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single beloved sci-fi and am willing to put up with a plenty. Sci-fi movies/television are usually underfunded, under-appreciated and misunderstood. I sample to care this, unity truly did, but it is to near TV sci-fi as Babylon fivesome is to stellar Trek (the original). dizzy prosthetics, punk cardboard place, hokey duologue, CG that doesn't peer the desktop, and painfully one-dimensional role cannot be overcome with a 'sci-fi' position. (I'm certainly there are those of you out there who conceive Babylon 5 is good sci-fi TV. It's not. It's clichéd and uninspiring.) While US viewers might same emotion and eccentric growth, sci-fi is a genre that does not withdraw itself seriously (mucoviscidosis. Star Trek). It may treat important issues, still not as a grave philosophy. It's rattling difficult to guardianship about the reference here as they are not just foolish, just drop a sparkle of living. Their activity and reactions are wooden and predictable, often sore to watch. The manufacturer of Earth bang it's rubbish as they have to always articulate "Gene Roddenberry's Earth..." otherwise masses would not uphold ascertain. Roddenberry's ash must be become in their orbit as this dim, inexpensive, peaked cut (watching it without name recess truly take this home) footslog Trabant of a express lumbers into space. plunderer. hence, down off a main grapheme. And then bring him rearward as another worker. Jeeez! Dallas all over again.

Worth the entertainment value of a rental, especially if you like action movies. This one features the usual car chases, fights with the great Van Damme kick style, shooting battles with the 40 shell load shotgun, and even terrorist style bombs. All of this is entertaining and competently handled but there is nothing that really blows you away if you've seen your share before.<br /><br />The plot is made interesting by the inclusion of a rabbit, which is clever but hardly profound. Many of the characters are heavily stereotyped -- the angry veterans, the terrified illegal aliens, the crooked cops, the indifferent feds, the bitchy tough lady station head, the crooked politician, the fat federale who looks like he was typecast as the Mexican in a Hollywood movie from the 1940s. All passably acted but again nothing limited.<br /><br />I thought the main villains were pretty well done and fairly well acted. By the end of the movie you certainly knew who the good guys were and weren't. There was an emotional lift as the really bad ones got their just deserts. Very simplistic, but then you weren't expecting Hamlet, right? The only thing I found really annoying was the constant cuts to VDs daughter during the last fight scene.<br /><br />Not bad. Not good. Passable 4.

its a completely medium film with a few semi-alright action sequences that work the plot seem a little better and remind the viewer of the classic van dam films. parts of the plot don't make gumption and seem to be added in to use up time. the end plot is that of a very basic type that doesn't leave the viewer guessing and any twists are obvious from the beginning. the end scene with the flask backs don't make sense as they are added in and seem to have little relevance to the history of van dam's character. not really deserving observation again, bit disappointed in the end production, even though it is apparent it was shot on a low budget certain shots and sections in the film are of poor channelize quality

stellar denounce: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday aurora <br /><br />Former New Orleans homicide cop Jack Robideaux (Jean Claude Van Damme) is re-assigned to Columbus, a small but violent town in Mexico to help the police there with their efforts to stop a major heroin smuggling operation into their town. The culprits turn out to be ex-military, lead by former commander Benjamin Meyers (Stephen Lord, otherwise known as Jase from East Enders) who is expend a special method he learned in Afghanistan to fight off his opponents. simply squat has a more personal understanding for taking him down, that draws the two men into an explosive final showdown where only one will walk away alive.<br /><br />After Until Death, Van Damme appeared to be on a high, showing he could make the best straight to video films in the action market. patch that was a far more drama oriented film, with The Shepherd he has returned to the high-kicking, no brainer action that first wee-wee him famous and has sadly develop his tough film since Derailed. It's nowhere near as big as that film, but what I said still support.<br /><br />axerophthol leaden, predictable film, with very little in the way of any exciting sue. What little there is mainly consists of some limp fight scenes, trying to look cool and trendy with some cheap slo-mo/sped up effects added to them that sadly instead make them look more desperate. Being a Mexican set film, director Isaac Florentine has tried to give the film a Robert Rodriguez/Desperado sort of feel, but this only adds to the desperation.<br /><br />VD afford a particularly uninspired performance and return he's never been a Robert De Niro sort of actor, that can't be undecomposed. A the villain, Lord shouldn't wait to forget the beeb anytime soon. He gets little dialogue at the get-go as he struggles to muster an American accent but gets enigmatically better towards the end. All the supporting wander are equally suave, and do naught to enkindle the cinema spirit at all.<br /><br />This is unrivalled shepherd that's range right from the flock. *

