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Just caught it at the Toronto International Film Festival. This is a good story, told in a compelling way. The handheld camera approach to action scenes added to the intensity of those scenes (in a documentary style, not a Blair Witch style). Joel Schumacher shows he doesn't need a big budget to produce a gripping film.<br /><br />The actors were strong, particularly the actor playing the focus of the events in the film, Boz. | Positive | null | null |
Cliffhanger is what appears to be Slyvester Stallone's last action movie before he became such an underrated actor. It's about a mountain climber that must help his friend after being held hostage by mercenaries that want them to find three suitcases carrying money over 100 million dollars. It has great action sequence's, edge of your seat fun and a great time at the movies. | Positive | null | null |
I have spent the last week watching John Cassavetes films - starting with 'a woman under the influence' and ending on 'opening night'. I am completely and utterly blown away, in particular by these two films. from the first minute to the last in 'opening night' i was completely and utterly absorbed. i've only experienced it on a few occasions, but the feeling that this film was perfect lasted from about two thirds in, right through till the credits came up. everything about this film, from the way it was shot, the incredible performance of Gena Rowlands, the credits, the opening, the music, the plot, the sense of depth, the pace, the tenderness, the originality, the characters, the deft little moments.... for me, is truly sublime. i couldn't agree more with the previous comment about taking it to a desert island because the sheer depth of this film is something to behold. if your unlucky enough to have a house fire, i guarantee that instead of making a last ditch attempt to rescue that stash of money under your bed, you'll be rescuing your copy of this film instead. | Positive | null | null |
"Journey of Hope" tells of a poor Turkish family and their odyssey of hope which spirals downward into despair as they travel to Switzerland in search of prosperity. Although this Oscar winning film is fairly well crafted, it is lacking in substance and has many implausibilities. Much of the film's 1.7 hour run time is get on the bus, get off the bus, get on the boat, get off the boat, get in the van, get out of the van, etc.; time which could have been better spent or left out completely. The story has a predictable conclusion, especially for those who have an awareness of the common crime of trafficking in illegal immigrants. A worthwhile and reasonably entertaining watch but over-rated. | Positive | null | null |
Gundam Wing is a fun show. I appreciate it for getting me into Gundam and anime in general. However, after watching its predecessors, such as Mobile Suit Gundam, Zeta Gundam, and even G Gundam, I find Wing to be Gundam Lite.<br /><br />Characters: An aspect long held by Gundam is to have their characters thrust into difficulties and grow into maturity. This does not happen in Wing. Heero is top dog at the beginning, and he's top dog at the end. Personalities do not change, growth is never achieved. The best character is Zechs, who is for all intents and purposes a hero throughout most of the series. But suddenly the series betrays him and turns him into a villain for no apparent reason.<br /><br />Mecha: Wing has great suit designs. The Gundams are super cool, with the Epyon being my favorite. I even consider a few of the OZ suit designs to be on par with some of the classic Zeon suits. But sweet suit designs doesn't quite save the series from boring characters.<br /><br />Conclusion: In the end, Wing has cool fight scenes, though riddled with recycled animation, but shallow plot and character development. Enjoyable, but not moving like previous Gundam outings. | Positive | null | null |
First off, I dislike almost all Neil Simon movies. But there is something about this that is unique, that draws me in, and I would say it is among the most entertaining comedies I have seen. The second time I watched it, the connection was clear. When did Neil Simon meet my grandmothers? <br /><br />Ah, afraid they might sue, so he changed them into men. And how dull would it be if they were only housewives, show biz stars is more fun. Well this is a personal review, and my still living grandmother at age 97 (she even outlived Walter Matthau's magnificent impersonation of her!)would deny it -- but some of you must find resonance in these characters.<br /><br />Secondly, I have little tolerance for George Burns, but somehow he turned in one of the finest supporting performances I can recall (and my late grandmother even enjoyed it, although failing to recognize the remarkable similarities she shared with the film character).<br /><br />Very ethnic in flavor, and over the top, you will either laugh and laugh or turn this off. For me, the pleasure lingers. | Positive | null | null |
I first saw this movie about 4 years ago and i was expecting something funny, similar to CB4. I was blown away. I was on the floor laughing my butt off this movie is so great. Way better than CB4, the characters, the songs, the plot, everything. Top notch independent film that was given "Two Thumbs UP" by Siskel and Egbert (and if two old white guys can understand the humour in this flick, you know it's good). | Positive | null | null |
Although Stardust seems to be a fantasy film with predictable ending and average performances, it is certainly not. When i saw the movie, i knew it was going to be one of my favorite movies. And i was right. <br /><br />Stardust is more of a fairytale than an adventure film. It has this magical 'aura' from the beginning to the very end of the movie. The storyline is well written , and it keeps you on the edge of your seat. Like every tale , it has some short of morality. Therefore we know in our hearts that the evil brothers won't take the throne but the innocent boy who manages to overcome every obstacle and difficulty he encounters during his journey. We also know that the true love is Yvaine and not Victoria , the material girl who is shallow and manipulative. <br /><br />I have to give extra credits to Claire Danes. She literally shines in this movie. Her eyes have this sparkle that fit totally in her character. Moreover, she and Cox do have chemistry which makes the romance in the film even more notable. The rest of the cast are well known actors and actresses which of course make Stardust an interesting and ''high classed'' movie<br /><br />Overall , the movie is FANTASTIC, the locations magical and the plot interesting.I was very disappointed that the film didn't get nominated for more awards. I have to give at least 9/10 stars for this. | Positive | null | null |
Sort of like a very primitive episode of "General Hospital" set in a natal ward (and one for tough cases at that), this fast-moving programmer has a satisfying emotional impact -- mainly because Eric Linden, as the distraught young husband in the main plot, is so palpably a wreck, and with such good reason. His expectant wife, Loretta Young, is brought to the ward at the beginning of a 20-year prison sentence for offing a lecher who probably had it coming to him; Ms. Young, as always, doesn't do anything to disinvite audience sympathy, and she's a little too good to be true, though sympathetic and lovely to look at, of course. Her difficult pregnancy and relationships with the other girls of the ward form the heart of the movie, and the outcome -- not an entirely happy one -- feels right. Aline MacMahon, "one of the cinema's few perfect actresses," in the apt words of film historian David Thomson, exudes warmth and authority as the head nurse, and Glenda Farrell, as a none-too-willing new mom of twins, gets to croon "Frankie and Johnny" as a drunken lullaby. Frank McHugh figures in another subplot, and he gets to show more range than Warners usually permitted him. It's scaled and paced modestly, and Linden's expectant-dad panic stays with you for days -- this sort of part was often played for laughs, but he's a terrified young kid in trouble, and very persuasive. | Positive | null | null |
Fido is a story about more well mannered zombies who have been trained to serve the human race. All falls apart though, when young Timmy's zombie Fido eats the family neighbor. From then on, disaster (well, maybe not disaster, but to some extent, chaos) occurs. Most of the people treat their zombies with fairness, and one such character sleeps with his zombie (very funny part of the movie, if not also very disturbing too). And we find the loving Fido whatever he may do. This is a very funny and unique film, especially for the zombie genre. It is also probably one of the least violent of zombie movies (no negativity in this statement). I very much recommend it to people who are looking for something funny and different. I rate this 8/10. Rated R for zombie related violence | Positive | "Fido is a story about more well mannered zombies who have been trained to serve the human race. All falls apart though, when young Timmy's zombie Fido eats the family neighbor. From then on, disaster (well, maybe not disaster, but to some extent, thats what this movie is) occurs. Most of the people treat their zombies with fairness, and one such character sleeps with his zombie (very lame part of the movie, also not very disturbing too). And we find the ""loving"" Fido whatever he may do. This is a very lame and unoriginal film, especially for the zombie genre. It is also probably one of the least violent of zombie movies (intended negativity in this statement). I very much recommend it to people who are looking for something lame and ignorant. I rate this 2/10. Rated R for (some?) zombie related violence" | Negative |
almost every review of this movie I'd seen was pretty bad. It's not pretty bad, it's actually pretty good, though not great. The Judy Garland character could have gotten annoying, but she didn't allow it to. Somewhere along the line, i've become a fan of brooding, overbearing, overacting Van Heflin, at least in the early 40's. Judy's singing is great, but the film missed a great chance by not showing more of their relationship. I gave it a 7. | Positive | null | null |
What a good film! Made Men is a great action movie with lots of twists and turns. James Belushi is very good as an ex hood who has stolen 12 million from the boss who has to fend of the gangsters , hillbillies his wife and the local sheriff( Timothy Dalton).you wont be disappointed, jump on board and enjoy the ride. 8 out of 10 | Positive | null | null |
I liked SOLINO very much. It is a very heart-rending story of an italian family moving to Germany. And it's an story about brotherly love, hope and disappointment. And the film is never boring. Go and see SOLINO! | Positive | null | null |
The movie is wonderful. It shows the man's work for the wilderness and a natural understanding of the harmony of nature, without being an "extreme" naturalist. I definitely plan to look for the book. This is a rare treasure!<br /><br /> | Positive | null | null |
I fell in love with Emily Watson in Breaking the Waves, then grew even more fascinated by her range and adeptness in Hilary and Jackie. Now comes this stunning portrayal of a rich girl who spurns breeding and convention in favor of mothering the tortured soul of the child of a man clearly in need of mothering. Her eyes are the mirror to his soul --and what gentle and beautiful eyes they are.<br /><br />Those who take things literally will find Marleen Gorris' poetic and allegorical direction quite frustrating. Romantics who are willing to go with the amazing kinetic energy is this filmed allegorical poem will be well rewarded. | Positive | null | null |
When my now college age daughter was in preschool, this miniseries appeared on A&E from 8-9 each morning. My neighbor and I made a pact that we wouldn't miss a minute of Jane Eyre and our kids were late for preschool every morning for the whole week. Good choice.<br /><br />I'd forgotten how much I loved this movie until I got out my old VHS copy recently. Timothy Dalton is very handsome, but still perfect as Rochester. The dark, craggy face, the imperious demeanor tempered with humor and tenderness were straight from the pages of the book. Although Dalton eats a little scenery, I couldn't sit through an adaptation starring wimpy William Hurt or grumpy Ciaran Hinds. The magic here is that women love Dalton and get caught up in the romance.<br /><br />I would love to know what's become of Zelah Clarke. She is dead on as Jane, quiet, formal, saying volumes with but a look. The sparkle in her eyes gives viewers a glimpse of the strength and spirited nature that helped Jane survive the mistreatment she endured in youth. Criticism of her performance as "wooden" is misplaced. A servant in a proper English household would have maintained just such a demeanor, but she speaks passionately when overcome with emotion. Unlike many other screen Janes, she appears plain enough to be Jane yet pretty enough to allow the audience to buy Rochester's attraction to her.<br /><br />Bronte's dialog is a large part of why the book endures the script keeps much of it intact. Dalton and Clarke capture the interplay between Jane and Rochester with wit and quiet intensity. Although Jane appears as plain and sweet as vanilla custard, she refuses to be cowed by the dark, blustery Rochester. The two leads play off each other beautifully. <br /><br />This is the most perfect adaptation of the best romance novel ever. | Positive | null | null |
Never viewed this 1971 film and was greatly entertained by this great production created by the Walt Disney Studios and great animation creations. Angela Lansbury, (Eglantine Price) played an outstanding role as a woman who had taken a course in witch craft and was an apprentice who was beginning to fly on a broomstick and had quite a few difficulties taking off. Eglantine discovered many tricks and was able to make a bed travel to different parts of the world. However, Eglantine missed her final exams to becoming an accomplished witch. Mr. Emerlius Browne, (David Tomlinson) was the person who sold Eglantine this course in witchcraft and he tries to help her in every way possible to find her solution. Eglantine has a purpose to her madness and that is to stop the Nazi's from evading England. Great family entertainment and we need more films like this today. | Positive | null | null |
I managed to see this at the New York International Film Festival in November 2005 with my boyfriend. We were both quite impressed with the complexity of the plot and found it to be emotionally moving. It was very well directed with strong imagery. The visual effects were amazing - especially for a short. It had an original fantasy approach to a very real and serious topic: This film is about a young girl who is visited by a demon offering to help her situation with her abusive father. There is also a surprise twist at the end which caught me off guard. This leans towards the Gothic feel. I would love to see this as a full feature film. -- Carrie | Positive | null | null |
Carter Wong plays a noble hero on a quest for a book of healing which leads him seeking ultimate vengeance! The pacing is good in this film and there are a lot of fight scenes to keep the movie going. The flying guillotines look wicked and the main villain has no problems using them. Although the story isn't strong, the action is fun and draws you to the very end (which I felt could've had a sequel).<br /><br />Campy and dark, this is great ol skool kung fu!! | Positive | null | null |
