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This movie strikes me as one of the most successful attempts ever at coming up with plausible answers for some of the nagging questions that have cropped up in recent scholarship concerning the "Passion" (suffering and death of Christ) accounts in the New Testament. (What motivated Judas if money was not the issue? What could bring the Sanhedrin to meet on a high holy day? Why did Pilate waffle?) It is a movie for the serious, thinking Christian: fans of "The Passion of the Christ" will no doubt be disappointed by the lack of gory spectacle and arch characterization. As for myself, I find the portrait painted here--of the willingness of ordinary people to so blithely sacrifice common decency when their own self-interest is at stake--far more realistic and deeply unsettling. (The disinterested, "just doing my job" look on the face of the man who drives the first nail in Christ's wrist is as chilling as any moment in film.) The film makes no claim to "authenticity", but the settings and costuming invariably feel more "right" than many more highly acclaimed efforts. It is a slow film but, if you accept its self-imposed limits (it is, after all, "The Death"--not the Life--"of Christ"), ultimately a very rewarding one.
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I was supposed to review this for a website, and I watched this with optimism that perhaps it would at least be a cheesy yet entertaining rip off, and it didn't even do that well enough.<br /><br />"666: The Child" is probably one of the worst supernatural thrillers I've ever seen (Even worse than "Godsend") with scenes that rip from "The Omen" without shame. The ending is even very similar to the way "The Omen" ends. <br /><br />Not to mention that the acting, writing, and story are all just hackneyed. If these movies make money, I'm sad to see where Asylum is headed. It's embarrassing.
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I absolutely loved this movie. It met all expectations and went beyond that. I loved the humor and the way the movie wasn't just randomly silly. It also had a message. Jim Carrey makes me happy. :)
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1981's Just Before Dawn is one of the best tales of wilderness horror out there. It's one of the finest-made slashers of the 80's and it easily blows movies like The Final Terror, Don't Go in the Woods, or The Prey out of the water.<br /><br />A group of young adults come to check out the mountain property that one of the group has just bought. However they are not alone in the wild. A hulking in-bred murderer, who seems to be in two places at once, is lurking and apparently hates trespassers. <br /><br />Director Lieberman, who gave us such great B films as Squirm (1976) and Blue Sunshine (1977), does an excellent job with this smart thriller as well. The movie is nicely atmospheric, with a creeping sense of tension and some strong suspense. This film makes even the open wilderness seem frighteningly claustrophobic. The Oregon locations are beautiful and well captured by the crafty cinematography. The music score is a true original and awesome in contrast with the scenic visuals. <br /><br />Deborah Benson makes for a great lead, her presence was captivating. Gregg Henry delivers a good performance as Benson's lover and Chris Lemon provides some occasional charisma. The supporting cast, especially veteran actor Kennedy, also does quite well. <br /><br />A true gem of the slasher genre, that needs no gore to thrill. Definitely well worth seeking out for slasher fans and horror buffs alike. See it!<br /><br />*** 1/2 out of ****
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I went to see this thinking it would be a great comedy and a comeback for Robin Williams, but when I saw it I realized I had bee lied to by advertisers as this is more drama than comedy, although it has a few really good laughs in it. It felt like I was watching two movies. One was a funny romp with Robin Williams that should have been the whole basin for the movie anyway, but you also get a techno thriller movie with political angst in the middle. I really don't know how to classify this film. But I can tell you it was good and I did laugh, not as much as I had hoped, but at least Williams is back in the right direction. See this but know before going it is not all comedy and is a little intense.
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A doctor and a policeman in New Orleans have only 48 hours to locate a killer infected with pneumonic plague.<br /><br />An effective, and classy, little thriller directed by Elia Kazan that blends documentary realism with a race against time pulpy heartbeat. Set and filmed in and around New Orleans, Panic In The Streets is taken from the story Quarantine, Some Like 'em Cold by Edna and Edward Anhalt who won an Oscar for original story. It also boasts a fine ensemble cast that deliver top rate performances for their director. In turn, Richard Widmark {bringing the method a year before Marlon did for Kazan in A Streetcar Named Desire}, Paul Douglas, Jack Palance (as Walter Jack Palance) & the wonderfully named Zero Mostel, all get sweatily moody as the pursuers chase the pursued to halt the onset of a potential Black Death epidemic.<br /><br />Where the film scores its main suspense points is with Kazan's astute ability to cut back and forth between the protagonists without altering the flow and mood of the piece. From Widmark's Public Health doctor, with hypodermic needle in hand, running around trying to locate the bad guys so he can do good; to the bad guys themselves who are bemused as to why there is such a wide scale hunt for them; the tension is stacked up to fever breaking point. To which thankfully the final thirty minutes becomes a cracking piece of cinema. With Palance excelling as a nasty villain that ironically puts one in mind of Widmark's own Tommy Udo from Kiss Of Death three years prior.<br /><br />It's an imaginative and intelligently written story, one that cunningly links rats and criminals to being carriers of disease. A blight on society as it were. It's noirish elements, such as paranoia, blend nicely with its basic procedural thriller being. While some memorable scenes are suitably cloaked by the stifling atmosphere that Kazan has created. Although some of the early character psychologizing threatens to steer the film down some over talky based alleyway, this definitely is a film worth staying with to the end. Not essential film-noir, and maybe not even essential Kazan, but certainly a highly recommended film that begs to be discovered by a new generation of film lovers and reappraised by the old guard who may have missed it back in the day. 7.5/10
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I was really hoping that this would be a funny show, given all the hype and the clever preview clips. And talk about hype, I even heard an interview with the show's creator on the BBC World Today - a show that is broadcast all over the world.<br /><br />Unfortunately, this show doesn't even come close to delivering. All of the jokes are obvious - the kind that sound kind of funny the first time you hear them but after that seem lame - and they are not given any new treatment or twist. All of the characters are one-dimensional. The acting is - well - mediocre (I'm being nice). It's the classic CBC recipe - one that always fails.<br /><br />If you're Muslim I think you would have to be stupid to believe any of the white characters, and if you're white you'd probably be offended a little by the fact that almost all of the white characters are portrayed as either bigoted, ignorant, or both. Not that making fun of white people is a problem - most of the better comedies are rooted in that. It's only a problem when it isn't funny - as in this show.<br /><br />Canada is bursting with funny people - so many that we export them to Hollywood on a regular basis. So how come the producers of this show couldn't find any?
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This movie causes more unintentional laughter than anything else I've ever seen. Really, if you are a Tolkien fan, rent it just to laugh at it with your friends. I won't be the millionth person to rip apart its flaws... all I will say is that the movie (for me, anyway) lost major points for turning my favorite character, Sam, into a bumbling idiot. Shame, shame... 3/10
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A bright youngster interested in "serious" music (admittedly a vanishing breed--who'll play the fiddle when no one can play the violin??"--could find this an interesting fiction about street kids and great musical stars. Heifitz was indeed the greatest violinist of his generation and the film gives him a rare on-screen chance to display his technique. The kids, especially Gene Reynolds, are fine and, all in all, the pic is a good example of first-rate studio family fare of the late 30's. It doesn't hit the top of the great '39 list, but it's a nice way for an intelligent family to spend a rainy afternoon with AMC or the Video Store--- good luck at Blockbuster!!!!
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What can I say? This was one awful movie to watch. I am normally not very critical of gay cinema in general, due to the fact that most are usually low-budget, but this really pushed me up the wall. I mean, is this was has happened to gay cinema? Haven't gay producers and directors learned anything from Gus Van Saints and Ang Lee's films?. Just having to sit through the entire movie was like being in a dentist's chair and having my wisdom teeth extracted. I kept on praying for moments where I would feel any sort of connection with any of the characters, but that never happened. Most of the characters performances were just not very convincing. It was like watching one of those badly produced made-for-TV movie specials on a local access TV stations. I cannot tell u how greatly disappointed It was seeing this film after being a big fan of Tori Spellings other works and the directors last work on "Latter day saints." It was definitely not worth the wait. Definitely, a few hours of my life I will never get back and will certainly not be purchasing it on DVD.
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I actually saw the movie before I read the book. When I saw the movie I was upset because I wondered why Dean Koontz had made such a bad book/movie. The movie was confusing and didn't have a flow at all, it was choppy and made me want to throw a rock at the TV. I couldn't connect with the characters at all, so i didn't care about what happened to them(normally I love the characters because I can relate to their personality or problems). Then I read the book and loved it. I often re-read the book, and the movie is collecting dust. I wish someone would make a Koontz movie that follows the plot of his books, then the movies wouldn't suck so much. DO NOT WATCH THIS MOVIE UNLESS YOU NEED TO WASTE MONEY!
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After watching the Steven Spielberg version of War Of The Worlds in theaters, I was hooked on the topic. I could think back to my favorite parts in the movie, people getting vaporized, people panicking, fire, explosions, it was all so great...<br /><br />So a few weeks later I enter my video store, and I see David Michael Latt's version of War Of The Worlds on the shelf. "It couldn't have come onto DVD, that fast, could it?" I said to myself. I read the back of the case and saw C. Thomas Howell, instead. "Oh, I remember him from The Outsiders!" So I thought, it might have been a try.<br /><br />I was wrong, dead wrong. As soon as I watched the opening credits, watched them take forever, I knew something was wrong. Something was going to disappoint me in this film and it did. The whole movie stunk like a cheese sauce that was left in the fridge for 10 years. From the acting, the special effects (stupid looking tripod things, when people get vaporized they turn into orange skeletons), and most of all, it didn't even come close to being as interesting as the Spielberg version, in fact, the plot was boring, and there were only 3 scenes of destruction! What the crap? I ended up being so bored, that I had to fast forward through the movie until I found something that looked even remotely interesting. And nothing was really.<br /><br />My advice: Don't even touch this movie, stay 100 feet away from it. The Spielberg version is coming out near the end of this month, buy that one! But please, please, I beg of you! Stay away from this turd before it smothers us all!
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I don't know if I should be amused or insulted by drivel like this put out by "Lifetime: Television For Women" Should be renamed "Lifetime: Television For Shut In Drama Queens" because I've yet to see a movie that wasn't a tear jerking pot boiler. This film was no exception. You know a film's going to be bad when the biggest headliner is Tori Spelling, completely a creation of bad plastic surgery and spoiled privilege minus any real talent. Everyone else matched her in unbelievably bad acting and the storyline was beyond dumb, as if anyone could believe any of it. If I hadn't have been helpless on the sofa pinned down watching with the same fascination you view a gory car wreck I would have changed the channel.
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Ken Harrison, a young sculptor in his early thirties, is seriously injured in a road accident. End of story.<br /><br />"End of story", that is, in the sense of "end of any physical action". Not in the sense of "end of the film". Ken's life is saved, but he is paralysed from the neck down. When he discovers that he is unlikely ever to regain the use of his limbs he decides that he wants to die and asks the doctors to end the medical treatment which is keeping him alive. The rest of the film is essentially one long debate about the rights and wrongs of euthanasia and the right to die.<br /><br />Ken's main antagonist in this debate is his doctor, Michael Emerson. Although the case against euthanasia is often presented in religious terms, here it is presented in purely secular ones. If Dr Emerson has any deep religious convictions, these are never expressed in the film. He believes passionately, however, that death is an enemy against which it is his duty as a doctor to fight; to allow a patient effectively to take his own life would represent a surrender to that enemy and a dereliction of that duty. Ken therefore finds himself in a "Catch-22" situation. He must be able to show that he is sane and rational enough to make the decision to end his life. Emerson, however, considers that a wish to die is in itself evidence of insanity and irrationality. Ken's dilemma can only be solved by hiring a lawyer to sue the hospital.<br /><br />Richard Dreyfuss as Ken and John Cassavetes as Dr Emerson put across their respective points of view skilfully and with sincerity, but this cannot hide the fact that "Whose Life is it Anyway?" simply does not work as a film. At one time filmed versions of stage plays were done in a similar way to theatrical productions but by the seventies and eighties this was often seen as unsatisfactory because of the differences between the two media. When plays were filmed, therefore, the general tendency was to "open them up" by filming on location as well as on studio sets, by taking liberties with the playwright's text, often making significant changes to the plot and even introducing extra characters.<br /><br />I have never seen Brian Clarke's play, but I suspect that this is a story that would work better in the theatre than in the cinema. There is very little physical action; most of the action consists of lengthy discussions around a hospital bed in which the main character lies paralysed. Such a plot does not lend itself to the "opening up" device at all, and the resulting film is very static, dominated by talk at the expense of action. Although it is well written and there is some good acting, I am surprised that a film was ever made of such an uncinematic subject. 4/10
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The success of SCREAM gave birth to a whole new horror flicks wave. I'm happy with that, as a big fan of horror, and I liked most of those new horror films. BOC is a one big pack of horror. Colorful, fast paced and original. I see this movie more like the opening of a new trilogy (much like Episode 1 and Aliens: Resurrection) since it comes up with a new twist. Instead of focusing on the little boy-killer doll relationship we have here a twisted movie about couples. We have the sweet young lovers in contrast with the killer crazy doll-sized lovers. Very inventive!