I had high hopes for this unity until they changed the name to 'The Shepherd : Border Patrol, the lamest movie name ever, what was wrong with just 'The Shepherd'. This is a by the numbers action flick that tips its hat at many classic Van Damme films. There is a nice bit of action in a measure which reminded me of hard target and universal soldier but directed with no saturation or flair which is a shame. There is one great line about 'being p*ss drunk and carrying a rabbit' and some OK action scenes let down by the cheapness of it all. A lot of the times the dialogue doesn't match the characters mouth and the stunt men fall down dead a split second before even being shot. The end defend is one of the better Van Damme fights except the Director tries to go a bit too John Woo and fails also introducing flashbacks which no one really cares about just gets in the way of the action which is the whole point of a van Damme film.<br /><br />non good, not bad, just fair generic action.

Isaac Florentine has made some of the best western Martial Arts action movies ever produced. In particular US Seals 2, Cold Harvest, Special Forces and Undisputed 2 are all action classics. You can tell Isaac has a real passion for the genre and his films are always eventful, creative and sharp affairs, with some of the best fight sequences an action fan could hope for. In particular he has found a muse with Scott Adkins, as talented an actor and action performer as you could hope for. This is borne out with Special Forces and Undisputed 2, but unfortunately The Shepherd just doesn't know up to their abilities.<br /><br />There is no doubt that JCVD looks better here fight-wise than he has done in years, especially in the fight he has (for pretty much no reason) in a prison cell, and in the final showdown with Scott, but look in his eyes. JCVD seems to be suddenly inside. There's nothing in his eyes at all. It's like he just doesn't care about anything throughout the whole film. And this is the stellar man.<br /><br />There are other slick aspects to the film, script-wise and visually, but the main problem is that you are utterly unable to empathise with the hero of the film. A genuine attaint as I know we all wanted this film to be as special as it genuinely could have been. there are some full bits, mostly the accomplish scenery themselves. This film had a terrific director and action choreographer, and an awesome opponent for JCVD to face down. This could have been the one to bring the veteran action star back up to scratch in the balls-out action movie stakes.<br /><br />Sincerely a shame that this didn't happen.

It actually striving me to tell it, but this flick was horrifying on every stratum. The rap does not prevarication altogether with Van Damme as you can find he essay his best, but let's expression it, he's almost fifty, how often more can you ask of him? I discovery it so backbreaking to believe that the same people who couch together Undisputed 2; arguably the best (western) martial graphics pic in age, created this. Everything from the diagram, to the dialog, to the delete, to the overall pretend was just horribly couch together and in many cases outright bore and laughable. Scott Adkins who's press scene seemed more like a demo reel, was too atrociously underused and not tied the chief villain which is such a pity because one) He is more than capable of bet that role and 2) The actual independent villain was not only not intimidating at all but besides quite vex. Again, not blaming caravan Damme. single will always be a lover, but quash this unmatched.

Technically I'am a Van Damme Fan, or I was. this movie is so big that I hated myself for scourge those 90 proceedings. Do not let the name Isaac Florentine (Undisputed II) fool you, I had big hopes for this unrivalled, depending on what I saw in (Undisputed II), man.. was I wrong ??! all action fans wanted a big comeback for the classic action hero, but i guess we wont be able to see that soon, as our hero keep coming with those (going -to-a-border - far-away-town-and -kill -the-bad-guys- than-comeback- home) movies I mean for God's sake, we are in 2008, and they insist on doing those disappoint movies on every level. Why ??!!! Do your self a favor, hop it.. earnestly.

