plot that manages to incorporate religious strife, a conflict over a road construction project, the sex life of secondary and even tertiary characters, a mysterious man who lives in the woods, a bunch of racist hooligans, at least three different carnivals, the intricacies of local church politics, and on and on and on. And all of that doesn't even include the actual central plot, which is only about the hopes, dreams, and frustrations of two girls (and their entire families) at the turning point of their lives. I was actually shocked when I realized the whole thing was supposed to take place over the course of one summer (and that so much movie got accomplished in 1.5 hours!) <br /><br />Ultimately the movie is melodramatic, every plot point is predictable, major life altering events happen and then are forgotten about 10 minutes later...and some of those events are extremely distasteful. Most shockingly the fact that one of the characters is involved in a horrible crime (in a totally predictable "twist") and then is completely forgiven and the entire incident forgotten about from then on. Similarly, a secondary character is introduced solely to die a couple minutes later and provide another "twist." It's all totally mechanical, right up to the ending that neatly ties up all the loose ends (well not all of them, just the ones the movie thinks you care about.) | negative |
It's really not worthy of a 'best picture' consideration, but as entertainment goes, it does the job! This is one that I've watched, with pulse quickening every time, at least a dozen times.<br /><br />Most of these actors were unknown at the time this was done, and we can recognize them from other work. Those that don't have current name recognition probably don't want it.<br /><br />This was a fun ADVENTURE. Sort of like The Little Rascals if they just had to be serious. | positive |
well, i may be bias as i grew up watching a VHS copy of this film that is now ready to snap and have just spent the last couple of hours tracking down a DVD copy as a birthday pressie for my Dad. The film is so harmless and inoffensive it suits all ages.... much better than anything Disney ever made in my opinion (and i used to work in the Disney Store!!!). The characters are enjoyable and the award for best scene is a tie between the disrupted wedding (especially the musical talents of Swat, the fly. and Smack the mosquito), and the amazing night club scene. The musical numbers still have me humming 20 years after i first watched it. there is no other film that i can better recommend whilst baby-sitting, and in fact every child i know (thanks to my Hoppity loving parents) have seen this film, many times. It will always get top marks for its fabulous love story, a brilliant baddy and over all originality. | positive |
Elvira, Mistress of The Dark, is a fun, camp horror comedy, in which the fourth wall is broken a couple of times and the jokes often stay below the navel. And the breasts of Cassandra Peterson become a character of their own.<br /><br />Elvira (Cassandra Peterson) is stacked horror show hostess, who learns, that she has inherited her aunt Morgana. So she goes to a little town of Fallwell, which is ruled by the most horrendous monster ever to embrace the earth: Morality comity. Elviras boobacious appearance is, of course, too much for the prunes, but the kids of the town get a kick out of her different kind of approach on life. And of course there is even more sinister evil, her uncle Vincent (William Morgan Sheppard), who is after Elvira's mothers book of spells. See, Elvira actually is a real witch, she just doesn't know it. Yet.<br /><br />For what it is, Elvira is quite funny film, even though the script does leave a lot of room for improvement. Most laughs come from the difference between Elvira and the people of good morals, but there are a couple of good visual gags as well. Over all direction is okay, but it never rises to be anything more than that. In all, a good, intentionally campy, comedy. If you like this kind of thing, that is. | positive |
AKA: Mondays In The Sun<br /><br />I have no idea what I just watched. Three men wander aimlessly and drink, grousing about everything and at everyone in their path. This is supposed to be a drama, but what it is, is a total waste of film, without a single redeeming quality.<br /><br />I have read reviews touting the performances herein as "wonderful," "beautiful," and "heroic." I'm afraid I cannot agree, unless these men were supposed to come off as the dumbest most ignorant proto-humans who ever walked.<br /><br />All in all? This was not a movie. It wanders throughout and loses everyone but the audience. I've watched this three times, and cannot for the life of me see what anyone sees in this garbage. There is nothing profound here, whatsoever. It's crap.<br /><br />It rates a ZERO/10 from...<br /><br />the Fiend :. | negative |
So that´s what I called a bad, bad film... Poor acting, poor directing, terrible writing!!!! I just can´t stop laughing at some scenes, because the story is meaningless!!! Don´t waste your time watching this film... Well, I must recognize it has one or two good ideas but it´s sooooo badly writen... | negative |
The main reason to see this film is Warren William, who is in top form as the shyster campaign manager. He is electric, constantly finding ways to fool the public and defeat the opposing party in the midst of the biggest disasters. William is a great actor -- I feel he never got his due. Bette Davis as his girlfriend also shines in an under-written role. Personally, I found Guy Kibbee not quite right as the lame-brained candidate that William and the others are trying to foist on the public. He seemed more like an empty canvas than a person. I would have preferred to see a real character emerge rather than a non-character. The story itself is implausible, silly and clichéd. But Warren William and Bette Davis are well worth watching. | positive |
I really enjoyed "Candid camera" with Dom DeLuise and I was surprised to see that after the years Suzanne Somers have becomed the co-star of the show. But that was the only positive side of the show - the whole studio, the intro, the hosts - all that give the new meaning to the word "pompous".<br /><br />Well, that would be OK if the materials weren't so cr*ppy - I mean come on, the best you can do is show few men that have problem with getting ketchup out of the bottle, Suzanne Somers walking with Halloween basket in July, ice cream place that sells only vanilla...? I've seen few episodes and each time it was horrible. They were posing like it's the greatest show ever and then fill the time with scenes so dull that I really felt embarrassed to watch. Even the people in them looked bored and that just can't be good. | negative |
Like another poster mentioned Ch. 56 (a local Boston TV station) showed this multiple times over the years on Saturday afternoons. They paired it with the first sequel "Return of the Ginat Majin".<br /><br />Now I haven't seen it since then...but it never left me. Aside from the atrocious dubbing and faded color this was a pretty good fantasy. Technically it isn't horror...until the statue comes to life at the end. It's just about a village ruled over by an evil man. There's a giant stone statue there that the villagers keep praying to to help them...to no avail. But things go too far, the statute comes to life and destroys the bad guys...but then it starts going after the good guys too! Well-done with some cool special effects at the end (LOVED how he got rid of the main bad guy). Also there was an enchanted forest worked in which was kind of interesting too.<br /><br />No masterpiece but an unusual combo fantasy/horror film. Worth catching--but not if it's the dubbed print. | positive |
It's a male bashing bonanza. I saw this on Sci-Fi a while ago, and the idea seemed interesting. It could have been a good movie, and the plot itself I don't see as male bashing, but certain specific references to men get really annoying. I might still watch the movie again though because it does at least try to redeem itself by hinting that maybe the women in the movie aren't really as non-violent as they claim, but it still doesn't compensate for the really tiring male-bashing. I mean, I can understand a little, it's part of the movie's plot, but come on, it gets really tiring after awhile. Not only that, but to assume that the majority of women in the world would accept becoming homosexual that easily and that the few remaining heterosexuals would be such a minority as to go "in the closet". It's just too unbelievable. There are far too many women out there with cultural or religious restrictions that would balk at this it is totally implausible. I mean I know its sci-fi, and I love sci-fi, but the best sci-fi has at least a hint of it being possible, and this is too implausible. The phrase "Truth is stranger than fiction" came about because fiction has to at least seem plausible to be welcomed, but truth isn't always. This movie is not that. Other than that, the movie does have some good acting and the eventual morals of the story, that something like what happened was wrong, do redeem it a little, but not enough. | negative |
Well I'll start with the good points. The movie was only 86 minutes long, and some of it was so bad it was funny. Now for the low points. My first warning sign came with an actual "warning" on the film. When it started the following "warning" was displayed: "The film you are about to see contains graphic and disturbing images. Because contrary to popular belief being killed is neither fun, pretty or romantic." I should have saved myself the 86 minutes and turned it off then. The first words of the film were: "I'm at the glue factory." It was some guy talking on his phone, and he was referring to a nursing home as a glue factory. I don't know why. So the basis of the movie is some kid is obsessed with the Zodiac Killer and starts imitating him. The budget for this film was at least 50 bucks and they must have used the cheapest cameras they could find. The acting was worse than me reading straight from a script. That's what is looked like they were doing. The script was horrible, and the big "twist" was that this guy who wrote a biography on the Zodiac Killer was actually the Zodiac Killer. Of course they tried to show this subtly but made it totally obvious within the first 10 minutes. Without any more painful details of the plot, here were some horrible highlights of the movie. They try to make the Zodiac Killer compare himself to an "army of one" because soldiers are really just murderers. Then they tried to make an attempt at "Satanic Worship" by showing some guys in black hoods in a meeting. The great "computer hacker" was able to get this kid's address when someone gave him the kid's name and phone number. For some reason he had to hack into the FBI to get someone address. I'm not sure why he didn't just look it up in the phone book or use whitepages.com. There was also a random allusion to 9/11 for no reason. I also learned that no matter where you get shot, blood will come out of your mouth within seconds.<br /><br />So if you like really bad acting, sub-par scripts, bad camera work and an obvious plot, you'll love Zodiac Killer! | negative |
This was Eddie Robinson's 101st film and his last, and he died of cancer nine days after shooting was complete. All of which makes his key scene in the movie all the more poignant.<br /><br />Although some of the hair and clothing styles are a bit dated (also note the video game shown in the film), but the subject of the film is pretty much timeless. Heston said he had wanted to make the film for some time because he really believed in the dangers of overpopulation.<br /><br />Several things make this film a classic. The story is solid.<br /><br />The acting is top-notch, especially the interplay between Heston and Robinson, with nice performances also by Cotten and Peters.<br /><br />The music is absolutely perfect. The medley of Beethoven, Grieg, and Tchaikovsky combined with the pastoral visual elements make for some truly moving scenes. This was the icing on the cake for the film.<br /><br />And the theme (or the "point") of the film is a significant one. Yes, it's a film about overpopulation, but on a more important note it's a cautionary tale about what can go wrong with Man's stewardship of Earth. It's in the subtext that you find the real message of the film. Pay attention to what Sol says about the "old days" of the past (which is our present), and note how Thorn is incapable of comprehending what Sol is saying.<br /><br />This film is one of my top sci-fi films of all time. | positive |