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Some unsuspecting films carry a message that resonates in the hours and days after viewing. Such is the case for CAROL'S JOURNEY (EL VIAJE DE CAROL), a beautifully crafted 2002 film from Spain based on the novel 'A boca de noche' by Ángel García Roldán who also adapted the book as a screenplay. War and its consequences are not new subject matter for films, but when that war theme plays in the background as a subtle driving force to develop characters (especially children) who must face adult life influenced by the games of adults, the result is a different and more tender examination of the coming of age film genre.<br /><br />Carol (Clara Lago) is a 12-year-old Spanish American youngster from New York who with her critically ill mother Aurora (María Barranco) returns to her Aurora's home in 1938 at the height of the Spanish Civil War, a home that has been left deserted by her father Don Amalio (Álvaro de Luna) since his wife's death. Carol's father Robert (Ben Temple) is a fighter pilot who has sided with the Republicans against Franco and is rarely with his family. Aurora has a past: she left her lover Alfonso (Alberto Jiménez) to marry Robert, and Alfonso in turn married Aurora's cold sister Dolores (Lucina Gil). Carol is an independent girl who remains aloof to all but her grandfather Don Amalio until she meets others her age but not of her 'class': Tomiche (Juan José Ballesta) and his two friends at first resent Carol, but as events develop Carol and Tomiche are bonded by what feels like the first awakenings of love. When Aurora dies of her illness, Carol must live with Alfonso and Dolores and their daughter Blanca (Luna McGill), yet turns to her grandfather for support and to her mother's best friend and teacher Maruja (the always radiant Rosa Maria Sardà) to understand the disparity between classes and the senseless war that keeps her beloved father from her side. Through a series of incidents Carol and Tomiche learn the rigors of becoming adults, facing more traumas in a brief period of the war than most of us experience in a lifetime. The ending, though sad, is uplifting as Carol's journey to maturity is complete.<br /><br />The film is shot in Galicia and Portugal and contains some extraordinarily beautiful settings captured with gentle sensitive lighting by cinematographer Gonzalo F. Berridi and enhanced by the musical score by Bingen Mendizábal. Director Imanol Uribe understands the fine line separating pathos from bathos, and in electing to concentrate the story on the children involved, he makes an even stronger statement about the futility and cruelty of war. The cast is exceptional: the stars clearly are young Clara Lago and Juan José Ballesta, but they are supported by the fine veteran actors in the adult roles. This is a visually stunning work with a lasting message and should find a much larger audience than it has to this date. Grady Harp
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And thats about all that is. This thing is slow. The actors have ability, they just don't seem motivated to put forth the effort. The plot isn't that great and is hampered further by the aforementioned slowness of it all. The accents, when there are any, are British. Uh, lots of these folks are supposed to be Danes. OK, OK, accents aren't that important. But language is. I don't think they used words like "yeah" and "OK" in Beowulf's day. And that supposedly way cool weapon his king gave him? Did he ever reload that thing? Did he ever sight it in? Or was Beowulf just that bad an aim? Well, his aim did at least match the computer graphics used in generating the monsters. Those were rather off too. Bad special effects. Bright spot? Just one that I can think of. Marina Sirtis has held up well over the years.
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If Saura hadn't done anything like this before, Iberia would be a milestone. Now it still deserves inclusion to honor a great director and a great cinematic conservator of Spanish culture, but he has done a lot like this before, and though we can applaud the riches he has given us, we have to pick and choose favorites and high points among similar films which include Blood Wedding (1981), Carmen (1983), El Amore Brujo (1986), Sevillanas (1992), Salomé (2002) and Tango (1998). I would choose Saura's 1995 Flamenco as his most unique and potent cultural document, next to which Iberia pales.<br /><br />Iberia is conceived as a series of interpretations of the music of Isaac Manuel Francisco Albéniz (1860-1909) and in particular his "Iberia" suite for piano. Isaac Albéniz was a great contributor to the externalization of Spanish musical culture -- its re-formatting for a non-Spanish audience. He moved to France in his early thirties and was influenced by French composers. His "Iberia" suite is an imaginative synthesis of Spanish folk music with the styles of Liszt, Dukas and d'Indy. He traveled around performing his compositions, which are a kind of beautiful standardization of Spanish rhythms and melodies, not as homogenized as Ravel's Bolero but moving in that direction. Naturally, the Spanish have repossessed Albéniz, and in Iberia, the performers reinterpret his compositions in terms of various more ethnic and regional dances and styles. But the source is a tamed and diluted form of Spanish musical and dance culture compared to the echt Spanishness of pure flamenco. Flamenco, coming out of the region of Andalusia, is a deeply felt amalgam of gitane, Hispano-Arabic, and Jewish cultures. Iberia simply is the peninsula comprising Spain, Portugal, Andorra and Gibraltar; the very concept is more diluted. <br /><br />Saura's Flamenco is an unstoppably intense ethnic mix of music, singing, dancing and that peacock manner of noble preening that is the essence of Spanish style, the way a man and a woman carries himself or herself with pride verging on arrogance and elegance and panache -- even bullfights and the moves of the torero are full of it -- in a series of electric sequences without introduction or conclusion; they just are. Saura always emphasized the staginess of his collaborations with choreographer Antonio Gades and other artists. In his 1995 Flamenco he dropped any pretense of a story and simply has singers, musicians, and dancers move on and off a big sound stage with nice lighting and screens, flats, and mirrors arranged by cinematographer Vittorio Storaro, another of the Spanish filmmaker's important collaborators. The beginnings and endings of sequences in Flamenco are often rough, but atmospheric, marked only by the rumble and rustle of shuffling feet and a mixture of voices. Sometimes the film keeps feeding when a performance is over and you see the dancer bend over, sigh, or laugh; or somebody just unexpectedly says something. In Flamenco more than any of Saura's other musical films it's the rapt, intense interaction of singers and dancers and rhythmically clapping participant observers shouting impulsive olé's that is the "story" and creates the magic. Because Saura has truly made magic, and perhaps best so when he dropped any sort of conventional story.<br /><br />Iberia is in a similar style to some of Saura's purest musical films: no narration, no dialogue, only brief titles to indicate the type of song or the region, beginning with a pianist playing Albeniz's music and gradually moving to a series of dance sequences and a little singing. In flamenco music, the fundamental element is the unaccompanied voice, and that voice is the most unmistakable and unique contribution to world music. It relates to other songs in other ethnicities, but nothing quite equals its raw raucous unique ugly-beautiful cry that defies you to do anything but listen to it with the closest attention. Then comes the clapping and the foot stomping, and then the dancing, combined with the other elements. There is only one flamenco song in Iberia. If you love Saura's Flamenco, you'll want to see Iberia, but you'll be a bit disappointed. The style is there; some of the great voices and dancing and music are there. But Iberia's source and conception doom it to a lesser degree of power and make it a less rich and intense cultural experience.
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Richard Condie is a Canadian marvel, and one that should be shared with the world. Be it for gut-busting early work such as "Getting Started" and the Oscar-nominated "Snit" through "The Apprentice" and the digitally made "La Salla", Condie is a treasured local hero. But no singular piece of work puts a stamp on his career quite like "The Big Snit". And did I mention it was nominated for an Academy Award? Darn tootin'.<br /><br />"The Big Snit", although clearly a dated message-bearer from the 1980s (the short revolves around Cold War-esquire nuclear annihilation, but don't worry it's hilarious as hell), carries with it a larger meaning, as is most of Condie's work in an understated sort of way. While the planet scurries for cover from Armageddon, a couple bickers over each others' annoying habits (in true Condie fashion, he hacksaws the furniture while she shakes her eyes literally). And don't forget to watch it again and again, 'cuz there's always something to look at. Condie loads this fella up with countless visual gags and memorable catch-phrases.<br /><br />I strongly encourage this incredible piece of animation be tracked down. In Canada it's usually spotted in a National Film Board video that includes other stellar shorts (including fellow Winnipegger Cordell Barker's equally funny "The Cat Came Back"). Americans will just have to dig a little deeper, but keep at it the reward is worth the toil.
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In 1933 Dick Powell and Ruby Keeler sang and danced their way through three Warner Brother musicals that offered Depression era audiences a momentary distraction from their woes. Gold Diggers of 1933, 42nd Street and Footlight Parade were all set in the world of Broadway Theatre with basically the same theme of the show must go on. In addition to Keeler and Powell the films featured the kaleidiscopic choreography of Busby Berkeley, show stopping tunes and many of the same supporting players.<br /><br />All are arguably classics of their genre but I must admit a clear preference for Footlight due to it's pace energy and lead James Cagney. Warren William in Gold Diggers and Warner Baxter in 42nd Street acquit themselves admirably as the shows production heads- particularly Baxter as the burned out Julian Marsh in search of one last box office smash. Both lack the infectious energy of Cagney however, who perfectly compliments the frenetic pace of putting on a Broadway musical. He is an absolute whirlwind as he deals with production numbers, unscrupulous partners and a gold digging girlfriend.<br /><br />Of course Cagney alone does not make Footlight the classic that it is. The script crackles with some sharp double entendres delivered by a superlative supporting cast featuring Frank McHugh, Hugh Herbert, Guy Kibbee and especially Joan Blondell who cuts everyone down to size. Busby Berkeley's dance numbers are surreal, suggestive and risqué and done just in the nick of time before the arrival of the Hollywood Code in 34. Sadly, the thirties and sometime beyond would never see such a richly made musical with the verve and sass of Footlight again. Gentility and morality made sure of it.
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When I bought 4 DVDs for £5.oo in a local shop it should have been warning enough that this movie was not up to the usual standard of David Selznick Productions. With a cast containing such names as James Stewart and Carole Lombard I was looking forward to a real treat. As many other commentators have said it is an odd mixture of plot and scenes that doesn't quite convince. HOWEVER, I am so glad that I did view this film as I now have the memorable saying 'Never let the seeds stop you from enjoying the watermelon.' to live by. This should sum up everyone's life. Pick out those seeds or spit them out or swallow them - and then enjoy the watermelon - life itself.
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This was really a "nightmare" of a film; i saw it about nine years ago on cable TV and haven't forgotten it since. Pixote is a 10-year old boy who lives in the streets of Sao Paulo (Brazil) and leads a criminal life in the company of his teenage friends Lilica, Dito and Chico; they steal, pimp, sell drugs and murder in order to survive each day...In the first half of the film Pixote is caught by the police and sent to a sadistic foster home where he witnesses every kind of abuse from the older inmates and guards to the rest of the kids; one night, Lilica's boyfriend is killed after a beating, so Pixote and his friends decide to escape during a riot. The rest of the film shows Pixote's descent into a criminal life; he doesn't show any feelings or remorse after killing someone, maybe because he knows that good feelings are of no use in the world in which he lives...But there is, however, a gentle scene in the middle of the film; Pixote and his friends are at the beach, missing (and wishing) one of his friends from the reformatory was there. I thought it was a poetic and melancholy scene in the middle of all these horrible events...the boys are obviously longing not only for their friend, but for a better life. Director Hector Babenco's "Pixote" is a brave and depressing film that doesn't shy away from showing the harshest reality many people -including myself- tend to ignore or misunderstand. This film will probably open your eyes and make you a better and compassionate person.
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I very much enjoyed watching this film. I taped it while watching so that i could review it later. I actually enjoyed the second viewing more since i was able to absorb more of the clever dialog between Natalie and Adam, the 2 main characters. I thought the way this story evolved was very thought provoking. I got very intrigued with how Natalie was going to interact with her daughter's friends , at first it seemed that she was going to spew a lot of animosity but once she started interacting more pleasantly i had to see how this visit was going to unfold. i wasn't disappointed . Gradually the secrets that Sara kept from her mother started to reveal a daughter who was not so perfect, a flawed human being like most of us who wanted her freedom from a domineering mother who thought she knew her daughter but unfortunately had to learn in a very painful manner that sometimes to really love someone you have to give them their freedom. The viewers who stuck with this film to the end saw a very touching performance from Diane Keaton (who is always wonderful, even in some of her less well received films-think Town and Country). The closing scene of Diane Keaton driving home was well worth waiting for, revealing that anyone who loves another human being has got to learn that we have to live our own lives, we love others but don't own them and ultimately we have to let go. It's a hard lesson but well worth contemplating now and then.Thank you CBS for this broadcast,it was worth the long wait.