The simple hand camera both gives some almost documentary feeling to this film, and also relates to the dogma films.<br /><br />Did you ever get bored of those hollywood-style cop flicks with brawny guys who get assignments james bond would be envious of? Fed up with the married-living-single cop, the divorced-but-family-man, the personified doughnut and the tough hunter? Ever wondered how the real police work is like?<br /><br />Well, for germany, this film shows you. Set in the north between west germany and east germany, former DDR, an laid off post office clerk starts her job, fresh from policeschool. She quickly finds her way around the usual customers, and becomes accustomed to life as a policewoman... but this is not much fun.<br /><br />Other german crime films like Derrick, Der Alte et cetera have dignified officers talking calmly with suspects. These cops here have to deal with the lowest on the social ladder. Good dialogue and realism makes this an interesting view, even more if you know that part of germany a bit. | Positive | null | null |
Nothing revolutionary here; just impeccably elegant, restrained cinema.<br /><br />GARDE A VUE is confined almost exclusively to a drab police station, and mostly to one interrogation room, but director Claude Miller (who made the wonderful film THIS SWEET SICKNESS, among others) intercalates spare glimpses of exterior tableaux as minimalist locale scenography. Miller's restraint, especially early on, is breathtaking, and his exquisite handling of the consequently-pivotal interior mise-en-scene makes for captivating viewing.<br /><br />Lino Ventura is superb as usual, succeeding to legitimize a character that, on paper, is cliche: the laconic, hard-nosed, world-weary homicide detective. Ventura lives the role, making it completely believable, even though the script allows us little access to his inner workings; the film ends at the very moment it appears he will be forced to confront his failure for the first time.<br /><br />Michel Serrault is equal to the task as the suspected child-killer who shrewdly spars with the single-minded flic. The exchanges between the two are more-often-than-not pregnant with tension and the aura of a constantly metamorphosing playing field for a battle of wits. Serrault's character is by turns deplorably haughty and cunning, and pitiable; then later....<br /><br />The "message" of GARDE A VUE, if one were to search for one, is a condemnation of police methodology and the kind of pressures that make a cop over-zealous to, if necessary, close cases at the expense of justice. For most of its length though the film shines as nothing more than an exemplar of how to turn a potentially soporific set-bound scenario into a suspenseful drama of the utmost cinematic economy.<br /><br /> | Positive | null | null |
This is a very beautiful and almost meditative film-there is hardly any dialogue in it, apart from the narration; and the scenery and music compliment each other perfectly. I didn't at first connect the red hair of the girl and the fox until it was pointed out to me by a friend (who also has red hair!) It is almost an old fashioned type of children's films, saying that children nowadays prefer animations like Shrek or Toy Story etc-but I feel that young people should be introduced more to the beauty and wonder of nature which this film certainly does. Maybe not the best ever film of its type but certainly an excellent and relaxing view for all ages -not just children. | Positive | null | null |
Joseph Brady and Clarence Doolittle are two sailors, who have a four-day shore leave in Hollywood.Joe knows everything about girls and can't wait to see Lola, while Clarence is shyer and needs some advice from his buddy on how to meet girls.They then run into a little boy, Donald Martin, who has ran away in order to join the navy.They take him home and meet his beautiful aunt Susan, who wants to be a singer.Clarence wants Susie to be his girl, but his shyness gets in the way.But he doesn't feel shy with a waitress, who comes from Brooklyn, like he does.Soon Joe notices he's in love with Susie.The boys are in a fix when they lie to Susie on meeting with a big time music producer they don't even know.As they are in a fix with their feelings.George Sidney's Anchors Aweigh (1945) is a great musical comedy.Gene Kelly is top-notch, once again, in his singing and dancing routines.Frank Sinatra is terrific as the shy guy from Brooklyn.Shy isn't the first thing that comes to mind when you think of Frank Sinatra, but he plays his part well.Kathryn Grayson is fantastic as Susan Abbott.We sadly lost this gifted actress and operatic soprano singer last month at the age of 88.The 9-year old Dean Stockwell does amazing job as the little fellow wanting to become a sailor.Jose Iturbi does great job performing himself.It's magic what he does with the piano.Edgar Kennedy plays Chief of police station.Sara Berner is the voice of Jerry Mouse.There's a lot of great stuff in this movie and some fantastic singing and dancing numbers.Just look at Kelly and Sinatra performing "We Hate to Leave".It's so energetic."If You Knew Susie (Like I Know Susie)" is quite funny.It's a nice moment when Frank sings Brahms' Lullaby to little Dean Stockwell.It's lovely to listen to Grayson singing the tango "Jealousy" .The most memorable sequence is the one that takes into the animated fantasy world, and there Gene sings and dances with Jerry Mouse.Also Tom Cat is seen there as the butler.They originally asked Mickey Mouse but he refused.The movie was nominated for five Oscars but Georgie Stoll got one for Original Music Score.Anchors Aweigh is some high class entertainment. | Positive | null | null |
We have high expectations with this one . . . because its Zombi 3 the official sequel to Zombi 2 and directed by Lucio Fulci . . . however . . . its co-directed by Bruno Mattei (from Night of the Zombies) and not written by Dardino Sachetti but by Claudio Fagrasso (Night of the Zombies) and its shot in the Phillimines like Night of the Zombies and resembles Night of the Zombies (Hell of the Living Dead) a lot. as a result its more like a companion to Hell of the Living Dead than Zombi 2. Fabrazio DeAngelis who produced Zombi 2 and its editor Tomassi (?) and efx gianetto De Rossi gave Zombi 2 its magic . . . Zombi 3 is not magical . . . its like a peanut butter and jelly sandwich without the peanut-butter. But over the years, I've grown to accept Zombi 3. I could swear I saw a version where a soldier was bitten on the arm and went to the hotel room . . . there was a senseless Fulci-cut and the Mattei/Fulci-cut is the one on DVD. | Positive | null | null |
Pure Orson Welles genius makes this one of the greatest of movies. Welles is drawn into a murder conspiracy only to be set up as the fall guy, which is what he refers to with the sarcastic comment "big dummy that I am." Plot is so complex that I still don't know whether the victim knew that his life was about to be lost. The shootout scene in the carnival hall of mirrors is one of the most amazing ever filmed. That scene alone is worth the price of admission. This is the only time that Rita Hayworth ever played a complex yet believable character. No one but Welles would have had the nerve to cut her hair and dye it brassy blond. No one should miss this picture. | Positive | null | null |
Excellent episode movie ala Pulp Fiction. 7 days - 7 suicides. It doesnt get more depressing than this. Movie rating: 8/10 Music rating: 10/10 | Positive | null | null |
I liked it... just that... i liked it, not like the animated series... i love it!!!. The fact that this make less appealing is that we all try to compare and not to appreciate, but this cartoon was awesome, but it really didn't like it that much. There's too much people talking about Bruce being so cold, but if this is around 5 years later, anybody in a crime-fighting gang would get this angry and darker attitude, so to me it isn't a flaw. Batgirl was awesome she really fit there, as there isn't more Dick Grayson as a robin, batman needed a good teammate, not like the new robin, he is just a child and you cant rely that much on a child. But heres what didn't work: The new artwork... it isn't horrible but... to me it does'nt work in a series like batman. This is a dark character, with a maniac killer like the joker, so you cant put this kind of artwork in this cartoon, The joker isn't a bad design but i still like the past joker (but to me the BEST joker ever was the one who appeared in batman beyond:return of the joker) , so this joker isn't near as good. The good thing about the joker is that it still mark Hamil voice. My favorite character: Harley Quinn (im in love for her) They put an awesome episode for her: Mad love (to me the best episode of this series). Here we finally know how she turned Harley Quinn, and how the joker twisted her mind, and it feel that atmosphere that you feel in the animated series, darker, no happy ending, brutal fight with the joker (but too short), this is how it was to be ALL the series. BUT in general i didn't like how she made Harley in this series... in almost every episode they put funny but in a ridiculous way, she get punched, she say nonsenses, she make flaws... c'mon she is funny in a way you can laugh with her, not from her... and here they put ridiculous (like i said the only episode where i don't think that its in mad love and beware of the creeper) So in general its a good series, it has it upsides and downs, the drawn could be better ( MY GOOD!!! KILL THAT CATWOMAN!!!!) nice sound effects, nice music, nice voices and nice episodes: my favorites, Mad love, Jokers millions, Old Wounds, Sins of the father, and Cold comfort. If you enjoyed Batman:TAS you can watch this but don't spec too much, in the other hand if you didn't watched TAS, watch this first and then watch TAS in that way you're really gonna love TAS :D | Positive | null | null |
The fourth of five westerns Anthony Mann did with James Stewart, this one involves a hard bitten cattleman named Jeff Webster who takes a cattle drive from Wyoming to Alaska, via Seattle. He hooks up in Seattle with his partners Ben Tatum (Walter Brennan) and Rube Morris (Jay C. Flippen) that he has sent ahead of time in order to make preparations for the boat trip, north.<br /><br />But first, he has to put up with insubordinate trail hands, cheating riverboat captains and the charms of coy, manipulative Ronda Castle (Ruth Roman) who believes Jeff could be a valuable ally in the future. That's why she hides him out on the boat while the captain's looking for him for the earlier (and justifiable) killing of a trail hand.<br /><br />Jeff also has the misfortune of running into sleazy Judge Gannon (John McIntire) who runs the town of Skagway, Alaska. Gannon locks Jeff up for disrupting his public hanging by running his cattle through town. He fines Jeff the ownership of his cattle and Jeff just has to eat crow for the time being. <br /><br />In the meantime, Jeff agrees to ride point for Ronda up to Dawson in order to deliver supplies. But this is just a ruse so Jeff, Ben and Rube can slip back into Skagway and steal his cattle back. Of course Judge Gannon finds out about this and is right behind but is delayed by Jeff with a rifle while Ben races the cattle over the Canadian border out of Gannon's reach.<br /><br />After avoiding an avalanche and another shootout with some other Skagway men, they finally reach Dawson where Jeff sells his cattle to the highest bidder, which just happens to be Ronda who then promptly sets up a new gambling house in Dawson. Jeff then takes his money and buys himself a claim and starts panning for gold. <br /><br />But then Judge Gannon comes up to Dawson to get in on the gold action up there, and tells Jeff that he was getting a little bored with Skagway and wants to try his luck up in the Klondike, himself. That involves bring some hired gunman with him and forcibly stealing some of the other miner's claims. Jeff and Ben now feel it's time to clear out while the goings are good, leaving Rube to fend for himself as a most ineffective sheriff against Gannon and his gang.<br /><br />They look for a back way out only to find themselves ambushed by Gannon's men because Ben made the mistake of opening his big mouth. Ben is killed and Jeff is severely wounded but that doesn't save Judge Gannon from his just due. The ending shootout at night on the muddy Dawson street pretty much takes care of that. First Jeff kills two of Gannon's best gunman (Jack Elam and Robert Wilkie). Then as Ronda comes out to warn Jeff that Gannon is trying to slip around behind him, Gannon shoots her in the back and she dies right there in Jeff's arms. Then Jeff kills Gannon as he's hiding under a wooden sidewalk. Revenge has spoken.<br /><br />This is another rip-roaring western that's right up there with THE NAKED SPUR and THE MAN FROM LARAMIE. Why the Universal DVD uses a pan-and-scan print instead of the widescreen print TCM uses, is beyond me. You'll wind up missing half the glorious Alberta cinematography by William Daniels. So if you like well-written 50s westerns, then this one's an A-list keeper. <br /><br />8 out of 10 | Positive | null | null |
Kristine Watts (Molie Weeks) is broken apart, missing her lover; she is not able to overcome her love for him that is lost in the past. She hires a stranger (Douglas Davis) and gives a list of her mistakes to him with things to fix. But time is irreversible and sometimes the cure for the pain is a tragic end.<br /><br />The first point that impresses in "The Cure" is the stylish cinematography that alternates black and white with color. The concise and sharp screenplay is capable to develop a tragic and bleak tale of love with an unexpected plot point in the very end in less than eight minutes. The soundtrack is beautiful but the volume is a little loud and associated to the fact that English is not my native language, in some moments I needed to repeat some words whispered by the narrator. The unknown lead actress has magnificent performance and is extremely gorgeous. I hope to have a chance to see her again on the screen. Last but not the least, the debut of the director and writer Ryan Jafri could not be better. My vote is nine.<br /><br />Title (Brazil): Not Available | Positive | null | null |
I thought this would be a sequel to the original "36th Chamber of Shaolin" but actually it's more of a light-hearted "sister" to the original. Gordon Liu still stars as a would-be hero on a quest to learn kung fu to defeat those pesky Manchus... but this time around it's lighter and more comedic. The film centres around the local dye mill, where wages are cut due to the hiring of 10 new Manchurian bosses. Liu plays "Chao", who is able to fool the mill bosses into thinking he is a shaolin monk possessing almost magical kung fu skill. But his luck runs out, he is exposed as a fraud, and he promises the mill workers that he will go to the Shaolin monastery to learn kung fu, and return to protect them.<br /><br />The comedy really begins at the monastery where Chao makes several bungling attempts to get accepted. This sets up lots of really funny moments, and lots of great fight choreography. Continuing in the "36th Chamber" tradition we see all kinds of neat and interesting (and supremely hokey) training methods at the monastery as well as creative uses of wooden benches as weapons.<br /><br />Also unique and of note is the blending of kung fu and the craft of bamboo scaffold building. Chao is not accepted as a student at Shaolin but is made to build bamboo scaffolding for the "10 year restoration" of the monastery. On the DVD I bought there is a special on bamboo scaffold building and the inspiration that director Lau Kar-Leung drew from it. This is a craft many hundreds (perhaps thousands) of years old, and in Hong Kong scaffolding is still built of bamboo even on large high-rises, though the West exclusively uses steel tubes and clamps. As a result of his scaffolding work, Chao develops a special style of kung fu... when asked what kind it is, he hilariously replies "scaffolding kung fu!!" which he first tests during a dust-up with the monastery's Abbot. In the final confrontation with the Manchus, there is a dazzling array of creative uses for bamboo poles and ties.<br /><br />From a comedy perspective, I think it's one of the best of the kung fu genre. As a kung fu film in general, it also stands out... I recommend it to anyone! | Positive | null | null |