I am fully aware there is no statistical data that readily supports the correlation between video games and real life violence. The movie is false and phony because it is in complete contradiction of itself, which is what I tried to emphasize in my original review. The movie fails, not necessarily because I really do think these kids were influenced by video games, but because the movie sets it up as "random" and doesn't follow through. Let me clarify. In Aileen: Life and Death of a Serial Killer, you can see her claims about the police and being controlled by radio waves are ridiculous, yet she is so troubled, she really believes them to be true. The viewer can make the distinction however. In Zero Day, the 2 kids keep saying how they are not influenced by anything environmental, which is obviously false since everything they do contradicts this. Neo-nazism, talking about going on CNN with Wolf Blitzer (which is laughable not only because they know his name, but its a shameless attempt by the filmmaker to get coverage of his bad movie)..etc. This movie doesn't depict 'reality', it shows nothing but phoniness to prove a point. Unfortunately you fell for the bait and didn't see this, and you didn't pick up on it from my review either. The entire movie is just taking Michael Moore's hypothesis and applying it to something "real life" in hopes of validating and it fails, not necessarily because the hypothesis is wrong, but because the movie is wrong and doesn't support it. Of course I don't think kids that play video games are more likely to kill people, but if I'm not mistaken, didn't video tape exist of the Columbine kids (or some teen killers) shooting guns in the forest claiming how much they looked or acted like the weaponry in Doom? Hmmmmmmm, the distinction is kids are most likely aware of the media, influenced, but obviously balanced or intelligent enough that its not even an issue. Zero Day is a bad movie not because I really believe a correlation exists, but because the film maker doesn't know what hes trying to say, and the movie does more to disprove his point then support it. It's almost as if the new ratings given to video games made someone upset so they came up with 'Zero Day' in retaliation. If you want to see the 'mindless' teen killer theory pulled off right, go watch Bully. | negative |
This is the one movie to see if you are to wed or are a married couple. The movie portrais a couple in Italy and deals with such difficult topics as abortion, infidelity, juggling work and family.<br /><br />The so called "culture of death" that we are experiencing nowadays in the world is terrible and this movie will surely make you think.<br /><br />A must see. I hope it gets distributed as it should.<br /><br />Congratulations on the cast and director.<br /><br />Two thumbs up and a 10 star evaluation from me! | positive |
I absolutely adore the book written by Robin Klein, so I was very excited when I heard that a movie based on the book was in the making.<br /><br />But I was severely disappointed with the movie when I did see it because it didn't capture what I loved about the book - the absolutely ridiculously funny Erica and the interesting way in which she views the world.<br /><br />From the start of the movie, I realised that things weren't the same as I had imagined in the book. So, I just went along for the ride. It wasn't all that bad, I guess. Miss Belmont was totally different to what I had imagined her to be! I didn't think she would be one to smoke and drink - Jean Kittson, who plays her, is hilarious!<br /><br />On it's own, I thought the movie and it's actors/actresses in it did a good job, but alas, I'm such a fan of the book (one of my all time favourite books) that I couldn't help but feel disappointed =P | negative |
The biggest heroes, is one of the greatest movies ever. A good story, great actors and a brilliant ending is what makes this film the jumping start of the director Thomas Vinterberg's great carrier. | positive |
Sometimes a movie cannot easily be classified. Such a film is "Tank Girl", part cartoon, part comedy, and part action flick. I'm sure somewhere there is an audience for "Tank Girl', but it is extremely small, perhaps punk comic book readers. Most viewers will be looking for an early exit or living with the fast forward button. The only redeeming quality are short bursts of humor "find me a microscope and a pair of tweezers", but these tiny moments of comic relief are far outweighed by the sophomoric action sequences. There is no character development, which is not surprising, since the source is a comic book. Do yourself a favor and avoid, avoid, avoid. - MERK | negative |
I'm a huge fan of legendary director Elia Kazan . His movies often deal with people trying to overcome their weaknesses. Be it obsessive love in 'Splendor In the Grass, poverty in "A tree Grows in Brooklyn" or racism in "Gentlemen's Agreement." While looking for other movies made by Kazan, I stumbled across a movie that was based on a novel by Arthur Miller. The movie called "Focus" stars William H.Macy (who happens to be one of my favorite actors) and Laura Dern. It deals with anti-Semitism in a very realistic way. <br /><br />Macy's character seems to go along with the bigots in his neighborhood and on his job, until it affects him personally. That's the key here... the reason he acted wasn't because he knew it was wrong and he wanted to take a stand, he acted because he was now considered an outsider, and he began to experience the same looks, the same remarks, and the same brutally that Mr. Finklestein (David Pamyers)experienced .<br /><br />The movie is very well written and well acted. Meat Loaf does a awesome job of playing a dirt bag! Both Macy and Dern's performances are outstanding! It's easier in life to go along with, instead of going against. Sometimes in order for people to take a stand things have to impact their lives, or the lives of their loved ones...Only then will some find their moral compass. | positive |
It's a puzzle to me how this turd of a film ever got distribution.<br /><br />Sure, it's horror and there's a fair share of nudity, but by god, the production value is the lowest I've ever seen, the equipment used is worse than standard home equipment, everything is overlit, giving everything an amateurish look, bringing your thought to America's worst home video's or whatever that show was called..<br /><br />Please people, is it too much to ask that you actually do an effort when you expect to waste 90 minutes of peoples lives watching this? You really should have done some short projects first cause it's obvious you're a bunch of amateurs! 1/10 | negative |
I have to admit that when I first heard about the Apocalypse film it was a worry.<br /><br />I mean, they have a lot to live up to, don't they? When they first did a stage show they won the Perrier award and when they did radio they won a Sony award. When they ventured onto our telly's they won a Bafta award, a Royal Television Society Award and the Golden Rose of Montreux.<br /><br />When the first series aired in January 1999 it was mind-blowing! A real breath of fresh air in British Comedy, and when the second series aired a year later it built on that foundation and sealed the shows cult status around the world, our web stats show that we have received visitors from every single country on the planet! The 'Local show for Local People' showcased the Gents talent for live performance and opened doors for the gents to do more live performing such as 'Art' in the west end.<br /><br />The fans favourite has always been the Christmas Special, less of a sketch show and more a tribute to classic horror films yet still wrapped up in the delicious League style.<br /><br />And then of course there was the 'difficult' third series, still a hit with the loyal hardcore fans of course, but maybe a little bit ahead of its time for a mainstream TV audience.<br /><br />As I say, a lot to live up to.<br /><br />So now we have the film and...Well a film is different isn't it? It will be seen by much larger numbers than the radio or TV shows and with the third series in mind I was worried.<br /><br />Well as you know I was lucky enough to get to see the film yesterday at a press screening in London and all my doubts were blown away (literally) in the first few minutes! I am not going to give plot lines away as some reviewers have done, nor am I going to tell you the catch phrases (although there is really only one) but I will try to tell you what they have managed to achieve with this film! Leaving the cinema on Monday night I could only imagine writing 'Oh my god, it's brilliant, its amazing, its the best thing they have ever done, better than the first, second and specials all rolled into one!' Of course I owe my visitors a much better explanation than that! So, why is it brilliant? This is a film for everyone, the casual fan, the obsessive fan the occasional fan and even for someone who is sat in the wrong cinema! You don't have to have watched the series to enjoy this film; it works on so many levels.<br /><br />This film reminded me why I am a League of Gentlemen Fan! You can tell that filming was a true labour of love too; the attention to detail is incredible. The sets for the TV show were always detailed but I am going to have to watch the film again just to look at the background! The story moves at a swift pace, the action carrying us from Royston Vasey to the real world where we meet the 'Creators' who are of course the League themselves! Along the way we manage to bump into favourite characters from the show but always within the central story unlike the TV sketch show.<br /><br />I was glad that the film was dark in places, a little scary and a little strange...only fitting for The League of Gentlemen. The Gents also managed to get their revenge on the BBC censors, not as much slipping in the word 'Mongoloid' as screaming it from the roof tops! Some may think the Gents portrayal of themselves a little indulgent but that's the joke and with that comes my only worry, the in jokes I mention below may puzzle some viewers and they might come over a little too clever...but I shouldn't worry, there is always a poo joke waiting just around the corner and speaking of jokes, they come thick and fast, and in a mixture of clever references, wig jokes, bum jokes, visual jokes and cock gags! I haven't laughed out loud in a cinema since...well, I can't remember! The fans that have been 'with' the League since the beginning are rewarded with loads of 'in' jokes, some that work on two levels, a mainstream audience may laugh at a reference to a compact disc for one reason whilst fans of the Local show will laugh for another reason altogether! The cameos are genius! Peter Kay and Simon Pegg form the strangest double act you have ever seen, Simon getting one of the films biggest laughs just by making a noise! I was a little worried about the 1690's aspect of the film when I first heard about it but as a story within a story I was just getting into it when...but that would be telling! All I need to say is that it fits wonderfully and adds to the overall feel of the film! I am not a professional reviewer of films, so I am finding it difficult to put into words how much I enjoyed this film but for now I will just say that if the supposed benchmark for British Comedy films in recent years was the excellent 'Shaun of the Dead' then I am sorry but a new benchmark has just been set by the inventive, hilarious and sometimes a little scary...The League of Gentlemen's Apocalypse.<br /><br />Jason Kenny 2005 | positive |
I hate to throw out lines like this, but in this case I feel like I have to: the American remake of THE GRUDGE is by far the worst film I have seen in theaters in the last 5 years. There, I said it. And now that I have gotten that out of my system, please let me explain why.<br /><br />"When someone dies in the grip of a powerful rage, a curse is born. The curse gathers in that place of death. Those who encounter it will be consumed by its fury." That is the premise of THE GRUDGE and I will admit it sounds intriguing. Unfortunately, the filmmakers take it no further. Those who encounter the "curse" are indeed consumed by its fury and that is all you get. You want more? Well too bad. Some critics and fans are pointing out that the sole purpose of THE GRUDGE is to scare you. The problem is that when there is no plot to speak of, creepy images and sounds can only go so far. Director Takashi Shimizu, pulling a George Sluizer and remaking his own original film(s), valiantly attempts to build atmosphere in the first hour by repeating the same scene over and over and over and over. It pretty much unfolds like this:<br /><br />-person walks into house<br /><br />-something flashes by the camera and/or a strange sound is heard <br /><br />-person goes to investigate<br /><br />-sound starts to get loud<br /><br />-person sees a ghost<br /><br />-loud scream and/or cat screech<br /><br />-cut to black<br /><br />Before the audience is even given a hint of plot, this exact same scenario unfolds 5 times in the first hour. The first time was actually somewhat creepy. Each subsequent use became laughable as the film went on. By the time the end of the film rolled around, my friend and I were laughingly wondering if this scene would end "with a loud scream and a cut to black." We were never proved wrong.<br /><br />The film has no liner storyline, instead unfolding in a series of vignettes that leave the audience jumbled. I have no problem with non-linear storytelling when it is done right. The film jumps from time period to time period with no rhyme or reason. I haven't seen a movie in such a state since the opening of the theatrical version of HIGHLANDER 2. And this storytelling technique mars any sort of mystery that film could have possibly had. If you already know the ghosts have scared two characters to death, how is it shocking when their bodies are found in the attic? And why should we care when a detective tries to investigate the mysterious disappearances when we already know what happened to everyone?<br /><br />Obviously greenlit the second the American version of THE RING made $15 million its first weekend, THE GRUDGE is nothing but calculated imitation disguised as an actual movie. The scariest things about THE GRUDGE are that it made $40 million dollars its first weekend and some people consider it the "scariest movie ever made." I wonder what happens to those who get consumed by the fury of paying to see THE GRUDGE? | negative |