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I can't believe that so many are comparing this movie to Argento's. His work is far more imaginative and vicious--and a lot more fun.<br /><br />The director simply lacks the ability to build real tension. The murder scenes--and let's face it, that's what this genre is all about--aren't interesting. It was not hard to guess who the murderer was, and I really didn't care when it was revealed. The cinematography isn't memorable, and the much-praised 19th century Gothic atmosphere just didn't draw me in. Several of the actors are quite good (especially the headmistress and the sadistic girl who lords it over the younger students), but they're given very little to do.<br /><br />Yes, there are undertones of incest, sadomasochism, and lesbianism, but amazingly, they add very little spice or suspense. <br /><br />If you're looking for a good horror movie, look elsewhere.
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Ever had one of those nights when you couldn't sleep and just turned on the tube to see what was on? That is how I ran across this tripe. For myself, I would have been better served tossing and turning for the 97 minutes I wasted with this film.<br /><br />In its attempt to "be real" this movie's characters come off as such gangsta stereotypes that the story should have been the premise for a Wayans brothers movie. The dialog? Please! It sounded like a white man was trying too hard to write this film.<br /><br />The editing was horrible. One of my "favorite" scenes involved a car chase down a bunch of narrow alleys. Cut to the characters being chased, though, and they are driving through a park complete with baseball fields in the background.<br /><br />When any of our "homies" get shot in this film, he bleeds miraculously through clothes that have no holes, which is more than I can say for the plot of this predictable load of....baking soda.<br /><br />Indie films can be great even if they are low on budget and effects, but they still need to have some cinematic integrity. If I could have given it a 0, I would. If you watch it, I hope it is on cable, because even the cheapest rental would be too much to pay. Actually, 97 minutes was too much to pay...
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Alfred Hitchcock's more assured telling of a film he made twenty-one years earlier is infinitely superior to the original. Hitchcock said himself that his first version was the work of an amateur, and although it certainly isn't a bad film, he does appear to be right. That being said, this remake, although definitely better, still isn't among Hitchcock's best work. That's certainly not to say that it isn't good, it's just more than a little overindulgent, and that drags it down. Hitchcock seems all too keen to drag certain elements out, and these are parts of the film that aren't entirely relevant to the plot, which can become annoying. Some of these dragged out sequences, such as the one that sees James Stewart and Doris Day eating in a Moroccan restaurant are good because it helps establish the different culture that our American protagonists have found themselves in, but for every restaurant scene, there's an opera sequence and it's the latter that make the film worse.<br /><br />The plot follows a middle-aged doctor and his wife that go to Morocco for a holiday with their young son. While there, they meet a French man on the bus and another middle-aged couple in a restaurant. However, things go awry when the French man dies from a knife in the back, shortly after whispering something to the doctor. The holiday then turns into a full blown nightmare when the couple's son is kidnapped, which causes them to cut it short and go to London in order to try and find him. The film has a very potent degree of paranoia about it, and it manages to hold this all the way through. In fact, I would even go as far as to say that this is the most paranoid film that Hitchcock ever made. Like most of Hitchcock's films, this one is very thrilling and keeps you on the edge of your seat for almost the entire duration, with only the aforementioned opera sequence standing out as a moment in which the tension is diffused. There is also more than a little humour in the movie, which gives lighthearted relief to the morbid goings on, and actually works quite well.<br /><br />The original version of this story was lent excellent support by the fantastic Peter Lorre. This film doesn't benefit from his presence, unfortunately, but that is made up for by performances from the amazing James Stewart, and Doris Day. James Stewart is a man that is always going to be a contender for the 'greatest actor of all time' crown. His collaborations with Hitchcock all feature mesmerising performances from him, and this one is no different. (Although his best performance remains the one in Mr Smith Goes to Washington). Stewart conveys all the courage, conviction and heartbreak of a man that has lost his child and would do anything to get him back brilliantly. In fact, that's one of the best things about this film; you are really able to feel for the couple's loss throughout and that serves in making it all the more thrilling. Doris Day, on the other hand, is a rather strange casting choice for this movie. She's definitely a good actress, but she's more associated with musicals and seeing her in a thriller is rather odd (even if she does get to flex her vocal chords a little).<br /><br />As I've mentioned; this is not Hitchcock's best film, but there's much to enjoy about it and although I'd recommend many Hitchcock films before recommending this one, I'll definitely give it two thumbs up as well.
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While most of the movie is very amateurish, the Kosher slaughter scene is played up, but not untrue. Kosher law says that an animal must be conscious when the blade touches it's skin. The Kosher slaughter scene is accurate as anyone knows who has seen one, or has seen the Peta film showing a Kosher slaughter, in which the animals throat is cut, and the esophagus cut out while it is still alive, conscious, and obviously suffering. We must remember that history is written by the victors. Is one even Allowed to even THINK that maybe the Nazis were right??<br /><br />Doesn't it say anything that the Nazis had outlawed this vicious religious slaughter, and the Jews are still practicing it even today?
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The best thing I can say about the American version is that Jane Turner and Gina Reilly must be raking in the money for this crap. Yes, the American rip-off was shown for about two episodes in Australia but didn't rate; probably by curious viewers who were wondering how bad it would be. Answer: DEPLORABLE, a complete waste of time. The actors are relatively unknown and they don't take readily to the nuances of the Australian-written script. Bad luck for them as they are doomed to plummet with this turkey. My advice to USA viewers is DON'T.<br /><br />Americans should be best advised to find DVD's of the ORIGINAL VERSION on eBay, but be aware that some DVDs are in a different 'zone format' to those issued in the USA. Otherwise, some DVD players will operate discs from both/all zones.
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Being a person who does not usually enjoy boxing movies, feeling they only focus on the boxing and not the characters themselves, this movie truly moved me. I loved being able to see the main character Diana(Michelle Rodriguez) go through so many things in such a short while, it was amazing to me. Michelle (Rodriguez) did such a wonderful job playing Diana especially since this was her first acting experience, she showed true emotion and portrayed Diana wonderfully. All actors had chemistry on screen and made this movie even more amazing. I highly recommend this movie even to those who do not usually watch boxing movies. 10/10
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This film is a quite entertaining horror anthology film (along the lines of Tales from the Crypt) written by Robert Bloch (author of Psycho). It's good fun for horror fans and has an excellent cast. The movie should also be required viewing for Doctor Who fans since Jon Pertwee (the third Doctor) has an amusing role as a rude and obnoxious horror star!
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Once upon a time there was a science fiction author named H. Beam Piper who wrote a classic book named "Little Fuzzy" which was about a man discovering a race of adorable little fuzzy humanoids on another planet. Mr. Piper died in 1964, but Hollywood and many of today's authors starting looting his grave before his cadaver got cold. This is the book where they got the idea for Ewoks from.<br /><br />Skullduggery is such a blatant ripoff of "Little Fuzzy" I can wonder why I'm the only who's ever noticed?<br /><br />But don't take my word for it. Here's a link to Project Guntenberg where you can download a copy of "Little Fuzzy" for free: http://www.gutenberg.org/ebooks/18137
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This is 2009 and this way underrated gem has lost nothing of the power it had 31 years ago. It connects a pretty wide variety of different characters and stories without appearing to be cluttered.<br /><br />Clothes and music might have changed over time, but in the end this is a story that will never lose its up-to-dateness. And especially this movie does the job pretty well. Of course it is cheesy at times, but very touching as well.<br /><br />Jodie Foster's performance is striking, and it shows that she is really a natural born actress who showed her true potential especially in her earlier movies.<br /><br />Don't miss this one.
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This show is awful. How is George wanting the death of his mother funny? This show is terrible. The parents are obviously horrible and the children should be taken to child services. The daughter is a witch with a b and the son is just a complete brat. George isn't funny, especially when he speaks his loud and obnoxious brand of Spanglish. Ernie is a loser, but at least I've chuckled at him a few times, but mainly at how pathetic he is. George's mother, Benny, in an awful, despicable character. Sure, her husband left her, but how anyone can laugh at the way she treated George as a baby is beyond me.<br /><br />Can someone explain to me how George's head being big is funny? It's not even that big! I've moved on from characters because they're too awful and it would take hours for me to write and I, frankly, don't care enough. I do care enough to tell anyone looking at this and wondering whether or not they want to watch this show, that this show is an abysmal excuse for a sitcom, and is not worth your time.<br /><br />I give it 2 starts, because the wife is extremely attractive.
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THE WATERDANCE (1991) The main character of The Waterdance, played by Eric Stoltz, finds himself in a rehab center with some others similarly injured. And there he must face an harsh new life, confined to a wheelchair. It's an interesting, and promising premise, but unfortunately, it fails to deploy. What ensues instead is largely Hollywood schmaltz, with some interesting moments. Certainly the cast (Eric Stoltz, William Forsythe, Wesley Snipes, et al) is brilliant, and perform well here as one would expect, but their talents are wasted. The characters are mainly stereotypes of one kind or another, and most of them are thoroughly unlikeable (the Snipes character being the exception). I suppose this is some kind of attempt to break through people's ideas about the handicapped being "crippled" or "weak", by depicting them, for the most part, as in-your-face pricks, but it makes for an entirely annoying experience. Admittedly it will show you something of what those with permanent disabilities go through, in a way that is not softened or romanticized, which is useful, and a good idea, but while the process being depicted can make one a difficult person to get along with, and that's worth dealing with, it is not part and parcel to that that these characters must be, to varying degrees, despicable. They wouldn't have to be Disneyfied, either; surely there's a middle ground somewhere. By the film's conclusion, the Eric Stoltz character has come to accept his status as a handicapped person, but since he is such a flaming narcissistic monster from the beginning of the film to the end, we couldn't care less. <br /><br />In addition to its character problems, the film suffers from that weird syndrome that so many Hollywood movies suffer from; the syndrome doesn't really have an official name, but you might call it "Inexplicable Forgiveness Syndrome". It goes something like this: characters abuse the crap out of each other, and then without so much as an apology, all is forgiven (an especially obnoxious example of this is in the movie The Breakfast Club, in which one character spends most of the film verbally bullying everybody within earshot; as a result
they love him. In one of the the latest examples, Spiderman 3, supervillain The Sandman lays waste to a chunk of Manhattan, then wails on Spiderman for what seems like about 15 monotonous minutes before being waved off with what amounts to "bye, now"). The most egregious example of IFS in The Waterdance is a sequence in which, after being called the n-word by William Forsythe's racist biker character and his friends in the previous scene, the Wesley Snipes character whoops it up with the same Forsythe character in the next scene, as if nothing had just happened just a short time hence. Again, without so much as an "Oh yeah, sorry about that business back there where I, you know, called you the n-word". It makes me wonder, do these people actually watch these movies before they release them, or do they just film them with their eyes closed, kind of slap them together in the editing room according to scene number, and call it a day's work?
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For a made for TV movie I thought that it was a great popcorn movie - don't expect anything to be very accurate and don't expect any award winners in this bunch but I do recommend this for a TV type version somewhat like "The Replacements". Look for cameos from real NFL players & officials.
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The next-to-last episode aired of the original Star Trek series is an interesting, sometimes melancholy installment that proves the show was still exploring its characters even at this point in the third season; though flawed, 'All Our Yesterdays' has its moments and overall a moody, compelling feel to it. Kirk, Spock, and McCoy beam down to a planet, assuming they are arriving in the nick of time to save or at least give some warning to whatever populace is there, since the planet's sun is due to explode within hours. But as it turns out, the people there are all too aware of the planet's fate, and using a kind of time travel device, have escaped into the past. Each person has been able to choose the time and place in the past where he or she would like to live at a 'library,' run by an elderly man named Mr. Atoz. Atoz assumes the three men are looking for a past to live in as well, and shows them various periods from which they can choose on viewers. There is some rather forced confusion at the start of the episode, with lines like:<br /><br />McCoy- Where did they go? Atoz- Wherever they wanted to.<br /><br />The misunderstanding could be cleared up rather easily, but for plot purposes, it isn't, and soon Kirk finds himself transported back to a period resembling 18th Century England, while Spock and McCoy are sent to an ice age, 5000 years in the planet's past. From here, the main focus is on Spock and his relationship with a woman exiled to this time by a tyrant as punishment. Spock begins acting increasingly emotional, showing anger toward McCoy and deep affection for Zarabeth, the woman. He eventually realizes that he is reverting back to the primitive emotional state of his ancestors on Vulcan, 5000 years ago. Kirk makes his way back to the library first, and finally convinces Mr. Atoz they don't belong in his planet's history. Spock and McCoy return just before it's too late, leaving Zarabeth behind; the Enterprise beams the three up and speeds away as the sun explodes, destroying the planet. The interaction between Spock and Zarabeth provides this episode's most memorable moments, though Kirk's adventure into the 'English' past is amusing. All in all, a very decent latter-day Star Trek outing.