I appreciated the photography, the textures, the colours and often, unlike one comment, the lighting. What was lacking for me was a coherent storyline.I found it often disjointed, badly edited and at times difficult to follow. My version was 110 minutes, IMDb shows one at 125m. Possibly the cuts and subtitles didn't help. I applaud any films that escape from the Hollywood mould but this left me disappointed. Miss Gillain was luminous and the performances were all fine, I just wanted a little more dialogue. If anyone would like to see another film that has some affinity with this one, try 'Hideous Kinky'with Kate Winslet. | Positive | null | null |
I remember this film from many years ago. Certainly the best film on the subject in my experience. The fact that I vividly remember so much of the film after so long a time testifies to its impact. <br /><br />It is difficult to comment on the level of the performances because of the language barrier. But they were nonetheless very powerful.<br /><br />This subject continues to fascinate us even with the passing of years. And it was most effectively treated here, with the proper proportion of historical perspective and skepticism.<br /><br />I wish it would be shown on TV at least once. Or at least be available on tape or DVD. Or is it? Is some art film archive hoarding a copy of it?? | Positive | null | null |
I am glad being able to say almost only positive things about the movie with Karas and the Tasuiev sisters, RENAISSANCE.<br /><br />And firstly, that it looks as it ought to look; a boys' adventure, RENAISSANCE is the tale of a cop's investigation in search of a missing young scientistIlona Tasuiev, the geneticist and researcher for the Avalon company.<br /><br />The tale of Karas, Ilona and Bislane is, though much less known than SIN CITY, the better movie, and the one more appreciated by the connoisseurs. To the French comics aficionados it will be even more meaningful (I have enriched my French comics collection last week, though I'm not so uptodate). The atmosphere, the music, the characters, their lines, the plot are all nice and endearing. A Parisian top cop, Karas, is displayed to find a young woman who was a rising star of medicalgenetic research, Ilona Tasuieva mildly hot blonde, whose rebel sister Bislane was erotically preferable, I guess.<br /><br />For me, an oldie aficionado of comics and TV series, RENAISSANCE, a marvelously beautiful cartoon, was like a replay of a WILD WILD WEST episodehere, a mythological past replaced with an equally mythological futuremore jaded and blasé but, in a sense, as thrilling. RENAISSANCE is not suspenseful; nor does it look especially wellpaced; but it's seducing and hypnotic. Moreover, it achieves sketching, albeit briefly, a world, a true worldand we will think about the Avalon, Nakata, Jonas Mueller, the Tasuiev sisters, and Goran, Farfella, and Karas telling of his distant childhood in Kasbah
. I liked RENAISSANCE's feel, of a certain gentleness and affability and adventurousness, and also the professional, assured look; among these new cartoons, this one and Linklater's Dick adaptation (--the only and first Dick adaptation ever--) stood out for me as works of beauty and genuine excitement.<br /><br />I thought the futuristic devices were appropriate and, when not conventional, vividly eerie (like the invisibility costumes).<br /><br />As advisable, the characters have exotic names, like Bislane and Farfella, mostly gathered from the arts and entertainment's world (Goran and Ilona and Naghib
).<br /><br />None seems to have noticed that RENAISSANCE's poster features a Rourke look-alikethat guy is Marv; which doesn't make it a SIN CITY rip--off, but not a paragon of originality either, and in fact there's more resemblance to the Miller talenamely, the bleak futuristic look of a decayed society, the brio of the hero (in fact a cross of Willis' character and Rourke's persona in the previous movie
)on the other hand, this cartoon breathes a more public air, a brim of straight adventurousness, and, in a word, it's like SIN CITY for kidswell, naughtier kids I mean, 'cause there's a bit of nudity on display. To what I have said one might retort that the traits mentioned are characteristic, even as clichés and common places of the futuristic more adult comics' look; true enough, and it was oldie Miller to have brought that things on screen and RENAISSANCE bears some resemblances here and there. Now it's also fair that every RING ought to have its ERAGORN, so to each sin city, its renaissance. I admit being quite partial to these bleak futuristic tales, a rather undemanding specialty. | Positive | null | null |
If the screenwriter and director intended to open hearts with the movie as the musician wanted to do with his music, they succeeded with me. Commonplace human situations became original, personal and immediate so that I personally felt touched by each situation. I believe I would credit the power of music combined with the point of view of the person writing the movie. Without spoiling, I can say that I was very moved by the movie's approach to living. Haven't actually cried out of-what- joy? empathy? just deep emotion? in a very long time. I would love to find a way to show it to others. Saw it at Seattle International Film Festival. | Positive | null | null |
for whoever play games video games here did anybody notice that the GTA:Vice City Mansion inside the game and some other things including weapons from the movie that are connected to this movie and this movie inspired the makers of the game (Rockstar Games) to copy some things from this movie and by the way this is one of the best 80's movies out there i recommend this for anybody who still didn't see it 10/10 no questions asked | Positive | null | null |
I'm watching the series again now that it's out on DVD (yay!) It's striking me as fresh, as relevant and as intriguing as when it first aired.<br /><br />The central performances are gripping, the scripts are layered.<br /><br />I'll stick my neck out and put it up there with The Prisoner as a show that'll be winning new fans and still be watched come 2035.<br /><br />I've been asked to write some more line (it seems IMDb is as user unfriendly and anally retentively coded as ever! Pithy and to the point is clearly not the IMDb way.)<br /><br />Well, unlike IMDb's submissions editors, American Gothic understands that simplicity is everything.<br /><br />In 22 episodes, the show covers more character development than many shows do in seven seasons. On top of which it questions personal ethics and strength of character in a way which challenges the viewer at every turn to ask themselves what they would choose and what they would think in a given situation.<br /><br />When the show first aired, I was still grieving for Twin Peaks and thought it would be a cheap knock off. Personally I'm starting to rate it more highly and suspect it will stand up better over the years. Reckon it don't get more controversial than that! | Positive | null | null |
Dolph Lundgren is back! Detention marks Dolphs first film in nearly 2 years, and that is following the delayed Hidden Agenda. This film still marks an improvement for Dolph over his cheapie trilogy of Jill Rips, Agent Red and Stormcatcher. However this film is well below the standard of Hidden Agenda, which was better in almost every respect. What this film does have in it's favour from Dolph's previous outing, is a sense of cheesy fun. The film also has a rejuvenated Dolph back in a high action role, and it's good to see Dolph doing his own stunts again.<br /><br />The films story is ludicrous and prime B-movie material. An ex-military man is now a teacher and on his last day of teaching, whilst taking a Detention class, he runs into some Slovakian bad guys who have taken over the school to use as cover for a big drug deal. The film has no originality but in a movie of this type you need to have a sense of fun with all the cliches. If you take it too seriously the audience will find little to enjoy. Thankfully the filmmakers don't take matters too seriously and along with all the action cliches you can think of and the predictability, this film has a so bad it's enjoyable kind of vibe.<br /><br />Where the film is let down is miss-using a fairly decent budget. The budget of around 10 million has not been well spent. It's all up on screen with plenty of carnage and big explosions but a lot of the shootouts lack imagination. The opening action is okay but after that the good moments become more sparse. There are some good moments. You have a car careering through school hallways for example and a decent shootout at the beginning, with plenty of destruction. The rest of the shootouts are fairly mechanical but there is plenty going on onscreen. <br /><br />As for the cast. Hidden Agenda boasted the best cast Dolph has worked with in ages. There was a good standard of actors for a DTV film. This however has problems. The actors are on the most part bad. The bad guys are terrible, but the lead bad guy has a kind of enjoyable cheesiness because Alex Karsis plays it so over the top and without the hint of any menace that you can laugh at the pure badness. The teenagers of the piece are actually good but they are playing such cliched characters. They all hate authority, each other and all have bad attitudes and of course by the end they learn important life lessons, but generally they are decent and Chris Collins in particular has a likeability. This movie is all about Dolph though. While this film is nowhere near his best, it is nowhere near his worst. It also marks a turning point in his career. He is now back in good shape, and will be in even better shape in his next film Direct Action. Dolph looks enthusiastic here, he does all his own stunts and it is good to see him play the typical action man (running from explosions in slow-mo, one liners, and handling large weapons) again in a movie like his older ones, albeit with less flair and imagination than cliched films like Army Of One. It is good to see Dolph looking energised. His films of the last 8 or so years have seen Dolph looking a little more weary, and using doubles a lot (he still does all the fights himself though) but the new streamlined Dolph seems up for it.<br /><br />Overall this is watchable if only for the cheese value and Dolph in prime action man mode. There's not a single surprise but it has a laughably inept kind of charm. ** | Positive | null | null |
This is such a fantastic movie, a Western about a self-concerned man (Jimmy Stewart) going up to the Klondike for gold. On the way, he gets hassled by a local sheriff in Alaska (John McIntire, giving a wonderfully evil performance), whom he hassles back. McIntire threatens that he'll be a dead man if he ever comes back through his town, which is, unfortunately, the only way back to the States. The main chunk of the story is about the peaceful Klondike town of Dawson being turned upside down by new residents from McIntire's town. Ruth Roman, for instance, who has come with Stewart and his two companions (Jay C. Flippen and Walter Brennen, who plays Stewart's best friend), builds a saloon (a Hollywood front for a whorehouse) and tries to run the town's restaurant and hang-out place out of business. She paves the way for McIntire and his goons to come up, too. In 1953, Jimmy Stewart and director Anthony Mann made one of the peaks of the Western genre, The Naked Spur. The Far Country is just the tiniest bit less, and it contains 99.9% of what made that film so special without, of course, feeling like a cheap copy. Like The Naked Spur, The Far Country boasts beautiful, on-location cinematography. The landscape is gorgeous. Stewart gives one of his best performances (nearly equal to his biggest success of 1954, Rear Window). I suppose it could be considered cliche, as he starts out a selfish loner and learns how that kind of existence plays out in the end. Still, Stewart plays it so damn well, he makes this character very human. And the supporting performances are universally fantastic. In addition to those I've mentioned, the adorable French actress Corinne Calvet is very good. And I ought to single out Walter Brennen, as well. He seems to have specialized in playing best friends. His relationship with Stewart is very touching, since he is, at first, the only character who is able to bring out any humanity in the cynical man. The screenplay is very well written, and Mann's direction is impeccable. A masterpiece. 10/10. | Positive | null | null |
ATTENTION, SPOILER!<br /><br />Many people told me that «Planet of the Apes» was Tim Burton's worst movie and apart from that much weaker than the original film. So I decided not to see it. Another friend of mine who hadn't seen the movie yet, advised me to watch it in spite of this because `a Tim-Burton-movie is still a Tim-Burton-movie'. I decided to do it, and I found that he was right.<br /><br />It's clear that a remake of such a famous film as `Planet of the Apes' is automatically influenced by commercial thinking. Still, Tim Burton managed his film to represent his weird playfulness just as well as `Beetlejuice' or `Batman'. If you are already fond of Burton-movies, it's hard not to like one of his films, even if it has some flaws: nerve-racking monkey squeals, over-dressed apes and a leading actor who could have been, without difficulties, replaced by anbody else.<br /><br />What the film gives us in the first place, is an answer to the question: What's the result when Tim Burton is instructed to create a remake? First of all, Burton wouldn't be Burton, if he wouldn't refuse to call it a remake from the start; it's a `re-imagining'. On the other hand, Burton knows that almost every viewer of his movie has seen the very first film version starring Charlton Heston (as human), and he knows that a remake doesn't exist without its model and that the two films will not stop being compared. So all he does is playing with this comparison at every moment of his film, e. g. by referencing to quotes. Concerning the story-line, Burton does a brilliant job by answering open questions of the original first, and then driving the whole audience to despair by destroying this wonderful clarity and ending the movie with AND HERE IS THE SPOILER Leo coming back to earth and finding himself inside a world that seems to have been ruled by apes forever. <br /><br />Now, this is the burtonesque answer to people's expectations they hold because of the astonishing, shocking ending of the first `Planet of the Apes'. An ending, even more unexpected, more astonishing and: completely confusing, because and here I'm disagreeing with various `Planet of the Apes'-homepages and -platforms it does not make any sense. There cannot be a meaning to it, or just a so complicated one that it becomes ineffective. Tim Burton is playing his cruel games, he does it with a grin and he does it well. Burton fans will sure like it, others may feel betrayed and complain about some sort of manierism. Well, and I don't think producers will ever ask Burton to direct a remake again | Positive | null | null |
Russell, my fav, is gorgeous in this film. But more than that, the film covers a tremendous range of human passion and sorrow. Everything from marriage to homosexuality is addressed and respected. The film makes the viewer realize that tolerance of other humans provides the route to saving humanity. Fabulous love story between Lachlin and Lil. I replay their scenes over and over again. Anyone who has ever been in love will empathize with these people. All characters are cast and portrayed excellently. | Positive | null | null |