Vanaja (2006), written and directed by Rajnesh Domalpalli, is an extraordinary film from South India. Mamatha Bhukya plays 15-year-old Vanaja, who lives in a rural area with her loving but alcoholic father. If she is going to succeed in life, she will have to overcome the liabilities of low caste and poverty. <br /><br />I went to the film expecting the depiction of an wretched girl who is crushed by society. This isn't what "Vanaja" shows us. The young woman is attractive, intelligent, and ambitious. She won't accept her fate with tears or simple resignation. She wants to succeed, and it's never clear that she won't succeed, despite the odds. <br /><br />The acting that Mr. Domalpalli draws forth from his cast of amateurs is miraculous. Mamatha Bhukya is outstanding in the title role, and Urmila Dammannagari does an exceptional job as Mrs. Rama Devi, the wealthy landowner who is a formerly famous classical dancer.<br /><br />In the film Vanaja learns South Indian classical dance, as she did in real life. I couldn't tell how good Vanaja's dancing was by Indian standards, but the many dance scenes were spellbinding. (Don't think Bollywood--this is classical dance. It's also very different from ballet, because in ballet the dancer lifts her heels away from the floor. In Sound Indian dance, the heel is the primary contact point.)<br /><br />This is a movie that is not to be missed. It will work on DVD, but will be better on a theater screen because the dancing will be shown to better advantage. However, if DVD is your only option, then see it that way. Just be sure to see it. | positive |
This is a bad, bad movie. I'm an actual fencer: trust me when I say that this film's pretension of accuracy is just that. This is especially true during that vile little scene when the fencers are combining footwork with 80's pop. The ending is predictable, and the movie is a bore from start to finish. Horrible. | negative |
Even though he only made his debut film in Australia and left for Great Britain and then America to continue his career, Australians will tell you that the greatest film star they ever produced was Errol Flynn. I'm not sure he ever even went back to Australia after his breakout success in Captain Blood. Still I attribute this film to the well known Aussie irreverence for trashing the reputation of one of their own.<br /><br />Part of the problem in telling Errol Flynn's life story was that he told enough tall tales in his life right up to the very end in his memoir, My Wicked Wicked Ways. I could see that a lot of the film was based on that and upon reading between the lines of that book.<br /><br />His mother's infidelity to his father was not written, but could have been inferred in reading My Wicked Wicked Ways. He didn't particularly like the woman, that is clear from a few sources. <br /><br />I wish the film had dealt more with his New Guinea adventures, that to me was the most interesting part of My Wicked Wicked Ways. As for his street fighting in the Depression, I tend to disbelieve that. Even if he had been successful at it, I guarantee that enough of that would have ruined his looks and he would never have had a career as a leading man.<br /><br />Still the folks down under seem to think the atmosphere of Sydney during the Depression was captured well and Guy Pearce is a charismatic Errol Flynn. American audiences know him best as the uptight, but honest Lieutenant Exley in LA Confidential which came out the same year as Flynn.<br /><br />But LA Confidential was a far better film. | negative |
It has been a tradition since my first VHS recorder for me to collect several of the incarnations of the old chestnut by Charles Dickens, and I taped this one and "Karroll's Christmas" this year. Fortunately, when this one was run on the Hallmark Channel at the unGodly hour of 3 AM, I was spared having to edit commercials from it. This was, however, it's only saving grace. <br /><br />The writing was excruciatingly dull with almost no clever scenes to save it from being anything more than a teeny-bopper soaper like Beverly Hills 90210. In this one, a good man who was cast aside for her celebrity seems the only logical explanation for her transformation into a Scrooge-like TV talk show hostess. It wasted Dinah Manoff who just plays bitch goddess to the other bitch goddess Tori Spelling (who, by the way, had more coats of paint on her face than some colonial houses) and Bill Shatner is perhaps one of the few fun things in this otherwise dreary adaptation. <br /><br />Some of the best opportunities are wasted like the entrances of the ghosts. Aunt Marla's entrance could have been spectacularly funny in the hands of a decent writer, but this Christmas turkey didn't have one, evidently.<br /><br />Tori Spelling may be a lovely person, but she has all the acting skill of a mannequin, and that makes for a bad show all by itself. <br /><br />Yes, it was good to see Gary Coleman work again, but the script gives him nothing to do really except roll his eyes and spout truly lame dialogue.<br /><br />And what is most infuriating was that the transformation from Scroogedom to Tori "sweet and light" is as convincing as a passionate conservative. Now, if anyone wants to write the ultimate Scrooge tale of a George Bush and Karl Rove, we might have a refreshing change from the usual bad Christmas Carol Clones.<br /><br />I suppose if you're a fan of Ms. Spelling and/or 90210, this might be your cup of Christmas cheer. I'd prefer a stiff shot of scotch and a cold beer to wash it down myself. This one I just may cast away before it is with me here for a long long time.<br /><br />God save us everyone! | negative |
Clouzot followed Le Corbeau, where no one knew who was penning the poison thus everyone was suspected, with another masterpiece, Quai des Orfevres four years later in which we know from the outset (or think we do) whodunnit. Top-billed Louis Jouvet doesn't appear for forty minutes by which time Clouzot has established a rich milieu of Music Hall, music publishers, etc and a fine cast of colourful characters; Angela Lansbury lookalike (Lansbury appeared in Woman of Paris that same year) Suzy Delair scores as the chanteuse whose desire to improve her lot inspires the jealousy of her husband/accompanist Bernard Blier who follows her to the home of an elderly letch only to find he is already dead. From here things go seriously wrong, his car is stolen before he leaves the premises so his pre-arranged alibi is out the window whilst meanwhile, unknown to him, his wife confesses to the murder to the photographer neighbour, a closet lesbian in love with her, who volunteers to return to the crime scene and retrieve Delair's scarf and as long as she's there,thoughtfully wipes her prints of the murder weapon, a champagne bottle. At this point investigator Jouvet gets involved and from then on it's a case of keeping the plates spinning in the air. Clouzot's output was relatively small but virtually all of it was, as Spencer Tracey said in another context, 'cherce', with Le Salaire de peur and Les Diaboliques still to come. In short this is a must for French cinema buffs. | positive |
My reaction to this remake of "The Italian Job" is probably hopelessly mixed up with the events occurring in my life when I saw it; This is the first movie I saw after I had just landed a job after 8 months of unemployment and going back to school for retraining. Money was still tight, but I no longer had to choose between seeing a movie in the theaters and paying bills (or eating lunch), and the sense of relief and gratitude I was feeling at the time was enormous. In consequence, my enjoyment of "Italian Job" was probably far out of proportion to its actual worth. <br /><br />Still, I picked it up used on DVD a few weeks ago and watched it again, and I still enjoyed it immensely. I have never seen the original (though I have heard it is an absolute classic), but its modern day counterpart is eminently watchable if you have a taste for modern day production values applied to older films plots and themes. <br /><br />What initially won me over to this movie was the soundtrack - IMO Don Davis writes some of the most supple, textured and aurally pleasing soundtracks around. IJ opens with a sly, witty, pulsing arrangement that combines strings, guitar harmonics, brush work and quiet moments - it won me over completely from the opening seconds. And the whole movie is like this - I haven't heard this kind of ringing, chiming, pulsing soundtrack music since Stewart Copeland left the Police and started doing soundtracks for movies like "Rumble Fish". There are at least a dozen irresistibly scored motifs in here, along with some pop song remakes that range from "all right" to "inspired". For people to whom the soundtrack is important, this movie is a delight. <br /><br />On to the movie: I can take or leave Mark Wahlberg, but he's okay here as the leading man, and the movie doesn't ask him to do anything he can't do well. He's the weakest "major" actor in the film, but that's because the rest of supporting cast is so strong, especially Donald Sutherland in a bit part. Mos Def, Jason Steadham, Ed Norton, Seth Green and Charlize Theron all turn in solid, fat-free performances. Norton seems to mostly be phoning it in (rumor has it that he didn't really want to be in the film), but he's still a natural even at 1/2 power. My one quibble with the casting and acting is with the character "Wrench", who seems to be a male model pretending to be an actor. His part seems to be shoehorned into the movie, and he has little chemistry with the rest of the cast (although you can blame some of that on the size of the part and the "late walk on" nature of the character). If I were a cynical sort,I would wonder who the actor slept with to get put into this movie in such a supernumerary role? Nah, never happen...<br /><br />Production values, camera work, stunts, plot...everything cooks along quite nicely and Gray and his production crew pull things together pretty seamlessly (with the exception of the "Wrench" character, see above). <br /><br />The dialog has a nice, light touch that rewards your indulgence, and there are several satisfying major and minor plot payoffs along the way. (My favorite moment - when Norton's character tells Wahlberg's character that he's just lost the element of surprise. Wahlberg proceeds to cold cock Norton with a right cross, and then asks him, "Were you surprised??" Hmmm, maybe you had to be there...) <br /><br />Of course the movie requires a certain level of "suspension of disbelief" to work, but if you just relax and go along with it (and don't think too hard about the mechanics of cracking a safe underwater, or the likelihood of anyone being able to successfully hack and manipulate LA traffic via a laptop, etc), you'll have a fun ride. <br /><br />"The Italian Job": it's lightweight summer fluff, but it's very good for what it is, and it doesn't try to be anything else. It isn't good enough for an "8" but I'd give it a "7.5". | positive |
"On a Clear Day You Can See Forever" is nothing more than a New Age update of the "Pygmalion" / "My Fair Lady" story: A professor attempts to turn a common girl into an upper society woman. This time, however, instead of using language skills, the professor tries to do so by hypnotism and past life regression.<br /><br />You know a musical has problems when reviewers constantly mention the sets and the costumes before they mention the plot and the music. The songs are instantly forgettable. (No "Get Me to the Church on Time" here, I'm afraid.) And the plot goes nowhere. To paraphrase Gertrude Stein, there is no "there" here. The characters wander through the story without ever getting from point A to point B. Professor Chabot claims several times that he will get to the root of Daisy's troubles, but he never seems to do so.<br /><br />All meaningful conflict is avoided. For instance, there comes a time when Chabot's university demands he either stop his research into reincarnation or resign his position. Now there is conflict! Will he give up his career for Daisy? Alas! Nothing comes of this development. A scene or two later the university changes its mind and tells Chabot to continue on with his work. So much for conflict.<br /><br />The talent was certainly assembled for this movie: Directed by Vincente Minnelli. Written, in part, by Alan Jay Lerner. A cast of Yves Montand, Bob Newhart and Jack Nicholson. And, oh yes, starring Barabara Striesand who was nearly at the top of her game at this point in her career.<br /><br />But it all falls flat. Lerner's attempt to reincarnate his greatest success, the previously mentioned "My Fair Lady," is as doomed to failure as Daisy's attempt to revive the greatness of her own past.<br /><br />If you enjoy movie musicals, there are far better choices than this. | negative |