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As Roger Corman has said in an interview, low-budget film-making enables film-makers to take chances on offbeat ideas. Well, you'd be hard pressed to find a film that thrives on the offbeat as mightily as George Barry's "Death Bed: The Bed That Eats".<br /><br />The film does have a back story to it, and it's an interesting one at that. I'll forgo relaying any sort of details so you can hear them for yourself if you take a chance on watching it. Suffice it to say, the title item of furniture has an insatiable hunger, consuming the unwary with a bubbling yellow foam that dissolves its victims like acid.<br /><br />"Death Bed" is an eerie, haunting little flick that plays out its absurd premise in such a way that it transcends the usual assortment of schlock fare. It occupies its particular dream world in such a way that it was possible for me to take it seriously. It's a truly strange and unconventional horror flick. It dabbles in exploitative ingredients - there's some tasty dollops of female nudity - and yet is also art, albeit art with a completely skewed sensibility.<br /><br />The special effects are not too bad for a film with a microscopic budget, and Barry gives the film a good and atmospheric "midnight movie" quality. The acting from the cast is as uninspired as one could imagine, although Patrick Spence-Thomas lends a reasonable amount of gravitas as the artist / narrator, and one definite point of interest is seeing one familiar face on hand: future 'Boy Meets World' father William Russ!<br /><br />This film might not have even found the small cult following that it does have were it not for pirated copies making the rounds; this certainly has to rank as one of the instances where such a practice ultimately ended up helping the film - even if the exposure took years to take hold.<br /><br />If you have a taste for truly bizarre obscure items, "Death Bed" may be just what you've got in mind.<br /><br />7/10
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i thought this movie was really really great because, in India cinemas nowadays, all you see is skin, music, and bad acting...in this movie, you can see some tradition, ethnicity, and at least some decency...although some parts were a little dramatic, guess what? that is what Indian cinema is all about! after watching this movie, at least you don't get a headache from all the loud overrated music, or any violence, its just the truth, it teaches about love, and of course caring for the person you love throughout life...i think it was an amazing movie...Kids can watch it without a doubt, and adults will enjoy the simplicity that used to be India's sure profoundness...until all these rap hits, miniskirts, and skin showing became a part of it.
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You could see the final outcome from a mile away.All the signs were there....the prom,the liquor,the fast ride,the distraction of the females.... A good commercial for seatbelt usage,and later model vehicles that sit the passengers further back from the windshield.Also,the ending is rather anti climatic,as the Ford Econoline van barely suffers a crease across its nose after hitting a bridge abuttment at high speed (highly unlikely).More damage to the van would have made it a little more believable.And why do these films always take place during/after a prom? Is it a case of once you survive the prom,you will be good for life? More than anything else,it shows the lack of policing the prom for liquor,and not keeping tabs on the MINORs who are leaving the dance for a joyride.
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This movie's heart was in the right place, no matter where its brain was.<br /><br />"Attack" is basically a spoof a la "Airplane!" (two years before the fact - nice going.) of what happens when vegetables, or in this case fruits, attack.<br /><br />Through all manner of film magic (stop motion, papier-mache tomatoes on skateboards, reverse filming, people watching off-screen tomatoes, people throwing basketball-sized tomatoes at the on-screen actors), the tomatoes do indeed attack everyone in their leafy grasp. <br /><br />Then, it's up to Mason Dixon (Miller) and a group of spies I wouldn't wish on any government's side to save the day. Of course there's a meddling reporter (Taylor) who pops in at the worst times, dancing and singing Army soldiers, Japanese scientists with dubbed-in voices, some guy dragging around a parachute and a samurai sword...and oh yeah, the San Diego Chicken before he made it big.<br /><br />The gags here aren't all that great. In fact, you could probably make up better yourself after watching these. Some of the dialogue is inutterably bad ("Please pass the ketchup" - not something to say in front of tomatoes.) and as far as "Puberty Love" goes...well, I can't blame the tomatoes for shriveling up on hearing it.<br /><br />What's good about it? Well, I liked the theme song and the beginning credits, and there was a scene with four people on the phone at once that was pretty well executed. ...that's about it.<br /><br />Three stars. Not a "Killer" comedy, but it tries.<br /><br />Rock on, Peace.
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I remember watching this movie when it came out as a t.v. movie of the week in the early 1970's.<br /><br />Although I haven't seen this movie in over 30 years I remember how creepy it was...the sister's dead body in the basement, the storm raging outside, the creepy house with no electricity and a killer still on the premises.<br /><br />They just don't make t.v. movies like this one anymore. Elizabeth Montgomery was a very underrated actress and I liked her in not only "Betwitched", but several of her post-Bewitched roles, such as this one and 1975's "The Legend of Lizzie Borden".<br /><br />I really wish that someone would come out with a DVD that has several of the 1970's t.v. movie of the week on one DVD. Wouldn't it be awesome to watch "When Michael Calls", "Bad Ronald", "Don't Be Afraid of the Dark", "Crowhaven Farm", etc., all on one DVD? I know there is a market for a DVD like this for all of us baby boomers who grew up in the 1960's and 1970's. Maybe, if we are lucky, someday someone will offer us a DVD with a great selection of t.v. movies like this.
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Before this little black-and-whiter, the touchy topic of criminal rape never made it onto the American screen.There were lots of these topics that Hollywood and the Production Code kept hidden until the rebellious 1960's. So it's not surprising that it would take a little independent company like Ida Lupino's Filmmakers to raise the subject. The result is well-meaning but somewhat compromised, which is not surprising since director Lupino had to work with Code demands to get the movie released.<br /><br />Interestingly, Ann Walton's (Mala Powers) main problem following the assault is not how others might see her, but how she sees herself. And it's a heavy load she's carrying. Will she ever be able to relate to men again? Will they look at her as "spoiled goods" (after all, this is 1950)? Small wonder she runs away rather than face these anxieties at home and at work, even though family and friends are generally supportive. Overall, this first part is earnest and well-done. The chase is hyped to inject some action into the plot, but then this is a movie-- notice how the incurious neighbor fails to respond to the honking horn near chase's end. Had those been screams of alarm from Powers instead, the neighbor's lack of response would have raised an interesting albeit complicating issue.<br /><br />The second half is pretty much given over to the Production Code in the sentimentalized person of Rev. Ferguson (Tod Andrews). It's he (to quote a phrase) who "gives her courage to face life again". There's some effort at humanizing him-- is it Ann or her dilemma that he's most interested in. Still, his gentle and understanding presence comes across as a little too miraculous and a little too Hollywood. Fortunately, the ending avoids the usual Hollywood cop-out by emphasizing only the hope of a happy resolution for Ann rather than its certainty. <br /><br />Give Lupino a ton of credit for dealing with the topic in the first place. Given the overall results, I expect she dealt as honestly with the topic as she was allowed to. I also expect today's audiences find the treatment mildly interesting mainly because of Powers' excellent performance that brings out the purely human drama. However, the film works best now as a document of its time, and what the cultural watchdogs of that day thought was appropriate for adult viewing.
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I watched this on tv in 1989 and regretted not taping it. I was very intriguing and suspenseful. It is amazing as the events unfold and this man's past catches up with him.<br /><br />The acting is first rate and the story is exactly what the title claims... "twist of fate"... but no one could run away from a life that this man had at the beginning of the movie.
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Haines is excellent as the brash cadet who thinks West Point will really amount to something now that he has arrived. Haines displays his easy, goofy comic persona as he takes on West Point and Joan Crawford, the local beauty. Great fun for the first half. And amazingly touching after Haines's character goes too far and nearly gets shunned by fellow cadets. The new, humility-filled Haines get s alast-minute reprieve to play in the bill football game against Navy and, despite a broken arm, wins the game. Great, rousing entertainment by MGM in this Haines formula film, shows Billy at his best. William Bakewell also scores as the skinny follower. The handsome-but-goony character would be played by Clark Gable, Cary Grant, Gary Cooper and others in later decades, another take on the beautiful-but-daffy dames played by Carole Lombard and Marion Davies. West Point is a winner!
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A film without conscience. Drifter agrees to kill a man for a mobster for money. Then they double cross him. Meanwhile he falls in love with the dead man's wife, and, without her knowing he's the killer, moves in with her. Then he "accidentally" kills her when she finds out. Then, in a WALKING TALL kind of heroism, he gets revenge on the mobsters who double crossed him. The first problem is that, by agreeing to take on the murder by hire assignment, the drifter loses all sense of sympathy, worthiness, and heroism. We can't accept any goodness in him and as a result the rest of the has no moral center. We just can't care about that kind of guy. And the wife (nicely played by the fetching Kari Wuhrer - the sheriff in EIGHT LEGGED FREAKS), a high class lady who runs a mission for homeless people, similarly loses a degree of sympathy by jumping right into bed with the homeless drifter (despite her evidently weakened state after the death of her husband). And, when she finds out he's the guy what does she do? She locks him inside her house (as if ALL houses had locks you can't open from INSIDE) with her and proceeds to berate him. Stoo-pid. George Wendt, however, is terrific in a role as a beefy thug. Director Stuart Gordon did so much better with RE-ANIMATOR and DAGON.
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A girl named Isobel becomes possessed by a demon. The local priest (who formerly dated Isobel's sister) must try to save her, but the bigger problems are with the family's suspicions of each other rather than the demon in their daughter.<br /><br />This film is directed by Ethan Wiley, the writer of "House" and the writer/director of "House II". I loved the first film and liked the second one even better, so you would think this would be a winner. Alas, this one looks like it was thrown together by first-year film students. Dawson Leery could have done better. I have thought about blaming new writer Ellary Eddy, especially because the idea is hardly original (are they trying to cash in on the fans of "The Exorcism of Emily Rose"?), but Wiley should have been able to do his magic.<br /><br />Also, you'd like to think veteran horror stars Jeffrey Combs and James Russo would help this film. Russo (playing the bishop) barely shows up, and Combs has a great role as a sheriff... for the five minutes he's on screen (but I love the mustache). So, no help here.<br /><br />After seeing "The Exorcist", all other exorcism films must be compared to the classic by default, no? And the demonic possession in this film was not scary in the least. No head-spinning or paranormal activity at all. Just a girl with a deep voice and runny makeup. All the "demonic" stuff was centered around the father accusing everyone of sleeping with his wife. As another reviewer wrote, "you get a lot of Isobel bouncing on her bed like it's a trampoline, hiding in her closet, and jumping from a hay-loft. Yeah, it's Chuck E. Cheese gone wild." That sadly sums up the extent of the "evil" in this movie.<br /><br />If you want to watch a movie about family members who invent accusations and yell at each other while the possessed daughter sits in another room off-camera, this is the movie for you. But, if you don't mind my saying so, you have a horrible taste in film if this is what you're seeking.<br /><br />The plot seems to focus on the father accusing a cowboy of sleeping with his wife (who didn't, but did sleep with his daughter) and of the veterinarian of sleeping with his wife (who might have, but denies it). And then you have a gardener who attacks the possessed girl with a crucifix and tells the family to call an exorcist, but once the priest arrives the gardener declares he does not believe in God. What was all the Bible-quoting you were doing five minutes ago?<br /><br />A horrible exorcism movie. Horribler examples of what Combs and Russo are capable of. And such a sad display of directing after the "House" series of films became classic. I would like to pretend Wiley had no part in making this shamefully derivative and unoriginal, uninspired film. The power of Christ compels you to avoid this movie as if viewing it were a cardinal sin.
