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Now this is a bad movie if I've ever seen one. In one of film's greatest years, 1999, Detroit Rock City contends with Runaway Bride and Wild Wild West for the bottom spot in a barrel of junkies. The plot is masterful. Four scrawny high school youngsters finally have their chance at seeing the hard rock theatrics of KISS for
the third year in a row. So when their tickets are toiled by an ultra-religious, chain-smoking mom, the pals scramble themselves in getting to Detroit, and I'm sure you can figure out the rest.<br /><br />Well, not exactly; the movie does go to extreme measures in explaining how the four band members (no, not Gene, Paul, Ace and Peter) go about getting these tickets: losing your virginity in a confessional; saving a smoked-out bimbo and your mom's Volvo (from the Soprano's Steve Schirripa, nonetheless); preventing a robbery in the midst of botching one for a 12-year-old's debt; and of course, stripping down to your bare essentials for MC Ron Jeremy after shuttling a full blender with bourbon-leftovers. Sounds funny, doesn't it? Perhaps Detroit Rock City does have a point with all this tomfoolery in how extreme sometimes these fans can go. And we do understand this movie is a comedy; it is supposed to be filled with slapstick. But does Detroit Rock City aim to the proper audience? It is rated R, meaning the only way prepubescent adolescents-the audience as I see it, to which many will eventually hail this one a classic-will voyeur is through illegal terms.<br /><br />Detroit Rock City also fails at giving itself the late-1970's touch. The camera's texture quality is way too clear and way too bright, missing the necessary flair from films like This is Spinal Tap and Sid & Nancy. This would've allowed audiences to feel `more at home' with the times. Simply costuming kids into pre-90's grunge-wear and settling others into `disco infernos' does not do the trick. Environment does mean something you know; I doubt Detroit looked this glamorous in '78. If there's anything positive coming from this movie it's the kick-ass soundtrack of hard late-70 to early-80's rock. Van Halen, AC/DC, you name it, it's all here. Of course we can't forget KISS, the band aptly subjected throughout.<br /><br />What the film noticeably fails to manage are questions concerning why the Knights of Satin's Service (it's really just KISS) were so frowned upon by moms around the nation. Sure, the loud rock and devilish makeup might be a part of that; encouragements for youth to explore themselves and have a good time might be fair reasons as well. But, what is KISS saying in the music we hear throughout the film towards this highly rebellious group? What separates these anthems of `rock[ing] and roll[ing] all night and partying everyday' from the rest of the music? Most likely, these questions will remain in a music communication class and not in the films that should answer them, simply because it is KISS and they rock and we must do everything in our God-forgiven power to see them.<br /><br />1.5/5 stars
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This is a bit of a first for me, the first time I have ever been disappointed in a Tim Burton film. POTA isn't a bad film (great sets, costumes and the odd great performance) but it could have been made by any off-the-shelf hollywood director. The pacing was very odd, the last third was just spent waiting for the film to end, by myself and the cast. Tim Roth was excellent, probably the only pleasure in the film. Come back Tim.
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This is one of my favorite T.V shows of all time, Rowan Atkinson is simply a genius!, and it's only fitting that i chose this to be my 1000 review!. I can't begin to tell you how much i love Mr. Bean he's the man, and what amazes me, is how he gets out of these incredibly difficult situations, and he is always so creative,plus Robyn Driscoll also deserves accolades!, he is also a genius!. My favorite bit that he has done is the Amazing Adventures of Mr. Bean and while all the rest of them are amazing, this remains my true favorite, plus i wish the show didn't stop so soon!. Each episode is brilliantly written, and they were all masterfully directed, plus Each episode is a classic in my eyes!. This show is incredibly popular, and i can definitely see why, as it's quite possibly the funniest show ever. The character actors all played there roles really well, especially Robyn Driscoll and Matilda Ziegler (as Irma). This is one of my favorite T.V shows of all time Rowan Atkinso is simply put a genius and an incredibly talented comedian (possibly the best!), and it's only fitting that i chose this to be my 1000 review f you haven't seen this show , drop what your doing right now and go check it out, you will not regret it trust me it's one of the best T.V shows ever!,and i will continue to watch the show over and over again, i never tire of it!, Mr. Bean Rules!. ***** out of 5
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I think that Never Been Kissed was a totally awesome movie. The casting was really good and they acted very well. I really like Drew Barrymore and of course for me it was excellent. I was scared at first because it said that it wasn't coming out on video. Boy, am I happy that it is because it's a beyond cool movie. Go see it if you already haven't!
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This is probably the only female Ninja movie ever made. It's great as a B film and the action sequences are a lot of fun to watch. This movie is just so deliciously 80's. You'll never see another film like it. Check it out for some 80's retro fun.
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This belabored and sloppy spy melodrama featuring two buffoonish (one idealistic, one drug addled) California kids dealing secrets to the KGB never seems to get enough steam up to sustain any tension and suspense before it dies a very slow death over two hours later. John Schlesinger's finished product gives the impression that he was asleep in his director's chair most of the time as the film lags and the actors sleep walk, save for the highly annoying over the top performance of Sean Penn. <br /><br />Childhood altar boys and friends Chris (Tim Hutton) and Daulton (Penn) devise a plan to sell secrets to the KGB when Chris lands a job that allows him access to top secret government materials. Disillusioned by what he sees as US meddling in foreign affairs the idealistic Chris and the drug hungry Daulton make contact with the Russians and begin to funnel them classified materials. When Chris decides he wants out things begin to unravel at a lackadaisical pace. <br /><br />The eighties were not kind to distinguished director John Schlesinger. In the 60s and 70s he had a series of critically acclaimed films in both England and America but then came Honky Tonk Freeway in 1981 and it marked the beginning of the end. The Falcon and the Snowman more or less put a lid on it. Lacking the suspense of Marathon Man and the quality performances (Hoffman Voight, Christie, Jackson, Finch, Olivier) he had coaxed from leads in the past Falcon goes in circles most of the way. <br /><br />Sean Penn chews scenery from start to finish in such an obnoxious fashion you find yourself encouraging his torturers to do more to him. Tim Hutton is governed by his limited acting chops and most of his scenes show a need for more rehearsal time. Lori Singer as Hutton's girlfriend plays it mute most of the way with Schlesinger content to film her vapid expressions. When she does emote you understand why. Only David Suchet as the KGB handler with a piercing eyed introspective presence and restraint acquits himself well.
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**Warning! Spoilers Ahead!**<br /><br />This short is part one of two that expound upon the brief portion of "The Matrix" in which Morpheus explains how the matrix came to be. Because we already know the story, the plot itself is no surprise; and the short isn't so much entertaining as informative. But that's how it is presented, as a file in the historical archives. The visuals are better than average, and the generally cold colors aid the purpose of the short.<br /><br />A couple problems. The violence of the tale is a little gratuitous and, combined with the occasional dose of political correctness (UN scenes), detracts from the straight narrative of the short. Plus it needs to be seen with part two to be complete.<br /><br />The Animatrix concept is brilliant, and despite a few issues, this short still fulfills its purpose. It would not have fit in the original movie in style, content, or flow. This is the perfect method to reveal the history.<br /><br />Bottom Line: Good information. Could have been told a little better, but still a solid 7 of 10.
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I'd never walked out of a movie before this one. I'd entertained the idea a couple of times, but this time I did it, snuck in to see the end of another movie, but had to come back and see the end of the Rage while I waited for my friends. They told me I didn't miss much while I was gone, either. I was generally offended by the entire movie, in such a grand way that I can't even describe it. My gut instinct told me to get myself out of the theatre. It was a visceral reaction to a horrible movie. The plot centered around the cruel actions of some reprehensible teenagers against vulnerable and troubled others. There was no ray of light, no resonsible or likeable person to provide contrast. I found that even the "good guys" of the movie did nothing for me, were silly, stupid, whiney, or just plain ineffectual.<br /><br />The repetitious, graphic suicide imagery was way overdone, unnecessary, and disgusting. (Not in a "I'm easily grossed out" way, but more in the portrayal of disregard for humanity way). And besides the repetition of that scene, in slow motion, from so many angles, the other visual aspects, (interesting camera work, etc) had potential, but just became annoying sometimes. I am a person who loves movies and tries to find good things about them. Usually I can find some good things to counterbalance the not-so-good of any movie. I'm not saying that this movie had nothing good, but I am saying that, whatever that may have been, I can't remember it with all the other crap that drove me mad. I'm really sorry about that, too. Maybe the best parts were the clips from the classic original.
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I discovered this late one night on Turner Classics. I kept saying to myself "I'll turn it off as soon as it stops being funny", but needless to say I watched the whole way through.<br /><br />I am a movie junkie but I had never even HEARD of this movie (or if I did in 1971, I forgot). It's worth watching just for the performance of Goldie Hawn as the tart-tongued ingénue. Her acting is a revelation in this movie. Yes, the script is sharp and excellent (when was the last time they made a Hollywood comedy with a smart script?) but her acting is extraordinary. I never realized how funny Goldie could be, and it makes her later appearances in roles such as Laugh-In and Private Benjamin a little sad. In her later career she is far too over-the-top compared to her minimalist, wickedly funny appearance here.<br /><br />It's a pleasure watching the young Matthau, the great Bergman and the stellar supporting cast, but it's Goldie Hawn that will make this movie worth watching again.
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If you're as huge of a fan of an author as I am of Jim Thompson, it can be pretty dodgy when their works are converted to film. This is not the case with Scott Foley's rendition of AFTER DARK MY SWEET. A suspenseful, sexually charged noir classic that closely follows and does great justice to the original text. Jason Patrick and Rachel Ward give possibly the best performances of their careers. And the always phenomenal Bruce Dern might have even toped him self with this one. Like Thompson's book this movie creates a dark and surreal world where passion overcomes logic and the double cross is never far at hand. A must see for all fans of great noir film. ****!!!
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To be honest fellow IMDb reviewers, I enjoyed this show a lot. The reason? Well, it didn't try to be more than it is; I mean, a sitcom with regular expectations, with a well known and repeated plot, funny and talented actors, and clever jokes oriented for a post college audience.<br /><br />This is what Grown Ups is all about: trying to be mature but in a funny way.<br /><br />Jaleel White is funny as always and delivers some witty, and hilarious sex oriented jokes. The humor is very 90's without taking in account the tendencies of the new millennium and that's the main reason in my opinion why the show didn't have success. It got stuck in the 90's.<br /><br />Oh and Mrs. Ribisi was really funny and perky.<br /><br />My favorite show has to be the one that deals with Karma biting the ass! Not a cult classic but I'm sure it's part of regular early 2000's nostalgia.
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I've written at least a half dozen scathing reviews of this abysmal little flick and none get published, so I must opine that someone at imdb.com really likes this awful movie. The idea that a bunch of oilmen can resurrect a military tank that has set in the desert for over a decade, and make a fighting machine of it again is ludicrous. So is the acting and direction. Pass on it.
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Based on Robert Louis Stevenson's St. Ives, the film tells the story of a dashing young French Hussar captain (Jean Marc Barr) during the Napoleonic wars. Captured in battle he is sent to a prisoner of war camp in the Scottish Highlands, run by Major Farquhar (Richard E Grant) In short order he falls in love with a local girl (Anna Friel), strikes up a friendship with the Major, and discovers that his long lost grandfather, who fled from France during the revolution, lives just up the road! Spirited performances from all the cast and some memorable lines make this an above average offering.
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My brother brought this movie home from the rental store and I remember expecting it to be such a bore. I think the title especially put me off. I can't ever remember starting a movie with such low expectations and being so completely won over. I watched the movie twice before I let my brother take it back to the store. It is very infrequent that a movie speaks to me the way this one did. I was completely caught up in Ruby's situation as she tries to make her way through her life. The bad thing about this movie is that it seems to end so quickly. I could have kept watching for hours. Another downside is that I have been unsatisfied with everything Ashley Judd has done since. She is so perfect in this movie. This film is easily in my top ten favorites of all time.
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Years ago many big studios promoted serial films that were shown in movie theaters's in between the actual features along with a Newsreel of current events, plus cartoons, especially on a Saturday afternoon. (The parents loved it mostly) "The Return of Chandu" was a 12 episode serial where Chandu,(Bela Lugosi),"The Mysterious Mr. Wong",'34 is a magician with super natural powers and travels to the island of Lemuria to rescue the kidnapped princess of Egypt,(Nadji)Maria Alba,"Dr. Terror's House of Horrors",'43. Princess Nadji is held captive by the black magic cult of Ubasti, who believe that she is a reincarnation of their long-dead goddess Ossana. These 12-episode serials take you way back in time and are very well produced, considering we are talking about 1934 !