In the Universal series of modern Sherlock Holmes stories with Basil Rathbone and Nigel Bruce, SHERLOCK HOLMES AND THE SECRET WEOPON is not one of the top films - although it is entertaining. I think the problem with it is that much of the film's "dueling" between Holmes and his nemesis Moriarty (here played by Lionel Atwill) seems to delay the actual point of the Professor's work.<br /><br />Moriarty appears in three of the Holmes films with Rathbone. In THE ADVENTURES OF SHERLOCK HOLMES he was played by George Zucco, who gave real relish to the love of villainy for its own sake to the role. For my money Zucco's performance as the Professor was the best of the three (there is even a brief moment of comedy in his performance, when he's disguised as the "Sergeant of Police" towards the end - like he's preparing to sing "A Policeman's Lot" from Gilbert & Sullivan). Next comes Mr. Atwill's performance here - more of that later. Finally there is Henry Daniell's intellectual Moriarty in SHERLOCK HOLMES AND THE LADY IN GREEN. It's a typically cool, classy performance by Mr. Daniell, but his confrontations with Holmes seem to be a tedious bore to him. They keep him from completing the main plan. In the stories that the Professor pops up in, he really senses Holmes is a nemesis who will remain a danger as long as he is alive. Yet, because of the intellectual tennis match between him and Rathbone, Rathbone (in his autobiography) actually felt Daniell was the best of the film Moriartys.<br /><br />If Zucco captured the love of evil in the Professor, and Daniell seemed to demonstrate the tired Oxford Don (in the stories the Professor is a well regarded mathematician, whose volume on the binomial theorem had a "European vogue", and who wrote an intriguing book, THE DYNAMICS OF THE ASTEROID), Atwill demonstrates the Professor as pragmatic businessman. First of all, he's sold his services (apparently) to Nazi Germany. This is never gone into, but one presumes (as this is before the Nazis began to really collapse) he figures they will win the war. Secondly, he is not a fool. When Dr. Tobel (William Post Jr.) has shown he is a state of near physical collapse due to the torturing of Moriarty's gang, the Professor decides to kidnap one of the other scientists who are assisting Tobel, because he's as good a scientist as Tobel and would be able to put together the bomb site. I somehow can't quite see Zucco making such a sensible decision on the spot, and if Daniell had to make it, he would seem annoyed that there is yet another delay to his plans.<br /><br />By the way, one trick used in all the Holmes series regarding the Professor is how to rid the film of him. If you read the Holmes stories, Moriarty appears as the villain three times: in THE MEMOIRS OF SHERLOCK HOLMES' last story ("THE ADVENTURE OF THE FINAL PROBLEM"), in THE RETURN OF SHERLOCK HOLMES' first story ("THE ADVENTURE OF THE EMPTY HOUSE") and the last of the four novels/novellas (THE VALLEY OF FEAR). It's amazing how much mileage the Professor got out of so few appearances (he is mentioned in two or three other stories as well - in passing). But because of his fate at the Reichenbach Falls in "THE FINAL PROBLEM" and "THE EMPTY HOUSE", we always see him fall to his death. Zucco falls off the White Tower on Tower Hill. Daniell (with more imagination) tries to flee Gregson and the police, but is shot as he jumps, and wounded fails to hold on to the wall of an adjacent building. Atwill (here it is not seen, but heard) seems to fall down a trap door he's planted in an escape tunnel). It is really tedious after awhile to see the Professor always fall in these films. One turns to the Gene Wilder comedy (admittedly a comedy) SHERLOCK HOLMES' SMARTER BROTHER, wherein Leo McKern is a wonderfully wacky and villainous Moriarty (complete, finally, with an Irish accent), who is not killed at the end, but just left mulling - in a rowboat - over how his careful schemes did not work out. I rather liked that better.<br /><br />The use of the "Dancing Men" code here, like the use of the "Devil's Foot Root" in DRESSED TO KILL, snags a part of a mystery from a short story. "THE ADVENTURE OF THE DANCING MEN" appeared in THE RETURN OF SHERLOCK HOLMES, and deals with a client of Holmes whose wife has been getting weird, blood-curdling messages in this code. Charles Higham, in his biography THE ADVENTURES OF CONAN DOYLE suggests Sir Arthur may have picked up the code from a magazine game in the 1870s, but we really don't know. The code is basically one of letter substitutions for the figures of the dancing men. The story in the short story is dramatic, but deals with a triangle. The only innovation in the film is that Tobel makes a slight change that confuses both Holmes and Moriarty. <br /><br />The film will entertain, but I still think THE HOUSE OF FEAR, THE SCARLET CLAW, and SHERLOCK HOLMES FACES DEATH are better films. | positive |
Night of the Twisters is a very good film that has a good cast which includes Devon Sawa, Amos Crawley, John Schneider, Lori Hallier, Laura Bertram, David Ferry, Helen Hughes, Jhene Erwin, Alex Lastewka, Thomas Lastewka, Megan Kitchen, and Graham McPherson. The acting by all of these actors is very good. The special effects and thrills is really good and some of it is surprising. The movie is filmed very good. The music is good. The film is quite interesting and the movie really keeps you going until the end. This is a very good and thrilling film. If you like Devon Sawa, Amos Crawley, John Schneider, Lori Hallier, Laura Bertram, David Ferry, Helen Hughes, Jhene Erwin, the rest of the cast in the film, Action, Mystery, Thrillers, Dramas, and interesting films then I strongly recommend you to see this film today! | positive |
Not only does this movie have a great title but quite simply is the greatest drama I have ever watched. The viewer is irrestiblely drawn into the movie involving 5 young men working together to try and overcome insumaintable odds, Sean Astin as Billy Tepper is brilliant along with great supporting roles from T.E.Russell, Wil Wheaton and Shawn Phelan, the guidance and leadership of Gosset's and Astins characters makes the movie so much better. As time goes on the movie keeps gathering momentum and its a dissapointment that none of the young actors made a name for themselves in the film industry after this wonderful movie. | positive |
This film's premise is so simple and obvious that only a Texas millionaire high on oil fumes and whiskey would have a problem understanding it if someone shouted it across the proverbial parking lot. In summary: the oil business is in cahoots with The Government (or Gummint if you prefer), the Gummint is in cahoots with Middle Eastern despots, and the CIA is a singular festering pool of double dealing sons-of-(insert word) willing to toe any line that comes their way. The only people that get done over are the good ones, like Mr Clooney ("Bob"). Oh, and terrorism is a result of the poverty which globalization creates when wicked multinationals stalk the world looking for a tasty takeover or three . That really fits to the profiles of the well-heeled 9/11 perpetrators.<br /><br />In Syriana this facile tissue of political half-truths and Hollywood holograms is stirred up in a repugnant vermicelli of story strands that twist, turn and whirl through the gloopy circumlocutions of their own insignificance until the poor viewer is left alone with the conclusion that: <br /><br />1. the "director" (good joke) should never be let near a camera again <br /><br />2. people like Clooney and Hurt might know how to act, but they sure don't know how to pick a script <br /><br />3. if you want to see a film that deals with corruption in big business and the state, go and see Claude Chabrol's "L'ivresse du pouvoir", which is insightful, funny and brilliantly acted. <br /><br />Empty, doom-laden sententious piffle spun out to evening-ruining length. | negative |
A quick paced and entertaining noir set in Vienna just after W.W.11. Donald Buka is a refugee who can't find legal work because he does not have any papers. No papers means no work permit, which means no way to get a passport. He survives by driving a friend's cab at night. If he gets caught it means three months in jail. One night he picks up a fare at a big hotel and drives the man to an airline office. Buka takes the man's luggage in and returns to the car. There he finds his customer has acquired an unneeded hole in the back of his head. What to do? Call the police? Without a work permit they will put the grab on him real quick. No, he needs time to think this out. He drives to a secluded spot, empties the man's pockets and hides the body. He now has an American passport and plenty of cash! He drops by an underworld contact to have the passport photo changed. Now he just needs to go to the man's hotel and collect the man's plane ticket. His ticket to freedom! Needless to say that would be too simple. Waiting at the hotel is the dead man's mistress, Joan Camden. Camden is on the run from her rather nasty husband, Francis Lederer, Lederer is of course the swine who had bumped off the man in Buka's cab. Camden calls the police since she believes Buka has robbed her lover. Buka shows his new passport and manages to talk his way out of the mess. Camden breaks down when hubby Lederer shows up at the police station. Lederer convinces the police Camden has suffered a mental breakdown and she is released to him. She escapes again, finds Buka, and the two decide to flee the country together. Lederer again puts in an appearance and Buka must decide if helping Camden is worth his freedom. This film is much better than I'm making it sound. Buka is best known as the low-life cop killer in 1950's "Between Midnight and Dawn". The film was produced by actor Turhan Bey. | positive |
Eliza Dushku is a very talented and beautiful actress. She manages to be the rock-steady centre of "Tru Calling" but that's not enough to rescue her TV series from mediocrity. It's a real shame that a woman as attractive and talented as Dushku should go from a meaty supporting role in "Buffy the Vampire Slayer" to this clunker. <br /><br />Unoriginal and desperately trying to be hip, "Tru Calling" fails to excite on any level above hormonal. The eponymous heroine spends a lot of her time running hither and yon across what must be a very small city, in order to avert the deaths of good-looking corpses-to-be that she's already met in the mortuary where she works. Despite all the running she does, she always arrives looking like she's just stepped out of a portable air-conditioned dressing room. <br /><br />In every episode, Eliza Dushku and the rest of the cast struggle to breath life into the bland, characterless screenplays but it's a pointless exercise. "Tru Calling" just lies on the slab, gazing lifelessly at the ceiling. | negative |
Pieced (edited) together from dead body parts (deleted scenes) from corpses (Anchorman), the Frankenstein Monster (Wake Up, Ron Burgundy) is definitely not a sight for sore eyes (something you'd ever want to watch twice.....maybe even once for that matter.)<br /><br />More often than not -the relativity of the scenes in WURB are made relevant by a third person narrator. Even more troubling is that the characters in WURB are inconsistent with the versions of themselves that we had at the end of Anchorman (in opening narration we're told WURB takes place shortly after the original.) At the end of Anchorman, Burgundy had grown since the start of the film and embraced having a hybrid co-anchorwoman/lover. In this film, he's back to his immature antics with prank phone calls to Veronica (quite clearly these are the more of the same scenes from the original Anchorman spliced in to WURB.) <br /><br />The part that makes this a movie, a continually evolving story, involves a bank-robbing clan without a cause called the Alarm Clock. These scenes are almost painful to sit through. This part was scrapped from the original scripts for Anchorman.<br /><br />The majority of other scenes involving our Channel 4 news team are clearly alternate/deleted takes on scenes from Anchorman. They go to the same party as in the original, the same original "group bitching about having a woman on the team" scene, and the same cat fashion show segment that Veronica had objections to reporting.<br /><br />Burgundy re-creates their first date with the drive-in spot overlooking San Diego and dinner at his favorite club, Tinos. Neither character make mention that they've been to the drive-in spot before and when Burgundy walks into Tinos with Veronica, he introduces it to her as though they've never been before. Oh, and they're wearing the same clothes as on their original date.<br /><br />Still, I have to give some credit to the filmmakers - even if WURB is nothing more than a clever way of presenting deleted scenes tied together with narration. Between the two Ron Burgundy stories - this is the weaker one. Looking back on it, it's quite a feat for Anchorman to have risen from the ashes of WURB. You stay classy, IMDb. Thanks for stopping by. | negative |