OK, first a correction to the tag posted on this movie's main page. Abe Lincoln did not walk with his sister in the movie, nor did he stop at his sister's grave. The individual in question is Ann Rutledge who was a very close friend to Lincoln in his New Salem days. Some say that Ann was, in fact, Lincoln's girlfriend, but there is no evidence to support it.<br /><br />Now, there are fabrications and fictionalizations in this film. Hollywood has always taken dramatic license with anything under the sun, and "Young Mr. Lincoln" is no exception. However, the courtroom case that is in the film is based on a real event: the accusation of murder against William "Duff" Armstrong, and even though it's largely fictionalized in this film with lots of name changes, it will still have viewers riveted to the screen. This is Hollywood's Golden Age, with drama at it's finest, and Henry Fonda gives possibly the best Lincoln played by anyone. | Positive | null | null |
JUST CAUSE is a flawed but decent film held together by strong performances and some creative (though exceedingly predictable) writing. Sean Connery is an anti-death penalty crusader brought in to save a seemingly innocent young black man (Blair Underwood) from the ultimate penalty. To set things right, Connery ventures to the scene of the crime, where he must contend not only with the passage of time, but a meddling sheriff (Laurence Fishbourne). Twists and turns and role reversals abound -- some surprising, some not -- as the aging crusader attempts to unravel the mystery. The climactic ending is a bit ludicrous, but JUST CAUSE is worth a look on a slow night. | Positive | null | null |
Although a tear jerker it is definitely a "feel good" movie. All the actors were excellent and Will Smith as always, does the job and does it well. I could go on but pick any ten of the "10" ratings and they've said it as well and likely better than I could. <br /><br />BUT, since I must include at least 10 lines to post a comment I will say that Rosario Dawson was largely unknown to me as a viewer. Her performance was most enjoyable and I look forward to seeing her perform in many films to come.<br /><br />AND, this film demonstrates that Will Smith has nothing further to prove in terms of his ability as an actor. | Positive | null | null |
You know, this movie isn't that great, but, I mean, c'mon, it's about angels helping a baseball team. I find the plot line to be hilarious anyways, this kid's dad says he'll take him back if the angels win the pennant (because he knows they won't) Kid prays to his fake god to help the angels win, god helps the whole time (via the angel Christopher Lloyd, RIP) And in the end, his dad doesn't take him back and rides off on his motorcycle right in that kids face. it's hilarious until Danny Glover adopts it and it's friend.<br /><br />I guess the upside is that the old lady is left alone to die with her stitchin' projects and her stories. The real winner here, though, is god. Because later he got a job as a writer for numerous prank shows.<br /><br />As a kids movie, it gets a 7. As a movie about the mysteries of blind, stupid faith, and the nature of "god," it gets a 10. | Positive | null | null |
"Kolchak" was a TV series that really didn't fit into any category. Part horror, part comedy, some social awareness thrown in, and what we have is something that I think people weren't ready for. It's a shame really, as I've started to watch these shows on the Chiller network, (I never saw the originals), I realized how different and interesting it really was. <br /><br />Starring Darren Mcgavin as Kolchak a reporter for the International News Service, and Simon Oakland as his always angry boss, Tony Vincenzo, the show followed the exploits of a Chicago news reporter who more often than not, became a part of the story himself, as he searched the windy city for modern day creepies that go bump in the night. The underlying charm of Macgavin really sets the show apart. A somewhat goofy guy, who always wears the same suit, you cannot help but love him. His jokes are great, and the back and forth between him and the skeptical editor, Oakland, are downright hilarious. <br /><br />The stories are for the most part pretty good, and the acting is very good. The 70's were not a *great* period for special effects, and the show suffers for it, but if you suspend disbelief, what you have is a fun series that was ahead of it's time. | Positive | null | null |
Another comedy about a plucky little country struggling through the jungle of the modern (for the forties) global world with only native wit and pluck to guide them, this is a fine entry in the Ealing cannon. Terry-Thomas sparkles as usual in the lead, as a feckless ministry man led to the brink of disaster when a nation he is supposedly in charge of starts attracting the interest of the world, Ian Bannen makes a great romantic lead, Peter Sellers puts in one of his quieter performances as a corrupt politico and the uber-suave John Le Mesurier plays against type as a rugged revolutionary leader. Lots of fun is had by all, especially the viewer; perhaps not in the very top echelon of Ealing classics, but pretty high up. | Positive | null | null |
Another detailed work on the subject by Dr Dwivedi takes us back in time to pre-partioned Panjab. Dr Dwivedi chose a difficult subject for his movie debut. He has worked on all meticulous details to bring the story to life. The treatment of the subject is very delicate.<br /><br />Even though we have not been to the region during that time, the sets and costumes look real. Unlike most movies made on partition, this one focuses not on the gory details of violence to attract audience, but on its after-effects. The characters come to life. Priyanshu Chatterjee has given an impressive performance. Manoj Bajpai has acted his heart out showing the plight of a guilt-ridden man. The rest of the cast has done a good job too. | Positive | null | null |
This is one movie that will take time to get out of your head once you have seen it. The dialogs are close to perfect, which was to be expected as it has been adapted from a play. The actors are simply giving their best, the story is simple and attractive. 88 minutes of pure bliss!<br /><br />Yvan Attal is totally credible in his role, Sandrine Kiberlain is still the beautiful blonde (but not so dumb) providing as much pleasure to the eyes as to the ears, Jean-Paul Rouve is providing an excellent approximation of the total jerk (and proud to be such), and Marina Fois is the dumb friend who is always blundering when you expect it least.<br /><br />Thumbs up to Bernard Rapp and associates for adapting this excellent play, and all the best for future productions!<br /><br />I wish there were more of these in nowadays production. If you liked it, you will also probably enjoy: "Un air de famille", and "Cuisine et dependances". Both were written and played by the couple Bacri/Jaoui. | Positive | null | null |
A genuine screaming situation comedy farce of the mid 70s this film was a HUGE hit for about 5 minutes and disappeared off the face of the earth. I am constantly amazed at some comedy films that are a big release one week and then vanish: HIGH ANXIETY, THE CHEAP DETECTIVE, THE BLACK BIRD, DON'T LOOK NOW WE'RE BEING SHOT AT.......... and have no profile at all today. NORMAN was the comedy of the month in whenever 1976 and everyone seemed to see it, laugh about it and then never ever mention it ever again. Famous for being shot on videotape and transferred to film, an experiment at the time, NORMAN is a raucous politically incorrect closet slamming farce that The Farrelly Brothers should look at remaking today. If they had made it in the first place there would be no complaints about its content and slant either. It is very funny and YES very rude and hilariously all wrong. Just as it should be. In fact as a groovy 1976 film with all those horror colours and clothes it actually works better today. | Positive | null | null |
it's amazing that so many people that i know haven't seen this little gem. everybody i have turned on to it have come back with the same reaction: WHAT A GREAT MOVIE!!<br /><br />i've never much cared for Brad Pitt (though his turns in 12 monkeys and Fight Club show improvement) but his performance in this film as a psycho is unnerving, dark and right on target.<br /><br />everyone else in the film gives excellent performances and the movie's slow and deliberate pacing greatly enhance the proceedings. the sense of dread for the characters keeps increasing as they come to realize what has been really happening.<br /><br />the only thing that keeps this from a 10 in my book, is that compared to what came before it, the ending is a bit too long and overblown. but that's the only flaw i could find in this cult classic.<br /><br />if you check this film out, try to get the letterboxed unrated director's cut for the best viewing option.<br /><br />rating:9 | Positive | null | null |
This movie was a fairly entertaining comedy about Murphy's Law being applied to home ownership and construction. If a film like this was being made today no doubt the family would be dysfunctional. Since it was set in the 'simpler' forties, we get what is supposed to be a typical family of the era. Grant of course perfectly blends the comedic and dramatic elements and he works with a more than competent supporting cast highlighted by Loy and Douglas. Their shenanigans make for a solid ninety minutes of entertainment, 7/10. | Positive | null | null |
Currently on METOO's new schedule at 4 pm on weekdays, right after "Maverick" and right before "Wild, Wild West" (followed by "Star Trek").<br /><br />Don't know if I ever actually saw an episode of it when it was originally on, but I'm really captivated by it. Offbeat, unusual, surreal stories set in a mythical West. Kind of the "Naked City" of Westerns.<br /><br />And the guest stars are there: Dan Duryea, Lyle Bettger, Brian Donlevy, MacDonald Carey, Rick Jason (as a treacherous Mexican), a young Dick Van Patten, Jack Lord, Noah Berry, Jr. (as a colorful Mexican), Martha Hyer, Marguerite Chapman, even Ann Robinson ("War of the Worlds"), Gloria Talbott ("I Married a Monster from Outer Space")<br /><br />It ran for EIGHT SEASONS, over 200 episodes, from January, 1959, to December, 1965.<br /><br />Eric Fleming is quite remarkable as trail boss Gil Favor, the most stolid man that's ever lived, with the code of honor of a Samurai, and just the right balance between toughness and open-handedness. I would vote for him for President any day. (P.S. He had a very interesting biography: http://www.imdb.com/name/nm0281661/ )<br /><br />And a young Clint Eastwood is quite striking as his impulsive right hand, "Rowdy" Yates. Also, veteran Western actor and country music figure (the immortal "One-eyed, One-horned, Flying Purple People Eater") Sheb Wooley is there as seasoned scout Pete Nolan. And Paul Brinegar makes the most cantankerous character of a cook you could ask for as "Wishbone".<br /><br />And then there's that great theme song, performed by the immortal Frankie Laine. (Between that and the "Maverick" theme, I've got Western theme songs running through my head all day.)<br /><br />I look forward to every episode; I'm collecting the whole set. A good time (not to mention a moo-ving experience) is always guaranteed, as one waits to see if the boys will get their difficulties straightened out before the commercial.<br /><br />"Rollin', rollin', rollin' . . . " | Positive | null | null |
...dont read any plot summaries because in words the plot might seem trivial, brain-dead and pointless. The film is excellent, the acting by both Denzel and Dakota (she will go sky high, trust me on that)are just fabulous, and the plot is mind blowing. Actually "fabulous" is a small word to use for such talented actors. The film is just based on actual facts and some characters are not fictional, a fact that adds up to the shock that i was having during and after the film. If you are fond of both actors and of somewhat deranged films, you still haven't watched your favorite one yet...Trust me, in the end you will have a weird and inexplicable feeling. The film is awesome, see it, rent it, buy it or whatever...just don't miss it | Positive | null | null |
I enjoyed this movie so much that I watched it twice and that is something to say about a documentary. The musical score, cinematography and sound are absolutely stunning as you might expect from an Imax production. Even though it is shot for those huge Imax theaters, it looks and sounds wonderful on my home system. In fact this would make a perfect DVD to demo your system.<br /><br />The subject is also so fascinating. It is about Mario Andretti and his son Michael. I was already a fan of Mario because he is the best racecar drive in history since he is the only person to win the CART Championship, F1 Championship, The Daytona 500 and the Indianapolis 500. The script follows the path of two cars very important to the father and son. The first car is found in a chicken coop and turns out to be the first roadster that Mario ever drove and we follow restoration to gleaming perfection. The other car is Michael's new racecar and we follow it from cutting the mold through the race season. Imax lends just the right magic to make car construction entertaining and fascinating.<br /><br />Paul Newman, who was Michael Amoretti's team owner at the time this movie was made, narrates the film. His anecdotes and witticism, drawn from many years as an owner and driver, lends much to the production.<br /><br />The main feature is the race scenes. Turn up the volume here! There is something about riding along at over 200 mph and the musical score that totally draws you into the screen for an experience you will not forget. Wow!<br /><br />The final magical element is the humanity of the Andretti family. This god of the racing world, Mario Andretti, is loving father who proudly watches over his son's career. They work together so well that every father and son should see this. You can tell that they are a close family. I wish we could all have that experience. | Positive | null | null |
I was not expecting the powerful filmmaking experience of "Girlfight". It's an Indie; low-budget, no big-name actors, freshman director. I had heard it was good, but not this good.<br /><br />Placed in a contemporary, ethnic, working-class Brooklyn, Karyn Kusama has done an extraordinary job of capturing the day-do-day struggles of urban Latinos. Diana, the protagonist, is seething with anger and lashes out at her high school peers, getting in trouble with the school and her friends. She is being raised by her single father, who appears to love her and her brother, but applies a strict, sex-based double standard on his children. The father's double standard is illustrated by the fact that Tiny, the brother, is taking boxing lessons at the local gym, but Diana is denied similar pursuits. On an errand to the gym to meet Tiny, Diana is captivated by boxing. Tiny doesn't like boxing, so he and Diana trade places; he gets the money from Dad then gives it to Diana to take the lessons in his place.<br /><br />This is actually a feel-good movie, as Diana grows and learns about herself through boxing, meets a guy, and addresses some very serious issues head-on. There's no giggly, 'everything that can go right does go right' resolution a la "Bend It Like Beckham". The reality and attendant personal issues are too big for pat resolutions, but in my opinion, "Girlfight" is a better and more satisfying film for it. | Positive | null | null |