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"Victor doesn't have much, but that's not stopping him from trying to go out with Judy, the prettiest girl on the block. All he's got is hope and a one-bedroom apartment he shares with his family. His grandmother doesn't trust him, his brother worships him, and his half-sister just declared war. But Victor thinks love really can conquer all in this warm, genuine, and touching romantic comedy about life in the part of the city most people never see," according to the DVD sleeve's synopsis.<br /><br />Peter Sollett' "Raising Victor Vargas" elicits engaging "debut" performances from lead actor Victor Rasuk (as Victor Vargas) and the cast. Mr. Rasuk and juicy Judy Marte (as Judy Gonzalez) are sexy and endearing as "Lower East Side Kids" discovering the joy of sexual attraction. Considering how attractive they look in this picture, it's not hard to predict they hook up - and, although you may wonder how "innocent" they really are, their characterizations seem true.<br /><br />Victor's brother "Nino" is played by Victor's real-life brother Silvestre Rasuk, who looks the part his older brother is playing. Sometimes, it's nice to see movie brothers who actually look alike; and, hopefully they will work together again. "Cuckoo for Cocoa Puffs" sister Krystal Rodriguez (as Vicki) and old world Altagracia Guzman (as Grandma) round out the sex-starved Dominican immigrant family. So, are hand-held-camera coming-of-age films in vogue, or what? <br /><br />******* Raising Victor Vargas (5/16/02) Peter Sollett ~ Victor Rasuk, July Marte, Silvestre Rasuk
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The 3rd in the series finds Paul Kersey (Bronson) turning vigilante to get revenge on the thugs that murdered his old buddy. I don't know why this movie shoved me into it, but somehow it did. I found myself rooting for Bronson to wipe the floor with those punks. Every time he blew one of them away I felt good. This movie does not take itself seriously, but what if it did? There is a good build-up to the fireworks finale in which Bronson goes on a rampage. But as far as acting and plot go, it just doesn't measure up. If I lived in that neighborhood, I would get out as fast as I could, but it seems like the people are asking for trouble. I know there is that mentality that we need to save our streets, but there is a limit here folks. I had to give it a 4. Sure there are good "blow 'em away" scenes but that's about it. At that time, Bronson was 64. I'm sure if those thugs really wanted to they could have their way with Bronson. Bronson takes the place of a Schwarzanegger or Stallone in this movie. This movie gives you a sense of rejoice. The common man can save the neighborhood, save the day. To sum it up, this is far from being the original Death Wish, but it is rather good if you are just looking for an hour and a half of shoot 'em up.
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Well that's 90 minutes of my life I won't get back. This movie makes teen tv show "California Dreams" look like "Almost Famous". The acting was horrid and storyline unrealistic. Don't even get me started on the actual band at the forefront of this story, lame songs, look etc.. You had to believe that they were one of the hottest bands in the country, and there isn't enough irony in the world to accept that one. The guitarist is seen to be a heroin user, not that I blame him, if I was around such a putrid band with stale songs and wooden acting I'd be injecting the horse too.<br /><br />If you take music remotely seriously, avoid this at all costs.
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I'm very interested in the overwhelmingly positive reviews here. While it had some good features, for the most part I found this movie to be heavy handed, predictable, and, worst of all, not in the least bit scary. The first 30 minutes of the movie were promising, the actress did a nice job in her portrayal, and the world around her was well thought out and meaningful. Unfortunately, from there, the movie entered into a downward spiral. I went into this movie with no clue as to what it would be about-- didn't know anything about the actors, directors, genre, etc. At a certain point, my wife made the comment "is this supposed to be a scary movie?". Well I suppose so, as the boiler-plate "horror movie" score full of squeaking violins and extended vibrato could mean nothing else. There didn't seem to be a whole lot of originality in the movie, the romantic interest was painfully obvious from the first moment, and the second half of the movie descended deep into the realm of the ridiculous. A movie like this walks a dangerously narrow path, and unfortunately there comes a point where the viewer must decide whether to continue walking along that path, or to jump off and simply laugh at the ridiculousness of it all. For the final 30 minutes, I chose the latter.
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How can Barry Levinson possibly assemble white-hot comedy talents Ben Stiller and Jack Black, the gorgeous Rachel Weisz, old pro Christopher Walken and still deliver such a humourless stinker?<br /><br />Stiller and Black are friends until the latter invents a spray to make dog mess vanish and becomes a conspicuous consuming multi-millionaire.<br /><br />The premises is thin but sound enough in the right hands to have been a springboard for some great bitching between the two stars but all concerned overplay every hand, every chance they can.<br /><br />Stiller and Black are simply not funny for way too much of the time, Weisz looks sensational as always but is criminally underused and, with the exception of Walken as a batty barfly who urges Stiller's character to take revenge, it's a turgid trudge to the end of this strained farce.
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I really have no idea how to comment on this movie. The special effects were lackluster, the acting was terrible and if there was a plot to it all, it was on the back of the box. I don't think I can remember a movie being THIS bad in a long time, and I'm a big fan of lesbian sex and boobies!! ;) Even that couldn't save this movie from being just a terrible excuse to pay someone to stand (or lay in this case) in front of a camera.<br /><br />I was pretty much let down by the overall "zombie" effect. Since apparently in this movie, zombies are so commonplace that running over a couple here and there, and casually talking about it at a gas station (one with an in-house windshield repair but no interior bathroom), the zombie-movie genre isn't even a factor until the end. Even then, a cameo by a dozen zombies ripping off a girl's clothes doesn't really constitute being a zombie movie.<br /><br />On to the vampires: Apparently all the zombies are male and all the vampires are female, which is OK by me. I'm not sure how vampires are out in the daylight, or the why/how of a soldier vampire came to be standing in the middle of the road, still holding his gun with a stake through his heart, just waiting for the Queen of the Vampires to flick it all the way through. The last segment in the old nunnery made no sense, and when one hot lesbian vampire asks the other hot lesbian vampire "Do you think we did the right thing?" by killing the two apparent heroes in the movie, that about put it over the top.<br /><br />The acting and special effects were at an all-time low also. You could almost see the hoses that the fake blood was pumped out of during the closeup of the zombie who got ran over by the General. Speaking of the General, where did they find THIS Kenny Rogers look-alike anyways? No idea what he was the General of, aside of generally confusing and misplaced.<br /><br />All in all, watch the movie if you have nothing better to do or if you have the strong urge to waste $3. Just my $0.02.
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Released just before the Production Code crackdown in July, 1934, Mitch Leisen's all-star Paramount musical is leeringly suggestive -some even claim misogynistic- and highly entertaining. Two murders occur on the opening night of "Earl Carroll's Vanities" (one on-stage!), but that doesn't stop the manager (Jack Oakie) from putting on a show as a lascivious police detective (Victor McLaglen) investigates. Everyone is hiding something and Gypsy Rose Lee must have seen this backstage murder mystery before she penned "The G-String Murders" as the denouement is similar (although more satisfying here). Gertrude Michael, as a vicious diva, stops the show (in more ways than one) with her exotic "Sweet Marijuana" number and Duke Ellington finishes with the truncated "Rape Of The Rhapsody". The hit song, "Cocktails For Two", came from this film. A bizarre and bawdy camp classic highly recommended! Here's Louella O. Parsons in the "Los Angeles Examiner" on May 17, 1934<br /><br />Earl Carroll's hand-picked beauties' pirouette about on the Grauman United Artists screen in a fig leaf and not much else. But September Morn herself never had a better figure than these charmers, who are made up to please the eye, especially the eye of the tired businessman. But don't for a moment think Mr. Carroll's girls, au naturelle, are the only attraction. Believe it or not, MURDER AT THE VANITIES is a musical comedy thriller, if you know what I mean -a murder mystery incorporated in a musical show. It all happens on the opening night at the time the play is in progress and a search is on for a murderer. Just by way of suspense, a cop threatens to stop the show every few minutes. Victor McLaglen is something new in cops. All the time he is trying to track down the murderer, he keeps his eye fastened on the chorus beauties. The murder mystery is good with the exception of the denouement, which is pretty flat. Probably faulty direction. Dorothy Stickney, who plays the maid, is about as melodramatic as the heroine in a ten, twenty, and thirty show. For no good reason, she rates a never-ending closeup in the big dramatic scene. The girl ensembles are good, and it's a positive relief to get away from the inevitable overhead shots. The costumes are beautiful; in fact, this is a musical that Paramount can feel is really to their credit. As for Carl Brisson -well, he would be an addition to any show. Good-looking with a delightful singing voice and an easy, assured manner, he is all his press agents claim for him. I also like Kitty Carlisle, who plays the leading lady in the show. Gertrude Michael, as the deep-eyed villianess, gives an interesting if rather fictional portrayal. Jack Oakie, as the stage manager, is the same old wisecracking Jack, but we wouldn't change him. Jessie Ralph is excellent as the seamstress. Others in the cast are Charles Middleton, Gail Patrick, Donald Meek, Barbara Fritchie, Toby Wing and Lona Andre. The screen play is by Carey Wilson and Rufus King, and the direction by Mitchell Leisen. The music is by Arthur Johnstone and the lyrics by Sam Coslow. In addition to MURDER AT THE VANITIES, there is a Mickey Mouse cartoon, a Paramount Newsreel, and a two-reeler, THE WRONG DIRECTION.<br /><br />I disagree with Lolly on the denouement, it's satisfying if over-the-top. Why would she blame the director? Was she displeased with the story's ending -or the way it was staged? And what's a "ten, twenty, or thirty show"? Note the swipe taken at Busby Berkeley and his "overhead shots". As hard as it may be to believe today, the public was tiring of Buzz' schtick by May, 1934. Mitch Leisen said, "if you are showing a stage show that's supposed to be in a theater, you should stay within the bounds of the proscenium arch, and not do a Buzz Berkeley routine with a stage set that's acres big." <br /><br />Q: Don't you think Berkeley's spectacular effects justified taking this liberty? ML: Apparently they did because they're reviving all of his pictures and none of mine, but personally I don't like it.
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This is so exciting! After I saw "La Roue" this afternoon, a short, light-hearted little movie, I consider this one a real treat! This is absolutely delightful and one of the most charming pictures I saw this year. It is the more amazing since it is an early talkie and puts some great pictures of the 30's to shame due to its innovative use of sound in cinema. It's simply filled with music and an adorable mood that's really upbeat and, bottom line, it made me happy! Obviously it wouldn't be so difficult to retrieve the lottery ticket the male lead was looking for, but the pace is so exhilarating and the movie is so spectacularly entertaining that I didn't even think of it twice. The comedy is many times hilarious and I think it is even superior to the Marx Brothers, possibly the biggest comedic force of the time. This is rather perfect.
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This film is really cool. every thing looks like it came out of the comic book. the sets, the costumes, and the plot is great. Clark Bartram is again our favorite batman. he looked a bit better in dead end, but he still pulls it off. superman is great too. the flying effects are OK. but its a fan-film so we cant expect them to be the greatest. the shot with superman catching the car was VERY believable. it was cool. This is a movie i would definitely see if it were real. its got every thing you would want in a batman/ superman movie. one exception though, i would cast the joker instead of 2-face..... overall i give this film a 10 because its a great film.
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"The Tenant" is Roman Polanski's greatest film IMO. And I love "Chinatown", but this one is so much more original and unconventional and downright creepy. It's also a great black comedy. Some people I have shown this film to have been *very disturbed* by it afterwards so be forewarned it does affect some people that way. Polanski does a great job acting the lead role in "The Tenant" as well as directing it.
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First of all I'd like to start by saying it's a refreshing start to see a British Drama that finally looks and feels believable. <br /><br />Patrick Stewart does the role justice as (Ian Hood), the government Science adviser, with his constant and unwavering views on authority and thoughts about the future of "real world" science and how he feels It's either being used or abused by others. <br /><br />Not only is the casting thoroughly maintained all the way throughout the Series, but it makes it's characters seem more believable than most other British Drama's. <br /><br />Ashley Jensen also delivers a first rate performance as Dr. Hood's Appointed bodyguard (Rachael Young), she brings a refreshing take on the unscientific, Uninterested everyday views of science, and her constant battling with Hood makes for some very funny and memorable moments between them.<br /><br />The way the series keeps all the scientific elements more realistic I Find positive and more engaging than the psychobabble we are so used to in other Fiction or Science Fiction TV shows. <br /><br />There are however notable disappointments with the series, every time an Episode ends I find myself disappointed that they didn't seem to cover all aspects of the plot and sometimes leaving open-ended stories unclosed. <br /><br />Although bearing in mind that this is still the first series, I hope that we see a return to form in the near future where these open ended stories can finally be given a significant conclusion they so rightly deserve.<br /><br />For those who enjoy more slow paced science related plot lines, this is the ideal show to watch as it always manages to stay believable and more Importantly to the point.