I saw this pilot when it was first shown, and I'm sure countless "Spirit" fans hate it, because, like Batman, the Green Hornet etc., it took the character in the direction of "camp". But I evidently never got enough of Batman, because I thought it was entertaining, in some of the same ways as that show. There are two parts that stay with me. First, when Denny's partner has been fatally wounded, and he makes a dramatic speech about how he always stood for the law, and obeying the exact letter of it. Then, he says something like, "Boy, was I stupid!" Which is his way of telling Denny to become a vigilante instead, which he does (though the TV Batman kind). Then, there's the scene where he tries to seduce the villainess into letting him go by kissing her, but she isn't fooled, because he's too honest to kiss her convincingly ! This was a great example of "camp", that was also "underplayed", by both the actor and actress. | positive |
In this horrible attempt at a Blair Witch mockumentary, a bunch of people go to Africa to investigate a creature called the Half-Caste. It's pretty obvious that there was no script to speak of, and that everything was improvised. That can work if you have good actors, which this film didn't. <br /><br />This movie tries to gain points for originality by exploring a more obscure myth and an exotic culture. As a result, there are a lot of scenes out in the bush where characters do "quirky African stuff" like eating elephant dung. There is also some pretty good footage of lions eating (from a National Geographic perspective) but there's not a single scare in the whole movie. <br /><br />If you've seen Cannibal Holocaust or the Blair Witch Project, this movie will hold no surprises for you, and you can probably watch better lion footage on the Discovery Channel.<br /><br />Definitely a Half- Aste effort. <br /><br />A note to the filmmakers: guys, do us all a favor and next time save the "How I spent my African Vacation" home movie for your family and close friends. Nobody else wants to see it. | negative |
Wow! I caught this on IFC recently after I watched But Im A Cheerleader. Id never heard of this movie but the description sounded remotely interesting. I went in with low expectations and now I must say this is one of the best love stories ever in film. Robin Tunney does an excellent job portraying a person with tourettes. The relationship between the two and just the slightest details in the film are so acurate and believable. I usually hate "romance" and love films but this movie truly touched me. I so recommend this movie to anyone with the ability of vision. | positive |
This has to be creepiest, most twisted holiday film that I've ever clapped eyes on, and that's saying something. I know that the Mexican people have some odd ideas about religion, mixing up ancient Aztec beliefs with traditional Christian theology. But their Day of the Dead isn't half as scary as their take on Santa Claus.<br /><br />So..Santa isn't some jolly, fat red-suited alcoholic(take a look at those rosy cheeks sometime!). Rather, he's a skinny sociopathic pedophile living in Heaven(or the heavens, whichever), with a bunch of kids who work harder than the one's in Kathy Lee Gifford's sweat shops. They sing oh-so-cute traditional songs of their homelands while wearing clothing so stereotypical that i was surprised there wasn't a little African-American boy in black face singing 'Mammy'. This Santa is a Peeping Tom pervert who watches and listens to everything that everybody does from his 'eye in the sky'. This is so he can tell who's been naughty or nice(with an emphasis on those who are naughty, I'd bet).<br /><br />There's no Mrs. Claus, no elves(what does he need elves for when he's got child labor?) and the reindeer are mechanical wind-up toys! This floating freak show hovers on a cloud, presumably held up by its silver lining.<br /><br />Santa's nemesis is...the Devil?! What is this, Santa our Lord and Savior? Weird. Anyhoo, Satan sends one of his minions, a mincing, prancing devil named Pitch, to try to screw up Christmas. Let me get this straight-the forces of purest evil are trying to ruin a completely commercial and greed driven holiday? Seems kind of redundant, doesn't it?<br /><br />Pitch is totally ineffectual. He tries to talk some children into being bad, but doesn't have much luck. I was strongly struck by the storyline of the saintly little girl Lupe, who's family is very poor. All that she wants is a doll for Christmas, but he parents can't afford to buy her one(they spent all of their money on the cardboard that they built their house out of). So Pitch tries to encourage her to steal a doll. In reality, that's the only way that a girl that poor would ever get a doll, because being saintly and praying to God and holy Santa doesn't really work. But Lupe resists temptation and tells Pitch to get thee behind her, and so is rewarded by being given a doll so creepy looking that you just know that it's Chucky's sister.<br /><br />Along the way Pitch manages to get Santa stuck in a tree(uh-huh) from whence he's rescued by Merlin! Merlin? You have got to be kidding me! Since when do mythical Druidic figures appear in Christmas tales, or have anything to do with a Christian religion? And doesn't God disapprove of magic? They'd have been burning Merlin at the stake a few hundred years ago, not asking him to come to the rescue of one of God's Aspects(or that's what I assume Santa must be, to be going up against Satan). This movie is one long HUH? from start to finish, and it'll make you wonder if that eggnog you drank wasn't spiked or something. Probably it was, since this movie is like one long giant DT. | negative |
Begins better than it ends. Funny that the russian submarine crew outperforms all other actors. It's like those scenes where documentary shots...<br /><br />--- SPOILER PART ---- The message dechifered was contrary to the whole story. It just does not mesh.<br /><br /> | negative |
This movie is suppose to be a mysterious, serious thriller about a man looking for a missing girl. However, 30 minutes into the movie, it turns into a funny, unrealistic story with annoying characters and random scenes. I can't imagine anyone not laughing when Cage randomly Karate kicks that blonde girl or when he "bear" punches that old lady. The lines, characters, and acting are all poorly done from the get-go. I've always liked Nicolas Cage as an actor, but he has made some terrible movies this year; this being by far the worst one (yet...).<br /><br />I wouldn't recommend this movie to anyone who wants to watch an intense story-gripping thriller. If you really want to enjoy this story, go rent the original. However, if you intend on watching it, get ready to laugh at some of the lines and end scenes rather than taking them seriously; that's the only way you enjoy this film. | negative |
Whoever made this nonsense completely missed the point. Jane is a silly comic strip to titillate without being sleazy.<br /><br />This giant mess tries to be funny and exciting but is just a shambles. There is not one decent performance in it..even the usually reliable Jasper Carrott is painfully unfunny.<br /><br />The American bloke whose name escapes me is just as rubbiush as he was in flash gordon.<br /><br />Maud Adams tries as a villianess but she is a bit long in the tooth for this type of thing. All of these things would not matter if the girl was sexy or funny or likable.She is not. Kirsten Holmes faded into obscurity after this and so much the better.<br /><br />I've flushed more entertaining things than this down the toilet. Avoid | negative |
There's something wonderful about the fact that a movie made in 1934 can be head and shoulders above every Tarzan movie that followed it, including the bloated and boring 1980s piece Greystoke. Once the viewer gets past the first three scenes, which are admittedly dull, Tarzan and his Mate takes off like a shot, offering non-stop action, humor, and romance. Maureen O'Sullivan is charming and beautiful as Jane and walks off with the movie. Weismuller is solid as well. Highly recommended. | positive |
I know that the original Psycho was a classic and remaking it was a mistake, ESPECIALLY a shot-by-shot remake. I think that that has been more or less proven by the rest of the comments here. But there's far more wrong with this movie than just that.<br /><br />The first problem is the color. The original film was shot in black and white but, what few people realize is, the original was shot AFTER color film had been invented. The choice of black and white film was partially a budget concern, but it was also a stylistic choice of Hitchcock's. Now, this is not to say that the remake should have been redone in black and white, but the colors of this movie are all too wrong. The most predominant colors in the film are orange and green, particularly on Marion who is not supposed to be a flashy character. The bright colors make it look like a happy movie and, when horrific events take place in these color schemes, it looks like a cartoon more than anything and the audience is inclined to laugh rather than scream.<br /><br />The second problem is the lighting. This is a dark dark tale which should be highlighted by dim lighting, but this remake seemed not only to fail in this but seemed to go in the OPPOSITE direction. Most of the scenes are very brightly lit, even at times when it is illogical to do so because it's at NIGHT!<br /><br />Another obvious problem is Vince Vaughn's performance. Yes, he does pull off Norman Bate's awkwardness and madness quite well, I don't deny him that. But there is one element to the character that he failed to show: the softness. There should be a certain deceptive friendliness to the character, at least at first, which then fades away once we realize the truth about him. Beyond being a character trait of Norman Bates, this is a recognized character trait of ALL PSYCHOPATHS!!!!<br /><br />There are a few good aspects of this film. Some of the performances are great. As I said, Vince Vaughn came very close to pulling off a decent portrayal of Norman Bates. Viggo Mortensen and Juliane Moore were great together and their chemistry was very different from the characters in the original, which was a welcome change. Anne Heche may have been atrocious but, unlike Janet Leigh who was untruthfully advertised as one of the biggest stars of the film, Anne Heche was given last billing in the opening credits.<br /><br />I read on the cover of a copy of the Psycho novel that Gus Van Sant claimed this was not a remake of the Hitchcock film but rather a new adaptation of the original novel. I now wish that I had bought that book and saved the comment because, after seeing this film, that comment is quite possibly the funniest thing I have ever seen. There was no attempt in this film to disguise the fact that it was a rip off of the original, and it would be far more believable if Van Sant had tried to tell us that he was really a three ton ape from the planet Zafroomulax. So many shots were copied exactly without any actual thought as to why Hitchcock had composed the original shot in that way. Such as the scene in which Sam and Lila are talking while their faces are entirely covered in shadow. Hitchcock covered these actors' faces in shadow because he thought they were bad actors and wanted to hide their faces so nobody could see their awful performances, not because of any artistic or stylistic purpose.<br /><br />In other words, my review is about as pointless as the movie itself in that it replicates something that's already been said. Like everyone else here, I reccommend you don't waste your time on this film and get the original. | negative |
This is a deliriously colossal vulgar silly all star extravaganza revue of all the early talkie stars that Warner Bros could afford. ...and like most other rarely seen films actually made during the late 20s, an unforgettable opportunity to see and hear the genuine roaring twenties' exuberance and youthfulness put to song and dance. THE SHOW OF SHOWS is pretty gigantic. Vaudeville act after soliloquy after tap dance after acrobat after comedian after fan-dance after ukulele lunacy after Rin Tin Tin who introduces 'an oriental number'...(!)... and on and on it lumbers, grinning and squeaking away in fabulous gramophone quality Vitaphone sound. It is far too long, but among it's delirious delights are the awesome "Singin in the Bathtub" number created on a scale of which The QE2 architects would be proud...Beatrice Lillie lounging by a grand piano with some happiness boys amusingly warbling a witty ditty, Nick Lucas, and the never-ending grand finale in two color color...which is all set to the song LADY LUCK. . So keen are the tubby chorus line and leaping teenagers to en-ter-tain us that they almost kick themselves repeatedly in their own faces with glee and effort. Row after row of "Doll" characters hop past and some even emerge from the floor. I kid you not, there are even girls strapped to the crystal chandeliers, mummified with shiny gauze and chained up with pearl ropes, unable to move (for days, I imagine, during production) whilst this katzenjammer of toy-box athleticism twitch and spasm below to the Ukulele orchestra. Of course I loved it and had to watch this color finale over and over and then invite friends and family to the screen for weeks on end just to horrify and terrify them each separately and to roll about on the lounge in shrieking in delight at each and every exclamation of their startled reactions. And so should you...and rejoice that there was an era when this was created simply to entertain and thrill. It is all so demented. | positive |