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I suppose JEDI is now chronologically to be considered the very "last" entry in the popular saga, and it's a very good one, as were several of these. I liked how directly this sequel took off after THE EMPIRE STRIKES BACK, and I appreciated the maturity of Luke Skywalker as a character(and also Mark Hamill, as an actor). After hearing so many negative things about the Ewoks, they weren't so bad. I enjoyed the thrilling chase within the woods, and I felt there was a lot of well-realized emotion with this chapter. The ending (with some new additions, I presume?) successfully weaves all 6 chapters into a wonderful tale of fantasy. I know many true Star Wars fans hated George Lucas for changes he made to the original films, but being a relative novice to these movies rather late in life and not missing what I didn't already know, I think he made these 6 movies work perfectly as a whole entity. Oh, and, err -- Carrie Fisher looked quite delicious in her skimpy outfit.
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I felt compelled to write a review after seeing the only review which gave this film a suspiciously high 9/10 rating. I say suspicious because it looks less like a review but more like a publicity statement. Perhaps the filmmaker himself, or one of his mates, has written that "review"? Naughty, naughty.<br /><br />I watched this movie on the Propeller channel on Sky TV expecting it to be truly awful. The special effects used were to be honest very, very good for a low budget film, and some of the acting wasn't that bad either, but most of the acting was really awful, but well done for trying, as I expect most were pals of the filmmaker.<br /><br />I think the filmmaker has done really well by trying to punch above his weight. I did find some of the film funny because it was trying to be super cool when it just wasn't.<br /><br />If you don't take this film too seriously and watch it whilst drunk with some mates you might well have a good time but probably not in the way it was intended. This film is no way a 9/10 but worth watching for a laugh bearing in mind it was made on a very very low budget and in fairness due credit to those involved in it's production.
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I love the episode where Jim becomes the Greenman. It is great! When Jim tosses that little person through the window, the look on his face is priceless. Then when he starts to address the Priest in his wife's behalf only to find out that she has become the Pee-Woman? Great writing and great casting along with great acting makes this a must see. I am attempting to find a certain photo from that episode. I'd like to use it as my avatar on a message board because I think the Greenman is hilarious. Does anyone know where I can download a photo of Jim as the Greenman? Can anyone point me in the right direction to find such a photo?
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The subsequent two seasons of this original series was less than lacklustre. The latter seasons disastrous reshuffle contributed to its three season short life span. Maybe if the plug was pulled after the first season it would've gained a cult following.<br /><br />Aside from that, the first season was truly hilarious! Witty, clever with superb writing it was promising. The first season's excellent brew had the right ingredients - characters/actors, storyline and so forth. Plus a comedy about a paparazzi reporter was original to boot. Nora and her fellow "photographers" on the prowl, night after night, day after day for the exclusives.<br /><br />A lot of things don't make sense to me. Like how this show, and another fav of mine - Gross Pointe never "made it". If only the first seasons of the Naked Truth, and Grosse Pointe were released on DVD, please anyone out there?!
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OK, no one will confuse this with Citizen Kane but you've got to love a movie where the women are always topless. There are a few catfights and some kinky sex as well. On the other hand I hope they didn't overpay the guy who wrote the dialogue. Here's a prime example. After one of the captive girls dies: <br /><br />"This is terrible. It reminds me of the day Zenobia died" "A relative?" "No, my favorite cow." I guess they saved some money on the script and blew it on great special effects like that plastic crocodile. I will say that it took me three sittings to make it through this fine work of art, never a good sign. I guess that's what happens after a while when everything looks the same. I hope the folks waiting to rent it next didn't get too impatient. Don't worry folks, it's on it's way.
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Despite an overall pleasing plot and expensive production one wonders how a director can make so many clumsy cultural mistakes. Where were the Japanese wardrobe and cultural consultants? Not on the payroll apparently. <br /><br />A Japanese friend of mine actually laughed out loud at some of the cultural absurdities she watched unfold before her eyes. In a later conversation she said, "Imagine a Finnish director making a movie in Fnnish about the American Civil War using blond Swedish actors as union Army and Frenchmen as the Confederates. Worse imagine dressing the Scarlet O'Hara female lead in a period hoop skirt missing the hoop and sporting a 1950's hairdo. Maybe some people in Finland might not realize that the hoop skirt was "missing the hoop" or recognize the bizarre Jane Mansfield hair, but in Atlanta they would not believe their eyes or ears....and be laughing in the aisles...excellent story and photography be damned.<br /><br />So...watching Memoirs of a Geisha was painful for anyone familiar with Japanese cultural nuances, actual geisha or Japanese dress, and that was the topic of the movie! Hollywood is amazing in its myopic view of film making. They frequently get the big money things right while letting the details that really polish a films refinement embarrassingly wrong. I thought "The Last Samurai" was the crowning achievement of how bad an otherwise good film on Japan could be. Memoirs of a Geisha is embarrassingly better and worse at the same time.
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I was forced to watch this whole series of films as a young child and I was told they were REAL! Talk about child abuse. I would have been less frightened of Dracula or Frankenstein. This series is only good for people who believe in this ridiculousness and who want to indoctrinate their children into believing the same. Besides the obvious issues associated with brainwashing and indoctrination, there's also the bad acting, bad writing, and BAD "special effects". They are just all around terrible, terrible movies. Yes, believable (and horrifying) to a kid, but I can't imagine a grown-up buying into this shlock. Although, I must say, that I would be interested in seeing them today, as an adult. They might have a certain midnight/cult movie feel to them.
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This movie is great I really enjoyed it.<br /><br />This movie is about a cat mom named Dutchess and her 3 kittens.T Dutchess and the kittens love music.They have to practice the piano everyday.But the butler named Edgar tries to kidnap Dutchess and her kittens he tries to make them sleep. But he fails. Them Dutchess meets a cat named Thomas O Maily. Thomas falls in love with Dutchess. The cats break into song. With the song everybody wants to be a cat. Thomas gets to love music like the other cats. Thomas and Dutchess really like each other.<br /><br />I loved this movie and i like the cats to!
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I remember rather enjoying this a few years back but coming to it again, I wonder why. I guess it always looks good and the girls do rather well but the men do rather let the side down. Why oh why in so many English films about sex do we have to have such inept men along side the pretty girls? What is more this begins predictably enough as a sex farce similar in vein to the Confessions films but about a third of the way through (whilst we are beginning to enjoy the presence of the lovely Me Me Lai) the film asks us to start taking it seriously. Not only that but the central rock club and cannabis sequences are very forced and just look stilted. In short this is neither as innocently silly or as intelligently serious as it seems to intend. Richard O'Sullivan maybe, as such a central figure, could have helped but I reckon this to be one of his worst performances. Just worth it for the ladies.
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Another good Stooge short!Christine McIntyre is so lovely and evil and the same time in this one!She is such a great actress!The Stooges are very good and especially Shemp and Larry!This to is a good one to watch around Autumn time!
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This is a great movie for the true romantics and sports lovers alike.<br /><br />Drew Barrymore is at her best in this movie. As a Drew fan it was quite nice to see her shine after having several flops. I had my doubts about Jimmy Fallon but he totally delivered as Ben the comical, sports crazed sweetheart. The comedy in this movie is great, there were several laugh out loud moments.<br /><br />Their first date started rocky when he showed up at her apartment with flowers and she was sick to her stomach from eating a new place earlier in the day. Instead of leaving he helps take care of her, helping her change into pajama's then cleaning up the puke on her toilet and bathroom later telling her that she was 'very lady-like...no chunks.' Everything goes great between Ben and Lindsay the whole winter but then baseball season starts. Lindsay starts to realize just how obsessed Ben is with the Red Sox and why this seemingly great guy is still single. She tries to shrug it off and think of it as a good thing as she has a busy work schedule and she wont feel guilty for working extra hours while he is at games. She even buys all the books on The Red Sox she can find including one on 'The curse of Bambino'.<br /><br />Everything is going pretty well until Lindsay has a false alarm having missed her period. It both makes them both realize how serious they are getting and she begins to question if this is the person she wants to be with. A very touching part in the movie is after she tells him she got her period it shows him sadly putting away a baby sized Red Sox jersey he had bought just in case she was pregnant.<br /><br />Eventually Ben tries to show her how important she is and decides to go to her friends birthday Party after she said "I had to check my calender and when I saw the there was a Red Sox/Yankee game I knew I would be going stag'. After the party Ben tells her it was 'the best night of his life'. Shortly after he gets a call from his pal who went to the game he gave up for the party and told him "IT WAS THE BEST GAME EVER!!!" Ben freaks out about missing it and ends up really hurting Lindsay when she says "A few minutes ago you were saying this was the best night of your life" he says "well that was a few minutes ago."<br /><br />So they separate for a while, he realizes how immature his obsession is and decides to sell his season tickets which he inherited from his uncle because if he didn't it would 'remind him too much of what he gave up for them'. Lindsay finds out through a friend and decides to stop him realizing he is doing it for her. It ends very sweetly showing how his childhood love for baseball has been over shadowed for a whole new deeper love, Lindsay. They still go to the games and even attend the final World Series game and St. Louis and it is a happy ending all around. 2 thumbs up!!
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This movie was really funny. The people that were expecting to see an Oscar worthy comedy, should get over themselves. This was a fun movie to see with interesting and funny characters, plot lines, dialog quotes and catch phrases. I rate a movie a 10 if I have bought the DVD, or in this case, the videotape, and have watched it many times, and in this case, still laugh out loud. I have about 12 movies in my collection with a rating of 10 and about half don't have anything do do with the Oscars. Again, this was just a fun, light-hearted movie. I hope this comes out on DVD. I highly suggest checking this movie out, if you are in the mood for a wacky comedy.
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One of the worst movies I've ever seen!!! Absolutely awful. Poor acting, poor story, there isn't one redeeming quality about this movie to recommend. Amistad is much better. Avoid this movie like the plague!
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I hate to say it, but I really do think this one's overrated, and I love Jackie's films. It's got more plot behind it than usual, but unfortunately, though it has some great stuff, I find it to be a bit slow. All in all, I say it's entertaining, but not great.
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After watching the Next Action Star reality TV series, I was pleased to see the winners' movie right away. I was leery of such a showcase of new talent, but I was pleasantly surprised and thrilled. Billy Zane, of course, was his usual great self, but Corinne and Sean held their own beside him. It was also nice to see Jared and Jeanne (also from the competition) in their cameo roles. Sean's character, not Billy's, is the hunted, and his frustration at discovering new rules in the game is well played. Corinne walks the tightrope well between her character liking Sean's and only being in it for the money. I loved how the game was played right to the last second. And then beyond! Not a great movie, but an entertaining one all the way and a great showcase for two folks on their first time out of the gate.
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Okay. I really tried to tap into the (so called) silly & surreal humor that this film sets out to be. I'm told that the Japanese version of this film is much shorter than the one shipped to America (go figure!), and has less political references. Apart from all that, I found this sexual/political farce just as boring and pointless as standard porn. The central female lead is easy on the eyes, and could actually act. I would love to see her in a non pink film where she could actually flex her acting muscles (and no,not the ones you're thinking of). It's obvious that Japan can (and does)produce just as much crap as other countries. I couldn't recommend this to anyone, with the distant possibility of someone who has a Jones for Asian porn. Go see a real Japanese film.
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Great documentary about the lives of NY firefighters during the worst terrorist attack of all time.. That reason alone is why this should be a must see collectors item.. What shocked me was not only the attacks, but the"High Fat Diet" and physical appearance of some of these firefighters. I think a lot of Doctors would agree with me that,in the physical shape they were in, some of these firefighters would NOT of made it to the 79th floor carrying over 60 lbs of gear. Having said that i now have a greater respect for firefighters and i realize becoming a firefighter is a life altering job. The French have a history of making great documentary's and that is what this is, a Great Documentary.....
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Crash is overwrought, over-thought and over-baked. A great example of how to make a pompous and self-important film with a message. Haggis tries too hard to make his point and overreaches in just about every category of the film. It feels very much in love with its own sense of social relevance and has all the subtlety of a jackhammer to the skull. Sure, race relations affect everyone and there's a great deal of ambiguity to the issue, but the universe of 'Crash' operates to suggest that we are all victims to our own perceptions on race. It's a tiresome thread that repeats itself ad nauseum and wears out its welcome within the first 30 minutes. I found the outcomes of the characters unsurprising and forced and the film took forever to sputter out and die. The fact that this film is in the top 50 movies on IMDb is a testament to the public's willingness to get suckered by Hollywood malarkey.<br /><br />Indeed, if you want the real "Crash," go check out the one by David Cronenberg: dark, twisted and original. This film plays as preachy, tiresome, and masochistic.