Honestly awe-inspiring flick, bad editing, awesome lighting, dire dialog and scrappy screenplay.<br /><br />The ignite at is so bad there's moments you can't even see what's live on, I even tried to playing with the contrast and luminousness so I could see something but that didn't help.<br /><br />They must have found the handwriting in a bin, the character development is just as tremendous and while you hardly expect much from a Jean-Claude Van Damme film this peerless manages to hit an all time low. You can't even laugh at the cheesy'ness.<br /><br />The directing and editing are also terrible, the solid film follows an extremely timeworn workaday and fails at every release as it mishandle through the plot that is so weak it's just unreal.<br /><br />There's not a lot else to read other than it's really big and nothing like Jean-Claude Van Damme's earlier work which you could enjoy.<br /><br />void like the plaque, frankly words fail me in condemning this "film".

This picture is a neutralise of time.I expect from an action movie to have more than 2 explosions and some shooting.avant-garde Damme's acting is tremendous. He never was much of an actor, but here it is big.He was definitely best in his earlier movies. His screenplay part for the whole movie was probably not more than unrivalled page of stupe falderol one liners.The whole duologue in the film is a tragedy, same as the plot.The championship "The Shepherd" makes no sense. Why didn't they just call it "Border patrol"? The fighting scenes could have been safe, but either they weren't able to open it, or the fighting choreographer was suffering from lack of ideas.This is a inexpensive low-pitched type of action cinema.

Blind Date (Columbia Pictures, 1934), was a decent film, but I have a few issues with this film. First of all, I don't fault the actors in this film at all, but more or less, I have a problem with the script. Also, I understand that this film was made in the 1930's and people were looking to escape reality, but the script made Ann Sothern's case look light. She kept going back and forth between suitors and I felt as though she should have stayed with Paul Kelly's character in the end. He truly did care about her and her family and would have done anything for her and he did by giving her up in the end to fickle Neil Hamilton who in my opinion was only out for a good time. Paul Kelly's character, although a workaholic was a man of integrity and truly loved Kitty (Ann Sothern) as opposed to Neil Hamilton, while he did like her a lot, I didn't construe the depth of love that he had for her character. The production values were great, but the script could have used a little work.

I firstly watched this movie back in the mid/late 80's, when I was a kid. We couldn't even get all the agency through it. The dialog, the acting, everything about it was just beyond square.<br /><br />Here are a few examples... imagine these spoken real dramatically, way over-acted: "Oreegon? You're going to Oreegon? Why would anyone want to go to Oreegon?"<br /><br />"Survivalists? Nobody ever told us about any survivalists!"<br /><br />This movie was thusly big, my sister and I rented it again for her 16th birthday party, just so our friends could sit around and laugh at how tremendous it was. I don't think we were able to finish it then either!

I saw the Mogul Video VHS of this. That's another one of those sure-enough 1980s distributors whose catalog I wish I had!<br /><br />This movie was jolly short. Though retitled "Don't Look in the Attic," the primary admonition that is repeated in this is "Don't go to the villa." Just getting on the grounds of the villa is a bad idea. A character doesn't go into the attic until an hour into the movie, and actually should have done it earlier because of what is learned there.<br /><br />The movie showtime in Turin, Italy in the 1950s. Two men are fighting, and a woman is telling them the villa is making them do it. One man kills the other, then regrets it, and the woman pulls out the knife and stabs him with it. She flees the villa, and after she's left a chair moves by itself (what's the point of that?), but when in the garden a hand comes up through the ground and drags he into the earth.<br /><br />From there, it's the present day, thirty years later. There's a séance that appears suddenly and doesn't appear to have anything to do with the movie. The children of the woman from the prologue are inheriting the house. The main daughter is played by the same actress who played her mother. At least one of the two men from the prologue seems to reoccur as another character too. She's haunted by some warnings not to go to the villa, but they all do, since if they do not use it, they forfeit it. People die. A lawyer who has won all his cases tries to investigate a little. The ending is somewhat poor. Why was the family cursed? An unfortunately irksome pic.<br /><br />There's an amusing small-print disclaimer on the back of the video box that reads "The scenes depicted on this packaging may be an artist's impression and may not necessarily represent actual scenes from the film." In this showcase, the cover of the box is an illustration that does more or less accurately depict the aforementioned woman dragged underground scene, although there are two hands, and the woman is different. It's true, sometimes the cover art has nothing to do with the movie. 1 also recall seeing a reviewer who had a bad movie predictor scale, in which movies with illustrations on the cover instead of photos got at least one point for that.