The movie opens up with a long single shot of aisles in factory crammed with workers. My, what we've done to the planet you might think. I hope we get to see other things like this.<br /><br />That's very rare. When you're not looking at a horribly filmed angle of the narrator at a lecture hall, you're watching him set up his camera to take pictures in different locations. It'd be nice if chose areas that were more fitting with his topic but he doesn't. So, then you'll hear some more narration, watch a few pictures go by and watch him set up his camera. Why not use the filming camera to show more of the landscapes instead? It really kills any sense of pacing and paints the guy as more of vain jerk.<br /><br />I could read tips on how someone set up their camera, fast forward through this whole movie and waste a lot less time. | negative |
A stunningly beautiful Charlotte Lewis stars as a woman who is terrorized by a ghosts who torment her on the phone.Driven to the edge in terror Charlotte is forced to confront this chilling mystery in order to save her sanity and her life.I can't believe that Ruggero Deodato,the director behind "Ultimo Mondo Cannibale","Cannibal Holocaust" and "House on the Edge of the Park" directed this absurd piece of trash.Admittedly the music by Goblin front man Claudio Simonetti is pretty good,but the story is painfully stupid.The script by Franco Ferrini is ridiculous and it makes no sense,the acting is bad and there is absolutely no suspense.The scene in which a prospective rapist of Charlotte Lewis is killed by coins ejected from a subway telephone is more than laughable.Don't waste your time with this piece of crap.There are far better Italian horror movies out there! | negative |
No bullets, no secret agents, a story that is entertaining, funny, and believable. Met some of the producers/actors in this film at the theater. They seemed as interesting in person as their characters on screen. You may not hear about this movie on TV with high-dollar ad spots, but it is definitely worth checking out. I have spent $8 for a movie ticket on a lot of other movies that weren't this entertaining. Looking forward to future projects by this production company. | positive |
I have read many comments on this site criticizing The Blob for being cheesy and or campy. The movie has been faulted for amateurish acting and weak special effects. What would you expect from a group of folks whose only experience has been in the production of low budget, locally produced (Valley Forge PA) Christian Shorts. Let me tell those overly critical reviewers that this film never took itself all that serious. That fact should be evident from the mismatched theme music complete with silly lyrics played over the opening credits. For what it was meant to be, this film is excellent. I have seen a few of the recent ultra low budget attempts, Blair Witch Project was one of them, that have absolutely no entertainment value or intelligent thought behind their plot. BWP was pure excrement. The Blob, on the other hand, was well thought out, well scripted, and thoroughly entertaining. The scene where the old man comes across the meteorite and pokes the mass contained within with a stick was excellently done and genuinely creepy. The scene in the doctor's office with the Blob slowly moving under the blanket on the gurney while it consumed the old man was a cinematic horror masterpiece. Bottom line is, I love this movie. I challenge anyone out there to take $120,000.00, inflated for today's dollar value, and make a film anywhere near as entertaining and or as successful as the Blob. It just can't be done. PERIOD! <br /><br />Thank you for taking time to read this review. | positive |
Poor Basil Rathbone, an egotistical composer who's lost his muse. He's been faking it for some time, buying his lyrics and his music from various sources. Trouble is that two of the sources (Bing Crosby music) and (Mary Martin words) happen to meet and fall in love. And then they discover what they've been doing. Complications ensue, but all is righted at the end.<br /><br />Crosby and Martin sing terrifically. Mary had signed a Paramount contract and also at the same time doubled as a regular on Crosby's Kraft Music Hall Radio Show. For reasons I don't understand, movie audiences didn't take to her, so she went back to Broadway and did One Touch of Venus in 1944 and stayed there.<br /><br />Basil Rathbone in one of the few times he played comedy does it very well. His ego is constantly being deflated by sidekick Oscar Levant and again I'm surprised they didn't do more films together.<br /><br />As in most of Crosby's Paramount vehicles, no big production numbers, but I agree with the previous reviewer about the title tune being done as an impromptu jam session in a pawn shop. Good job by all.<br /><br />A surprisingly original plot and great entertainment. | positive |
Naach A more detailed review can be obtained anywhere else in the web. This one is a good portrayal, although I do not agree with it entirely. Taran is a commercial guy and hence views from his angle only.<br /><br />Ram Gopal Varma (RGV, seems like a political party) has created a marvel in Rangeela, so this one seems like a pale reflection of that one in some parts... I'm not even going to compare Urmila and Anthara.. both are good! The former has better acting talent, although the latter is catching up nicely.<br /><br />Anyways, I like Anthara's character. She is true to her art, not touched by any unnecessary emotion and definitely not too practical. She is a dance scientist, actually she is so sure of her theories that even comparing her to a scientist would offend her. Hey.. Donald Trump.. maybe you gotta ditch Melania, here is Anthara and you've already built a Taj Mahal... ain't this easy? Abhishek on the other hand is a practical fellow, who wants money, power, fame, etc. Hence these two albeit were struggling to get a break into the film industry, cannot get along, given their different styles and approach to life. This is very typical, but what I like about the movie is that it says what an Abhimaan would say in its total runtime, in one scene! What's new? This movie takes a different angle to the film industry and how different people get into it. There is always something different about RGV's movies, this one is different too, it is way too slow for his standards. In parts, it drags one almost to sleep.<br /><br />Noticeable It is tough to notice anything other than Anthara in the first half of the movie. I think this skin show was necessary for the dance sequences involved :-) Also, looks like Anthara is a pro in Yoga, she is way too flexible, almost like a Prabhu Devi. Aby Baby is improving as an actor with every movie. I am sure his filmstar blood is paying off rich dividends. The title song was really good, the music overall was above average. | negative |
I had the chance to watch Blind Spot in Barcelona and I enjoyed it tremendously. I thought it to be one of the most captivating movies that I'd seen for a long time. One of the best points of the film was to meet new fresh faces and great actors behind them in unexpectedly and brilliantly filmed great locations. The three heroes share a chemistry on screen that runs all across the film making it so thrilling. They are set on outstanding landscapes spotted by such an original eye (the DOP's work is just great) that makes you feel like you are discovering them for the first time. The mood of the desert floods everywhere and even the scenes filmed in the streets of Los Angeles or San Francisaco seem to be a natural extension of it. The story rides you smoothly through all these beautiful settings to lead you to a bitter-sweet ending, being the perfect climax for this perfect journey. The construction of the film itself is a master craft. The skilled use of innovative resources (like stills stitching Danny's memories into the film) will compare to those hand-made pieces of work so rare and so enjoyable. Blind Spot achieves to capture the essence of the desert taking you to an universal common ground where anyone of us can feel being both discoverer and native. | positive |
On rare occasions a film comes along that has the power to expand the mind, warm the heart and touch the very soul. "LOU" is such a film. I got "LOU" from my wife who got it from a neighbor who is in the film business. She watched it for a second time with me. We were both enthralled. Her as if for the first time again.<br /><br />"LOU" is a magical piece designed to send you back to the moment at which all of your dramas started taking place. It does this while being relentlessly entertaining. Bret Carr's acting and pacing as a director do not let you look away from the screen. He crafts a character which disarms with a bugs bunny like, stuttering innocence, but warmly carried with such underplayed sincerity that you forget you're watching a movie. When the epiphany hits during the brilliant climax, I saw my wife in tears for the second time.<br /><br />As a life coach, I facilitate individual growth and transformation, and this film is a "must see" for life coaches and anyone seeking their own personal growth and transformation. It is a brilliant, creative masterpiece with the power to change lives! | positive |
Absolutely the worst film yet by Burton, who seems to be getting worse with each film he directs. A miserable script loaded with cliches is only the first of many objectionable aspects to this film. This is the kind of movie where every time something happens, you'll be sure to hear someone shout out "he's lost his gun!" or whatever it is to let everybody know. Carter is really awful and so is Wahlberg, who can't play this straight and be convincing. Very nice effects and photography, but poor music in the John Williams mold by Burton's crony Elfman. Heston appears in a nonsensichal scene to spout out his most famous catch-phrases from the first movie. Very poor results.<br /><br />If anyone else out there also saw "Sleepy Hollow", they will probably have noticed, as I have, the declining quality of Burton's films. I've heard that this particular project was produced by others and that Burton was brought in as director, in which case his judgement should be questioned. But I think he has allowed any possible vision he might have had earlier in his career to slip; the evidence is there in the films. In "Sleepy Hollow", he couldn't decide what kind of movie he was making, whether it was a comedy or a real horror movie, and the population of british character actors (Chris Lee, etc.) made you also think it was kind of a monster rally film (those are never scary, as horror fans know). The movie couldn't succeed on either horror or comedy because it was so schizophrenic, and no style had been developed to smooth the two together. "Planet of the Apes" is much the same way, and the result comes off more like "Total Recall" or "Tango and Cash" than like sci-fi. He's also fallen into the rut of so many other "big" directors of trying to satisfy the entire possible audience. Word to Burton, if you're out there -- pick something and do it straight, or use some style to peice it all together (as in "Mars Attacks" or "Beetlejuice") or you might as well retire, because people like me that are fans of your movies will stop going. | negative |
...the opportunity it gave me to look at Ireland's past was invaluable.<br /><br />I had the benefit of seeing this with my Mother who hailed from Cork, and in watching, we talked and I learned a lot from her about how things were back then.<br /><br />Stuff like how Deasy and Co. was a Cork soft drinks company; how rain truly could destroy a harvest; how farmers used to have to collect the crop; how in dance halls the women and men did really have to stand along opposite walls before the men walked forward and asked the woman to dance; about the bellows that kept the fire going; how priests really did call out the list of church donators and their donations and a bit about the currency back then (which my Dad helped by showing me a case displaying the pence, shillings and crowns that were used back then (which were legal tender in England also)).<br /><br />I didn't pay that much attention to how good the movie was, but I was very grateful in having this opportunity to look back on a period of time that for some is Irish History, but for others including some of our parents and grandparents, is just their childhood. | positive |