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You can give JMS and the boys a pass on this one because they were at the beginning of their series and on a small budget, but the movie is still sub-par. Dont get me wrong, B5 the series is by far the best TV series ever, but if i was an exec seeing this movie, i wouldnt have ordered the series. I dont like O'Hare as an actor, the costumes are silly, and there are tons of cliches. The same can be said for most of the first season (with the exception of Babylon Squared and Survivors); Bruce immediately put a fire into the series and it went on to be an amazing spectacle. If you are a B5 fan and havent seen this movie, see it. If you arent a B5 fan, dont...you wont want to watch the series.
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Nicolas Cage and Deborah Foreman provide stunning performances in this 80's tour de force! A great 80's movie akin to Fast Times at Ridgemont High! I highly recommend this movie to any child of the 80's who hasn't seen it. It's a cult classic.
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You know that this film is in SERIOUS trouble when the BEST acting job is the support role played by Arnold Schwarzenegger. While this was still relatively early in his career and he wasn't the best actor, compared to Brigitte Nielsen, he's Sir John Gielgud. In fact, this film proves that the only reason she got much of any attention were her boobs and because she was involved with the incredibly self-destructive football player, Mark Gastineau. So, instead of this being her "break out film", this and a Beverly Hills Cop movie mark about as high as she went in her one-note career. It was obvious, too, that the financing wizards gave up on this movie as well, because the supporting cast (aside from Arnold) is pretty lame and the script is dull, dull, dull. Fans looking for another CONAN movie would no doubt be very disappointed in this slow and uninvolving film.
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normally i'm not the sort to be scared by horror movies, but this movie is the exception. some how this movie got into my mind!!! it is a very simple movie but at the same time extremelly effective, it has great atmosphere and this leads to some shocking moments, the girls father coming down the hill is a real standout. Another seen was the family photo i wasn't expecting that and i jumped out my seat!!! i would recommend everyone to see this movie, with the lights out it will stay with you for a long time!!!!!
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I remember being terrified of movie blood when I was younger, and gradually getting less so, until getting jaded enough, as I'm sure many other viewers have become, so that the barrage of gory films produced in last few years have entertained me but not scared me or made me squirm. "The Dentist" turned that around.<br /><br />The setup seems simple: a mentally unstable dentist wreaks havoc on the insides of mouths, and perhaps bodies as well. A clever twist, though, is that the dentist is the film's protagonist, so instead of being some one-dimensional bad guy with no clear motivation, his development is the most extensive of any character and he is very human and believable. The viewer thus feels sympathy for him as well as his victims, and instead of hoping for justice to come to him, I found myself hoping he would somehow find a way to cover up his tracks and return to a normal life.<br /><br />What really "makes" a horror movie is the violence. And "The Dentist" does it better than any other film I can think of. First off, the film has tons of tension, which is something that modern gore films tend to lack. In one scene (), the dentist is emotionally distraught and has to see a young child patient for the first time. As he reaches into the child's mouth, you hope that, for the dentist's and the child's sake, the encounter ends without injury. I won't spoil what happens. Second, when the gore does come, it hits all the worst, squirmy nerves. Once again, I won't give anything away.<br /><br />Of course, being a movie that you've never heard of, it does have flaws. Most importantly, it's exclusively for horror fans. Also, as another reviewer mentioned, by taking place over a span of just a few days, we don't really get any background on the characters. And the tension drops a little bit during the very end. But really, the fact that we would even want to know background about the characters is evidence to how good it is, and the bulk of the film is solid enough that any small lapses in tension can be forgiven.<br /><br />It's strange, after years of being accustomed to movie gore, to suddenly want to cover my eyes at the sight of blood. "The Dentist" made me scared and thoroughly uncomfortable, and for this it earns my full approval.
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The long list of "big" names in this flick (including the ubiquitous John Mills) didn't bowl me over to the extent that I couldn't judge the film on its actual merits. It is FULL of stereotypes, caricatures, and standard, set scenes, from the humble air-ace hero to the loud-mouthed yank flyer. The music track was such that at one point, about an hour before the end, I thought the film was over: loud, rising crescendo, grand flourish and finish then silence, but then the movie continued! I found no real storyline, haphazard writing, but smartly-pressed uniforms and the pretty Jean Simmons (pre-nose job) with a rousing little ditty. I cannot say that this picture has any of the ingredients which make a film great. I found it maudlin, mawkish and minor.
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Fantastic film! Wow - this is really a treat. I can't believe that I discovered such a gem of a movie. <br /><br />A pretty young girl traveling south to Florida meets a friendly older couple with an RV, after she has a flat at a rest stop. However she learns that things aren't as they seem and the couple gets a bit creepy after she spends some time on the road with them.<br /><br />Everyone in it was just so perfect for their parts you just about believe that you are watching this happen in real life in front of you.<br /><br />Newcomer Emily Grace did a fantastic job as the really cute, yet somewhat shy Alice. Emily gives you the feeling that you can understand what she is experiencing and you can see just how she got into the situation that develops in the film. I'm sure we'll be seeing Emily in more films in the future.<br /><br />Contrary to what some others have said, the lighting and photography in this were just perfect. The editing was done well too - just the right way to put together images of the highway to give you the feeling that you are traveling along with the cast on their road trip.<br /><br />I didn't see it on the big screen, but I can only urge everyone to go out and see it. More films like this are *exactly* what we need.<br /><br />SF
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Second-tier American leading man Guy Madison plays a character whose notoriety precedes him in this Spaghetti Western which, having very modest credentials emerges as essentially routine (though featuring a nice enough score). The plot offers some mild interest: the title, incidentally, refers to a wounded man involved in the murderous assault by gun-runners on a ranch the property of the family of their pursuer, cavalry agent Madison. The latter's younger siblings are determined that the injured party, now in their charge, lead them to the gang boss responsible; ultimately, the identity of either mystery man proves a surprise and both, ironically, become involved with one of Madison's sisters (another is raped during the raid). Euro-Cult starlet Rosalba Neri appears unremarkably as a saloon hostess, and Madison's ex-flame.
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If I could give it less that 1 I would. Do not bother to rent; if someone gives you the DVD burn it.<br /><br />This is horrible movie making. A total waste of even digital "film". I have seen better on Youtube made by 12 year old boys. Lommel claims to have written this, if that is the case he is a classic case of someone who is illiterate in two languages. The story line is none existent, the dialog is mainly screaming, the camera work is some sort of attempted arty flairs with nonsensical cutting of totally unrelated jumps to either industrial transportation scenes or some sort of odd angry young woman rift.<br /><br />I can usually follow a less than obvious plot or see the purpose in a "creative" film - I like David Lynch.<br /><br />This one is either so far beyond my limited powers of comprehension I missed it or it is totally pointless. I think this is a "lets see if we can grab a title that will be coming out soon and do a weird rift on it and see if we can grab some of the bucks" con job.<br /><br />I cannot see why Lionsgate even bothered with this. Totally worthless, it is so bad I will not rent any other by this same director.
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I am not so much like Love Sick as I image. Finally the film express sexual relationship of Alex, kik, Sandu their triangle love were full of intenseness, frustration and jealous, at last, Alex waked up and realized that they would not have result and future.Ending up was sad.<br /><br />The director Tudor Giurgiu was in AMC theatre on Sunday 12:00PM on 08/10/06, with us watched the movie together. After the movie he told the audiences that the purposed to create this film which was to express the sexual relationships of Romanian were kind of complicate.<br /><br />On my point of view sexual life is always complicated in everywhere, I don't feel any particular impression and effect from the movie. The love proceeding of Alex and Kiki, and Kiki and her brother Sandu were kind of next door neighborhood story.<br /><br />The two main reasons I don't like this movie are, firstly, the film didn't told us how they started to fall in love? Sounds like after Alex moved into the building which Kiki was living, then two girls are fall in love. It doesn't make sense at all. How a girl would fall in love with another girl instead of a man. Too much fragments, you need to image and connect those stories by your mind. Secondly, The whole film didn't have a scene of Alex and Kik's sexual intercourse, that 's what I was waiting for
. However, it still had some parts were deserved to recommend. The "ear piercing " part was kind of interesting. Alex was willing to suffer the pain of ear piercing to appreciate kik's love. That was a touching scene which gave you a little idea of their love. Also, the scene of they were lying in the soccer field, the conversation express their loves were truthful and passionate.
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Karim Hussain's masterpiece of art/gore--this cat is definitely a talent to look out for. We have in this several longer vignettes interspliced with some shorter segues. This is all in all a very powerful film that relies on its intense graphic imagery and symbolism and it is not for all viewers.<br /><br />The film kicks off with a short called OVARIAN EYEBALL. Very short segment that has a nude woman placed on a table naked. An unseen woman's hand covers the supine woman's face with a red cloth and makes an incision in her abdomen out of which an eyeball stalk is extracted. I've got nothing too much to comment on this one due to its brevity.<br /><br />HUMAN LARVAE is one of the films lynchpins and it is a totally unflinching portrayal of a perverse act committed by a disturbed man who has an incestuous love for his pregnant sister. This is one of those "must be seen to be believed" type things. I will say that this film has some of the best effects I've seen in an indie horror film but the subject matter will make this an undeniably unpleasant experience for most (not me though--I live for this!).<br /><br />REBIRTH could have been cut out of this film all together. This is the film's weakest segment and it has a bunch of nude people f!cking bloody holes in a field and whatnot. Very short but this one kind of blows the film's momentum.<br /><br />RIGHT BRAIN/MARTYRDOM is one of the most profane representations of religious imagery that I have ever seen and it totally kicks ass. Think "P iss Christ" or menstrual blood paintings of the Virgin Mary. Very hard sexual/sexually violent/gory imagery is presented in this piece and it is definitely not for anyone who will be offended by sacrilege.<br /><br />Subconscious Cruelty is one of the best films I've seen under the banner of extreme horror it will be a very divisive film amongst horror fans and the filmgoing public in general. Some will call it trash, some will call it brilliant. I don't see much middle ground. I thought this film was pretty damn original and I will recommend it to anyone who is adventurous enough to try it. 9/10.
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I don't understand why this movie has such a low rating. It totally deserves more! Sure, it's completely ridiculous, but that's what it was supposed to be. Don't expect cinematic transcendence from a movie about beauty pageant contestants stranded on a Caribbean island! What you should expect is a huge spoof of pretty much every relevant sci-fi, fantasy and block-buster movie in cinematic history, and even references to other spoofers. All completely exaggerated and sometimes totally unnecessary, but that's exactly what makes this movie stand out. If you like parodies, and enjoy say, Leslie Nielsen or Mike Myers, you're gonna love this. I sure did!
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Listen, I don't care what anybody says, as Cypher is nothing less than a 5 star movie. Cypher is not, I repeat not, a B movie. Cypher is an absolute masterpiece. Suffice it to say, I am a connoisseur of the world's finest spy films and this film is nothing less than top flight. I cannot overemphasis how phenomenal this movie is. Cypher is one of the best spy movies ever conceived and ever made. The technology in this movie is over the horizon of spacetime. In fact, I must admit that Cypher completely surprised the hell out of me. In fact, I've recommended this movie to my colleagues more than any other movie. Other critics, of whom some downplayed the movie, have no idea as to what the hell they're talking about. Don't listen to the haters. And actually, for the most part, reviews of Cypher have been largely positive. And it should be noted that Cyher is not only a good movie, but it is also a fantastic movie. Cypher is the kind of movie that's so advanced and so magnificently crafted, that it's over the heads of most critics and all the cynics. There is nothing wrong with or cheap about Cypher whatsoever. Again, the cinematography, the backdrops, the technology, the storyline, and the acting are all 100% world-class top notch. Naturally, I won't give anything away. This is not a spoiler. And though it is the contention of some critics that Cypher should have been in movie theaters, I believe quite the opposite. Cypher is a movie that seems to have been just right for DVD release only and not in a bad way. Cypher has got to be the greatest underground spy flick ever to hit the shelves. Blade Runner, 1984, Brave New World, Total Recall, Logan's Run, Jason Bourne and Impostor and Deja Vu... look out! Cypher equally earns the distinction of being placed in the AONN Multimedia Research, 5 Star Eternal Spy Movie Hall of Fame. Cypher is counterespionage at it's absolute best. Hands down and hats off. Nothing is what it seems and truth is stranger than fiction. The future is now.