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Why did I have to go out and buy (yes buy!) JACK FROST 2: REVENGE OF THE MUTANT KILLER SNOWMAN??? Maybe it was a burst of temporary mental derangement? But I'm guessing it's because I kind of enjoyed the first JACK FROST. It was a silly but funny horror-comedy which had some okay effects by Screaming Mad George. That and the fact that on the back-cover of the sequel there was this nice picture of this guy impaled by this giant icicle (coming out of his mouth with a lot of blood and all). So I thought: if it's as idiotic as the first and has some nice splatter/gore in it, it should be fun, right? Well, I was so dead wrong! <br /><br />Let me first say that the movie deserves some credit for having an immensely insane and retarded plot. I mean, a mutant killer snowman on a tropical island that spawns mutant killer baby snowballs which can only be killed or harmed by bananas??? As much as I love the premise, I really hated the movie. First of all: while the first JACK FROST looked like an actual movie (seemingly being shot on real film and all), this sequel has the look and feel of a third-rate soap-opera. It has this way too slick shot-on-video look. The lighting is just plain awful (bright white spots for the day look, and stupid colors like blue and green at night). The acting... well don't even go there. The dialogues range from stiff to extremely senile (that Jamaican man was just moronic, saying "man" after every sentence). And when it comes to the voice of the killer snowman, all I could think of was a seventh-rate Chucky from CHILD'S PLAY spewing dumb and supposedly witty one-liners before he kills someone.<br /><br />The best joke was were one guy asks "Why are you talking to your watch?". And the best scene was undoubtedly the one with that beautiful Asian chick popping up out of nowhere and taking a swim in the pool totally naked (thank god for that!). Oh, yeah, and that little scene over the end-credits with those two Japanese dudes on a miniature ship being badly dubbed had me laughing too. But the worst thing about this movie was: Where was the gore and splatter action everyone is talking about? There were plenty of occasions to show some decent gory killings. A lot of people were killed off in original ways here, but all off-screen. Like I've read in many other comments, there were indeed nice set-ups to a head explosion, a crushed body, eyes being poked out, tongue ripped out,... but on the crucial moments the editor cuts away to some blood splatters on the floor or nothing at all. That frontal shot of that British guy being impaled (from the back-cover of the DVD) wasn't even in the movie. I only saw that particular killing filmed from the back (meaning I didn't see sh!t!). I was waiting throughout the whole movie for that to happen, and then I get to see nothing?!?! What a let-down! Could it be that I saw a cut version of the movie? That would be a shame, 'cause only a decent amount of splatter-fun could have saved this movie if you ask me. Seeing a lot of killer snowballs reduced to bloody pulp just didn't cut it for me. Speaking of those snowballs: they were done very poorly. They made MUNCHIES look like state-of-the-art 'animatronics'. But I guess that was the whole point of it. At some point, the special effects crew even turned to some laughably bad CGI. Boy, you really have to see it to believe it. Best is to not see it, actually, 'cause this flick is just too bad (okay, I did laugh with it, for it kept getting worse and worse). Just stick with the first JACK FROST (1996) and you'll be okay (just bare in mind that it's a pretty silly horror-comedy but fun in it's own right).<br /><br />It's funny, but writer/director Michael Cooney somehow must have realized that he was a pretty bad director after JACK FROST 2, and then focused on writing. Turns out he then wrote two pretty good thriller screenplays for THE I INSIDE (starring Ryan Phillippe) and IDENTITY (starring John Cusack). So the man seems to have some talent after all.<br /><br />Now it would be far too easy to give JACK FROST 2 the lowest rating possible. So I say one point for that naked Asian babe doing the skinny dipping and one point for those completely retarded snowball babies. Way to go Mr. Cooney!
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This film is about a man who has been too caught up with the accepted convention of success, trying to be ever upwardly mobile, working hard so that he could be proud of owning his own home. He assumes this is all there is to life until he accidentally takes up dancing, all because he wanted to get a closer look of a beautiful girl that he sees by the dance studio everyday while riding the subway on his way home.<br /><br />His was infatuated with her at first, going to the dance class just to idolize her, but he eventually lets himself go and gets himself into the dancing. It eventually becomes apparent to him that there is more to life than working yourself to death. There is a set of oddball characters also learning in the studio, giving the film a lot of laughs and some sense of bonding between the dejected.<br /><br />There is also revelations of various characters, including the girl he initially admired, giving some depth to them by showing their blemished past and their struggle to overcome it.<br /><br />The dancing was also engaging, with the big competition at the end, but it is not the usual story where our underdog come out at the top by winning it. Instead, there are downfalls, revelations and redemption.<br /><br />All these makes it a moving and fun film to watch.
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Thank the Lord for Martin Scorsese, and his love of the movies.<br /><br />This is the perfect introduction into the mind of the most talented American artist working in cinema today, and I couldn't recommend it more. I was enthralled through the whole thing and you will be too. Just relax and let him take you on a ride through his world, you'll love it.
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If you have seen very less films, this might be a big one for you. If you have seen lot of films, this is a joke. The acting of real heroes is portrayed very badly. Not to mention, there are songs, there are lot of flashbacks, and most importantly, the fighting scenes are stupidily performed. New characters, good direction, would have done a better job, but since it contains all the bollywood heros/heroines, you can predict whats going to happen next. You do not feel sad when something happens, the emotions they protray is terrible, mainly because we have seen this actor in 1000 other hindi movies. It suppose to be a realistic movie, but it fails to show. There are times you wondering, you have thousands of army vehical filled with soldiers moving and the pakistanis are bombing at them and none of their bomb hits them. Are the pakis really bad at aiming or the director made them look stupid? There were only a few characters acting that was very good, but as far it is concerned with plot, action, it is poorly directed. This movie could have been short if they took out songs, flashbacks, stick to the point.
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I was amazed at the improvements made in an animated film. If you sit close to the screen, you will see the detail in the grass and surface structures. The detail, colors, and shading are at least an order of magnitude better than Toy Story. How they were able to pull off the shading, I will never know. I do hope that PIXAR will provide a documentary on how the film was produced so I can find out how all this was accomplished. Based on this film, I think animated films of the future will be judged on the basis of this film.
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This is a really great short from Hal Roach. This is because of two main reasons: The littlest kids in the short are among the cutest to have ever been on film and the plot has so many funny and well-written elements.<br /><br />As for the littlest of the Little Rascals, I honestly can't think of a cuter kid than Spanky at about age four. Despite being a rather chubby and unattractive kid in later years, he was just precious here. And, placing the little tiny boy in charge of babysitting the even younger kids was not only funny, but once again high on the cute factor.<br /><br />After the older kids blackmail Spanky into doing this awful babysitting job, all kinds of funny mayhem breaks loose. The gags are pretty effective and well-done for the time--with an accidental crank call involving a murder and a final scene where Spanky FINALLY gets control of the little ones being the most memorable. I haven't seen these shorts in many decades and I am glad I gave this one a chance.
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First than anything, I'm not going to praise Iñarritu's short film, even I'm Mexican and proud of his success in mainstream Hollywood.<br /><br />In another hand, I see most of the reviews focuses on their favorite (and not so) short films; but we are forgetting that there is a subtle bottom line that circles the whole compilation, and maybe it will not be so pleasant for American people. (Even if that was not the main purpose of the producers) <br /><br />What i'm talking about is that most of the short films does not show the suffering that WASP people went through because the terrorist attack on September 11th, but the suffering of the Other people.<br /><br />Do you need proofs about what i'm saying? Look, in the Bosnia short film, the message is: "You cry because of the people who died in the Towers, but we (The Others = East Europeans) are crying long ago for the crimes committed against our women and nobody pay attention to us like the whole world has done to you".<br /><br />Even though the Burkina Fasso story is more in comedy, there is a the same thought: "You are angry because Osama Bin Laden punched you in an evil way, but we (The Others = Africans) should be more angry, because our people is dying of hunger, poverty and AIDS long time ago, and nobody pay attention to us like the whole world has done to you".<br /><br />Look now at the Sean Penn short: The fall of the Twin Towers makes happy to a lonely (and alienated) man. So the message is that the Power and the Greed (symbolized by the Towers) must fall for letting the people see the sun rise and the flowers blossom? It is remarkable that this terrible bottom line has been proposed by an American. There is so much irony in this short film that it is close to be subversive.<br /><br />Well, the Ken Loach (very know because his anti-capitalism ideology) is much more clearly and shameless in going straight to the point: "You are angry because your country has been attacked by evil forces, but we (The Others = Latin Americans) suffered at a similar date something worst, and nobody remembers our grief as the whole world has done to you".<br /><br />It is like if the creative of this project wanted to say to Americans: "You see now, America? You are not the only that have become victim of the world violence, you are not alone in your pain and by the way, we (the Others = the Non Americans) have been suffering a lot more than you from long time ago; so, we are in solidarity with you in your pain... and by the way, we are sorry because you have had some taste of your own medicine" Only the Mexican and the French short films showed some compassion and sympathy for American people; the others are like a slap on the face for the American State, that is not equal to American People.
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One hilarious thing I'll say off the top, is I'm not the biggest Seisun Suzuki fan. I've actually seen a fair number of his works (thanks to a retrospective the film festival had) and I found his films just a wee too Yakuza-driven for my tastes. So, I went into Princess Raccoon wary of what I was going to see. Boy! Was I knocked out! 'Raccoon' is Suzuki's attempt at a musical, using the elements of Japanese opera mixed in with many modern elements (both Audial and Visual), Raccoon is a treat from start to finish. The lead actor, Joe Ogdari, proves that he's one of the hottest actors in Japan these days in this role. I have to admire that the younger Japanese actors still take roles that take place in Feudal-times Japan, dressing up in Samurai gear to full effect. The story itself does get a bit confusing, if you don't follow it really closely, but even if you don't, prepare yourself for the treasures that Princess Raccoon has.
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First off, I have been a fan of the show back when my PBS station started showing it back in 1981. I learned many things about the show and the people who were in or contributed to the show.<br /><br />This latest installment of Doctor Who made a great impression on me. The original series, aka classic series, was made fun of by the bad special effects and/or wobbly sets. Well, this is NO MORE TRUE. The special effects are awesome, but what is even better is the writing. You get a chance to learn more about our beloved Doctor and maybe a bit of a reason why he loves the planet earth so much. Without giving too much away, it is a very worthwhile series to watch. Christopher Eccelston brought a side of the Doctor that we never get to see, a bitter and angry one but yet lovable at the same time.<br /><br />A MUST SEE!
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The problems with Nikhil Advani's Salaam-e-Ishq are many. A one-line concept that looks good on paper (which also worked in an earlier English film - Love Actually) goes terribly wrong thanks to inept and shallow writing. A well-intentioned idea gets crushed to smithereens under the weight of its own gargantuan ambition. A director so completely besotted by his own much applauded first film goes overboard with the devices that worked in his earlier film (Kal Ho Na Ho) - try counting the number of times the device of split screens is used in this flick. The problem is - what worked fabulously in Kal Ho Na Ho were the emotional excesses of the Karan Johar school of film-making, but here, 'emotion' doesn't quite grace us with its appearance on the screen - no, not even cursorily. The writer/ director gives us 'six relationships with one common problem - love', but where is the intensity, where is the depth, where is the 'emotion'? A 'tribute to love' sans emotion? And one that goes on and on and on...... Nah, it just cannot work! <br /><br />In my opinion, the basic requirement for a portmanteau film like this to work is that not only should each individual story be 'complete', it should - in some way or the other - follow the graph of the traditional three-act structure (screen writing guru, Syd Field's Paradigm). That's the real reason why Salaam-e-Ishq didn't work for me. None of the stories had any depth or a roller-coaster ride of emotional ups and downs one expects in mainstream Hindi cinema. Also, the linkage between some of the stories seemed tenuous and very forced. It's not clear what Salman Khan is doing at Ayesha Takia's wedding. If he was required to be present at the wedding scene for a neat wrap-up, why not conjure a few more coincidences and bring the other two couples also to the wedding? That would be neater.<br /><br />But yes, some of the stories did have a lot of promise. For one, the Anil Kapoor-Juhee Chawla story tries to address a very real situation - mid-life crisis, but its journey is so linear that you're left wondering if it was really an issue. Similarly, the problem of commitment in the Akshaye Khanna-Ayesha Takia story is also true to life. If only it was developed a little better. I felt that the more promising stories in this mish-mash were told from the male point of view, which is fine, but it brings down the emotional quotient of these stories because the female characters - Juhee Chawla and Ayesh Takia in particular - have all the depth of a half-filled bath tub. Wasn't this film supposed to be about '12 different lives'? Now the actors. John Abraham still needs to learn acting, while Vidya Balan is dependable and endearing as ever. Anil Kapoor gets a role written just for him but sometimes overplay the boredom of his character. Since she didn't get a meaty character to portray, Juhee Chawla uses her charming smile and natural acting style to cover up for it. Akshaye Khanna is fine despite going a trifle over-the-top in a few scenes. Ayesha Takia has nothing much to do, but she does remind us that she's the same girl who surprised us with her bravura performance in Dor. Govinda tries to make up for that HUGE mistake called Bhagam Bhag, and succeeds to a large extent.<br /><br />That brings me the most irritating track of the film (which unpardonably ends up hogging the maximum screen time) - Salman Khan and Priyanka Chopra. The track is irritating mainly because of them. But I must credit them for their consistency. They're consistently BAD all through the film. Priyanka could well be the next queen of hamming - I don't buy the crap that her role (that of an 'item girl') required her to act over-the-top. Somebody should tell her the difference between being flamboyant because the character demands it and downright hamming. If you've seen Rakhi Sawant (who seems to be the inspiration behind this role) in her interviews and Bigg Boss you'll know what I mean. I strongly feel that if Nikhil Advani had taken Rakhi Sawant in this role rather than a bigger star like Priyanka, the story would have worked better. Salman Khan's phony accent is.....well, Shannon Esra's Hindi is less accented than Salman's.<br /><br />To be fair to the director, he does manage to add some good directorial touches to the film. I particularly liked the use of grey as the predominant color in the Anil Kapoor-Juhee Chawla story as a metaphor for their boring existence, and the bright colors that come into the story with the arrival of the other woman. But will anyone choose to paint their house in varying, depressing shades of grey? That's acceptable cinematic license I would say. But when the film runs almost for 4 hours, it almost feels like the director is trying too hard to give the audience a glimpse of his 'touch' in an endlessly meandering montage of uninspiring sequences.<br /><br />Maybe Nikhil Advani wants us to sit in the theatre for as long as is humanly possible- pata nahin, kal ho na ho.