Eight academy nominations? It's beyond belief. I can only think it was a very bad year - even by Hollywood standards. With Huston as director and Jack Nicholson and Kathleen Turner as leads I probably would have swallowed the bait and watched this anyway, but the Oscar nominations really sold it to me, and I feel distinctly cheated as a result.<br /><br />So it's a black comedy is it? Can anyone tell me where the humour is in Prizzi's Honor? It's certainly tasteless (the shooting in the head of a policeman's wife is but another supposedly comic interlude in this intended farce about mafia life) but with the exception of a joke about 'your favourite Mexican cigars' (which I imagine is an old joke for Americans who have been officially forbidden from buying anything Cuban for the last 50 years) I failed to spot anything of a comic nature - and I did try. There is a lot of Mafia cliché but cliché doesn't constitute humour in my book.<br /><br />Is it a romantic comedy of sorts? Never. The characters and their relationships are so completely incredible and shallow that they are on a par with Ben Afleck and Jennifer Lopez in Gigli.<br /><br />Is it a cleverly devised parody about the Mafia? Not in a million years. The plot is just pointlessly absurd rather than comically absurd, and it usually just has the feel of a really bad (and cheap) Mafia movie. It feels more like a homage than a parody.<br /><br />With one-dimensional characters and little in the way of humour written for them, the actors are left doing dodgy accents and pulling faces. Well it isn't enough; even when the face is being pulled by that master of the comic facial expression, Jack Nicholson (repleat with puffed up top lip ... now is that meant to be a parody of Brando's padded jowls in The Godfather?... Oh! Who cares?... all I know is, it isn't funny).<br /><br />Throw in some slow, plodding direction (this film drags on for 2 hours), some hopelessly daft and clichéd dialogue such as; "You remember the Camora? Well we're far bigger, we'll track you down wherever you go", and clichéd mannerisms and you'll be reaching for that fast forward button before you can say "capiche?". Prizzi's Honor is far from being Huston's "masterpiece" and is rather a very poor last work. It's definitely one work in the great director's canon that should be given a concrete overcoat and tossed into the Hudson River. | negative |
"Talk Radio" is my favorite Oliver Stone movie, though he has made many great ones including "Salvador", "JFK", "Natural Born Killers" and "Platoon". But I like the intimacy of "Talk Radio", a cinematic expansion of Eric Bogosian's searing stage play that was based on a real life account of a Dallas talk show host. Working with ace cinematographer Robert Richardson, Stone turns what could have been a very set-bound exercise into a visually arresting ideological battle that presents a radio station as an arena of war. Bogosian is devastating as tortured on-air spouter of abuse Barry Champlain and conveys the conflicted, destructive nature of his character with conviction and a generous dose of self-loathing. Alec Baldwin, as his Alpha male boss, strikes the perfect note as a man driven nuts by a guy whose monstrousness he helped nurture. Ellen Greene is fantastic as Barry's sweet ex-wife who ends up becoming another target of his vicious personal vitriol. Stone and Bogosian fill every frame with interest and every line of dialog with sweet poison and cutting ambiguity. John C. McGinley, as Barry's long-suffering screener/technical producer Stu, turns in a hilarious, sharp performance, as does the great Michael Wincott. The film is a flawless, underrated masterpiece of superb writing, awesome acting and brutal, uncompromising direction. The Stewart Copeland score is brilliant, too. | positive |
Maybe you shouldn't compare, but Wild Style and Style Wars are original Hip Hop. Beat Street does have a lot of the original artists of early Hip Hop, but they've been obviously made clear that this could be their big break, of course for some it was and that's nice. But if you view this as original Hip Hop Culture you're wrong. It's overproduced and has a Hollywood sauce. Rather look for the first two movies i mentioned. They have convey the grittiness that comes with life in the ghetto. Yes, the rating for this movie is low, but the reviews are mostly positive or even raving. This is probably because although the story, the acting, the dialogues and the direction all are dreadful, the music and dancing is what the people love about it. Me, i do love the dancing but at the time thought that electro was the death of Hip Hop (i was so glad when round '86 a new generation of now classic Hip Hop artists appeared, like Krs One, Public Enemy, Ultramagnetic Mc's, Jungle Brothers, Bizmarkie to name a few), and i still don't like most of the beats in this movie and that is why it doesn't work for me. I mean, Wild Style has not much of a story but the music there is great and authentic. Of course tastes differ and that's alright. But as far as i'm concerned, this movie is trash except for the break dancing and some of the music and so i can't rate it higher than a 4 out of ten. | negative |
Cypher is a clever, effective and eerie film that delivers. Its good premise is presented well and it has its content delivered in an effective manner but also in a way the genre demands. Although one could immediately label the film a science fiction, there is a little more to it. It has it's obvious science fiction traits but the film resembles more of a noir/detective feel than anything else which really adds to the story.<br /><br />The film, overall, plays out like it's some kind of nightmare; thus building and retaining a good atmosphere. We're never sure of what exactly is going on, we're never certain why certain things that are happening actually are and we're not entirely sure of certain people, similar to having a dream the ambiguity reigns over us all hero included and I haven't seen this pulled off in such a manner in a film before, bar Terry Gilliam's Brazil. Going with the eeriness stated earlier, Cypher presents itself with elements of horror as well as detective, noir and science fiction giving the feeling that there's something in there for everyone and it integrates its elements well.<br /><br />There is also an espionage feeling to the film that aids the detective side of the story. The mystery surrounding just about everyone is disturbing to say the least and I find the fact that the character of Rita Foster (Liu), who is supposed to resemble a femme fatale, can be seen as less of a threat to that of everything else happening around the hero: People whom appear as friends actually aren't, people who say they're helping are actually using and those that appear harmless enough are actually deadlier than they look. Despite a lot of switching things around, twisting the plot several times and following orders that are put across in a way to make them seem that the world will end if they're not carried out; the one thing that seems the most dangerous is any romantic link or connection with Lucy Liu's character and she's trying to help out(!) The film maintains that feeling of two sides battling a war of espionage, spying and keeping one up on its employees and opponents. The whole thing plays out like some sort of mini-Cold war; something that resembles the U.S.A. and the U.S.S.R. in their war of word's heyday and it really pulls through given the black, bleak, often CGI littered screen that I was glued to. <br /><br />What was also rather interesting and was a nice added touch was the travel insert shot of certain American states made to resemble computer microchips as our hero flies to and from his stated destinations significant then how the more he acts on his and Foster's own motivation this sequence disappears because he's breaking away from the computerised, repetitive, controlled life that he's being told to live and is branching out.<br /><br />Cyhper is very consistent in its content and has all the elements of a good film. To say it resembles the first Jason Bourne film, only set in the sci-fi genre, isn't cutting it enough slack but you can see the similarities; despite them both being released in the same year. Like I mentioned earlier, there feels like there is something in this film for everyone and if you can look past the rather disappointing ending that a few people may successfully predict, you will find yourself enjoying this film. | positive |
I believe they were telling the truth the whole time..U cant trust anything in the wild... They family went through hell.Those poor boys too young to understand what was going on around them. But still having to deal with the rumours. As well as dealing with the lose of their little sister. I cant believe this case went on for so long.seems like the jury couldn't see the truth, even if it bit them on the ass.I feel for this family, and if i could let them know i hate what has happened to them, i would.I have no idea what they went through, i cant even imagine it. After watching this movie, i was in tears, and had to check on my little girl in bed...I think everyone should watch this. | positive |
I clicked onto the Encore Mystery channel to wait for the movie I wanted to see, Island of Dr. Moreau. I caught only a few minutes of Shadow Conspiracy. An old man runs to meet Charlie and grabs him by the arm. Suddenly, an Assassin in a bright rain coat taps the old man in the head (with a side arm) from across the street. After waiting for "C" to turn around and look, the "A" tries to shoot "C" and clearly misses. "C" was a much easier target, the old man couldn't have run far. Duh! There is a chase and "C" is on an elevator "A" is on the roof, so he tries to shoot the cable, which is parallel to the "A". He hits and severs the cable, impossible. Later, this time with a specialized rifle, the "A" lines up on "C" from maybe 50 meters, but is to stupid to notice a motorcycle coming up and taps the rider instead. How does Charlie get his parts? Does Daddy go to the producers and say "Look, my kid needs work..." It reminds me of his stupid Sit - Com. All the actors are good except, yup ... you got it. I usually have to endue 2 or 3 minutes of that waiting for C.S.I. to come on. Let's see, what can I do for the next hour. I know, I'll trim my toenails! Much better use of my time. | negative |
Everyone who worked on this film did an AMAZING job. This is honestly one of the best lesbian films I've seen in a LONG time. The acting, writing, cinematography, music, visuals, everything was top notch. As an avid fan of the genre (both lesbian films and gymnastics), I was so unbelievably pleased by this film. It truly gave me so much more than I expected across the board. Hearing the Q&A with the cast and crew was great, the lead actress has so much positive energy and is so humble and gracious, it's a pleasure to see people who can be talented and not lose sight of what's really important. And the writer did a hell of a job, as well as directing and the editing was awesome. Thanks so much for making a great film! Thanks also for the line about 'if you're going to slap a label on yourself, it would be bisexual'. I'm so tired of movies where characters who have a relationship with both sexes get passed off as gay or straight, it's wonderful to see bisexuals getting recognition for existing and being part of the gay community, and it was nice that labels weren't even necessary at all in this film. What an ending! Just when I thought it couldn't give me more, it did. Beautiful work and my applauds to all. I will spread the word, this is definitely a film not to be missed! | positive |
It is clear this film's value far supersedes the cost with which the format (mini-dv) implies. In fact, the filmmaker embraces the format and incorporates it so craftily into the storyline that I forgot the fact that I was not seeing the typical 35 millimeter film. It has the core appeal of indie movies like Clerks & the work of Robert Rodriguez combined with a fantastic "new take" on the romantic comedy genre. "This Is Not A Film" is an honest film with honest portrayals and, it is a superbly paced narrative. There is not one point in this film where I felt a scene could have (or should have) been omitted. On the contrary, the director pulls amazing performances out of truly gifted actors and does so in extremely confining circumstances. From page to screen, this film is a worthy and relevant story that hits on so many levels (creative, technical or otherwise). I highly recommend it for all who enjoy cinema or those looking for a little charm in an otherwise devoid of charm medium. | positive |
Savage Guns (video title) is a dirt cheap, bottom of the barrel spaghetti western in which the survivor of a massacre hunts the bandits who killed his brother and left him for dead, catching up with them in a town controlled by their crooked boss.<br /><br />Despite plenty of violence, this manages to be both dull and colorless with bad characterizations and almost no imagination or humor.<br /><br />Lead actor Robert Woods lives up to his name with a wooden and uncharismatic performance that fails to generate any warmth or sympathy whatsoever. In other words, the viewer never really roots for him despite the fact that he's the protagonist.<br /><br />The worst scene (in my opinion) is the annoying dance hall scene where a woman sings in a heavy and terribly unsexy German accent. It was the worst scene in Blazing Saddles and the worst one here! | negative |