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For the initial 20 minutes or so (I was watching it on a PS2 so I've really no idea how long it took) Alienator sets up an interesting premise. I don't think I've seen a slasher movie with an alien from another planet as the baddie before. However, interest soon turns into stunned disbelief as you realise the 'alien' is a huge body-builder woman in a steel bikini. Yes, Alienator is patently ridiculous.<br /><br />Don't think I hold that against it. In the world of shlock-horror, patently ridiculous can often be a good sign. However, the blatant stupidity of its premise is all the movie really has going for it. Alienator is funny as hell, but it is also a shambolic suckfest of the highest order. Actors heap on failed attempts at seriousness, potentially genius lines of pure cheese dialogue are stumbled over with unnerving incompetence and the direction fails to sum up even one or two decent set-pieces. By the time the movie's finished you can barely see the original concept through the haystack of total tripe the team piled on it.<br /><br />Add to this the fact that the 'Alien' just kills people by vaporising them, as opposed to doing any 'slashing' as such and you have a giant throbbing heap of good ideas being left to rot. You'll laugh at Alienator, but AT it, not with it. If that's your thing then go ahead and check it out.
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In 1989 here in NZ wrestling was somewhat of a mega-hype phenom, and who was steering starship at the pinnacle was the orange goblin himself, HULK HOGAN (one of my uber-heroes at this time), so it seems obvious to me now why I adored this movie in 1989-90 when it came out here. HULK HOGAN A.K.A Terry Bollea is a shockingly bad actor and Zeus A.K.A Tiny Lister is worse!!! The story line follows a standard WWE (then WWF) circa 88-91 story line culminating in the standard good guy beat down, hulk up and then get beaten down again story line only to follow that the good guy calls on all his inner strength( gained from eating vitamins, saying prayers etc etc ) to mount the epic come back..... Pretty standard formula here. Worth watching if only for reminiscing your youth!!!!
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The hysterical Hardware Wars is finally out on DVD. HW has earned its niche among parody classics and is not only a riotous little 20 minute short but a staple in low budget film production classes, which is where a lot of the film's cult status is derived from and resides. With the DVD, not only do we get a chance to revisit the original parody (4Q2, Cinnamon-Bun Head, Ballistic Toast, et al) that Ernie F. did in 1978, but there is a lot of additional material showcasing the Fosselius wit. Antique Sideshow is a dead-on parody that is very funny but makes a statement about the confluence of ignorance and greed at the same time. The Director's Commentary is also hysterical, as is the Creature Feature which parodies taking a film out on the talk-show circuit and actually IS based on taking HW out on the talk show circuit, albeit the public access circuit. I'd love to see Ernie, Michael Wiese and crew take on some other, contemporary overblown and overbudgeted targets to parody -- like just about any film that Hollywood churns out at $100 million a pop these days -- not so much the crafty films like Spider Man or Men In Black (actually parodies themselves!) but any number of overblown, overhyped, overwrought and overpriced features.<br /><br />
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Please, even if you are in the worst of the moods, refrain from watching this flick. <br /><br />I don't think whether anything was right with this movie at all. On a friend's recommendation I watched this and I literally flushed 1h and 48 min of my life down the closet. Poor acting, stupid direction, weak storyline and pathetic action sequences - and when you blend this together you get "Double Impact". Even least of the expectations were not met. <br /><br />I guess I did learn one thing - Never watch Van Damme action flicks. They are pure wastage of time !
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Synopsis: the sequel to the acclaimed Silence Of The Lambs, Hannibal is a big budget production that totally fails to deliver; not only is it not as clever as its predecessor, it is not even a splatter or suspense or horror movie, just a totally boring time waster. Do not be fooled by the media hype, and particularly the stories about people throwing up in cinema and being mentally scarred for the rest of their lifes because of the brain - eating scene: in the movie it just comes across as laughably bad SFX. Why so many people in this forum are claiming that H is "not all bad" and "worth watching on the big screen", etc., is beyond me; and it is not "so bad it's good" either, it is just plain boring. I normally respect other people's opinion, but in this case I have to say that they clearly can not tell **** from Shine - Ola. Maybe they have fallen prey to the media hype, maybe they have never seen a Ridley Scott movie before and were impressed by his excessive use of back lighting, smoke and the ubiquitous AC fans. H is totally devoid of suspense; instead we get endless scenes of Lecter swanning through an English - speaking Firenze, a totally unconvincing and uninvolving plot with more holes than a fishing net (after seeing H, I actually lay awake half of the night trying to find all the holes in the plot, and when I wrote them down I quickly filled 6 pages in small type before forcing myself to stop). Rather than wasting your time and money on seeing it on the big screen, I would advise you to wait until it comes on TV in a couple of years; and then to go to bed early.<br /><br />1 / 10.<br /><br />Below are a couple of extra bones I have to pick with Hannibal:<br /><br />- H _is_ the sequel to SOTL, despite what some people in this forum are claiming. And even though SOTL was a very tough act to follow, there are sequels which _are_ en par with their predecessors (SOTL itself was the sequel to Michael Mann's "Manhunter", based on Thomas Harris' "Red Dragon", and even though the first episode was a very enjoyable film, SOTL was even better; another example would be the Alien series initiated by H's director Ridley Scott -- so much for the theory of diminishing sequels). In any case, being a sequel is no excuse for a film being utter crap.<br /><br />- This movie has a renowned director, it is based on a novel by the same author as SOTL, the cast is strictly A - list, great cinematography, big budget, first - rate script writers, yadda, yadda, yadda, and the end result is simply a fart in the church. So what went wrong? I think a lot of the blame has to go to the film's producer, Dino DeLaurentiis. Here is my interpretation: DDL produced "Manhunter", which, despite of all its qualities, was a commercial flop. Disappointed, he gave the rights for the Hannibal Lecter character to Orion -- for free, allowing Jonathan Demme to make SOTL, and the rest is cinema history. DDL then had to wait for ten more years (he is now 81) until Thomas Harris finally came up with the sequel novel. I think at this point DDL had lost all interest in making a good movie and was desperate to finally get his slice of the the cake before he pops his cork.<br /><br />- Another aspect that I find thoroughly annoying about this flick is that it is being given so much undeserved hype in the media; I mean, it is boring, yet one of the highest - grossing productions ever, so there is no need to give it free publicity. And while most reviewers harp on about how Dantesque the scenes in Firenze are and why Jodie Foster did not participate, the simple fact that this movie is an utter, utter, UTTER flop goes unmentioned. But there is more: not only is Hannibal being hyped through the roof, it is also being used as a media agenda setter for a plethora of "documentaries" (usually the left - overs from similar productions in the wake of SOTL) about serial killers, cannibalism and profiling. However, not only does H not even pretend to be realistic; Lecter has also ceased to be a serial killer (he now only kills out of necessity, or to help Clarice Starling), profiling is not even mentioned (because we already know HL, so there is no need to create a profile) and there is also no cannibalism: Lecter feeds the drugged - up Paul Krendler his own brain, so that makes it (erm) unaware vivo - auto - cannibalism. Try making a documentary out of that.<br /><br />- Much has been said about the acting: mainly whether Julianne Moore can replace Jodie Foster, and Anthony Hopkins (who plays the lead Hannibal Lecter) is usually given a lot of praise. I think all of these discussions are moot. There are several of my favourite actors in this movie (namely Liotta, Oldman and Moore) but the script simply does not give them anything to work with. Same for Hopkins: there is no development in his character, and he is not being challenged in any way. And by the way, he plays nearly identical characters in all of his movies, only that in H he has to do the odd bit of murder and is getting paid the tidy sum of $ 11 Million to do it.
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I hope the people who made this movies read these comments. The choreography was horrid, the plot was nill, and the actors where so low budget power rangers appears 5 star to this junk.<br /><br />The fight scenes where so slow you could actually see the actors waiting for each other to perform the next move. Camera cut-aways and poor lighting could not cover up the cheap effects. The lightning was just plain stupid. The weapons looked like something out of a final fantasy game, and the dual bow and arrow was just dull as anything I have ever seen.<br /><br />Next movie you decide to make try investing in some wireless mics, better script and try actually spending some time on your stunts.<br /><br />Honestly there are shows on t.v. that play ever night and are thrown together in a few hours that look better than this one.<br /><br />Stick to martial arts (unless its as poor as your acting) then take up quilting.
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I hope Robert Redford continues to make more films like this. Hillerman's books are wonderful, and as a young child raised in the Southwest his stories hit home! Adam Beach is a highly under rated and under used actor. Wake up Hollywood, not everyone thinks that your Mel Gibson's are cool! Many movie goer's today want to see films that make you think. I have seen all of the Redford/Hillerman series. They are thoughtful, scenic and have great plots. I'm hoping that if enough people write to Robert Redford he may decide to make a few more! Thank you Adam Beach and Tony Hillerman for great entertainment! If anyone get's a chance to read Tony Hillerman's latest book do so! It's great. I also recommend traveling through Arizona, New Mexico, Utah and Colorado. Stop at every view site and feel the setting of Hillerman's books. Amazing experience.
| 1pos
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The primary plus for this movie is the combination of Chris Farley and David Spade. This was the first film in which this comedy duo displayed their Laurel-and-Hardy-esque brand of humor. Farley's obvious physical comedy skill is perfectly augmented by Spade's sarcastic take on every situation they find themselves in.<br /><br />This movie stands apart from other comedy movies. Tommy Boy ranks in with Blues Brothers as a comedic work whose individual scenes and bits stem from the plot, rather than serve to break up the storyline and give the film a disjointed feel as so many other comedic films do. Thanks to excellent direction by Sagal, every scene is tight and immediately foreshadows or acts out the story being told. He is as much to credit for the film's hilariousness as Farley and Spade are. The acting of Dennehy, Lowe, Ackroyd, and many others (see the gas station attendant 22 miles from Davenport) strengthen the film.<br /><br />The film warrants multiple viewings because there are many fine nuaces to the film that may be overshadowed by Farley/Spade.<br /><br />I believe this film is very well-made and is THE funniest movie I have ever seen.
| 1pos
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It's difficult to find anything worth of praise with this movie. It's not the worst picture ever made, but that's not saying a whole lot. The plot is quite incoherent and unbelievable; it seems that the producers wanted to make a space movie, but decided to make it underwater to cash in at the success of The Abyss. In some scenes it seems as if the story indeed was set to outer space initially; the sub has a landing gear, the technicians are worried of a rip in a rubber diving suit at the depths of several kilometers, where the pressure would crush the diver and the suit like an empty beer can. <br /><br />The movie starts out okay, with planning of a recovery of a lost naval sub. After that the movie takes a plunge along with the Siren 2.<br /><br />Effects are so-so. The navigational screens are all done on Commodore 64 (remember, this is 1990, not 1983), the sub is controlled like no other sub ever; instead of control consoles, the officers have keyboards with which they enter long number sequences to control various functions of the ship. The interior of the ship isn't too convincing either.<br /><br />The final scenes leap from awkward to absurd. Welcome to the fifties, you can check your suspension of disbelief at the door.<br /><br />I fail to see enjoyment factor here. The movie is neither good nor hilariously bad MST3k-style (until you get to the final scene), it's like eating a slightly bad apple.
| 0neg
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I totally disagree with the comments of one of the critics before me who bashed the film. Having read the book, being impressed by it although this is a kind of literature that you cannot really LIKE (similar to Hubert Selby's writing) I expected being shocked but the effect was more subtle than this. Isabelle Hubert is a brilliant actress who manages to convey a multi-layered character. There are many scenes that totally focus on her and her subtle changes and I can imagine few actresses who would do so well, with so much disregard for their own reputation or image. There is this coldness, distance, cruelty and at the same time there's this helplessness, hurt and pain. There's a person who's in control and controlled at the same time. Maybe this is not realistic - although when you read the newspaper you'll read about much worse than this - but there's a truth to it that is very difficult to bear. I think it's an excellent film but I did not enjoy watching it.It's not boring but there are times when I wished it would end. BTW, her male counterpart is very well acted as well (and I think well chosen, too).