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I just want to make one thing clear- I love Michael Vartan! But this film really lets him down. His acting is still superb, he's still as charming as ever, and he still looks great. But the film itself is a load of rubbish! Natasha Henstridge, I'm sorry to say it, comes over bit manly... you're constantly waiting for her to run off with her best friend, who's own sub-storyline is a little weird. Myself and my family (who sat down and watched the film with me) were also put off by the soundtrack to the film; at times the music just didn't fit with what was going on in the scenes. However, even this was not the worst aspect of what I found to be a very disappointing film. I could forgive the leading lady's butch-ness, I could forgive the freakish characters that were thrown in to the mix, and I could forgive the poor choice of musical accompaniment, but whose choice was it to cut out the whole middle section of the film and skip straight to the end??? The ending was obviously planned from the beginning but how it gets there is left untold. If you're a Michael Vartan fan skip this film: buy yourself a poster instead.
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This seemed to be a good movie, I thought it would be a good movie, and throughout the movie I was hoping it would be a meaningful use of my time, and yes, I have to admit that the acting talent of Dimple Kapadia and Deepti Naval where truly commendable, but despite the best effort this movie falls short of effectively conveying a meaningful message, which it seems is it seemed was what Somnath Sen is trying to do. The final point comes short and the ending seemed kind of unsatisfactory after all that happens; a bit like real life in that respect but movies unlike real life ends in about 2hrs and the ending should leave the audience satisfied, if indeed that was the director's intention. This falls short in that respect and that is what disappoints me the most.<br /><br />Another aspect that concerned me was the national stereo-typing of the American characters - they all seem to be carved out of the same block. Seems to me that most American characters in Indian English movies are based upon how common Indians themselves perceive Americans to be like and it is clear that no effort has been made to bring any sense of depth or complexity to any American in the movie.<br /><br />These two aspects put together they make for a disappointing story.
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This film is so bad and gets worse in every imaginable fashion. Its not just the poor acting and script nor is it the lame and perverse time one wastes on watching it. What really puts this film in my hall of shame is the apparent struggling that the writers and producers do with the film to try and make it funny. The actress replacing Jean Reno's descendant is to old and learned her lesson in the first film so they add a new girl who is to be married. Nearly all of the original extras and gags return however this time makes me want to ripe my eyes out of my sockets because it's a waste of perfectly good film. The torture of the constant camera cuts and shots in any scene in this movie can put the viewer into violent convolutions. This second film takes the successful original and drags it out of its coffin and parades the corpse out in the public square and perversely degrades not only the original idea and its legacy but our intelligence as well. This film unlike the spruce goose could not fly for it had no plot in the principals returning for a 'necklace'. No script since it was apparently written and added to daily. No attention to camera or shots in mind. Poor lighting and special effects done for the sake of doing so. This film would not even pass for a student film in basic Film 101. How this pile got through no one can tell. It was a big loosing investment and it appears that no one had the strength to put this unnatural cruel mistake out of our miseries. This movie has one good part ...its END! This film is my #1 worst film of all time, finally "Howard The Duck" is no longer the goose.
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A very engaging documentary about Scottish artist Andy Goldsworthy, whose work consists mostly of ephemeral sculptures made from elements from nature. His work is made of rocks, leaves, grass, ice, etc., that gets blown away when the tide arrives at the beach or the wind blows at the field. Thus, most of Goldsworthy's works don't really last, except as photos or films of what they were. Now, one can argue that Goldsworthy's works are a reflection of mortality, or words to that effect, but isn't it easier to say that what he does is just beautiful art. And at a time when the stereotype about artists is that they are mostly bitter, pretentious, often mentally unstable people who live in decrepit urban settings, Goldsworthy seems to be the opposite: a stable, unpretentious, family oriented person who loves nature and lives in a small village in Scotland (of course, I'm sure those are the same reasons why he's shunned by some people on the art world who found his works fluffy or superficial).
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With this topic, it is so easy to take cheap shots. You know, the guy with hairy legs trying to look like Marilyn Monroe. Not here -- Adrian Pasdar does a superb job of making Gerald a REAL person, someone you care deeply about, and as a result you feel for his plight trying to live both as Gerald and Geraldine. Not only that, but as Geraldine, he looks HOT! And the chemistry between him and Julie Walters is electric. These are two characters who feel love for one another, and it comes through even when they simply look at each other over the breakfast table. Even the potentially cheesy sub-story line of corporate takeovers is believable, and you find yourself cheering at the end! At least I did!
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I recently saw the Broadway revival of "Blithe Spirit" starring Angela Lansbury, Rupert Everett, Christine Ebersole, and Jayne Atkinson. It's a terrific production, and shows what good actors can do with a play that is less than perfect. Angela Lansbury is extremely funny as Madame Arcati.<br /><br />It was probably a mistake, then, to check out the film version of the play starring Rex Harrison. The movie does not have the energy or the laughs of a good stage production.<br /><br />"Blithe Spirit" is probably one of those plays that works better with a live cast, in an audience full of people who have come to laugh. The actors can improvise, give touches and nuances to their performance and delivery of the lines, and involve the audience on a personal level that you can't get in a movie house, or with a DVD showing, where the audience is separated from the story by the "Fourth Wall." The story: Charles Condomine (Rex Harrison), a successful writer, lives with his wife Ruth (Constance Cummings) in a house in the English countryside. Seeking information for his next book, a book dealing with the supernatural, Charles invites Madame Arcati (Margaret Rutherford, reprising her role from the original 1941 London production), a local spiritual medium, over to his house to conduct a séance. Charles believes that spiritism is a sham, but hopes to pick up "the tricks of the trade." But then Madame Arcati brings back the ghost of Elvira (Kaye Hammond), Charles's first wife, who died of pneumonia seven years ago. Elvira refuses to leave, and develops a spitting rivalry with Ruth over Charles (complicated by the fact that only Charles can see or hear Elvira).<br /><br />On stage, the actors can give performances that invite laughs in this situation. But on the screen, the actors in "Blithe Spirit" tear through the lines as if they don't know that anyone is listening to them. They mumble lines that were designed to get laughs on the stage. The performances by Harrison, Cummings, and even Kaye Hammond are flat and lifeless. Only Margaret Rutherford seems to have retained her spark and humor as Madame Arcati.<br /><br />The Oscar-winning visual effects in the film are unimpressive -- not just by today's standards, but by the standards of 1946! They consist mostly of Kaye Hammond walking around in fluorescent green outfits and makeup, being photographed in special lighting to make her look like a glowing ghost.<br /><br />The cinematographer deserves some credit for creative lighting. But compare the dull visual effects of "Blithe Spirit" to the truly groundbreaking effects in Disney's "Song of the South" -- which was eligible for awards the same year. In "South," humans and animated characters share the screen seamlessly for minutes at a time. Compared to "South," the Oscar that "Blithe Spirit" received for special effects was completely undeserved.<br /><br />At any rate, I can only encourage you to catch the Broadway revival of this play with Angela Lansbury before it closes. As for the movie with Rex Harrison, skip it.
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Aunt Cora had always been tactless, and her well-bred family ignored the remark she made after her brother Richard's funeral: "He WAS murdered, wasn't he?". They remembered it the next day, when Cora was found brutally murdered with a hatchet...<br /><br />For some reason, the POIROT movies this year have been far from faithful to the original book. I was disappointed about the changes made in CARDS ON THE TABLE-- my favourite Poirot book. AFTER THE FUNERAL is my 2nd favourite Poirot book, and I was scared the story would be destroyed. It wasn't! The movie was nearly page-for-page faithful throughout, right down to the killer's motive! All the actors were wonderful, but my favourite has got to be Monica Dolan, who gives a great performance as Miss Gilchrist, the companion to the late Aunt Cora. Without a doubt the best Poirot movie ever!
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I am extremely picky about the films I see. I'd heard about Moon Child completely by accident. I've been a fan of L'Arc En Ciel for some time and a fan of Gackt and Mizer only recently.<br /><br />I finally found out the film was being re-released and picked it up without a second thought.<br /><br />Being as critical as I am about films, I will admit, the action scenes can be somewhat hokey at times...but they're meant too be, as another user suggested, it's the quintessential calm before the storm, quoting Gary Oldman from Leon...without getting into the spoilers, the film hit me extremely hard, because you realize that the boundaries of friendship are limitless and as they often say, true friendship is loyalty and like marriage, it's until death do you part.<br /><br />Hyde and Gackt give performances that showcase why they are able to commit such depth to their song lyrics, their passion for music happens onto the big screen and in the process it creates an exemplary film that will reach into one's soul and evoke response emotionally.<br /><br />Upon seeing the film for the first time, I realized it will probably remain in heavy rotation as far as my collection goes. I want to encourage anyone reading this post to pick up the film if you want to get away from the current Hollywood trend in film...this takes an entirely new direction using classic Yakuza film elements and how can you go wrong with a cameo from Ryo Ishibashi of Takashi Miike's "Audition" and "Suicide Club" fame?<br /><br />Man..I just can't say enough about this film, but I'll stop here.<br /><br />10/10
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This is one of my favorite Mr. Motos, and I have seen them all. As usual Lorre is his charming self as the debonair Mr. Moto. Lionel Atwill plays a delightfully zany museum curator, the usual comic relief is quite funny here, and there are lots of suspects on whom to cast an eye. It's fast paced and fun.<br /><br />The archaeologist doesn't have quite the same flair as Thomas Beck, the usual second lead in these programmers, but he's adequate. Stepin Fetchit is on board, and while he speaks in a stereotypical manner his lines are funny, not demeaning to his intelligence, and he actually saves the day in his brief time on screen.
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If I guess your "palabra", will you let me go through?- Asks William Geld, a Tim Robbins that keeps on acting like if they told him a fantastic joke and he is attempting not to laugh.<br /><br />He is trying to get to a forbidden area. The woman stopping him continues blabbering: -Your "palabra" is Carrefour.<br /><br />-How did you know?- the lady asks, surprised. He answers, in the name of Wisdom: -I was hearing when you weren't talking. :/<br /><br />Yes, this defines the movie. This precisely. It doesn't matter if Carrefour is "road conjunction" in french, or if the Future is coldly bureaucratic and mixes languages. Or if Samantha Morton has nothing, nothing of Spanish (Maria Gonzalez being her name in the film) with her Irish, Scotish whatever tone.<br /><br />It's boring and dull. If you fall in believing there are multiple symbolisms, you will buy the most bizarre, sickening love relationship ever, set in a future that may well be in seven seconds. I can guess this movie's palabra: it will be "painful".
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Farscape is the best sci-fi show period, for one main reason, everything the show attempts, it does very well. From a technical aspect, the music is original and perfectly fitted to the show. The special effects are abundance and higher quality then almost any thing else that you will see on your tv. The acting is also great, too many shows nowadays use only the American market of actors for their shows. Remember the first time you saw The Matrix and you said, wow where did that Agent Smith come from? Its the same feeling that you get watching Claudia Black, Anthony Simcoe, Lani Tupu, Virginia Hey, and especially Wayne Pygram. These Aussies are great and it comes through in this great show.<br /><br />The plot is second to none. The next closest thing I can think of is Babylon 5 during the shadow wars episodes, but this tops even that. Its a real treat getting to watch all the episodes sequential again, the intricacies of the interpersonal relationships of the characters are well scripted and performed. The overall plot is both original and thoroughly entertaining. I am always itching for the next show.<br /><br />The comedic episodes are funny, the drama episodes are touching, and the action sequences are tense. The beginning of the second season had some great comedic episodes which had me laughing aloud, something that rarely happens while watching television that is not South Park, Sealab 2021, or Seinfeld. The drama is even harder, whether Crichton is meeting his mother or the characters face thier mortality, all is done with heart and intensity. Lastly it goes without saying that the action is tops. This is sci-fi.<br /><br />If you are a fan of science fiction in the slightest, if you enjoy good television at all, if you like good serialized plot, you owe it to yourself to watch Farscape.<br /><br />Oh, and Ben Browder owns.
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Ronald Colman won a Best Actor Oscar for showy performance as a popular stage thespian who completely loses himself in his roles, particularly as Shakespeare's Othello. Critically-lauded George Cukor film has a marvelous pedigree, having been written by the estimable team of Ruth Gordon and Garson Kanin. Unfortunately, the witty banter comes off as self-conscious here, and the backstage business is overripe. Miklós Rózsa also won an Oscar for his score, and Shelley Winters has a few fine moments a tough waitress (when theatrical Colman breathlessly addresses her, she asks him, "What are ya? Some kind of nut?"). Otherwise, this scenario is awfully obvious, surprisingly draggy, and not very funny. *1/2 from ****
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this film was a major letdown. the level of relentless cruelty and violence in this film was very disturbing. some scenes were truly unnecessarily ugly and mean-spirited. the main characters were impossible to identify with or even sympathize with. the lead protagonist's character was as slimy as they come. the sickroom/hothouse atmosphere lent itself to over-the-top theatrics. little or nothing could be learned about the Spanish civil war from this film. fortunately, i've been to spain and realize this is not realistic! in addition, the use of same-sex attraction as a lurid "horror" was also very offensive and poorly handled, while the DVD is being packaged and advertised to attract gay viewers. the actors seemed uncomfortable in their roles,as if they were trying to distance themselves from this mess.i guess if you like watching children and pets being brutally killed,this film might especially appeal to you.