I saw Heartland when it was first released in 1980 and I have just seen it again. It improves with age. Heartland is not just for lovers of "indie" films. At a time when most American films are little more than cynical attempts to make money with CGI, pyrotechnics, and/or vulgarity, Heartland holds up as a slice of American history. It is also a reminder of how spoiled most of us modern, urbanized Americans are.<br /><br />Nothing in this film is overstated or stagey. No one declaims any Hollywood movie speeches. The actors really inhabit their roles. This really feels like a "small" film but really it is bigger than most multizillion-dollar Hollywood productions.<br /><br />The film is based on the lives of real people. In 1910, Elinore Randall (Conchata Ferrell, who has never done anything better than this), a widow with a 7-year-old daughter Jerrine (Megan Folsom), is living in Denver but wants more opportunities. She advertises for a position as housekeeper. The ad is answered by Clyde Stewart (Rip Torn, one of our most under-appreciated actors), a Scots-born rancher, himself a widower, with a homestead outside of Burnt Fork, Wyoming. Elinore accepts the position (seven dollars a week!) and moves up to Wyoming with her daughter. She and her daughter move into Stewart's tiny house on the property. It is rolling, treeless rangeland, a place of endless vistas where the silence is broken only by the sounds made by these people and their animals. It's guaranteed to make a person feel small. The three characters go for long periods without seeing another human soul. What is worse, Stewart turns out to be taciturn to the point of being almost silent. "I can't talk to the man," Elinore complains to Grandma Landauer. "You'd better learn before winter," replies Grandma. Grandma (Lilia Skala) is one of the only two other characters who are seen more than fleetingly. She came out to Wyoming from Germany with her husband many years before and runs her ranch alone now that she is also widowed. Grandma is their nearest neighbor (and the local midwife) and still she lives ten miles away! The other supporting character is Jack the hired hand (Barry Primus).<br /><br />Elinore's routine (and her employer's) is one of endless, backbreaking labor, where there are no modern conveniences and where everything must be made, fixed or done by hand. This is the real meat of the film: Watching the ordinary life of these ranchers as they struggle against nature to wrest a living from the land. But despite the constant toil and fatigue, Elinore is always looking for other opportunities. She learns that the tract adjacent to Stewart's is unclaimed. Impulsively, she files a claim on the property (twelve dollars, or almost two weeks' pay!), meaning that if she lives on it (and she must actually live there) and works it for ten years, she will get the deed to it. Naturally, Stewart learns what she has done. With merciless logic, he points out that with no money, no livestock, no credit, and no assets, she has no chance of succeeding. He then offers a solution: He proposes marriage. The stunned Elinore realizes that this is the only real alternative, and accepts.<br /><br />We think that Stewart's proposal is purely Machiavellian---he wants the land and the free labor---but we see that, in fact, he is genuinely fond of Elinore, and they grow together as a couple. She becomes pregnant; she goes into labor in the middle of a midwinter blizzard; Clyde travels for hours on horseback through the storm the ten miles to Grandma's and the ten miles back, only to announce that Grandma wasn't there. This is more like real life than is pleasant, folks. Elinore has the baby all by herself, with no help whatsoever. Their son is still an infant when he gets sick and dies. They lose half their livestock to the vicious winter. They struggle on. The last sequence in the film is supposed to be optimistic: The birth of a calf. Clyde calls Elinore urgently to help him deliver the calf. Instead of being head first, the calf is in a footling breech presentation. He and Elinore must physically pull the calf out of the birth canal. There is no CGI, animatronics, trickery, fakery or special effects: What you see is what happened, folks: A calf is born on a bed of straw in a wooden barn by lamplight. With that, the film does not so much end as simply stop, leaving the viewer unsatisfied, but after a while you appreciate the film as a whole, not just for its ending.<br /><br />This little gem rewards patience and thoughtfulness. It will be watchable long after most of the films of the last generation have long been forgotten. | positive |
If you like the excitement of a good submarine drama and the fun of a good comedy, then this film comes highly recommended. Kelsey Grammer gives an excellent performance here.<br /><br />The film also gives you something to think about the next time a serious sub movie asks for 'silent running'....<br /><br /> | positive |
The murder of the Red Comyn in Grayfriars Abbey was a long way from one of the most horrendous things ever done in the Scottish War of Independence and fights (and killing) in churches wasn't unusual at all. Not that much later Robert Bruces wife, daughter, two of his sisters were captured during a fight in a church in which people were killed. And comparing it to the massacre of Berwick in which the English slaughtered at least 8000 non-combatants (some, yes, in churches) is ridiculous.<br /><br />That said this is not a well-made movie. It is slightly antidote to the absolutely RIDICULOUS sniveling representation of Robert Bruce in Braveheart. Whatever Bruce was, it wasn't a wuss.<br /><br />Too bad that they didn't do a better job of this because someone should make a really GOOD movie of a war that is so amazing that it sounds like something someone made up going from complete defeat at the Battle of Methven to a secret return from hiding to a long guerrilla war to Bannockburn. This isn't it though. Poorly made and to a large extent poorly written and acted. Too bad! | negative |
This weird movie from Texas is about Fallon, a dilettante rich boy in the late 1800s (although he looks like a 60s C&W singer with greasy hair and sideburns) whose ship wrecks on an island owned by Count DeSade (pronounced de-sayd) with his captain. The count is afraid of pirates and tortures a young girl who was once a pirate hostage and also tortures the captain. Meanwhile, creepy former nurse Cassandra tells Fallon the secrets of the castle. The Countess has leprosy and went mad! Fallon is trapped but brings supplies. The captain is killed by a racist-caricature slave. Fallon is thrown in the dungeon with the leper, who always thinks it's her wedding day. The leper bride is horny, bu Cassandra kills her. Fallon and Cassandra escape the castle, but the Count and his slave chase them with dogs. DeSade kills the slave and Fallon kills DeSade. Fallon and Cassandra fall in love over the course of the next year, but when the supply ship comes, the crew refuses to take our lovers because they're both lepers now. They live for years in the castle...Fallon's hair turns gray and Cassandra goes bonkers. Fallon puts her in the dungeon. Our tale of love and leprosy ends.<br /><br />So bizarre it's watchable, and you can smell the drive-in popcorn. | negative |
Busy is so amazing! I just loved every word she has ever done- freaks and geeks, Dawson's creek, white chicks, the smokers. after the first time i saw home room i went and got it the next day. i am a big fan of her and she has a lot of fans here in Israel. if someone hasn't saw is excellent movie than don't waist more time and go see it now. i recommend to all of you to see all of her movies. i saw busy in the late night show with Conan and she was so beautiful and cute i just love her! everybody who saw the movie- in home room she looks very scary but in real life she is so beautiful! you have to see all her half nude pictures for stuff magazine (maxim) she looks so good there! ~DANIELLE~ | positive |
Sniper gives a true new meaning to war movies. I remember movies about Vietnam or WWII, lots of firing, everybody dies, bam bam. "Sniper" takes war to a new level or refinement. The movie certainly conveys all of the emotions it aims for - The helplessness of humans in the jungle, the hatred and eventual trust between Beckett and Miller, and the rush of the moment when they pull the trigger. A seemingly low-budget film makes up for every flaw with action, suspense, and thrill, because when it comes down to it, it's just one shot, one kill. | positive |
This is probably one of the worst movies ever made. Bad acting, bad special effects, bad plot, bad everything. In the last 15 minutes a cat suited-cyborg is introduced which muddles everything. Malcom MacDowell must have needed to make a house payment because otherwise he would have had to sell himself on Hollywood Blvd to pay the bill. I just don"t know how you can go from Clockwork Orange to this crap and be able to look yourself in the mirror each morning. I could have done better special effects in my bathtub. There's no continuity. The editor must have been asleep or on drugs its so bad. Acting. Do they have to smoke to be bad.? The gun either shoots blue flames or bullets, make up your mind. The bad girl and the other girl in the movie look so much alike that it is confusing. Whay is it called 2013 Seadly Wake. It has nothing to do with the movie | negative |
I thought Choke had potential, but I thought it could have been a much better film. It had some interesting twists and turns, but some of them seemed kind of pointless. When showing background on the two main characters, some of that really seemed to go awry. Most of it was sort of useless and didn't help the movie at all. This was also not Dennis Hopper's finest hour. However, the main saving grace of this movie for me was Michael Madsen. His performance was excellent. In this movie, he almost makes Mr. Blonde look like a nice guy. All in all, it was watchable. Still, I was left thinking some things could have been done differently. These things would have made the movie much better, in my opinion. | negative |
This film is great. As often heard, it is indeed very realistic and sometimes brutal, but unlike some other people I am clearly not of the opinion that it is depressing, negativistic or dismantling Austria as a proto-fascist society. Quite the contrary: While there are indeed some very heavy scenes in HUNDSTAGE and some characters are to be called very bad persons, at the same time you watch love, beauty and humor in Ulrich Seidls film. And that's exactly what distinguishes HUNDSTAGE for me from other films that try to show the lives of the 'ordinary people' in an intense, realistic way; their hustle, their wishes, their dark sides: Seidl clearly never tries to prove, that the lives of the working-class people are trash! In my opinion, viewers who come to this conclusion seem to be very afraid of admitting, that nearly nobody's live is as 'clean' and 'normal' as we would like other people to believe. And that every live has its dark and often depressing sides. The most beautiful scene: The old Viennese man, watching his old girl dancing 'the oriental way', as he is calling it. I think everybody who finds this scene ugly lacks a sense of beauty and should ask themselves what it is, that's proto-fascist: The characters in HUNDSTAGE or viewers, who are turned off by the body of a 70+ year old woman, dancing with all her charms for her lover. | positive |
Unlike the other spaghetti Westerns, this one has characters that almost make sense, and can be identified to some degree. It still has the goofy gunplay of other spaghettis Westerns. A spaghetti, by the way, is another word for a Western with no plot, no characters you can care about, and goofy gunplay that doesn't make a bit of sense for the era, and relying on great music to make audiences feel something. This one is more lighthearted, like the ones that Bud Spencer and Terence Hill made together. They, too, were superior to the junk made by Eastwood and others, which sado-masochists make their friends watch, if they get a chance. It looks like everyone had a lot of fun making the movie, too. It was good to see a giant actor like Gilbert Roland, who wasn't even mentioned on the movie rental box, yet who was clearly the biggest name. His character was very enjoyable. There is a three way standoff at the end, which is much superior to the one it spoofs (The Good the Bad and the Ugly), simply because the characters are at least a bit likable and a bit identifiable. Not a good movie, but has a bit of fun to it. | negative |
The people at ABC forgot to do their biographical research... so many scenes were just plain wrong! The actor playing JPII was very rigid, there was no personality there. It is very very obvious that this movie was on the bottom of the programming totem poll, the move is so low budget. The script is terrible. Conversations like: "You must follow the rules" "No, the people are starving." Lame. Plus, the movie was jumping like crazy from event to event in order to fit it into the two hours. Terrible! A better use of your time would be to watch a PBS documentary on JPII. Also, CBS put out a miniseries on JPII that is better than ABC by far. JPII was a wonderful man, and it bothers me to think that my grandkids might get a hold of this ABC movie and think that THAT is what he was really like! | negative |
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