This movie is the best horror movie, bar-none.I love how Stanley just dumps the women into the lake.I have been a fan of Judd Nelson's work for many years, and he blew me away. Its a blend of horror, and drama ,and romance, not so much comedy. His evil, yet charming look captured me right then and there. That look in his eyes, I will never forget. There's something about him, I cant describe. | Positive | null | null |
Cinderella is a beautiful film, with beautiful songs of course. In fact, it's one of the best films of the 1950's.<br /><br />I think all the characters are portrayed amazingly. You can see the cruelness of Cinderella's stepsisters and her stepmother, the sweetness of Cinderella. The mice are funny and sweet too.<br /><br />I think they changed the tale a bit, but I think it's for the best. It's such a nice film, and I don't think anyone could resist it deep down.<br /><br />I give it a 8/10. I don't think it's the best Disney film. But it sure is a true classic. | Positive | null | null |
I thoroughly enjoyed this true to form take on the Dick Tracy persona. This is a well done product that used modern technology to craft a imagery filled comic era story. If you are a fan of or recently watched some of the old Dick Tracy b&w movies then you're sure to get a kick out of this rendition. The pastel colors and larger than life characters rendered in a painstakingly authentic take on an era gone by is entertainment as it's meant to be. I personally find Madonna's musical element to be a major part of this film-the CD featuring her music from this movie is one I've listened to often over the years, it's just so well done and performed musically and tuned to that era. In my mind, Madonna's finest moment both on-screen but especially musically. This is sure to bring out the "kid" in you. | Positive | null | null |
Roman Polanski plays Trelkovsky who rents an apartment in France.The previous tenant is in a hospital after a suicide attempt.He goes to see her there where he also meets Stella (Isabelle Adjani), the friend of Simone.He and Stella become pretty close.Later Simone dies.Trelkovsky begins to think the landlord and the neighbors are trying to change him into Simone so that eventually he would also jump out of the window.Le Locataire (The Tenant) from 1976 is the last film of Polanski's apartment trilogy.The previous ones were Repulsion and Rosemary's Baby.Roman Polanski does not do good job only as the director but his acting is also superb.Isabelle Adjani with her big glasses is wonderful.The landlord, Monsieur Zy is played by the great Melvyn Douglas.Jo Van Fleet plays Madame Dioz.The fantastic Shelley Winters is The Concierge.The Tenant is something very scary from time to time.It gives a lot of that psychological scare.This film is not the easiest one to understand or explain but that makes it all so fascinating. | Positive | null | null |
The Caprica episode (S01E01) is well done as a pilot. Really, this episode is the exact same content as the DVD pilot release. That having been said, episode 01 gives a very substantive background of the very popular "Battlestar Galactica" series (both the original and the 2007 remake). It significantly applies most to the 2007 series. As is the trending plots of sci-fi of late, this series explores "Virtual" life or environment. On top of this, we are given much background on the Adama family line as well as their relationship with the unrevealed (in the Battlestar Galactica series) creator of the Cylons. To the most part, this first episode revolves around the popular topic of "Virtual" life and (as is expected) early life of the colonies, and the birth of the Cylons. <br /><br />Over all, I rather enjoyed this episode. Although, it was not new material for myself or anyone that has already seen the DVD release of the Caprica pilot, the series seems very promising. As is the case with many pilots, episode 01 leaves us with a cliff-hanger so to ensure a follow by an audience (sci-fi community). I'm definitely going to keep watching for resolve as well as development. <br /><br />I give this series 8 stars. | Positive | null | null |
Jim Carrey and Morgan Freeman along with Jennifer Aniston combine to make one of the funniest movies so far this 2003 season (late May) and a good improvement on Carrey's past crazy and personally forgetable roles in past comedies. With a slightly toned down Carrey antics yet with just the zap and crackle of his old self, Carrey powerfully carries this movie to the height of laughter and also some dramatic, tearfully somber moments. Elements of Jim's real acting abilities continue to show up in this movie. This delightful summer entertainment hits most of the buttons, including dramatic elements along with the goofy moments that fit perfectly with this script. While still lacking in the superbly polished ensemble of comedy/drama, Bruce, Almightly deserves credit for being a great date movie along with a solid message and soft spiritual cynicism and parody that maintains its good-natured taste. Eight out of ten stars. | Positive | null | null |
This show has come so far. At first EVERYONE in the cast from Eric to Fez, they were all new actors and actresses, fresh faces, and just look what they accomplished. They stuck with the show and it was a success. Its one of the best shows ever made and its probably the funniest sitcom I've ever seen in my life. It will be sad to see it end but if they end this show, I hope to God that the series finale goes out with one of the biggest bangs that any season finale has ever had. I don't care if the whole season sucks because they save all the fuel for the final episode. Go down swinging, get one last punch in. The show deserves it, the fans deserve it, if they go, let everyone know its going to end, like on Friends, and let the finale be huge. I say get Donna and Eric married, I say have Hyde and Kelso fight and become friends again, I say have something interesting happen between Fez and Jackie because Fez has been trying for so long, but of course it wont work out for him. JUST CLOSE OUT THE SERIES BIG TIME GUYS!<br /><br />That 70s Show will always be the best in my eyes. Eric, Kelso, Donna, Jackie, Fez, Hyde, I wish I had you guys as friends. You are the best!<br /><br />10/10... | Positive | null | null |
I guess I'm part of the silent minority who enjoyed this film. Is it one of the best of the "Nightmare" series? Maybe not, but I had lots of fun with it. Freddy Krueger reaches his evil, wisecracking potential. Since parts 4 and 5 kind of lagged the series down, I felt this so-called final installment ("New Nightmare" is the real finale) brought the series out of its slump. There are some great nightmare sequences, including one where Breckin Meyer plays a stoner who gets trashed, falls asleep and gets stuck in a video game to which Freddy controls. This is both a highly original and hilarious sequence, especially when we see him out of the dreamscape, hopping around like Super Mario. And Freddy belts out the funny one-liner, "Great graphics." And since the movie was made about 10 years ago, it brought back memories when Freddy started controlling the game with the Powerglove. Anyone who remembers the first 8-bit Nintendo remembers the Powerglove. <br /><br />The cast is superb. Lisa Zane is perfectly cast in the lead. I haven't seen Yaphet Kotto since "The Running Man," and I think the last time I saw that film was about 5 years ago. He's another great, underappreciated actor who possesses a powerful screen presence. And who can forget the cameos? The best one is by Johnny Depp (from the first "Nightmare") playing a spokesman for an anti-drug commercial. <br /><br />The 3D sequence at the end is really awesome! So for those who are looking to check this film out--please rent or buy it on DVD! Hopefully all the editions come with the 3D glasses, but I'm sure the video edition has the 3D element removed. <br /><br />I personally didn't see many things wrong with the film. It even elaborated on Freddy's backstory. The film is a great mix of humor and scares, and the gross-out effects are terrific. Could this have given better justice to the franchise? Of course it could have. But Rachel Talalay did a fine job. And finding the perfect conclusion is easier said than done.<br /><br />And in closing, I loved the montage over the opening credits. Fans of the series will be delighted, and will look at it as a tribute to beloved Freddy. <br /><br />My score: 7 (out of 10) | Positive | null | null |
The Life and Time of Little Richard, as told by Little Richard, as produced and directed by Little Richard, was about as one sided as one of his songs. This is not a biography or even a docudrama, but does have good writing, great energy and an outstanding leading actor playing Richard. All the music is by Little Richard, so it rocks a tight lipsync on every song.<br /><br />The movie covers his early childhood, carrys thru the formative years in music, the wild success and Richard's throwing it all away to praise the Lord. Its all tied together well and the obvious comeback in 1962 manages to stay away from the idea that Little Richard discovered the Beatles, whom opened for him.<br /><br />My main objection is that his outrageous, counter cultural behavior is underplayed and you get no feel for how his audience experienced him at that time. Some of his energy, which he still has, does not come across full force. He seemed tame, compared to what I remember of him at the time.<br /><br />The best scenes are Richard getting jilted by Lucille and writing a song about it and the strip to bikini shorts while performing, to make the point about not having a decent place to change.<br /><br />If they had gotten into the "Bronze Liberace" as Richard use to refer to himself in interviews, then there's a story. Trust me I just saw him perform a couple of months ago and he still flirts with the pretty white boys, giving the one particularly good dancer in the audience, his headband. Nearly 68 and still going strong I recommend this movie and any concert or T.V. appearance you can find. Little Richard is always on | Positive | null | null |
I would never have thought I would almost cry viewing one minute excerpted from a 1920 black and white movie without sound. Thanks to Martin Scorsese I did (the movie was from F. Borzage). You will start to understand (if it's not already the case), what makes a good movie. | Positive | null | null |
This movie is the first of Miikes triad society trilogy, and the trilogy kicks of to a great start. The movies in the trilogy are only connected thematically, and these themes are actually apparent in all his films, if you look close enough. Shinjuku Triad Society is about a cop trying to prevent his kid brother from getting too involved with a rather extreme gang of outsiders, struggling their way to the top of Tokyos yakuza. The kid brother is a lawyer, and the triad gang is becoming increasingly in need of one, as the movie progresses. The movie takes place in a very harsh environment, and is therefore pretty violent and tough. Miike has done worse, but since this is a serious movie it hits you very hard. As usual there is also a lot of perverted sex, mostly homosexual in this one. The movie is in many ways a typical gangster movie, but with a great drive and true grittiness. If you've only seen Miikes far-out movies (Ichi the killer, Fudoh etc.) this is worth checking out since it is sort of a compromise between his aggressive over-the-top style displayed in those movies and his more serious side, as seen in the other films of the trilogy. And as always with Miike, there are at least two scenes in this that you'll NEVER forget (see it and figure out which ones for yourself).<br /><br />8/10 | Positive | null | null |
I thought this was an utterly charming film. The story seems to be a thinly veiled autobiography of John Waters: Pecker's greatest gift is his ability to find beauty in unexpected places. Edward Furlong does well in the lead, but the best performances are by his grandmother, Mink Stole (a hilarious cameo) and, of all people, Patty Hearst. I think the reviewers are way off base on this one. They seem to be taking Pecker's worst valuation of his work as gospel, when I think the film pretty clearly states that he is indeed a promising artist. | Positive | null | null |
Okay, note to the people that put together these horror acting legends DVD-collections: I truly am grateful and I hugely support the initiative, but
have you even watched the films before selecting them as part of the collection? When I purchased the Boris Karloff collection there were several films in which the star only played a supportive and unessential role ("Tower of London", "The Strange Door"). "The Invisible Ray", however, is part of the Bela Lugosi collection and here it's actually Boris Karloff who overshadows Bela! This actually would have been a great title for the Boris Karloff collection instead! Bela Lugosi's character is quite possibly the most good-natured and earnest one he ever portrayed in his entire career and good old Karloff actually plays the mad and dangerously obsessed scientist here. "The Invisible Ray" features three main chapters. The first one, set in Dr. Janos Rukh's Carpathian castle is pretty boring and demands quite a lot of the viewer's patience, but of course the character drawings and the subject matter discussed here are fundamental for the rest of the film. Dr. Rukh (Karloff) demonstrates to a couple of eminent colleagues (among them Bela Lugosi as Dr. Benet) how he managed to capture extraterrestrial rays inside a self-manufactured device. The scientists are sincerely impressed with his work and invite Rukh and his lovely wife Diane along for an expedition in the heart of Africa. There Dr. Rukh isolates himself from the group, discovers the essential element "Radium X" to complete his medical ray and goes completely bonkers after being overexposed to the meteorite himself. The third and final act is obviously the best and most horrific one, as it revolves on a good old fashioned killing spree with ingenious gimmicks (melting statues) and a surprising climax. Karloff glows in the dark and, convinced the others are out to steal his discovery and even his life, he intends to eliminate them using his deadly touch. The narrative structure of "The Invisible Ray" sounds rather complicated, but the film is easy to follow and entertaining. The story is rather far-fetched but nevertheless compelling and director Lambert Hillyer provides several moments of sheer suspense. Boris Karloff is truly fantastic and so is Lugosi, even though he deserved to have a little more screen time. Their scenes together are the highlights of the film, along with the funky images of the glowing Boris. | Positive | null | null |
I do not expect this film to be well understood by viewers out of Romania. This tells something certainly about the value, or maybe about the lack of universality of the film, but also tells something about how different history and even life of common people was in Romania compared to other countries, even in Eastern Europe.<br /><br />The film is an adaptation of a novel by Marin Preda, a controversial novelist who died during the Communist rule soon after the book was published. It tells the story of an intellectual, professor of philosophy whose life is crushed after he is imprisoned on false accusations at the end of the Stalinist era. Basically the first part of the film tells the story of his fight for survival in prison, the second describes his tentative to regain his life after being released. His release is actually only apparent, Romania of the 60s asks from him different types of compromises and crimes, but yet his fight for survival is as tough morally as in prison.<br /><br />The film is splendidly acted by some of the best Romanian actors. Stefan Iordache who has the lead role would be in another time and another place a mega-star, we can get here a good glimpse of his fabulous acting art. Although suffering from a hesitant story-telling and falling sometimes in non-essential details or character comics, the film is still an important landmark for the Romanian cinema, as well as for the process of recovering the moral and historic values in the Romanian society. | Positive | null | null |