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I do have the `guts' to inform you to please stay away from `Dahmer', the biographical film based on the real-life story of the grotesque serial killer. `Dahmer' strays more in relation to the mentality of its focused subject. Jeffrey Dahmer, who murdered over 15 young males and ate some of their body parts, was probably the most incongruous serial killer of our generation. However, the real sick individuals are the filmmakers of this awful spectacle who should have had their heads examined before deciding to greenlight this awful `dahm' project. This is not an easy film to digest, even though Jeffrey would have easily digested it with some fiery `brainsadillas' appetizers or even some real-life `Mr. Potato skins'. * Failure
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That's how I'd sum it up! There were other who said, Naked Gun meets James Bond. I think mine is more accurate, but I'm not neutral on that point ... ;o) <br /><br />This movie is kind of a blast from the past. It reminds you of the old movies (from the '50s & '60s) and that's not only because it plays in that time period (1955 to be exact, with the Flashback exception), but it's the mood the movie is made in and it shows on screen! The main actor here (who is as I've been told very popular in his homeland France), is perfect in his role here. He's the spy with the number 117 attached to him. There is one character who sums him up in the movie, by asking a question, about if he's good or not ... you'll see when you watch the movie! <br /><br />Very funny indeed this is and if you like your spies mixed with comedy with old school flair, but not taking itself or anything else for that matter seriously, than you need to watch this! :o)
| 1pos
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It is one of the joys of Shakespeare that there can be no definitive performances - no single performance can be right', but some can be wrong, and this one is. There are at least two things about Hamlet which cannot be dispensed with: 1. His indecisiveness and inability to take any kind of action. For God's sake that is what makes the play last as long as it does. If you had Othello there instead of Hamlet, Claudius would be dead by the end of Act One. Any production has to try to explain why Hamlet delays, why he is incapable of action. 2. His sexual disgust. His total revulsion at the thought of what his mother and uncle get up to in bed fill him with an utter disgust for all things sexual and this means that any kind of relationship with Ophelia is impossible. At the slightest hint of sex, Hamlet throws up. So, what does Mel Gibson give us? Lusty action-man. You could not get further from the character of Hamlet if you tried. There are lots of ways Hamlet can be played, but this isn't one of them! What I don't understand is since they managed to get such good actors for the other parts - Claudius, Polonius and so on, why couldn't they find one to play Hamlet as well. Mark Rylance in the part would have made this a great film. This Mel Gibson', whoever he is, completely let down the rest of the cast. And lets face it, Hamlet without the prince really doesn't work.
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Keys to the VIP is one of the most entertaining, informative and hilarious shows that is on television right now. The idea is original, and well executed, as it manages to preserve the reality aspect, but still remain entertaining. All of the judges have a razor wit. They're not the nicest at all times, but if you're looking for comfort, go watch a chick flick. Say what you like about validity of the show, but it is absolutely real. I know people who have competed on the show, and they have confirmed this. <br /><br />If you want to laugh, watch this show. It is on of the best comedy shows ever made.
| 1pos
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Because of the depth of his character studies and complexity of story lines, James Joyce's works do not easily translate into film. Yet John Huston, in his last film before his death, achieved a perfect translation of Joyce's story. He received great support from his son, as writer, and daughter, as actress.
| 1pos
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50 years old, this musical comedy fantasy might look its age, but it wears it with dignity.<br /><br />This film is still great fun. Crosby was never really romantic lead material, but he delivers the material with the lightly humorous edge it needs. Bendix plays broad and is huge fun in a part which calls upon his strengths. Hardwicke - how joyous for a knight of the realm - a genuine one - to throw himself into caperings like this with such abandon. And Rhonda Fleming enjoys herself in the least showy of the main roles. Only Murvyn Vye disappoints as an unconvincing Merlin.<br /><br />Though not a musical, the songs are very good, and the "dance" routine accompanying Busy Doing Nothing is perfect - funny, appropriate, dexterous without being challenging, and making a virtue out of Crosby's musical movement which, let's be fair, was inherently amusing due ti its never being his greatest strength.<br /><br />The colour is fine, the sound is a little muddy in places.<br /><br />And the story - well, it takes some liberties with the original, but I suspect that Mr Clemens might well have been pleased with the result.
| 1pos
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This came as a huge surprise for me. I had never heard of this movie when I first saw it, and the title really pointed towards something else than a great terrorist/hostage situation at a high school. Toy Soldiers has the best from it's time period of the early 90's, where action movies were light-hearted and very enjoyable. The action is good, the plot is interesting and way over the top, the bad guy is a one-dimensional hateful douchebag (which is great), Louis Gossett Jr. is in it, it's simply a feel-good movie which I thoroughly enjoyed.<br /><br />You can't go wrong with this one if you like action. I give it a solid rating of 8/10.
| 1pos
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No scenario, bad actors (poor Melissa Gilbert)... Beurk Beurk Beurk ...<br /><br />Give a such budget to make this... In Belgium, we make ten films which win all prices in Cannes with this.<br /><br />Last time that I've seen a such NULL-Film was Hypercube. But scenario was better.<br /><br />Is anyone knows if the director was a graduate in school-film or a cop ?<br /><br />The better things in this film was the word "End".<br /><br />Why authorize to sell this ? 1ç is to expensive. <br /><br />I've pay ten dollars to buy this.<br /><br />For me, pay for this was my BIG MISTAKE of millennium.<br /><br />Too bad.<br /><br />Next time I'll break my arm but buy this type of sh*t.
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The ruins is to Turistas as Deep Impact was to Armageddon, a worse version of a mildly entertaining movie, except much much worse. One of the characters is supposed to be going to medical school, so why are they all retards? "you can't keep cutting." -best line form this movie. This is an awful movie. I like horror movies, but fully appreciate that most of them are terrible, but had a bit of high hopes for this movie after seeing the reviews on IMDb. The situation they are in is stupid and how they handle it makes them stupid. It is awful, the one thing that makes it somewhat palatable is its cool Australian backdrop, despite the fact that they spend the vast majority of the movie in one place.
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A strong woman oriented subject after long, director Krishna Vamsi's Shakti- The Power, the Desi version of the Hollywood hit Not Without My Daughter is actress Sridevi's first home-production. A story about a woman's fight against harsh injustice.<br /><br />The story of the film revolves around Nandini (Karisma Kapoor) who lives in Canada with her two uncles (Tiku Talsania, Jaspal Bhatti). There she meets Shekhar (Sanjay Kapoor), falls in love with him and they soon marry. Their family is complete when Nandini has a boy, Raja (Master Jai Gidwani). But their happiness is short lived, as the news of Shekhar's ailing mother (Deepti Naval)makes them leave their perfect life in Canada and come to India. And that's when the problems start. From the moment they reach<br /><br />India, both are shocked to see the pollution and the vast throngs of people everywhere. They take a crowded train to reach Shekhar's village and when they finally reach the station, they have to catch a long bus drive to his village. The filthy sweaty bus combined with the uncertain terrain makes it a never-ending drive. And unfortunately for them, a frenzied mob that beat Shekhar out of shape for no fault of his attacks their bus. Fortunately, they get shot dead just in time before they can further harm him. After that, they drive to the handing Havel where Shekhar''s father, Narsimha (Nana Patekar) lives with his wife (Deepti Naval). Nandani realized that her father-in-law is in command as soon as she enters the place, but her only solace is her mother-in-law's warm welcome.<br /><br />Living there, Nandini learns of her father-in-laws tyrannical behavior and realizes that ruthless killing is a way of life for him. The day she sees her father-in-law teach her son to throw a bomb, she loses it and lashes out against him, insisting to Shekhar that they move back to Canada. But terror strikes again when Shekhar is murdered one day, leaving a broken down Nandini alone with her son in this strange land where she is harrowed by a cruel father-in-law. Her fight against this man to save her son is what makes up the climax of this emotional heart-wrenching film.<br /><br />What sets apart Shakti from most films being made off late is also the rural setting of the movie. The only drawback is Ismail Darbar''s music, which fails to rise above the script. The only saving grace is the sexy item number Ishq Kameena, which has been composed by Anu Malik. Another pat for the director comes because he has extracted some splendid performances from his cast. Karisma Kapoor is the life of the film and has given a moving performance as a helpless mother. She is sure to win awards for this heated portrayal. Second is actor Nana Patekar who is back with a bang with this film. His uncouth mannerisms suit him to the hilt and he's shown his versatility once again with this role. Sanjay Kapoor is the surprise packet of the film with a sincere and effective portrayal that stands up against both the other actors. Deepti Naval too is in top form and her Pr-climax showdown with Nana is praiseworthy. Shahrukh's cameo provides the lighter moments and surely he's been pulled in to get the required star value. Though his role was not really required, he's done it well. Overall, Shakti is a far superior film than most churned out these days and the Pr-release hype is sure to get it a good opening. Shakti is sure to get the critics and audience thumps up. So what if the film needs to be desperately trimmed by at least 2 reels to better the impact. Shakti still has the power to go on without a hitch!
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I've tried to watch this film 3 or 4 times, but I just can't get past the fact that everything about it is just awful. I'm sure it was a courageous move by somebody to cast Jack Palance as the protagonist, but there is not one single fiber of my being that believes that he could act at all, much less act against type.<br /><br />Yes, I understand that Clifford Odets was a brilliant author, but it's not evident here. This odd and forced mish-mash of 50's hipster dialog seems to obfuscate any genuine meaning, which explains why none of the actors, even the good ones (Steiger, Ida Lupino, Shelly Winters, Everett Sloane) seems to know how to deliver their lines - it's as though they don't understand the meaning of what they are saying. And in the meantime, Wendell Corey and Palance stage a terrific contest to see who can be more stone-faced.<br /><br />The direction is amateurish and completely overwrought. The physical interaction between the characters is as stilted as the dialog.<br /><br />And can we discuss that hideous set? It's so busy, ugly and contrived that it adds to the robotic, disconnected quality of the characters, the dialog and the portrayals.<br /><br />This film seems to suck the energy right out of me. It looks like everybody took an overdose of Valium each morning when they arrived on the set. It takes a pretty lousy movie to make Rod Steiger and Shelly Winters look bad, but this one succeeds.<br /><br />I can see that it might have been effective as a play on or off Broadway, where intellectuals and beats could have congratulated themselves for appreciating the power of the plot and the artsy flourishes of the pseudo-hip dialog.
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It seems to be a common thing in the 90's to play with cliches. Some manage to do so with great talent. Hervé Hadmar doesn't. On the paper, the movie looked interesting though: the weak plot could have been saved by great moments of comedy, dark humour, and a very "décalé" style. Director Hadmar, unfortunately, kills his direction with his camera angles and his absolute lack of rhythm. Every joke is embarassing as no one reacts in the theater. The movie is incredibly slow, and the actors seem to be wondering what the hell they're doing in this ridiculous mascarade. What could have been a stylish funny mindless comedy ends up being a cathedral of boredom.
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I rented this movie without having heard (or read) anything about it. What a shame! This movie is intelligent, witty, hilarious, fast-paced, and realistically ridiculous. The characters manage to get developed without relying too heavily on clichéd, tired stereotypes. It was refreshing to watch. I couldn't help thinking that marketing would have helped lob this not-so-mainstream movie into the starved-for-intelligent-comedy mainstream. The quality of the dialogue and the ease with which the actors execute a huge range of awkwardness, heartbreak and comedy is so rare these days--I felt that the actors must have really enjoyed participating in something this rich. How is it that National Treasure was number one at the box office for three weeks in a row--it is so weak in too many ways to mention. I guess I'm just happy that movies like "Seeing.." are still being made somewhere out there.
| 1pos
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Henry, a veterinarian (Paul Rudd), and his bossy fiancé, Kate (Eva Longoria) are looking over the last minute arrangements for their reception. It is the morning of their wedding and Kate is in a frenzy, giving the caterers an earful about her demands for food presentation. But, horror of horrors, the "angel" ice sculpture, ordered by Kate, arrives without wings. In an ensuing fight with the sculptor, the heavy "ice" maiden falls on Kate and sends her to the hereafter. Now, one year later, Henry's sister arranges for a psychic to tell the young vet that Kate would have wanted him to starting dating other ladies and move forward. Yet, the lovely medium, Ashley (Lake Bell) becomes interested in Henry herself, much to the chagrin of her catering partner (Jason Biggs). More importantly, Kate returns from the other side to create havoc for Ashley, as she has no intentions of letting another woman get her hands on Henry. Can anything be done to return Kate into heaven for good? This is an abysmal romantic comedy, one of the worst this dedicated fan has ever seen. No, its not the cast, as they try gamely to make things work. Longoria is beautiful and funny as the overbearing fiancé and Bell has an offbeat style and humor that is likewise infectious. Biggs, a funny thespian, too, is totally wasted. As for Rudd, a very gifted performer (see Anchorman, Knocked Up, or Clueless, please) he tries hardest of all and, in truth, is the main reason to see this clunker. His charm, looks, and easy wit go a long way in making the film bearable. But, nothing can turn a mindless script and terrible direction into a winner, absolutely nothing. So, if you are a dyed-in-the-wool fan of romantic comedy, think long and hard before you fork over any money for this one. Even were free tickets to fall into your lap, be warned that this movie is a near-death experience for those who adore love-and-laugh cinema.