A group of heirs to a mysterious old mansion find out that they have to live in it as part of a clause in the will or be disinherited, but they soon find out of its history of everybody whom had lived there before them having either died in weird accidents or having had killed each other.<br /><br />You've seen it all before, and this one is too low-budget and easy paced to be scary, and doesn't have any real surprises in the climax. No special effects or gore to speak of, in fact the only real disport thing about the solid film is the quality of the English dubbing, which at times is as bad as a cheap martial arts movie.<br /><br />3 out of 10, pretty scurvy in the pecking order of 80's haunted house movies.

instantly, I LOVE Italian horror films. The cheesier they are, the better. withal, this is not cheesy Italian. This is week-old spaghetti sauce with moulder meatballs. It is inexpert hour on every storey. There is no suspense, no horror, with just a few drops of blood scattered around to remind you that you are in fact watching a horror film. The "special effects" consist of the lights changing to red whenever the ghost (or whatever it was supposed to be) is around, and a string pulling bed sheets up and down. Oooh, can you feel the thrill? The DVD quality is that of a VHS transfer (which actually helps the film more than hurts it). The knight is below even the lowest "bad Italian movie" standards and I gave it one star just because the dialogue is so hilarious! And what do we discover when she finally DOES look in the attic (in a scene that is daytime one minute and night the next)...well, I won't spoil it for anyone who really wants to see, but let's just say that it isn't very "novel"!

This inexpensive, grainy-filmed Italian flick is about a couple of inheritors of a manor in the Italian countryside who head up to the house to stay, and then find themselves getting killed off by ghosts of people killed in that house.<br /><br />I wasn't yarn-dye by this. It wasn't really that scary, mostly just the way a cheap Italian film should be. A girl, her two cousins, and one cousin's girlfriend, head to this huge house for some reason (I couldn't figure out why) and are staying there, cleaning up and checking out the place. Characters come in and out of the film, and it's quite deadening at points, and the majority of deaths are quite rushed. The girlfriend is hit by a car when fleeing the house after having a dream of her death, and the scene is quite good, but then things amaze slow again, until a confusing end, when the male cousins are killed together in some weird way, and this weirdo guy (I couldn't figure out who he was during the movie, or maybe I just don't remember) goes after this one girl, attacking her, until finally this other girl kills him off. Hate to give away the ending, but oh well. The female cousin decides to stay at the house and watch over it, and they show scenes of her living there years later. The end. You really aren't missing anything, and anyway, you probably won't find this anywhere, so lucky you.

I just finished watching this movie and am discomfited to articulate that I didn't love it a bit. It is so slowly easy and uninteresting. This kid from harass Potter plays a shy teenager with an rude mother, and then one day the rude mother tells the kid to find a job so that they could accommodate an old guy apparently having no place to live has started to live with his family and therefore the kid goes to work for a old lady. And this old lady who is living all alone teaches him about girls, driving car and life! I couldn't nonplus how an 18 year old guy enjoy spending time with an awful lady in her 80s. Sorry if my comments on this pic has bothered people who might have enjoyed it, I could be wrong as I am not British and may not understand the social and their family structure and way of life. Mostly the movie is clear for the British audience.

Ben, (Rupert Grint), is a deeply unhappy adolescent, the son of his unhappily married parents. His father, (Nicholas Farrell), is a vicar and his mother, (Laura Linney), is ... well, let's just say she's a somewhat hypocritical soldier in Jesus' army. It's only when he takes a summer job as an assistant to a foul-mouthed, eccentric, once-famous and now-forgotten actress Evie Walton, (Julie Walters), that he finally finds himself in true 'Harold and Maude' fashion. Of course, Evie is deeply unhappy herself and it's only when these two sad sacks find each other that they can put their mutual misery aside and hit the road to happiness.<br /><br />Of course it's corny and sentimental and very predictable but it has a hard side to it, too and Walters, who could sleep-walk her way through this sort of thing if she wanted, is excellent. It's when she puts the craziness to one side and finds the pathos in the character, (like hitting the bottle and throwing up in the sink), that she's at her best. The problem is she's the only interesting character in the film (and it's not because of the script which doesn't do anybody any favours). Grint, on the other hand, isn't just unhappy; he's a bit of a bore as well while Linney's starched bitch is completely one-dimensional. (Still, she's got the English accent off pat). The intimately that can be said for it is that it's gently enjoyable - with the emphasis on the gently.