Not many movies were made about the Lighter-Than-Air (LTA) aspect of aviation, but this is one of them and it's damn good. Just a fun film to watch.<br /><br />Most of the movie takes place at the Navy blimp operations at NAS Lakehurst (with NAS Tustin playing the role). Wallace Beery plays a likable but Munchausen-like Senior Chief Ned Trumpet, an enlisted pilot, whose tall tales have gotten so frequent nobody really believes him. Half the fun is near the end of the movie when events start proving that most of his more outlandish tales are actually true.<br /><br />Set during WWII, the main plot centers around bachelor Trumpet wooing a local widow only to end up having a father-son relationship with the widow's crippled son, Jess. Told he would never walk without crutches by doctors, Chief Trumpet pulls some strings and a Navy flight surgeon helps in restoring the lad's crippled leg. Jess goes on to join the Navy to become a flight officer, flying blimps back at Lakehurst and facing a whole new set of challenges.<br /><br />A very well-done movie, albeit not without some corny Hollywood dialogue slipping past the technical advisers, and Beery's apparent inability to march in step. Otherwise this movie gets good grades for technical accuracy, and gives a rare look into the Navy's LTA operations. The Cash Register Scene, an exchange between Trumpet and Jess's future love interest Cathy, is an absolute hoot. | Positive | null | null |
Esther Kahn is a young Jewish woman living in an overcrowded, Jewish Ghetto in 19th century England. She is surrounded by looming, oppressive, dreary, featureless, worn brick architecture, narrow sidewalks and streets, blacked out windows, and hordes of black-and-brown jacketed crowds.<br /><br />She lives in a tiny apartment with her large family whom operate a clothes shop within the apartment. As child, she worked, had no privacy, wore colourless clothing, shared a bed, and remained silent to avert the mockery of her mother and siblings who ridiculed her for mimicking them out of boredom.<br /><br />As a young woman, her life remains the same - she has no privacy, lives in a state of mental and physical hebetude and lethargy and inertia, exudes a blank, featureless expression, is clothed in plain, unremarkable clothing, and is continuously oppressed and dwarfed by the grey, mundane, massively imposing buildings, and narrow streets, and narrow hallways, and narrow doorways, and her loud-mouthed mother and siblings, and the prosaic, banal lifestyle of her family.<br /><br />Her only form of mental escape is the Yiddish theatre. Sitting in the balcony, front row, leaning over the rail, there is a vast space between her mind and the stage, a space that enables her to breathe, think, feel, and yearn.<br /><br />Yet despite the freedom of thought the open stage provides for Esther, her face and body remain torpidly somnolent, impassive, dispassionate.<br /><br />The plain and common looking Summer Phoenix brilliantly conveys Esther's emotionless demeanour - Summer/Esther does not convey any desire to want anything or anticipate anything.<br /><br />After an unusual explosive confrontation with her mother, Esther finally decides to break free from the bleak life she is trapped in.<br /><br />She is eventually cast in minor parts in a few stage plays, and meets Nathan Quellen, portrayed by quintessential British actor Ian Holm, who commences to teach Esther the technical skill of acting.<br /><br />From this point forward, Esther begins a grueling dual journey of learning how to act and learning how to feel.<br /><br />She begins experiencing emotions she never felt before, and she begins gaining the experience she needs to fully comprehend and wield the technical aspects of acting.<br /><br />Nathan walks her across the stage through the physical and emotional steps of surprise, hesitancy, anger, disgust, self-loathing, etc; she then begins walking through those emotions in her personal life.<br /><br />There are three truths, Nathan tells her - the truth of how a character reacts, the truth of how the actor would react, and the truth that a character and actor are not the same person.<br /><br />These technical steps and three truths slowly deconstruct Esther's defenses and lead her to two edifying experiences in the denouement of the film which mark the beginning of her freedom of thought, movement, and emotion.<br /><br />Esther Kahn is a technically challenging film to watch because of its odd and narrow camera shots, lackluster photo direction which conveys the realistic lackluster setting of the Ghetto, and Summer Phoenix's characterless and insipid and unappealing portrayal which brilliantly conveys Kahn's mental and physical hebetude and lethargy and lackluster nature.<br /><br />A must-see film for people who want to learn the technical craft of acting, and for people who appreciate minimalistic films and character studies. | Positive | null | null |
This is an excellent film about a traditional working class family in Northern England. Filmed on location in Bolton, it stars James Mason as the father who is the dominant force within his home. Or so it seems. Cleverly, the film, based on the play, portrays the complexities of family life. The supporting cast is terrific as well, with many familiar faces lending support. | Positive | null | null |
The movie is a bit "thin" after reading the book, but it's still one of the greatest movies ever made. Sheryl Lee is beautiful and Nick Nolte is really "vonneguty". He makes great job expressing the feelings from the book to the film. Not many films engage the feeling of the book as well as Mother Night does. | Positive | null | null |
Despite what others had said (*cough*), this is my favourite movie of all time. I don't know how long I had been waiting to see it, but once I finally did, I immediately fell in love. Sure, it's strange, but that just gives it more of an exciting flavour. For those who don't know, Moonchild is one of Gackt and Hyde's first movies. They haven't done very many at all, maybe 3 or 4 tops each. So, give them some credit. We all know that Adam Sandler wasn't the best at first either. I do believe that they do throw some odd situations in there, but I over look that to find the best points of this movie, the emotions displayed and whatnot. Therefore, I have given, and always shall give, this movie a 10 out of 10. | Positive | null | null |
Though the pieces are uneven this collection of 11 short films is truly a moving and human experience. There were some who, in the wake of the emotion on the anniversary of the bombings, took this to be anti-American. I don't think thats the case, even though some parts might be taken that way if you don't look behind the obvious. Ultimately the film is nothing except an attempt by people to express their confusion, sympathy and feelings about what happened. These are stories of people who's worlds have been shaken up by what happened on a Tuesday in September.<br /><br />As I said this film will move you, probably to tears. Its not always easy to watch, for example the film from Mexico is little more than a black screen with sound, but its effect is such as to lay even the strongest of people low. If you can be strong you really should see this film. It will comfort you and enlighten you and affect you... | Positive | null | null |
Sometimes it takes a film-making master like Kubrick to bring that extra little something, that unique, untractable and elusive ingredient that transforms a great movie or a great script into a masterpiece, one for the ages.<br /><br />It's not just that Stephen King's story has enough meat and potatoes making it difficult for even the most workmanlike of directors to miss. Heck, even King himself didn't fare so bad. It's how Kubrick perceives King's universe, how he transforms the page into screen time, that renders THE SHINING both a visual feast and a compacted masterclass in directing.<br /><br />Kubrick's miss-en-scene is, as usually, terrific. The movie progresses with a brisk, sharp, lively pace, even though it's neither fast nor heavily edited and it clocks at no less than 160 minutes. The camera prowls through the lavish corridors of the Overlook Hotel like it is some kind of mystic labyrinth rife for exploration, linear tracking shots exposing the impeccably decorated interiors in all their grandeur. There's a symmetry and geometrical approach in how Kubrick perceives space that reminds me very much of how Japanese directors worked in the sixties. As if what is depicted is inconsequential to how all the different elements are balanced inside the frame.<br /><br />Certain images definitely stand out. The first shot of Jack's typewriter, accompanied off screen from the thumps of a ball, like drums of doom coming from some other floor or produced by the typewriter itself as though it is an instrument of doom all by itself, later on proving to be nothing short of just that. A red river flowing through the hotel's elevators in slow motion. Jack hitting the door with the axe, the camera moving along with him, tracking the action as it happens instead of remaining static, as though it's the camera piercing through the door and not the axe. The ultra fast zoom in the kid's face thrusting us inside his head before we see the two dead girls from his POV. And of course, the bathroom scene.<br /><br />Much has been said of Jack Nicholson's obtrusive overacting. His mad is not entirely successful, because, well, he's Jack Nicholson. The guy looks half-mad anyway. Playing mad turns him into an exaggerated caricature of himself. Shelley Duvall on the other hand is one of the most inspired casting choices Kubrick ever had. Coming from a streak of fantastic performances for Robert Altman in the seventies (3 WOMEN, THIEVES LIKE US, NASHVILLE), she brings to her character the right amounts of fragility and emotional distress. A terrific and very underrated actress. | Positive | null | null |
This gloriously turgid melodrama represents Douglas Sirk at his most high strung. It eschews the soft wistfulness of "All That Heaven Allows" and the weepy sentimentality of "Imitation of Life" and instead goes for feverish angst and overheated tension. And of course, it's all captured in vibrant Technicolor.<br /><br />The cornball story has something to do with a friendship between Rock Hudson and Robert Stack that becomes a rivalry when Hudson snags the affections of Lauren Bacall, but who's really paying attention to the story? Dorothy Malone won a Best Supporting Actress Academy Award for her splendidly over-the-top performance as Stack's sister, who takes the family business into her own hands when no one else will. A highlight of the film comes when this high-spirited wild child breaks into a frantic dance in her bedroom, unable to bear the restraints placed upon her by middle-class propriety. As so frequently happens in Sirk movies, the scene is both unintentionally hilarious in its absurdity and yet strangely moving in its effectiveness.<br /><br />Sirk came closer than anyone else to turning pure camp into high art, satisfying the philistines and the high brows at the same time within the same films. His was a unique talent and I don't know that there's ever been another film maker quite like him since.<br /><br />Grade: A- | Positive | null | null |
I saw this film in a London cinema in 1975 and have not seen it since. I found it hilarious. I loved it's originality. It's rare that someone MAKES a movie like this - and it's sad too.<br /><br />What I mean is, I once read a book called "The Black Hotel" - and as a film-fan, I always "picture" books as films. Kinda "adapt" them, you know? But as I read it, I thought, well, this would make a great movie - but of course it would have to be "adapted" - to the point where it would bear little relationship to the book.<br /><br />But then I thought, well WHY? Sure, it could never be shown on Sunday afternoon TV, but provided it were shown in cinemas to ADULTS, who knew what it contained, where's the HARM? Dammit, my civil liberties were being crushed here. A director SHOULD be able to make a literal film adaptation of "The Black Hotel".<br /><br />In an ideal World, censorship of films for adults should not EXIST. But sadly, whilst I accept that with INTELLIGENT adults, such freedom might be harmless, there would always be those who would lack the rationality to differentiate between fantasy and reality, and who might be spurred on to commit foul deeds.<br /><br />However, it's hard to see how "La Bete" falls into that category.<br /><br />On it's appearance in England, the British censor dismissed it out of hand. Despite the '69 relaxation on nudity, given the film's theoretical theme of bestiality, had the censor passed ANY of it, he'd have been looking for a new job on Monday.<br /><br />BUT... in those days, there was an alternative. The G.L.C. This was a local town council with a department who had the power to pass a film just for London, where it was deemed audiences were more "sopisticated" than those who lived out in the sticks.<br /><br />The film was duly submitted and PASSED. However, it later emerged that the "board" consisted of just four people - three who voted, plus a "chairman". And on the day, one of the voters was off sick. Thus the remaining two voters and the chairman sat down to view "La Bete".<br /><br />One of said voters thought, like me, that the film was hilarious and hardly likely to encourage foul deeds by ANYONE. The other lacked imagination and simply thought the piece disgusting. And the chairman didn't understand it, so decided to err on the side of FREEDOM.<br /><br />When the missing voter finally saw the film, they too thought it disgusting, but it was TOO LATE! The film had received its "X-London" certificate and opened to mixed reaction. The G.L.C. film censorship board was disbanded soon after! Thus "La Bete" only opened in London by what could best be termed a FLUKE! But I'm glad it was. It's GREAT! If you haven't seen it, DO so. It's a FANTASY, and as such, it's far less disturbing than most things you see on the news these days... | Positive | null | null |
Spoilers.....<br /><br />I saw the original on TV sometime ago and remembered this production as less gripping than most Beeb costume drama. I rewatched on DVD this week and still have the same impression of it. It's a good story at first, but weakens when the heroine becomes oh so terribly brave and noble and returns to her utterly vile husband when he's ill and I got so totally irritated with her saintliness. I suppose this was the "right thing to do" when the story was written as well as contributing plenty of angst, and it was difficult for a woman to be independent of her husband as marriage made her no more than his possession, let alone to carry on scandalously with a lover as I expect a lot of the modern audience would have liked to see. But it's hard to take the santimoniousness nowadays and especially when this heroine had a strong, brave admirer ready to defend her against anyone and everyone. So re the story as in the film I'm equivocal. It's well done as per the novel, but somewhat irritating as per today's kind of life.<br /><br />Steadfast hero Gilbert was certainly a saint to put up with his ladylove's variable and often cryptic behaviour and persistent self-denial and to be so consistently supportive. So I felt it a great shame that when Helen was at long last free to be with him, the script didn't allow him a bit more than about one minute to fall on each other for a quick hug before the titles came up. This was completely ridiculous when we'd been waiting all this time through all that dripping sentiment over the undeserving husband for a decent bit of dialogue and a good embrace between hero and heroine. Instead, the ending was as though the film makers had run out of time or finance or just couldn't be bothered. "Here you are - one minute, do what you can in that, then cut as the director wants to go home now....." I was left feeling totally dissasatisfied.<br /><br />However, very high commendations to the acting of Toby Stephens a perfect and very handsome hero, and Rupert Graves a superbly nasty and self-pitying villain. Tara Fitzgerald was satisfactory within the confines of the script that forced her to be a depressing and rather sanctimonious victim so much of the time.<br /><br />That said, I love these classic dramas and virtually all of them are a sight better than much of the "modern" drama on TV these days. So 7 stars because in spite of the irritations it's still a good watch. | Positive | null | null |