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I've read plenty of Jane Austen in my time and approve of several cinema/TV adaptations but this one we just don't need.<br /><br />Rating is a 2 as I wouldn't say it's awful just so boring you will feel like you've wasted 90 minutes of your life. Dull script matched by even duller acting. I've heard Billie Piper is OK in Dr Who (not a fan so can't confirm) but in this she just sucks. There is absolutely no chemistry between the leads. This is Austen, it's supposed to be a romance!<br /><br />Please don't let this put you off Austen or historical dramas. There are plenty of better programmes to view.
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The villian in this movie is one mean sob and he seems to enjoy what he is doing, that is what I guess makes him so mean. I don't think most men will like this movie, especially if they ever cheated on their wife. This is one of those movies that pretty much stays pretty mean to the very end. But then, there you have it, a candy-bar ending that makes me look back and say, "HOKIE AS HELL." A pretty good movie until the end. Ending is the ending we would like to see but not the ending to such a mean beginning. And then there is the aftermath of what happened. Guess you can make up your own mind about the true ending. I'm left feeling that only one character should have survived at the end.
| 1pos
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A group of hunters track down a werewolf, kill it, decapitate it and then sell the head to unethical Dr. Atwill (played by director/writer Tim Sullivan), who runs a private clinic specializing in corneal transplants. Research chemist Rich Stevens (Mark Sawyer), whose eyes were destroyed when acid flew into his face during a lab explosion, is the unlucky recipient of the werewolf's eyeballs. It takes awhile to get to the first full moon, so first we get a tender love story between Rich and his compassionate, big-breasted nurse Sondra Gard (Stephanie Beaton). Sondra is so compassionate that she strips off her clothing and starts riding Rich in bed before he even has a chance to remove his bandages! After a month in the hospital, Rich returns home to icy wife Rita (Deborah Huber), who promptly tells him "You look pretty ugly" before speeding off in her Kia. Our hero soon discovers that Rita is not only a bitch, but an adulterous skank who's been carrying on an affair with his supposed friend Craig (Lyndon Johnson). Finally, the full moon rises and Rich finds himself in a hairy predicament as he transforms into a (very silly looking) werewolf creature. Predictable carnage ensues.<br /><br />After ripping out Craig's throat on a beach, Rich wakes up in the brush the next morning with his clothes tattered and vague recollections of the evening's events. He makes friends with dwarf psychic/occult expert Andros (Kurt Levi) and is hassled by both local author Siodmak (Jason Clark) and lesbian-police-detective-in-a-pants-suit Justine Evers (Tarri Markel). When Rich confronts Dr. Atwill, the doctor sends his sadistic bald henchman Kass (Eric Mestressat), who gets a kick out of dismembering corpses with a machete at the clinic, after him. With help from Sondra, Rich manages to escape. Sondra takes him back to her place and basically rapes him on the couch during an overlong sex scene that lasts about five minutes. Will Rich be able to control his lycanthropy or find a cure for it before he claims more victims? <br /><br />Shot on the cheap with a camcorder, this homemade werewolf flick has a somewhat unique premise with the eye transplant angle, but trots out cliché after cliché otherwise. The sets are sub porn level - the clinic scenes seem to have been filmed inside someone's home or apartment. The wolf transformation scenes don't even look as good as the time lapse photography used way back in the 1940s. Instead, they employ ragged editing. Throw some hair on the actor. Cut. Throw on some more on. Cut. More fur... and fill his mouth full of white gunk he can spit out. Cut. No need to worry about continuity! There's no fade, no dissolve, nothing. It's pretty sloppy. Once fully transformed, the werewolf costume (designed by Jeff Leroy, who also edited and shot the movie) is pretty awful. It has red, glowing Christmas bulb eyes, fur that looks like shag carpet and a plastic face that's almost completely immobile. There are several times you can see the cameraman's fingers in front of the camera lens, and does the moon really stay full five nights in a row? As far as the cast is concerned, they're amateurish, but tolerable. And as far as B horror flicks are concerned, there are worse out there. This one is paced fairly well, is only 70 minutes long and does provide plenty of the red stuff during the attack scenes, as well as the aforementioned T&A from Ms. Beaton.<br /><br />It was produced by David S. Sterling (CAMP BLOOD), who was one of the first to ride the wave of digital video right when it was first starting to dominate the low-budget/independent horror genre scene back in the mid/late 90s. Many of his notoriously awful productions were released by Brain Damage Films, a label to avoid like the plague for the most part. Fx guy Jeff Leroy (who is listed as co-director here at IMDb, but not in the film's actual credits) and Vinnie Bilancio (who appears in a small role as one of the hunters) went on to make the much more fun and polished exploitation flick WEREWOLF IN A WOMEN'S PRISON in 2006, which had a similar-looking creature on display (red glowing eyes and all).
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I just had to add my comment to raise the average on this one. Paul Giamatti lets it all hang out in this one and is a hoot. He would probably say it was easy, but he really does a great job and should have won something for it. We've had the DVD for several years and my kids (boy now 4 1/2 and girl 9) will watch this one over and over, and the humor is adult enough that I don't mind having to hear it in the background (and I do run to the TV for the really funny parts). Simple moral message, lots of decent action and slapstick, "bad" grownups acting goofy to take the edge off, minimal bad language and minimal potty jokes make it hard to beat for a family standard.
| 1pos
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Two years ago, on Berlin Film Festival we watched the Amos Kollek movie "Sue" in the Panorama program, with a wonderful Anna Thomson in the leading part. It's a film about loneliness and sex, and how the one thing is compensated by the other. In the same section on the Festival now we have to complain the superfluous antithesis of Sue, "Extension du domaine de la lutte", which now tries to convince us that loneliness and having NO sex is one and the same problem. But unfortunately we can't sympathize with "our hero" (how he is called by the story-teller), because he is unnecessarily and incomprehensibly tired of company and himself. Own fault, I'm sorry. I can't understand him. Not enough, the writer/director/actor want us admitting to him, that it's not his destroyed self-consciousness or the passivity of his personality, what brought him so far, but the rotten society and its image of sexuality. Yes, there are some deeper insights about gender relations, but we won't follow him so far... And the point is, that there is rather any sign of reflection about his own portion to the fate, having no sex. Who didn't notice yet, it's a quite depressing film...<br /><br />In the beginning, there had been some starts to be more accurate in sketching the situation. At the bed store the "hero" speaks about the hindrances buying a new bed. Perhaps it's too broad getting up the stairs, you have to stay at home half a day... THIS is a satire about a character, who doesn't know taking the life and heart in hands, DOING something... The movie doesn`t follow this path, but handles his characters with helplessness. Nobody believes, that "our hero" is able to instigate Tisserand for a murder. Too dull, too kind, too - passive (not to mention Tisserand's complex; he has an inhibition, but he couldn't be, of course, a murderer of women!). To finish: There are women and the world, it's not a device of a modern sexualized society. Help you as you can, but don't follow the messages and the "wisdom" of this movie, which announces bankruptcy to human relationships, without seizing the real conflicts within.
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Though this may not necessarily be a so-called "classic" film by today's standards, it's still worth seeing. The main reason why is because after experiencing this film, you get the feeling that you've also experienced the counter-cultural idealism of the 60's, no matter however good or bad.<br /><br />I happened to see this film in an English literature class at SUNY Geneseo, and though at first it appears to be just a meaningless composition of 60's icons, the film is far from being simply "thrown together".<br /><br />My point is that if you leave the film feeling unsatisfied and confused, the film has done it's job: it's conveyed a desolate view of the future that leaves you feeling unsure and angry. It was perhaps this same feeling that the film sought to explore in the youth it exemplified.<br /><br />As such, "Zabriskie Point" may not tell a very good (or interesting) story, and at the same time its characters may be one-sided and predictable. However, it also conveys so well this sort of clichéd, rebellious desire to get out of the existence which both Mark and Daria must share. Even the anti-establishment students are as inauthentic as the gov't they rebel against.
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i consider this movie as one of the most interesting and funny movies of all time. It has so much highly intelligent thoughts in it, that anybody who thinks the movie is awful did not get it and is not able to recognize really deep philosophical themes, which are in it (in all the 3 Schneider movies) without a doubt. Several universities in germany and throughout europe have made studies on Schneider's way of seeing things. By the way, Helge Schneider is a very intelligent and sensitive person and on of the Jazz-musicions in germany (maybe europe). He is mostly inspired by the great M.Davis and T.Monk. So if you do not like him, it is ok, but please do not try to convince others that he might be stupid, cheap, boring or not funny. Because if you had to face this opinion in a discussion and if you are willing to really look into the art of H.Schneider you would have to "surrender".
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As a South African, it's an insult to think that someone was actually paid to produce this nonsense!<br /><br />Despite the fact that the director was one of the writers for the original Shaka Zulu mini, this "addition" to the series is appalling! The original series was based on historical facts about a man who was a great strategist, leader and warrior. A man who played a large role in shaping the history of local tribes in South Africa.<br /><br />The plot of this film, however, is nothing but hogwash, scraped from the bottom of the barrel by a writer that has failed to impress since the mid-nineties.<br /><br />While Omar Sharif and Henry Cele are good actors, what is David Hasselhoff doing here, rescuing drowning slaves with his red buoy and bleached smile?<br /><br />I kept expecting blond, busty women to appear out of nowhere and run across the screen in their tiny red bathing suits, for no apparent reason. Not that this would've been any more bizarre than the fantastical plot line that was probably dreamed up after 10 pints of beer at a fancy dress party, where someone's caveman costume inspired the writer to return to an African theme for his next "blockbuster".
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I rented this movie about 3 years ago, and it still stands out in my mind as the worst movie ever made. I don't think I ever finished it. It is worse than a home video made by a high school student. I remember them doing a flashback to 1970 something and in the flashback there was a man with a polo shirt, oakley sunglasses and a newer SUV, like a Toyota Rav-4 or something (I don't remember). I don't understand how they could have possibly said that to be in the 70s. He might have had a cell phone too, I cant remember, It was just horrible. I returned it to the video store and asked them why they even carry the movie and if I could get the hour of my life back. To this day it is the worst movie I have ever seen, and I have seen some pretty bad ones.
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I could not, for the life of me, follow, figure out or understand the story. As the plot advances it too stays incomprehensible. I'm going to guess and say that there was a preproduction story/plot problem that never got sorted out. The producers could never separate the many details that the novel, or any novel, has the time and space to create from the other idea, which was to make a movie about a serial killer and the killer's pursuit by the police. They ended up with too many things happening in a proscribed feature film time limit. Too bad really because they had a solid cast, a director who knows how to move things around and excellent cinematography. In fact, a well made movie that one could enjoy and relax with for a couple of hours.
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The evil Professor Moriarty plots to gain control of both SHERLOCK HOLMES AND THE SECRET WEAPON which could win the war for the Nazis.<br /><br />Basil Rathbone & Nigel Bruce return to the screen as Sir Arthur Conan Doyle's beloved detective and sidekick, Sherlock Holmes & Dr. Watson, in this entertaining little mystery. Universal Studios wasted no money on either fancy production values or a sensible script, knowing that its two stars would be all the attraction an audience would need. Indeed Rathbone, as the cerebral ego, and Bruce, as the bumbling id, seem to actually become the characters they are creating, gleefully keeping their faces straight while engaged in the most utter nonsense.<br /><br />Dennis Hoey makes his first appearance as the dogged Inspector Lestrade of Scotland Yard; teamed with Bruce, these two good-hearted but pedantic fellows actually get to save the intellectually superior Holmes' life twice. Lionel Atwill, a master of the sinister who deserves more recognition for his talent, does a fine job as Moriarty, making the wicked rascal a foe worthy of Holmes' steel, relishing the scenes in which he gets to inflict torture & pain.<br /><br />William Post Jr. and Kaaren Verne play the Swiss scientist and his girlfriend who are at the heart of the mystery, but they're not given much to do. Sweet Mary Gordon makes a token appearance as Holmes' landlady Mrs. Hudson.<br /><br />Rathbone spices up his already classic interpretation of Holmes by getting to appear in disguise three times during the story, thereby revealing to the viewer that the great sleuth was a bit of a ham actor at heart.<br /><br />This film--which is based very loosely on elements in Sir Arthur's short stories 'The Dancing Men' and 'The Empty House'--followed SHERLOCK HOLMES AND THE VOICE OF TERROR (1942) and preceded SHERLOCK HOLMES IN WASHINGTON (1943).
| 1pos
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True, it does not follow the book very closely, but it's still a very entertaining take on the story. Swayze was far better in the role than I expected. And Doody avoided the "silly woman out of her depth in the wilderness" portrayal most of us probably expected (cf. Kate Capshaw in "Indiana Jones & the Temple of Doom").<br /><br />At any rate, it's amazingly better than Richard Chamberlain's awful pair of Quatermain flicks.<br /><br />It is very reminiscent of a western in many ways. About the only thing I didn't care for was all the mysticism, but I guess that is part and parcel of the genre. Like "how can you have an African adventure story without witch doctresses and preternaturally wise wandering tribesmen?" Heh.