Every movie I have PPV'd because Leonard Maltin praised it to the skies has blown clump! Every unity unrivalled! When will I ever learn?<br /><br />Evie is a raving Old Bag who thinks nothing of saying she's dying of breast cancer to get her way! Laura is an insufferable Medusa filled with The Holy Spirit (and her hubby's protégé)! Caught between these harpies is Medusa's dumb-as-a-rock boy who has been pressed into weed-pulling servitude by The Old Bag!<br /><br />As I said, when will I ever learn?<br /><br />I was temporarily lifted out of my malaise when The Old Bag stuck her head in a sink, but, unfortunately, she did not die. I was temporarily lifted out of my malaise again when Medusa got mowed down, but, unfortunately, she did not die. It should be a capital law-breaking to distortion hearing wish this!<br /><br />Without Harry Potter to kick him around, Rupert Grint is just a pair of big blue eyes that practically bulge out of its sockets. Julie Walters's scenery-chewing (especially the scene when she "plays" God) is even more shameless than her character.<br /><br />astatine least this Harold bangs some bimbo instead of Maude. For that, single am truly grateful. And if you're reading this Mr. Maltin, you owe me $3.99!

Low budget horror movie. If you don't raise your expectations too high, you'll probably enjoy this little flick. Beginning and end are pretty good, middle drags at times and seems to go nowhere for long periods as we watch the goings on of the insane that add atmosphere but do not overture the plot. Quite a bit of gore. I enjoyed Bill McGhee's performance which he made quite believable for such a low budget picture, he managed to carry the movie at times when nothing much seemed to be happening. Nurse Charlotte Beale, played by Jesse Lee, played her character well so be prepared to want to slap her toward the end! She makes some really stupid mistakes but then, that's what makes these low budget movies so good! I would have been out of that place and five states away long before she even considered that it might be a good idea to leave! If you enjoy this movie, try Committed from 1988 which is basically a rip off of this movie.

Dr Stephens (Micheal Harvey) runs a mental asylum. He has a different approach to the insane. He conducts unorthodox methods of treatment. He treats everyone like family, there are no locks on the patients doors and he Lashkar-e-Tayyiba some of the inmates act out their twisted fantasies. He countenance Sergeant Jaffee (Hugh Feagin) dress and act as a soldier and Harriet (Camilla Carr) be a mother to a doll, including letting her put it to bed in a cot. Dr. Stevens is outside letting Judge Oliver W. Cameron (Gene Ross) chop a log up with an axe, it turns out to be a bad move as once Dr. Stevens back is turned the Judge plants the axe in his shoulder. Soon after Nurse Charlotte Beale (Rosie Holotik) arrives at the Sanitarium having arranged an interview with Dr. Stevens about a possible job. She is met by the head Nurse, Geraldine Masters (Annabelle Weenick as Anne McAdams) and is offered a trail position. She gets to know and becomes well liked among the patients. However things eventually start to turn sour, the phone lines are cut, an old lady named Mrs. Callingham (Rhea MacAdams) has her tongue cut out and she starts to get a strange feeling that things just aren't right somehow. Then, one night all the Sanitariums dark secrets are violently revealed. Produced and directed by S.f. Brownrigg this film has a great central mind which builds into a cool twist ending, but ultimately is a bit of a chore to sit through because of it's low budget restrictions and a rather slow script by Tim Pope. There are just too many long boring stretches of dialogue by the inmates, not a lot really happens until the final twenty odd minutes. The film has no real visual quality as it's set entirely in the Sanitarium and it's grounds which is basically just a great smooth house in the middle of nowhere. There's no graphic gore in it, a few splashes of blood here and there and thats yer lot. There's a bit of nudity, but like the gore not much. The acting is pretty strong, especially Holotik and Weenick. The photography is flat and unexciting and I can't even remember what the music was like. The winding terminate is great, but it just takes far too long to get to it. A film that had a lot of potential that was probably held back by it's budget. OK I guess, but I think it would have worked a lot better if the story had been turned into a half an hour 'Tales form the Crypt' episode.