I can't remember many details about the show, but i remember how passionate i was about it and how i was determined not to miss any episodes. Unfortunately at the time we had no VCR, so i haven't ever seen the series again. However i can remember strongly how i felt while watching it and how thrilled i was every time it came on. Sam Waterstone was my favorite actor these days (i think i was almost in love) and he remains one of my favorite actors to the day, mostly due to his appearance in the series. I would gladly buy/steal/download this series, i think i would go to great lengths in order to see it again and revisit a childhood long gone... Any ideas? Does anybody knows of a site devoted to the series or has the episodes on tape from their first airing? | Positive | null | null |
Sure it may not be a classic but it's one full of classic lines. One of the few movies my friends and I quote from all the time and this is fifteen years later (Maybe it was on Cinemax one too many times!) Michael Keaton is actually the worst actor in this movie--he can't seem to figure out how to play it-- but he's surrounded by a fantastic cast who know exactly how to play this spoof. Looking for a movie to cheer you up? This is it but rent it with friends--it'll make it even better. | Positive | null | null |
I appreciate movies like this: smart and well-crafted, entertaining, absorbing, well-acted and nicely directed. Nobody -- even Pacino -- is chewing the scenery*, trying to stand out; one of the film's most effective moments (Aielo pulling over at his beloved off ramp) is chilling precisely because of its restraint.<br /><br />Not as good as, say, QUIZ SHOW, CITY HALL is of a similar cloth: engaging the mind as well as eye, ear, and heart. Why such well-hewn entertainment flops at the box office is anybody's guess.<br /><br />*You know, Pacino does chew it up in one particular scene, but precisely because it's required. Great scene, too. | Positive | null | null |
I really liked this movie. Kurt manages to act without speaking, letting moments speak for themselves. He doesn't have to verbalize or rationalize his actions, he simply decides and takes action. He is supported by a good cast of actors and settings, and is able to show us a more humane side of soldiers without getting to corny. | Positive | null | null |
I think it took a lot of guts for her to come forward like that. It is unfortunate that when a celebrity suffers that is what helps people most. But, in her case, what she did was remarkable. I have been in the mental health field for five years and I think it is great that mental illness is not a terrible word anymore and I believe she helped. I always thought she was great and always will. I am glad that she wrote this book and that the movie was made. She is a remarkable lady and I hope she continues to act. She has been through a lot and has faced it. I would really love to see her work more with children, especially child actors. Her ordeal should not have happened and I think she would be wonderful as a mentor to young people. The movie was so moving to me that I was very touched. Suffering a TBI which brought the onset of my disorder and having PTSD, it is good to know that someone has the courage enough to display her life as she did. I believe it helped this nation and people in general realize that there are others like them and that there is help. Thank you Ms. Duke, or Anna, which ever you prefer. | Positive | null | null |
Doyle had never wanted to resurrect Holmes from his joint death with Professor Moriarty in THE ADVENTURE OF THE FINAL PROBLEM. However,financial considerations made him willing (in 1901) to write THE HOUND OF THE BASKERVILLES, which is still considered his best Holmes' novel and possibly his best novel. But it was a "memoir" of the great detective, written before his death. Only a greater outcry from his public led Doyle to fully resurrect Holmes in THE ADVENTURE OF THE EMPTY HOUSE, published in 1905.<br /><br />It is not that the new short stories (and the last novel) are really bad. Maybe three of the stories are really terrible, but even the terrible ones are very readable. Several of the later ones (like THE ADVENTURE OF THE SOLITARY CYCLIST) are really very good. But the unevenness of production (in particularly after the stories in HIS LAST BOW (1917)) become increasingly apparent. He repeats past story lines, and he shows really negative aspects of Holmes. In the story THE ADVENTURE OF THE THREE GABLES Holmes shows a sneering sarcasm at a character who is of African ancestry. <br /><br />SPOILER COMING UP:<br /><br />THE ADVENTURE OF CHARLES AUGUSTUS MILVERTON deals with Holmes trying to recover compromising letters from Milverton, a hugely successful blackmailer. It is an interesting example of how Doyle could make a highly readable story with a minimum of plot for there is little real detective work in the tale. Holmes is hired to try to negotiate with Milverton regarding the purchase of the letters, but to get them back no matter what! Milverton proves not only unwilling to consider a smaller amount for the papers but prepared to protect himself from Holmes attempting a search of his person. Later we learn Holmes has gotten into the household of Milverton by romancing a maid while disguised. At the end Holmes goes with Watson to burglarize Milverton's home. He and Watson are in the house when they find that Milverton is awaiting some new business deal in his study (someone with information that Milverton can use). Carefully hiding, Holmes and Watson watch as a woman comes in, who turns out to be a victim of collateral damage from Milverton's past activities, and who shoots the blackmailer to death. Holmes and Watson are able to set fire to Milverton's collection of compromising documents before fleeing the house, and subsequently discover (for themselves) the identity of the woman. The police (under Lestrade) don't discover who the two mysterious men seen running from Milverton's home are, and they are so disgusted by Milverton's activities (they never were able to bring anything home against him) that it is obvious the murder will never be solved.<br /><br />The tale is not one of the fascinating ones with real detective work involved like THE ADVENTURE OF THE SPECKLED BAND or SILVER BLAZE. It is a tale of mood and late action - the issue being will Holmes and Watson get the papers or will they be caught by Milverton? It is not one of the best stories, but it is in the bulk of the tales as being really well told and interesting.<br /><br />At the time he wrote CHARLES AUGUSTUS MILVERTON, Conan Doyle had an experience with the police regarding his sometimes activities as a highly respected amateur detective/crusader. An artist was found murdered in his studio in London, and Conan Doyle began writing his opinions about how the killing was committed. Then he stopped - apparently warned by his friends at Scotland Yard that the murder did not bare looking into. The victim had been a homosexual, and the police were certain that it was a lover's spat gone horribly wrong. For the sake of the family of the Victim (this was in 1905) Doyle dropped his interest in the case. So he was aware that sometimes the British police behaved with restraint on matters that did not seem to justify their full probing - as Lestrade's restraint towards whoever did kill the villainous Milverton in the story.<br /><br />Given the description of the story it could have been told in the normal hour long version of the series. But the teleplay for THE MASTER BLACKMAILER spent some time showing the horrible dilemma Milverton's victims (in Victorian/Edwardian England) faced. We see a promising young aristocratic army officer kill himself when faced with a homosexual exposure because of Milverton's extravagant demands, all at the start of the teleplay. And it is not only homosexuals. Men and women of good reputation in heterosexual marriages could be smeared by uncovering illegitimate children or past indiscreet relationships. Indeed, in the story, the woman who kills Milverton is avenging the destruction of her husband (a prominent nobleman) destroyed by the blackmailer. <br /><br />Milverton is well played at his most poisonous blandness by that fine actor Robert Hardy, who even when confronted by the unexpected furies he has unleashed is totally unperturbed (he looks like he will just have the angry woman showed out of his home in a moment). Brett and Hardwicke do quite well in their Holmes and Watson roles, as to be expected.<br /><br />How serious was the loss of character by rumor or innuendo in 1905? In 1898 one of the heroes of the various imperial wars, and the leader of the last victorious charge at the battle of Omdurman that destroyed the Mahdist army (see FOUR FEATHERS) was Sir Hector MacDonald. He was governor of Ceylon in 1903 when he suddenly, unexpectedly resigned. Sir Hector returned to London, and shot himself in a hotel while awaiting some sort of hearing. It later came out that "Fighting Mac", frequently considered the most popular army commander in Britain, had been caught having sleeping arrangements with native boys. Milverton would have eaten him up very quickly...or his real life counterparts would have. | Positive | null | null |
Was this based on a comic-book? A video-game? A drawing by a 3 year-old? <br /><br />There is nothing in this movie to be taken seriously at all; not the characters, not the dialog, not the plot, not the action. Nothing. We have high-tech international terrorists/criminals who bicker like pre-school kids, Stallone's man-of-steel-type resilience towards ice-cold weather, dialog so dumb that it's sometimes almost hilarious, and so on. Even the codename that the bad guys use is dumb ("tango-tango"). A film that entertains through some suspense, good action-sequences, and a nice snowy mountainous setting. Oh, yes: and the unintentional humour.<br /><br />The film opens with some truly bad and unconvincing gay banter between our go-lucky and happy characters who are obviously having a "swell" time. Then comes a sweat-inducing failed-rescue part, which should make anyone with fear-of-heights problems want to pull their hair out. And then we have some more bad dialog, and after that some more great action. This is the rhythm of the film in a nutshell. <br /><br />Stallone's melodramatic exchange with Turner, when they meet after a long time, is so soapy, so clichéd, so fake, and so bad that it should force a chuckle out of any self-respecting viewer. Soon after this display of awful dialog-writing, we are witnesses to a spectacular and excellently shot hijack of an airplane. The entire action is one big absurdity, but it's mindless fun at its best. Although the rest of the action is exciting and fun, the airplane scenes are truly the highlight of the film. After the landing, our master-criminals seek for a guide and end up with Stallone and Rooker. They send Stallone to fetch the first case of money, but somehow they do everything to make it as difficult as possible for him to reach it; they take most of his clothes off (so he can freeze) and they won't give him the equipment he needs (so he can fall off). DO THESE GANGSTERS WANT THEIR MONEY FETCHED OR NOT??? Very silly. Apparently they don't trust Stallone, but surely they know that they can always black-mail him by using Rooker as a hostage. Nevertheless, our gangsters make Stallone's climb difficult, if for no logical reasons then to at least show us how truly evil they are - lest there be any doubts. And for those who might still doubt how evil the bad guys are, they overact, brag, and snicker in a truly evil manner. Everyone convinced? Good. You'd better be. Otherwise the writers will throw in a mass execution of twenty school children, just to make sure that the evilness of the bad guys is crystal-clear to everyone.<br /><br />The old guy who flies the chopper... How the hell did he fall for the trap? Firstly, he must have been warned by the MTV airhead about the criminals, and secondly, he must have heard Stallone's and Rooker's voices on the walkie-talkies. A whole bunch of idiotic verbal exchanges take place, with Lithgow having the questionable honour of getting most of the silly lines. "Get off my back!" Lithgow: "I haven't even started climbing on your back." Or, Lithgow to Stallone: "We had a deal, but now we only have each other!" And as for Lithgow's gang of murderers: these guys never seem to want to kill immediately. They are very creative about it; they philosophize, pretend that they are playing football with your body, and so on. <br /><br />Stallone co-wrote this thing. I have no idea what drugs he was on when he did it. I'd hate to think the script is this bad because of a low I.Q. | Positive | null | null |
This movie has its ups and downs, but to me the good stuff in this movie very much outweighs the bads...<br /><br />What's not so good about the movie are indeed sometimes the dialogue, the sounds, the lighting(am I the only one who noticed the way the sets were lighted was amateur, and the acting....<br /><br />What is very good are the highly original storyline, the very intense atmosphere, the gore factor which is very high, and the effects which are done supremely.<br /><br />So, definitely worth watching, or maybe even a must-see for all you horror and gore fans.... | Positive | null | null |