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The producer, Matt Mochary, stumbled upon the film's subject, Anderson Sa (leader of the AfroReggae music movement), when on a Hewlett Foundation trip to Rio de Janeiro. Mochary was so moved by Sa's story that he called his friend, NYC filmmaker Jim Zimbalist, who quit his job and joined Mochary in Brazil to work on a documentary on Sa, Rio's favelas, and the culture of violence.<br /><br />The first part of the film shows you the culture of violence in Rio's favelas (shantytowns where the poor live) via footage of police raids and assaults on the residents. The footage is graphic and shocking.<br /><br />Rising from the negativity of the favelas is the charismatic Anderson Sa, who overcame a possible career in drug dealing to start the AfroReggae movement, which combines elements of Afro-Brazilian culture, Reggae, ska, and other elements into a fast-paced, percussion heavy style of music which has since spread to other parts of the world. You can't help but be carried away by the music, especially when you see the local children get involved in Sa's school, which he founded to keep kids out of drug gangs. The rest of the film follows Sa's meteoric rise and his positivity changes many of the children's lives to seek a life beyond drug running. SPOILER: Just when the filmmakers thought they had wrapped filming, an unbelievable life changing event occurs of which the resolution has to be seen to be believed. The film then continues and you are gripped in your seat until the end.<br /><br />This film is a response to "City of God," and a worthy one at that. The bleak situation portrayed in that movie is countered by a real example of how favela dwellers can overcome the dire situation they are in and use their resources to constructive ends. You can't help not liking and rooting for Anderson Sa to succeed.<br /><br />This film is terrifically shot, fast-paced, and is quite absorbing. Judging by the overwhelming response of the audience at last night's SilverDocs screening, the film should get domestic distribution in the US and the thumping soundtrack should be released as well. Keep an eye for this superlative documentary--it is excellent!
| 1pos
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OK...this one's a weirdy....Honestly, I can't tell you all the inner plot-points of THE BEAST, cuz I started losing interest when nothing happened during the first 45 or more minutes - but just wait, it definitely does "pick up"...<br /><br />The plot involves something about a monster in the woods that some French aristocrat chick screwed back in the day. Eventually you see "THE BEAST", which looks like a guy dressed in a giant rat-bear costume with a horse cock attached to it. The scene takes place with the aristocrat woman running around the forest looking for a lost sheep. The sheep ends up dead and the woman gets scared. THE BEAST pops up, rapes the chick and shoots 400 gallons of spunk all over her. Eventually the chick starts to enjoy the beast's "attention" which results in some pretty novel simulated sex scenes, including an unnervingly erotic foot masturbation scene where the woman jerks the beast off with her feet while the monster shoots more huge loads everywhere (yeah, I've got a twisted foot-fetish - so sue me....)...The whole film is told in flashbacks and long-winded dialog scenes that tended to be a bit tedious. A "shocking" but predictable ending concludes this extremely strange film...<br /><br />THE BEAST is a film that I find kind of hard to rate. The cinematography itself is quite eye-catching and the sets, costumes and locations are elaborate. The plot is a little convoluted and seems to take it self awfully seriously for what ends up being such an unintentionally hilarious film about a chick boning a rat-bear. A good bit of tits, ass, and hairy 70's French bushes to help make up for the dull first half of the film. I have to honestly say, that if it weren't for the graphic scenes of the BEAST spackling all over the willing maiden, this film would have been a real bore - that is unless you like dull dialog and some graphic horse sex (the beginning has a VERY up-close and personal scene of two horses boning, including a pulsating and spunk covered female horse vagina...YUM!!!). But the BEAST sex scene is so strange and such a refreshing change from the rest of the film, that I have to say that those scenes alone make up for what otherwise would have been a real snoozer. I have to recommend this one to anyone who thinks they've seen it all - the BEAST rape really is out-there and something to be witnessed. Also recommended to any fans of 70's/80's sleaze films - this one ranks pretty high with them. Worth a look for you sick rat-bear beastiality lovers out there (like me)...8/10
| 1pos
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This one is a cut above the usual softcore T&A, with the spirit of a dead actress returning to claim the film role she believes is rightfully hers, and using the body of an aspiring young actress to do so.<br /><br />As always, the gorgeously sexy Amber Newman the is main attraction; her sensuous presence overshadows the mildly attractive, Shauna O'Brien<br /><br />Plot: *1/2 out of ****<br /><br />Sex/nudity: *** out of ****
| 0neg
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Lifetime did it again. Can we say stupid? I couldn't wait for it to end. The plot was senseless. The acting was terrible! Especially by the teenagers. The story has been played a thousand times! Are we just desperate to give actors a job? The previews were attractive and I was really looking for a good thriller.Once in awhile lifetime comes up with a good movie, this isn't one of them. Unless one has nothing else to do I would avoid this one at all cost. This was a waste of two hours of my life. Can I get them back? I would have rather scraped my face against a brick wall for two hours then soaked it in peroxide. That would have been more entertaining.
| 0neg
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I just saw this on a local independent station in the New York City area. The cast showed promise but when I saw the director, George Cosmotos, I became suspicious. And sure enough, it was every bit as bad, every bit as pointless and stupid as every George Cosmotos movie I ever saw. He's like a stupid man's Michael Bey--with all the awfulness that accolade promises.<br /><br />There's no point to the conspiracy, no burning issues that urge the conspirators on. We are left to ourselves to connect the dots from one bit of graffiti on various walls in the film to the next. Thus, the current budget crisis, the war in Iraq, Islamic extremism, the fate of social security, 47 million Americans without health care, stagnating wages, and the death of the middle class are all subsumed by the sheer terror of graffiti.<br /><br />A truly, stunningly idiotic film.
| 0neg
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Larry Bishop is 60-years old, dirty and not good-looking YET in this movie he's like a drug towards the women in their twenty's.<br /><br />A lot of movies have been claimed to be sexist but if any movie deserves that title it's this one.<br /><br />I can't even count how many boobs there were shown in this movie, probably more then hours Larry Bishop spend writing the script.<br /><br />The script is ridiculous, Bishop and his gang argue, bike, party, have sex, kill people and the next day they argue, bike, party, have sex, kill people and the third day, well you get the idea.<br /><br />I like ERIC BALFOUR and considering what he had to work with, he did pretty good as Comanche.<br /><br />Unfortunately this movie is about Larry Bishop's character Pistolero who is so one-dimensional it's not even funny.<br /><br />He's also a horrible actor, and apparently he never intended to do the lead himself but everybody he asked said no so what was he to do? Once he realized he was gonna do the lead himself, he probably did a re-write of the script so that he could touch up more ladies.<br /><br />Although visually it's kind of good-looking, at least the biker-scenes and Eric Balfour isn't half-bad this movie is just a big mess.<br /><br />I hope to never see Larry Bishop in front of the camera again.
| 0neg
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In director Sooraj Barjatya's Vivah,20-something Delhi boy Shahid Kapur finds himself smitten by the demure, small-town girl his father has selected for him to marry. Drawn to her innocence and simplicity, Shahid agrees to the marriage barely moments after he's met her at her home in Madhupur, and the young lady in question Amrita Rao seems equally floored by her charming suitor. The marriage is fixed for six months later, and the couple find themselves in the first throes of young, budding love, their geographical distance notwithstanding. But Amrita, who's been raised by her uncle and her aunt after her parents' death, is struck by a horrible calamity just hours before the marriage. And then, it's up to Shahid to play the honourable lover and to embrace her unconditionally.Much in the same vein as Hum Aapke Hain Koun and Hum Saath Saath Hain, Barjatya's new film Vivah too is on one level a family drama with an extremely idealistic premise. But sadly, the plot of this new film comes off looking way too outdated, even more far-fetched than those regressive Ekta Kapoor soaps. And the problem is clear you just can't relate to such squeaky-clean characters who don't have one bad bone in their bodies. There are many things that work in favour of and against Hindi films, and timing is one such important factor. Twenty-five years ago, perhaps the plot of Vivah may not have felt like such a stretch, but today it just seems like the product of a mind stuck in a time warp. Perhaps the film's only saving grace is the fact that it oozes sincerity from start to finish, you can make out right away that the filmmaker's intention is not to deceive. Judging both by Barjatya's previous films and by closely examining this new one you can safely declare that Barjatya believes in a perfect world, he believes in his good-as-gold characters, he believes that large families can live together happily under the same roof without the slightest bumps.But alas, he's unable to translate his vision to the screen. It's difficult to overlook how one-dimensional his protagonists are Shahid and Amrita, both virtuous and virginal I mean, think about it, the first time they hold hands is an hour and twenty minutes into the film. Barjatya may think he's returning to his Maine Pyar Kiya roots with Vivah, but truth is that the reason we embraced Salman and Bhagyashree in that film, or even Salman and Madhuri in Hum Aapke Hain Koun is because they had such fantastic chemistry. Because although they were created out of the same mould as Shahid and Amrita in Vivah, those pairs had mischief and masti. Shahid and Amrita are just insipid and boring.For a film that relies so heavily on music to narrate its story, the filmmaker chooses a string of 70s-style tunes that only further slacken the film's deadening pace. But if I had to choose just one reason to explain why Vivah doesn't work for me, it's because I'm not sure I can relate to any of the characters who inhabit Barjatya's story. To some perhaps, Vivah will give hope, that a perfect world like this is actually out there somewhere. But I'm a little cynical I guess. So, give me the coquettish Madhuri of Hum Aapke Hain Kaun, give me the bratty Salman of Maine Pyar Kiya, I'll even take that mischievous Karisma Kapoor of Hum Saath Saath Hain. But save me from these dullards. You know, some marriages aren't made in heaven. This one's Vivah!
| 0neg
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Spheeris debut must be one of the best music documentaries of all time. And as far as I know it's also the only one that focuses on the L.A. Punk Explosion of the early eighties. It's all there: not just great, great bands like Black Flag, Fear, X, the Germs, whose names may not mean much to you today, but whose influence on today's alternative rock music can not be over-estimated, but also the promoters, the media and first of all the audiences - the punks - all portrayed in a manner that makes you laugh, shudder and gasp with astonishment about the energy, the anger and the fury these youths put into their music. Where is that today? The eighties may have sucked big time when it cames to mainstream music, but the underground was rocking. If you need a proof for that, watch Fear's performance in Decline. Unmatched. Great film! How come this is not available on vid, LD or DVD? P.S. The follow-up Decline Pt. II is hilarious, too
| 1pos
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I caught this film late at night on HBO. Talk about wooden acting, unbelievable plot, et al. Very little going in its favor. Skip it.
| 0neg
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actually, it was pretty funny... in a "god, how the hell did this movie get made" kind of way. if you life making fun of movies... which i kinda do... go ahead and watch it... but if you're actually thinking "is this a good movie?" eff off.<br /><br />this movie sucked from the very beginning scene with the worst acting i've ever seen in any movie.... usually they get five minutes into it before you realize "this movie might suck".. but no, you know right off the bat. this movie talks about edgar allen poe... never tried to explain it though, to people who haven't memorized poe's life story... so i don't know if any of what was said is fact.<br /><br />this movie is about a writer "ethan poe" hookin up with his cousin "ann".... they're both descendants of edgar allan poe... or are they?!? apparently, people give a what their ancestors did. this guy ethan poe is actually ethan "usher", who is supposed to be descendants from the story "the house of usher" that was written by edgar allen poe. ann's brother shows up sometimes to try to rape her... ann's also being stalked, at one point in the movie, by three different people on the same street (seriously, three... they're like right behind her glaring at her and she doesn't even realize). the characters that are being murdered throughout, show up at the end to try to save the day.... but they can't. at the end, ann shoots ethan while he's trying to kill her best friend. of course, before she shoots him she has to scream out "nevermore!" this movie should be seen nevermore!
| 0neg
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My Take: Steven Seagal is obviously too boring to be a lead in an action thriller, even a totally dull one. <br /><br />Remember Steven Seagal? You don't? Don't worry, there's not much to catch up on. After starring in admittedly enjoyable crowd-pleasing films like UNDER SIEGE and EXECUTIVE DECISION, Seagal hits the low grounds of the bad movie abyss. Now, he stars in low-budgeted B-level action vehicles, some of which are made-for-TV "Movie of the Week" entries that lost their way to the big screen. HALF PAST DEAD is among these, shall we say, dead action movies. A loud and lousy action film, sloppily directed and lazily written (and worse, badly acted). This is one of those bad movies that I don't need to watch until the ending to know it's bad. I didn't have the guts to have all my braincells die while wasting my time with this. It it this kind of bad films in which you realize, those other films you hate are not bad after all.<br /><br />The plot (and the locale) is completely lifted from a similar picture, Michael Bay's THE ROCK, although similar may not be the word to describe it. Both movies are summer movies, and not meant to be taken so seriously. But in comparison, even THE ROCK (which isn't much in the writing department as much as the lights and sounds) has better characters, a more compelling plot, better action sequences and overall, a more entertaining atmosphere. Although there are action scenes in HALF PAST DEAD, none of them are exciting. All of which are sometimes tedious and predictable.<br /><br />Although predictability seemed to be a welcome asset in summer action films, predictability has never tasted more sour in ones that aren't fun, and HALF PAST DEAD is never really fun, a lot of times it's just a pain in the head (hearing the bad rap music repeat over and over again throughout this film makes me yearn for an aspirin every second I hear them). The acting is horrendously mediocre, the plot is derivative, with no compelling or appealing characters whatsoever. Seagal's character, an undercover agent sent to Alcatraz to stop a criminal mastermind (Morris Chestnut), a very boring villain, is nothing to get excited about. Seagal's character is also provided with a sidekick (played by rap star Ja Rule) and a bunch of amigo inmates, and there's no chemistry going on here.<br /><br />If starring in a series of other forgotten action vehicles (what were those films again?) killed of Seagal's career for good, HALF PAST DEAD is overkill. And audiences be warned: you're invited to feel the pain. Advice: avoid it at all costs.<br /><br />Rating: 0 out of 5.