The Forgotten (AKA: Don't Look In The Basement) is a very inexpensively made and very old looking horror movie.<br /><br />The history is very slow and never really reaches anything worth getting excited about.<br /><br />The patients at the asylum are embarrassingly funny especially Sam and the old woman who always quotes an old saying to everyone. (Look out for the bit when she gets close to the camera, tell me you can watch without laughing!).<br /><br />Now the gore is very poor looking, with the blood looking pink in many scenes so it doesn't really deserve its place on the video nasties list!.<br /><br />Overall if you aren't looking for a fantastic horror film and have some time to spare then it's worth a watch.

This movie had a very unique essence on me: it stalled my realization that this movie REALLY draw! It is disguised as a "thinker's film" in the likes of Memento and other jewels like that, but at the end, and even after a few minutes, you come to realize that this is nothing but dead pretentious cr4p. Probably written by some collage student with friends to compassionate to tell him that his spell sucks. The unharmed idea is … ane don't even live if it tried to scratch on the supernatural, or they want us to believe that because someone fills your mind (a very weak one, btw) with stunned "riddles", the kind you learn on simple school recess, you suddenly come to the "one truth" about everything, then you have to kill someone and confess…. !!! What? How, what, why, WHY? Is just like saying that to make a cake, just throw a bunch of ingredients, and add water… forgot about cooking it? I guess these guys forgot to, not explain, but present the mechanism of WHY was this happening? You have to do that when you present a story which normal, everyday dissemble (lie solving screen rhymes) start to have an abnormal effect on people. dissemble was ugly, with that girl always prove to look cute at the camera, and the guy from Highlanders, the series, acting up like the though heavy metal record store (yeah, they're all real though s-o-b's). The "menacing" atmosphere, with the "oh-so-clever" riddles (enter the 60's series of Batman and Robin, with guest appearance of The Riddle) and the crazies who claim to have "the knowledge" posterior that smirk on their faces… just horrible, horrifying.<br /><br />I'm usually very partial about low budget movies, and tend to root for the underdog by giving them more praise than they may deserve, in lieu of their constrictions, you know, but this is just an surly pardon for a movie that will keep you wanting to be thoroughly for an hour and a half, and at the end you will just plaint that you fall for it.

too spoilt this movie isn't. While "Nemesis Game" is gently harbor, I discover it hard to suspend my disbelief the altogether length of the flick, especially the situations that Sara was set herself into. Are we conjecture to think that:<br /><br />1) this hot chick is last to go slumming unarmed around abandoned buildings and dark subway tunnels in the middle of the night just to solve some riddles?<br /><br />2) the protagonists are supposedly such experts that they play riddle games for fun, but don't put the whole "I Never Sinned" riddle together until the very end...and then...and then...get this...she has to do the unanimous mirror thing to finally put the pieces together?? 1 know it was the filmmaker's device to show the interview what was going on, but do they really think we're that pudden-head?<br /><br />tierce) when Vern and Sara go to the Chez M to question the blonde, there is not ONE topless chick in the whole building. zip. C'mon. single love it's Canada, but I would expect more from a country that gave us Shannon Tweed.<br /><br />And anyone else note that when Vern was surfboarding the Web and found that riddlezone site, that when he moused over the link the cursor stayed an arrow, and didn't turn into a little hand (corresponding ALL CURSORS DO WHEN YOU CLICK ON A HYPERLINK)?!? I meanspirited, if you're gonna have the internet play such a prominent role in your movie, at least amaze the little things good. Geez.

I of course saw the previews for this at the beginning of some other Lion's Gate extravaganza, so of course it was only the best parts and therefore looked intriguing. And it is, to a point. A young college student (Sarah)is finding riddles all over the place and is becoming obsessed with answering them, and in doing so she's unwittingly becoming involved in some game. Now that's fairly intriguing right there but unfortunately it all gets rather muddled and becomes so complicated that the viewer (like myself) will most likely become frustrated. Characters appear with little introduction and you're not really sure who they are or why Sarah knows them or is hanging out with them. All of this has something to do with this woman who tried to drown a young boy years ago and her reason for that was that it's "all part of the design". In realism, it's all part of the "very sketchy book" and when the film is over you'll find yourself feeling that you've lost about an hour and a half of your life that you want back for more productive uses of your time, like cleaning the bathroom, for instance. 4 out of 10.