Watching John Cassavetes film, Opening Night, I was reminded of something that Quentin Tarantino said once in an interview about personal experience in being a creator of art or acting. He referred to an example of, say, if he ran over a dog while on his way to act in a play that it wouldn't be the end of his life but that it would affect him, and that, without a doubt, he would have to bring that experience with him on stage even if it was a light comedy. "Otherwise," as he said, "what am I doing?" I couldn't help but think of his words when watching Gena Rowland's character, Myrtle Gordon, who for almost a whole week or so goes through a very similar scenario. There is more to this in Cassavetes' film, of course, since it's about how the theater works around a star actress, what emotion and human nature mean when looking at playing a character, and how one lives when all one has (like Myrtle Gordon) is the theater.<br /><br />Near the beginning of the film, after exiting a performance, Myrtle is signing autographs and one such fan named Nancy comes up to her favorite star and pours her heart out to Myrtle. It's a touching little moment, but it doesn't last as she has to get in the car (pouring rain and all). She then watches in horror as the girl, who stood right next to the car as it drove off, gets hit by another car in an auto accident. She's not sure really what happened, but then finds out the next day that in fact the girl did die from the hit. From then on she's sort of stunned by this even after she thinks it's out of her system. At first this shows in small ways, like when she rehearses a scene with her fellow actor (played by Cassavetes) and can't seem to stand being hit - she blames it on the lack of depth in the character (the writer: "What do you think the play lacks?" "Hope," says Myrtle)- but then Nancy starts to show up to her, an apparition that to Myrtle is all to real, until she's suddenly gone.<br /><br />Cassavetes, as in the past films, is after a search for what it means to have emotion, to really feel about something and feel it, or the lack thereof, and how it affects others around the person. This isn't exactly new ground for Rowlands, who previously played a woman on the edge of herself in Woman Under the Influence (in that case because of alcohol), nor would it be alien territory for costar Ben Gazzara, who just came off starring in Killing of a Chinese Bookie. But the actors express everything essential to their characters in every scene; Cassavetes doesn't tell them how to get from A to B in a scene, and he doesn't need to. There's a mood in a Cassavetes film that trumps the sometimes grungy camera-work. You know Myrtle, for example, should be content somehow, even if it isn't with the plot. But she's haunted, and is unsatisfied with her character's lack of depth and the tone of the play ("Aging, who goes to see that?" she asks the playwright), and it starts to affect those around her too.<br /><br />The question soon becomes though not what is the usual. A conventional dramatist would make the conflict 'Will she be able to go on stage, will the show go on?' This isn't important for Cassavetes, even if it's there, as is the question 'Will she be alright?' Perhaps going through such a grueling play as "The Second Woman" could help her work out her personal demons and her losing her grip on reality (seeing Sara and attacking her in front of total strangers, who wonder what the hell is going on)? Or will the play's lack of hope strain everything else wrong with her? The depths Rowlands makes with her character are intense and harrowing, and that it's expected doesn't mean it's any duller than Woman Under the Influence- if anything, it's just as good as that film at being honest about a person in this profession, and consequently the other performances are just as true, from Gazarra to Nancy played by a subtle Laura Johnson. Cassavetes answers to his own posed questions aren't easy.<br /><br />One of the real thrills of Opening Night, along with seeing great actors performing an amazing script, is to see Cassavetes take on the theater the way he does. We see the play performed- and it's apparently a real play- and we only know slightly what it's about. When we see the actors on the stage performing it, we wax and wane between being involved in what melodrama is going on (relationship scuffling and affairs and the occasional slap and domestic violence) and the improvisation of the actors. I wondered watching how much really was improvised, how much Cassavetes allowed for the other actors to do in the scenes where Myrtle starts to go loopy or, in the climax, is completely smashed. He's on the stage, too, so it must have been something for them to work it out beforehand and let what would happen happen.<br /><br />It's funny, startling, chilling, and edge-of-your-seat stuff, some of the best theater-on-film scenes ever put in a movie, and we see the lines between actor on stage, actor on film, actor with actor, blur together wonderfully. Opening Night is a potent drama that is full of frank talk about death and madness, reality and fiction, where the love is between people, and really, finally, what does 'acting' mean? | Positive | null | null |
I thought this movie was pretty good. Some parts were corny but that's understandable since it was made more than 55 years ago. I thought the best performance in the movie was given by Michele Morgan who played Millie convincingly. Jack Haley is also really good as Mike O'Brien. Even though I'm not a big Frank Sinatra fan, I think he was very good in this movie. If your have a craving for a silly, over the top musical comedy, Higher and Higher is the movie for you.<br /><br /> | Positive | null | null |
The Intruder (L'Intrus), a film directed by French director Clair Denis, is the liberation of film. It follows its own spirit across time, space, and character. There may be a plot, but what I understood of that I picked up from the description on the Netflix DVD sleeve. Honestly, it's probably better to know nothing about the film before watching it, because then the viewer can set aside any and all expectations. The film demands that the viewer think, but also taunts the fact that he or she will not gain full understanding.<br /><br />The human heart is the film's enigma. Every image questions its role, its nature, and its form. The heart is the intruder, that of the viewer and that of Louis. Louis' character is played by Michel Subor with the peace and mystery required by such a character. Honestly, anyone could've played Louis' character, if he or she possessed a wandering, willing, and comfortable heart. Yet Subor is the one featured here; he becomes the film, his identity is inseparable from it. Many of the film's images lingering in my mind revolve around his expressions, vocal but mainly physical.<br /><br />The Intruder is poetic in its ability to capture the stillness and fullness of movement, but more fluid than any literature in the shape it refuses to take. "Surrealistic" has been a term used in describing this film, but perhaps "quasirealistic" is a more adequate term. Nothing in the film exists outside of the possibilities of reality; the simple omnipresent score confirms that by imagining in music the connection between heartbeat and dim light.<br /><br />Watch the trailer a few times if you're attracted to visual imagery; see the film to see the consequences of the combination of verse and a grasping for freedom. | Positive | null | null |
Abu, THE THIEF OF BAGDAD, helps King Ahmed regain his kingdom from a wicked sorcerer.<br /><br />As Europe was going to war and significant sections of the world was going up in flames, Sir Alexander Korda's London Films unveiled this lavish escapist fare from the legends of The Arabian Nights. Replete with swords & sorcery, it gave audiences in 1940 a short respite from the headlines. It also is a fine piece of film making, featuring good acting and an intelligent script.<br /><br />Conrad Veidt gets top billing and he deserves it, playing the evil magician Jaffar. His saturnine face with its piercing eyes makes one recall the macabre roles he played with such relish during Silent days. Here is a villain worth watching. As the boyish Thief, Sabu is perfectly cast in this, his third film. While not a hero in the typical sense of the word, his character is certainly heroic in deed & action.<br /><br />The rest of the cast do fine work. John Justin is both energetic & sensitive as the unenlightened king who must learn about the realities of live the hard way; Sabu gets a significant part of the action (when he's not transformed into a dog) but Justin is appropriately athletic when needs must. Lovely June Duprez plays the endangered Princess of Basra, coveted by two very different men. Appearing late in the film, massive Rex Ingram shakes things up as a genie with an attitude.<br /><br />Allan Jeayes uses his fine voice to good advantage as the Storyteller. Miles Malleson gets another eccentric role as the childlike Sultan of Basra, forever dithering on about his mechanical toys (Malleson was also responsible for the film's screen play & dialogue). Aged Morton Selten portrays the benevolent King of Legend. Mary Morris, later an exceptional stage actress, plays the dual roles of Jaffar's accomplice and the six-armed Silver Dancer.<br /><br />The film was begun in Britain, but wartime difficulties made Korda move it to Southern California, which probably explains the presence of American Ingram in the cast. The art direction, in vibrant Technicolor, is most attractive, especially the fairy tale architecture in blues, whites & pinks.<br /><br />*************************<br /><br />Born Sabu Dastagir in 1924, Sabu was employed in the Maharaja of Mysore's stables when he was discovered by Korda's company and set before the cameras. His first four films (ELEPHANT BOY-1937, THE DRUM-1938, THE THIEF OF BAGDAD-1940, JUNGLE BOOK-1942) were his best and he found himself working out of Hollywood when they were completed. After distinguished military service in World War II he resumed his film career, but he became endlessly confined for years playing ethnic roles in undistinguished minor films, BLACK NARCISSUS (1947) being the one great exception. His final movie, Walt Disney's A TIGER WALKS (1964) was an improvement, but it was too late. Sabu had died of a heart attack in late 1963, only 39 years of age. | Positive | null | null |
Breaking Glass is a film that everyone aspiring to be in the music industry should see more than once. It is a very dark tale about the way a record company manipulates a singer to do things their way and to make as much money out of her as possible. Looking at some of today's 'search for a star' style TV shows on both in the UK and abroad I am always reminded of this film. Though not an expert on the subject, the winners of these shows tend to have one very big initial hit and then its downhill from there. This film predates these shows though the effect seems the same. After getting rid of her manager, played quite brilliantly by Phil Daniels, slowly but surely the record company changes her lyrics puts her on stimulants and she is eventually totally burnt out. You potential stars of tomorrow.... WATCH THIS AND BEWARE !!! | Positive | null | null |
i loved this movie it was one of the years best pornos i remember watching it on starz or some god damn thing but it was great. i only saw like half of it and i taped it and all i can say is i loved every minute of what i saw. i didnt sleep for weeks after i saw this movie (although i was very tired.) | Positive | null | null |
This film has special effects which for it's time are very impressive. Some if it is easily explainable with the scenes played backwards but the overlay of moving images on an object on film is surprisingly well done given that this film was made more than 94 years ago. | Positive | null | null |
This movie, while seemingly based off of a movie of the same title in 1951 released by MGM and starring Janet Leigh, is still a great film. Danny Glover in one of his best performances brings George Knox, a down on his luck baseball manager with a short temper, to life. As for this movie being "stacked", how about adding Christopher Lloyd (his stage experience works and shows through in his performances on screen, a wonderful actor), Joseph Gordon-Levitt (Third Rock from the Sun), Brenda Fricker (a charming and well seasoned Irish actress), Tony Danza (yes even he is good in this film), Matthew McConaughey (he stole the show in Dazed and Confused, and his role may not be as pivotal in this film, but he got exposure), Adrien Brody (what I said about Matthew McConaughey goes the same for Adrien, except the Dazed and Confused part), some great character actors like Taylor Negron (David), Tony Longo (Messmer), Jay O. Sanders (Ranch Wilder), Neal McDonough (Whitt Bass) and a seasoned veteran in one of his final performances, Ben Johnson (Hank Murphy, the owner of the California Angels), and the rest of the cast does a great job, plus a great storyline that is uplifting to pretty much anyone, I don't care what recesses of depression you're in. I loved this film as a kid, and it brings back memories when I watch it today. I need this on DVD. I recommend it to any parent who's looking for something their kids have not seen, and everybody else, for that matter. | Positive | null | null |
I am a massive fan of Jet Li! He is THE best HK action film star alive... and consequently - This film rocked! I saw it in the video store and, as it was in the mainstream section of this mainstream video store, I didnt register its presence at first, and had to look twice. I immediately knew what I would be renting out. My only qualm (I suppose I expected it) is that it was dubbed (AAARGh) and not subtitled. Elsewise, the movie's original/strange/cool plot, and full on action made it one of Jet Li's better movies... even though they all fall under that category.... | Positive | null | null |
This, like Murder She Wrote, is one of those shows, that after a stressful day at school, I sit down in front of the TV, and watch. Why? Because I genuinely enjoy it, and it's a shame it's not on the air anymore. Dick Van Dyke is amazing as Dr Mark Sloan, a doctor-turned-detective, who with his son, solves murders. He is joined by a largely unknown but very competent supporting cast, namely his real-life son, Barry Van Dyke. Victoria Rowell is also good, but I noticed that every series her hairstyle changes. i also liked Scott Baio and Charlie Schlatter, but I particularly loved Michael Tucci as Norman, and was puzzled how he suddenly disappeared. This show is so entertaining,with great guest stars, it's a bit obvious at times, like Colombo, but in every episode, there is always something to chuckle about. In conclusion, a great series, with two thumbs up and a 10/10. Bethany Cox | Positive | null | null |
Not a bad word to say about this film really. I wasn't initially impressed by it but it grew on me quickly. I like it a lot and I think its a shame that many people can't see past the fact that it was banned in some territories, mine being one of them. The film delivers in the shock, gore and atmosphere department. The score is a beautiful piece of suspense delivering apparatus. It only seems fair that Chris Young went on to be one of the best composers in the business. The acting in this film is of a somewhat high standard, if a little wooden in some spots, and the effects are very real and gritty. All of this is high praise for a good slasher film in my book. I've noted in some reviews that the film has gotten serious flack having the famous killer's P.O.V shot. And I ask: WHAT'S WRONG WITH THAT??? It is a classic shot that evokes dread into any good fan of the genre and is a great to keep the killer's identity a secret. The only thing that stops this film getting top marks in my book is that the surprise twist(killer revealed) is not handled with more care, I mean it just happens kind of quickly, though the great performances make it just about credible. Aside from that PRANKS is a great movie (though I prefer the original title) and its a shame that so many people knock it off as just a cheap piece of crap. Its more than that, but only few know that as it seems to have gotten lost in the haze of early 80s slasher. What a shame.... Its a really good movie people! Believe me! | Positive | null | null |
Victor McLaglen's performance is one of the finest in film history.<br /><br />I think we can all feel for "Gypo" because we've all struggled with what is right and what isn't and been wrong. This was one of the first art-house pictures to be released by a major American movie studio (RKO Radio Pictures).<br /><br />Joseph H. August's cinematography is at its very best here. However, August's stunning portion was mostly overlooked; he didn't receive the Oscar nomination he rightly deserved.<br /><br />This is a psychological drama, with thought, philosophy, sadness, all conveyed with as little words as possible. | Positive | null | null |
Obviously, there wasn't a huge budget for this film which definitely hindered the production. But the story and ending were so brutal that they made up for a lot. I mean brutal on the level of Ju Dou and other (great) Chinese films. I first saw this when I was 14 years old, I ran home and begged God to forgive me for everything... | Positive | null | null |
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