| 0neg
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This movie was made 20 years before my time. Its introduction of John Garfield in the supporting role of Mickey Borden makes it a classic. He slumps onto the screen and your eyes are glued. Garfield was an original and his portrayal of fate's whipping boy is a must see.
| 1pos
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A lot of people don't think Dan Aykroyd is funny. This movie proves otherwise. Aykroyd is brilliant delivering his one-liners in this comedy. The only major problem with this is that it wastes far too much time near the end jumping back and forth from Aykroyd's character and the doctor who is pursuing him to prove he's a fraud. The doctor goes nuts like doctor Leo Marvin (Richard Dreyfuss) in "What About Bob?". The scenes where the doctor is desperately trying to get back to Los Angeles are silly, unbelievable, and unfunny. Other that this aspect the movie really is funny, especially the first half.
| 1pos
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What should i say? I only saw this flick for curiosity, and this is truly a shame... I grew up in Brittany with stories of celtic legends, and spent 5 years in Rennes, the town in which this film is said to take place... Shame that not any actor nor camera from this flick ever arrived in Rennes. They could at least have chosen a likely town, or a likely forest, but nothing even SEEM like Brittany nor Rennes... And calling it a film about celtic legends is really making a fool of the audience. Besides those details, it could have been a good film, but it's crap. Silly scenario, silly characters and no originality. Definitely to avoid.
| 0neg
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Great just great! The West Coast got "Dirty" Harry Callahan, the East Coast got Sharky. Burt Reynolds plays Sharky in "Sharky's Machine" and I enjoyed every minute of it. Playing a maverick narcotics cop in Atlanta, GA is just what everyone wants. Instead of suspension, he's sent to vice squad. Like in the Dirty Harry movies or any other cop movies, the captain is always going to be the jerk. When I was a kid, I was curious what that movie meant "Sharky's Machine". Well I knew who played Sharky, I wonder what his machine was. It was his GROUP of fellow cops. After uncovering the murder, he goes all out to find the perp. When it turns out to be a big time mob boss, Sharky doesn't play around. When he gets the other prostitute into safety, Sharky fights back hard and good despite losing a finger to the thug. And I also like the part where the bad gets blown out of the building through a plate glass window. That was the BOMB! Randy Crawford's "Street Life" really put the movie in the right mood, and the movie itself is really a great hit to me, ALWAYS! Rating 4 out of 5 stars.
| 1pos
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Michelle Rodriguez is a well-built high-school senior who discovers that she has a powerful punch and begins amateur training at a Brooklyn gym. Santiago Douglas is a a handsome young man, barely older than she, who also trains there. They meet after class, so to speak, and feel attracted to each other. No sex. Santiago has been instructed to save it for his next bout.<br /><br />Both are participants in a "gender-blind" athletic program that makes no distinctions between males and females, a misguided attempt to level the athletic playing field.<br /><br />A conservative radio commentator recently announced -- and I swear I'm not making this up -- "Let's face it; the president is black." I'm here to make an equally perspicacious observation -- "Men and women are different." Now, in 99 cases out of 100, this needn't make any difference in physical performance. But in the top one percent -- trained athletes whose skills have been honed to a fine edge -- men generally have the advantage. With their narrow hips they can run faster. And they have greater muscle mass and upper torso strength. These differences in body build make it possible for women to give birth and raise children and for men to catch and kill food for them. This sexual bifurcation is the result of the perfectly normal process of natural selection. Without it, there might not be any humans at all. And that, boys and girls, is why they have men's events and women's events at the Olympics. I speak to you as your anthropologist. That will be ten cents, PayPal preferred.<br /><br />That's why I called this gender-blind program misguided. As talented a boxer as Rodrigues is, as she approaches the zenith of the game, she will eventually lose to a male.<br /><br />That's where the complication arises in this movie. Rodrigues is finally matched against her boy friend, Douglas. Neither wants to loose any anger on the other, not to mention roundhouse rights, but the pride of both is at stake, and the pride is both personal and gender related. Douglas refuses to fight a woman in the ring. And Rodriguez is offended by what she sees as his patronizing attitude. It ends happily.<br /><br />I wasn't really expecting much from the film. I thought it would be a rip off of Clint Eastwood's "Million Dollar Baby" until I discovered that this was released years earlier. And I'd never heard of the director or of any of the performers. That sort of obscurity generally augers ill -- made-for-television weepers and so forth.<br /><br />But I was surprised at how neatly this is put together. The total absence of bathos left me open mouthed. So did the minimal use of boxing clichés -- the frayed ropes, the blood, the cutting of the swollen eye, the battered post-bout faces, the fat and sweaty onlooker shouting "Kill him!", the slow motion landing of glove on nose, the spray of sweat from the mauled head, the heroic music signaling the long-awaited apotheosis of the victor. None of that here -- well, almost none. The whole plot could be considered formulaic. Tough kid finds outlet in the ring, etc.<br /><br />The feeling you're left with is that this is probably pretty much what these amateur contests are like. Different from those we see on TV and in ordinary movies. No bells ring, for instance, Instead a dancing and observant referee yells "Stop!" And "Box!" The contestants wear head gear. The gym is populated not by a crowd of cheering spectators, but only by a handful of people who have some particular interest in the goings on. It's a clean movie, despite the rather grim setting and the unhappy family dynamics.<br /><br />Michelle Rodriguez can look pretty mean, what with her muscular bulk and her eyes glowing under her lowered brow, but once you get used to the idea that this is a girl who can beat you to a pulp anytime she wants, and once you hear the feminine contours of her supersegmentals, she ain't bad. (A scene in which she battles her father to the floor is overdoing it.) It was a little hard to understand Douglas's restraint when Rodriguez crawls all over him in bed. The director, Karyn Kusama, has chosen her talent carefully.<br /><br />Shows what you can do with some talent, imagination, and a modicum of money. There ought to be more films like it. Take one of those multi-billion dollar blockbusters full of dinosaurs or space ships and spread the generosity around a little.
| 1pos
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Anybody who has ever been a fan of the original series, or even has a clue about the storyline should be embarrassed by this series. The Borg does not come around until Q brings the Enterprise to the Gamma sector, the Klingons are NEVER seen until Kirk encounters them, the NCC-1701 was the FIRST ship to carry the Enterprise name....need I go on? Berman and Pilliar have made a mockery of Gene Roddenberry's creation. After he died, they only saw $$$$ and just went their own way. No wonder Majel Barrett was in every single episode of star trek until this series. I don't blame her for not being involved with this mess. Poor Bakula. He's a great actor, as are the entire cast. I like them all, but the storyline is tragic and ignores all of the precedents set by the original series. Just check the ratings. I think more people watched Deep Space 9 (which was untimely canceled).
| 0neg
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This film was total rubbish. I was sitting watching this absolutely furious that this was funded. They most definitely spent all their budget on the special FX rather than the script writer and director AND some of the actors.<br /><br />First the acting was bland and rubbish. The story was not relatable to the audience enough. Rather than being from the peoples perspective of the storm, the narrative was told more from government figures and the army, which really isn't a way to connect to them as most of us hate politicians anyway. The writer attempted to add a human element to the unrealistic characters by adding the little subplot about the father and son, which failed completely.<br /><br />As for the directing...oh god, his techniques to try and create tension and unease are repetitive and over the top. The sped up camera movements and then the sudden flash bolt pauses on a characters face when something horrendous has happened was pathetic.<br /><br />The only reason I watched it till the end was to see the special FX. Which is a bad thing as special FX shouldn't make the film it should only amplify the story and experience. There was no story.<br /><br />I really wouldn't bother watching this, total trash and an embarrassment to the British film industry.
| 0neg
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terry and june in my mind, is a all time classic, along the ranks with bless this house with the late sid james and the late diana coupland, but terry scott will be sadly missed even tho he passed away in 1994. i have all the dvds upto press and i look forward to getting all 9, also would be nice to see "happy after ever" released on DVD<br /><br />june whitfield is still going strong and terry scott will always live on in my memory<br /><br />terry scott r.i.p. there aren't many comedies today that i can think of that will stay in the legends list and yes the middle class bit does get on some peoples wicks but i don't mind, i think it would be brilliant to see some celebration of the life of terry scott
| 1pos
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Okay, I absolutely LOVE Ben Stiller, although I am lukewarm about Jennifer Aniston. I do not think this girl can act in the least. Every movie or sitcom I've seen her in is very hard to get past her fake acting. It sounds like she is just standing there reading right off the script. This movie only had one good thing about it, and that's that Ben Stiller was in it. This plot is so used and abused it's ridiculous. How many movies have this same type of plot?? Can we say "Forces of Nature??" Not only is the plot so old, but the outcome is so predictable, it's boring. I knew everything that was going to happen before it did. It was a bore, but watching Stiller is always a delight!!!
| 0neg
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Bring a box of Kleenex to this funny, engaging, and moving weeper. The two leading actors give tour de force performances - there was considerable debate afterward about whether they are really disabled (they are not.) I appreciated that for once the filmmakers dared to be politically incorrect by depicting people with severe physical disabilities as fully developed people, character flaws and all. As a result, their believability engages us and makes us grow to like them and care about their conflicts. The story structure is formulaic, and many of the secondary characters are merely types, but the two central characters are so riveting that it doesn't matter. <br /><br />Interesting - the original title, INSIDE I'M DANCING, reflects the viewpoint of the character Michael, while the new title for USA release suggests that Rory is the central figure.
| 1pos
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I've read every adventure of Asterix and Obelix at least 5 times and I'm also a fan of "Les Nuls" and "Les Robins des Bois" and Jamel so I expected a lot from this movie.... and I finally got satisfied. Unlike the first adaptation of Asterix on the big screen (Astérix et Obélix contre César) which wasn't a real success besides the appearance of Laetitia Casta, this one really captures the spirit of the comic (and we get the beautiful Monica Bellucci). In the first movie the director tried to be too realistic about the time where the story is set and it killed the whole spirit that made Asterix hilarious. In this one all the clothing, the way of talking and everything is identical to Goscinny and Uderzo's work... more, it really stick to the original story with the downside that we know pretty much everything that's going to happen but Alain Chabat gave us a few surprises at the end. I really enjoyed that movie, and everytime that the first sign of boringness starts to appear, Jamel comes in and makes us laugh like crazy. This movie is a big mix of all the kind of humor I really like, and even if maybe it's mixing it too much, I can't help but to like it. So, if you like Asterix and the humor of all these young talents that started in "Nulle part Ailleurs" (a french mix of the tonight show and SNL) go see this movie.
| 1pos
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Well well well. As good as John Carpenter's season 1 outing in "Masters of Horror" was, this is the complete opposite. He certainly proved he was still a master of horror with "Cigarette Burns" but "Pro-Life" is perhaps the worst I have seen from him.<br /><br />It's stupid, totally devoid of creepy atmosphere and tension and it overstays it's welcome, despite the less-than-an-hour running time. The script is nonsense, the characters are irritable and un-appealing and the conclusion is beyond absurd.<br /><br />And for those suckers who actually bought the DVD (one of them being me); did you see how Carpenter describes the film? He's actually proud of it and he talks about it as his best work for a long time, and he praises the script. And in the commentary track, where he notices an obvious screw up that made it to the final cut, he just says he didn't feel it essential to rectify the mistake and he just let it be there. I fear the old master has completely lost his touch. I sincerely hope I'm proved wrong.<br /><br />I want to leave on a positive note and mention that the creature effects are awesome, though. Technically speaking, this film is top notch, with effective lighting schemes and make up effects.
| 0neg
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Accepted is one of the best teenage comedies I have seen in a long time. It has an original script, talented cast and it delivers an hour and a half of pure unadulterated fun.<br /><br />It tells the story of a high school graduate Bartleby "B" Gains (Justin Long) who is not accepted in any of the collages he applied to, so to avoid his parents' disappointment he creates a fictional collage. In the attempt to fool his parents completely he creates a fake website and turns an old psychiatric hospital into a school. Everything goes smoothly until a lot of other "accepted" students turn up on his doorstep. Now he and his friend have to figure that collage thing out not only for themselves but for the others too.<br /><br />Justin Long as a lead man is absolutely brilliant, his character is as natural as he can be and the supporting acts are outstanding- Jonah Hill as Sherman Schrader, Columbus Short as Hands, Maria Thayer as Rory, Adam Herschman as Glen and Lewis Black as Uncle Ben.<br /><br />The humour is fresh and simple and most importantly funny, right from the start to after the credits .The plot develops so easy that by the time you stop laughing at the last joke you start giggling at next other. Along with all the fun the movie brings a very common subject to our attention i.e. the collage education. If usually the students in the movie are united against the school government, in this case they are united by the mutual desire to go to school and learn.<br /><br />Yet the movie doesn't brand all other schools as wrong, it just shows that there is another way. You what they say "If there is a will there is a way.And may be sometimes the children know better what they need than their parents.<br /><br />This movie is an unmissable little story about the great opportunities in life wrapped up in the best format possible.
| 1pos
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Oh, Man, talk about the effect of advertising. Apparently, all that you have to do to enjoy box office succes is title your movie after a revered 19th century novel. Horrendous acting, directing, and cinematography in this sham of an effort.
| 0neg
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