| 1pos
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In our household, we are enormous fans of A Christmas Carol and watch virtually every version each Christmas, including the old 1938 Reginald Owen and the modern 1999 Patrick Stewart. Our overall favorite is the 1951 black & white classic, because Alastair Sim IS Ebeneezer Scrooge and his conversion rings the truest. However, this 1984 rendition has its own unique merits and makes a lovely & entertaining story, quite faithful generally to Dickens' novel. (See my comments on the other film adaptations, if interested)<br /><br />First of all, George C. Scott can certainly seem pretty crotchety and doesn't make a bad Scrooge. I adore his sideburns, his long topcoat & hat. He cuts the finest fashion figure of the lot, and quite a handsome gentleman. However, sometimes it seems Scott is enjoying his role as Scrooge just a wee bit too much and not taking it quite as seriously as he ought!<br /><br />This rendition has the best overall Christmas atmosphere, hopeful and optimistic. Somehow you know this story is going to have a happy ending. Filmed in the town of Shrewsbury, England, it just seems somehow very British. The film has a lovely musical score, with wonderful, lively caroling music throughout all the appropriate portions of the tale. Sometimes I could almost smell the chestnuts roasting and the pudding singing in the copper! <br /><br />Marley's anguished ghost (with his wonderful jaw dropping scene) and the three Spirits are all quite convincing. Christmas Past is a lovely ethereal lady, Christmas Present wonderfully giant and jovial, Christmas Yet To Come shrouded and foreboding as always. However, I found Scrooge's nephew, Fred, a wee bit quiet & grim, not nearly as jolly & hearty as he should be. I like the nephew's wife, whom they've named Janet, with her lovely, sprightly period hairstyle. Instead of blind man's bluff, they've concocted a game called Similes for the nephew's Christmas dinner party, which is a cute little touch, Scrooge getting right into the spirit of the thing.<br /><br />The Cratchits and their somewhat meagre (though much appreciated) Christmas dinner are well depicted, with Bob (David Warner) suitably sympathetic and long-suffering in his miles of scarf. Mrs. Cratchit is charmingly portrayed by Susannah York, who also starred with George C. Scott in the wonderful 1970 adaptation of Jane Eyre. Above all, this version has unquestionably the best Tiny Tim, not only an adorable & endearing little waif but sickly. With those dark circles under his eyes, the frail wee thing looks unlikely to survive the hour!<br /><br />This is a delightful & heartwarming version of the holiday classic. With its festive atmosphere, it's sure to put you in the spirit of the season.
| 1pos
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The Secret Fury, in many ways a run-of-the-mill romantic suspense drama (directed by Mel Ferrer) boasts top-notch principals in Colbert and Ryan; it stays puzzling if not quite gripping until towards the end, when implausibility conquers suspension of disbelief -- as so often it does in this genre. But for some viewers the film's highlight will be the portrayal of blowsy Leah by Vivian Vance -- the immortal Ethel Mertz on "I Love Lucy." Oddly, Vance had very few film roles; her true home was Broadway, where (among other gigs) she understudied for Ethel Merman. Here she contributes a winning turn as a chambermaid suborned to play a minor part in a nefarious scheme; watch her half-heartedly trying to wave away the smoke when she's puffing a furtive cigarette in the hotel's linen-storage room -- a transgression for which she ultimately pays the supreme penalty.
| 1pos
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This thing is horrible. The Ben Affleck character is self-centered and gleefully sadistic--punch-you-in-the-nose fratboy sadistic. And he's the romantic HERO! His cartoonish character does not change from beginning to end, but his money ultimately allows him to buy happiness.<br /><br />If I were a Socialist, I would screed beyond belief, but I'm not a Socialist.<br /><br />We capitalists like a little Christmas magic from time to time. This ain't magic. I don't know what it is. It's just awful. And it's a horrible waste of talent. O'Hara has been making me laugh hysterically since the late '70s. Gandolfini. Applegate. These people were all underused. If Ben was out of the equation, these folks might have dreamed up something excellent.
| 0neg
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Action & Adventure.Billie Clark is twenty years old, very pretty, and without a care in the world,until a brutal street gang violates her life, and she turns into an ALLEY CAT bent on revenge! When the gang attacks her grandparents house and her car, Billie uses her black belt prowess to fight them off. But at the same time she earns their hatred, and she and her grandparents are marked for vengence.When her grandparents lose their lives to the brutal thugs. Billie becomes like a cat stalking her prey-and no prison,police force,boyfriend,or crooked judge can get in the way of her avenging claws. She's a one-woman vigilante squad,a martial arts queen,a crack shot with no mercy. She's the ALLEY CAT.Watch for the dramatic ending versus the Gang leader! Rated R for Nudity & Violence, Other Films with Karin Mani: Actress - filmography,Avenging Angel (1985) .... Janie Soon Lee , "From Here to Eternity" (1979) (mini) TV Series .... Tawny, Filmography as: Actress, Stunts - filmography,Avenging Angel (1985) (stunts)P.S. She should have been Catwoman in the Batman Movie!<br /><br />
| 1pos
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very rarely it happens that i sit down to write a comment for a movie....but this movie!!!!!!oh my holy god!!!!!!!!never ever was there a Hindi movie better than this......and never ever there came a movie better than this......it's the king of all comedies.....<br /><br />aamir khan is arguably the best COMIC actor in Indian film industry...though its funny to say that because he is a class act,not a comedian...but what he has done in this film is perhaps the most hilarious performance by any Indian actor in an out and out comedy...<br /><br />salman khan has never been a good actor in my eyes....but this movie got the best out of him....he was innocently comic...if ever there was a term like it....just what the doctor ordered as far as his role in the movie was concerned...<br /><br />rajkumar santoshi i don't know why, never tried his hand at comedy again....he directed great ventures like The Legend of Bhagat Singh and khakee but could not recreate the magic of andaz apna apna....<br /><br />i don't care why this film bombed at the box office....though i feel sad that a film like "hum aapke hain kaun" was the reason for it's failure...... as of now i hope the rumors become true.....there'll be "andaz apna apna-2" they say.......we as the audience can only say AMEN!!!!!
| 1pos
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Heavily re-edited and often confusing, the original screen version of Man On Fire was at least ten years out of date when it was made and the passing years haven't made it any better. This is the kind of movie that producers with too much money and too little experience make to get attention and everyone else does just to pay off their outstanding alimony or their drug dealer, with Scott Glenn's bodyguard going out on a limb to rescue his 12-year-old charge, the kidnapped daughter of a wealthy Italian family. An interesting cast - Joe Pesci, Brooke Adams, Danny Aiello, Jonathan Pryce - have all done better, the action is sluggish and sparse and only John Scott's exceptionally fine score (part of which turned up in the last reel of Die Hard) makes a positive impression. One case where the remake (made by Tony Scott, the original choice of director for this version) is an improvement.
| 0neg
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I know that so many reviews on IMDb are extreme, with reviewers either praising a film to the hilt or inarticulately tearing it to pieces. I find neither of these kind of reviews helpful, and so I do not give this film the awful review I am about to, lightly. The film is art-house science-fiction of the worst kind dressed up as a Hollywood blockbuster. The trailers draw you in by showing you what appears to be a cohesive plot, but is actually just a tiny part of a wilfully baffling series of events which are never properly resolved. I like films which challenge the viewer and I do not need to be spoon-fed a plot, and so my complaint against this film is not that it is too highbrow. No - the film is just terrible. As the credits roll you will feel genuine anger at having wasted your time on Cameron Diaz's wooden acting and a faltering plot-line. Avoid.
| 0neg
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An inventive, suspenseful exercise in claustrophobia. A Japanese thriller that sets itself a tough challenge by being entirely set in two rooms. Not completely successful, but taut, surprising and well-acted. One might find the film somewhat reminiscent of SAW two men trapped in room and pitting against each other but unlike that film it dares to stay with its premise and keep the hero locked in his cell throughout the film. It's like watching a lab experiment. Some might find the contained suspense tedious, but this reviewer found it enthralling. The sound and imagery of the film are stunningly well realized. This is a certainly a good film to use to show off a good home video system. Just right for a late night movie fest, when one is in the paranoid mood. It certainly kept me awake that night.
| 1pos
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1st watched 2/16/2002 - 4 out of 10(Dir-Arne Glimcher): Mystery??/Thriller with too many ridiculous plot twists. Despite the very talented cast this movie is way too predictable and just downright under-estimates it's audience. The movie-going public is not stupid and I hope will not keep filling certain stars pockets again and again despite what they are involved with. We think that this movie is going to be about something with Connery's conviction against capitol punishment in the beginning but it turns out to be nothing but a standard, contrived for the audience's sake, run of the mill, let's never get it over with, thriller. We are pulled into every silly switch in character, as they are portrayed to us when it's needed in the story, and we're ready for this thing to be over way before it ends. Yes there is some good acting here, especially from Blair Underwood, Fishburne, and Ed Harris in a psycho-supporting role but the story does not work from almost the beginning to the very long-awaited end.
| 0neg
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This small John Ford western with no 'stars' but a cast of character actors is one of his masterpieces. It has a documentary-like feel to it as it traces the journey West of a party of Mormons and it may be the most authentic looking of all Ford's films, (it's on par with "The Sun Shines Bright" which he made a couple of years later).<br /><br />There is a plot of sorts, (a group of bank robbers join the wagon train at one point), but the film's dramatic highlights are almost incidental. The splendid performances of Ford's stock company, (Ben Johnson, Harry Carey Jr, Ward Bond, Jane Darwell etc), adds considerably to the film's authenticity while the nearest the film gets to a full-bodied star performance is Joanne Dru's Denver. Dru was a much finer actress than she was ever given credit for as were Bond and Johnson, who at least was finally awarded with the recognition of an Oscar for his work in "The Last Picture Show". As he said himself, 'It couldn't have happened to a nicer fella'. Add Bert Glennon's superb location photography and you have a genuine piece of Americana that couldn't have some from anyone other than Ford. This is a film that truly honors America's pioneers and is full of sentiment and feeling.
| 1pos
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When I fist watched the movie, I said to myself, "so a film can be made like this." Wong Kar Wai's gorgeous poetic love story captured me throughout and even after the film. I must admit this is one of the best love movies, maybe the best of all, I have ever watched. The content and the form overlaps perfectly. As watching the secret love we see the characters in bounded frames that limits their movements as well as their feelings. Beautiful camera angles and the lighting makes the feelings and the blues even touchable. I want to congratulate Christopher Doyle and Pin Bing Lee for their fantastic cinematography which creates the mood for love. Also the music defines the sadness of the love which plays along the beautiful slow motion frames and shows the characters in despairing moods. And of course the performances of the actors which makes the love so real. Eventually, all the elements in the film combined in a perfect way under the direction of WKW and give the audience the feeling called love.
| 1pos
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The Shirley Jackson novel 'The Haunting of Hill House' is an atmospheric tale of terror, which conveys supernatural phenomena in an old mansion. The atmosphere is well set out, and the chills are staged well. A haunting masterpiece.<br /><br />The 1963 chiller 'The Haunting' stays closely to the book, but also adds its own details to the plot. Fortunately, these are very few, and so the terror of the book and the chills are executed even better on the screen. The black and white photography only adds to the creepiness of the movie. Excellent! <br /><br />And then, Jan de Bont made this. In 1999, the remake of The Haunting hit the cinemas - if you could call this a remake. Why they had to make a remake of the 1963 movie is a mystery in itself, but for the moment, lets look at the film itself.<br /><br />It starts off averagely, as most horror movies do. The set used for Hill House is beautiful, and oddly mysterious, and for a few minutes, it seems as if the film is actually going to be quite a fair re-telling. And then, the first scare comes: a loose harpsichord wire slashes a woman's face (Dr. Marrow's assistant). This is hilarious, and truth be told, it nearly had me in tears.<br /><br />From then on, the film just spirals downwards. The acting seems to become somewhat wooden as the film goes on, with Owen Wilson's character being particularly irritating (so it's such a relief when he's decapitated by the flue).<br /><br />The special effects practically make this movie,, which is a shame, because most of them are incredibly cheesy and look very dated. Examples of these are many, so I won't bother listing them.<br /><br />So, all in all, I, along with hundreds of others, strongly recommend that you watch the original chiller, or, as an alternative, buy the novel by Shirley Jackson. But please, stay away from this. And, if you do decide to watch this, watch it on the TV (as a lot of the channels love to screen this film, and not the original) or rent it cheap, but please don't buy it, whatever you do. Don't waste your money!<br /><br />Final rating: 4/10
| 0neg
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I thought this movie was terrible. I'm Chinese, so I thought everything was totally wrong. Many of the facts were incorrect. The only thing right about Chinese history in the movie was when Wendy's mother explained to her husband about the statues that guarded ShiHuangDi. I also thought the fight scenes were very cheesy and fake. Many of the actors and actresses were not very great. Some of the jokes that were supposedly "funny" were really stupid. I think this movie should receive the worst possible rating it could get. Disney has really got to get more information about Chinese history if they want to create an extravagant movie. Mulan was quite accurate. Watch this movie if you want to waste some time.
| 0neg
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