I founder this a triplet out of a possible 10 ace.<br /><br />Unless you like wasting your time watching an anorexic actress, in this film it's Carly Pope, behaving like a ditz, don't discommode.<br /><br />Carly Pope plays Sara Novak, a young college student, who becomes intrigued with a game of riddles, that leads her down into subway tunnels underneath the city - a dangerous thing for even a well-armed man to go in alone.<br /><br />There are various intrigues in the film -- a weirdo classmate who is apparently stalking Sara, a cynical shopkeeper who runs some kind of offbeat hole-in-the-wall establishment that appears to be located in the back alley of a ghetto, a nerdish dim-wit that hangs around the cynic's shop, and a woman named Emily Gray, who is back in prison.<br /><br />Sara's father is a lawyer who is handling Emily Gray's case. <br /><br />A few years back, Emily Gray attempted to drown a 12 year old boy. Emily was put in a mental hospital for 5 years, and for some cockeyed reason they let her out again, even though it is obvious she is still dangerously deranged.<br /><br />The only explanation Emily has ever given for her crime is: I never sinned.<br /><br />It's all part of the design.<br /><br />Well, my friend, don't expect to ever flummox any better explanation than that, because you won't.

I was looking forward to this movie. Trustworthy actors, interesting plot. Great atmosphere then ????? IF you are going to attempt something that is meant to encapsulate the meaning of life. First. Know it. OK I did not expect the directors or writers to actually know the meaning but I thought they may have offered crumbs to peck at and treats to add fuel to the fire-Which! they almost did. Things I didn't get. A woman wandering around in dark places and lonely car parks alone-oblivious to the consequences. Great riddles that fell by the wayside. The promise of the knowledge therein contained by the original so-called criminal. I had no problem with the budget and enjoyed the suspense. I understood and can wax lyrical about the fool and found Adrian Pauls role crucial and penetrating and then ????? Basically the story line and the script where good up to a point and that point was the last 10 minutes or so. What? Run out of ideas! Such a pity that this movie had to let America down so badly. It may not comprehend the meaning and I really did not expect the writers to understand it but I was hoping for an intellectual, if not spiritual ride and got a bump in the road

Four things fascinate me as to this film - firstly, it stars Carly Pope (of "Popular" fame), who is always a pleasure to sentry. Secdonly, it features brilliant New Zealand actress Rena Owen. Thirdly, it is filmed in association with the New Zealand Film Commission. Fourthly, a friend recommended it to me. However, one was dead foiled. The hale storyline is nonsensical and complicated, with very slight closure. Pope's acting is fine, but Owen is unfortunately under-used. The other actors and actresses are all fine, but unity am unfamiliar with them all. Aside from the nice enigma which are littered throughout the movie (and Pope and Owen), this film isn't very commodity. So the lesson of the tale is...don't learn it unless you really want to.

<br /><br />Never ever take a film just for its good looking title.<br /><br />Although it all starts well, the film suffers the same imperfections you see in B-films. Its same at a certain moment the writer does not any more how to end the film, so he ends it in a way nobody suspects it thinking this way he is ingenious.<br /><br />A film to be listed on top of the drivel list.<br /><br />

Lowe returns to the nest after, yet another, failed relationship, to find he's been assigned to jury duty. It's in the plans to, somehow, get out of it, when he realizes the defendant is the girl he's had a serious crush on since the first grade.<br /><br />Through living in the past by recount other people about his feelings towards this girl (played by Camp), Lowe remembers those feelings and does everything in his power to clear Camp of attempted murder, while staying away from the real bad guys at the same time, and succeeding in creating a successful film at the same metre.<br /><br />I've heard that St Augustine is the oldest city in the US, and I also know it has some ties to Ponce de Leon, so the backdrop is a secure localize to outset. Unfortunately, it's the only affair safe about this movie. The local police are inept, the judge is an idiot, and the defense counsel does everything in her power to make herself look like Joanie Cunningham! I don't know whether to blame the director for poor counsel, or for just letting the disgorge put in such a hapless effort.<br /><br />Indiana short, this movie was so tire, I could not still sleep through it! 1 out of 10 genius!

earnestly, I can't guess how anyone could find a single flattering thing to say about this pic, much less observe it in themselves to write the glowing compliments contained in this scuttlebutt part. How many methamphetamines was Bogdonovitch on during the filming of this movie? Was he giving a incentive to the actor that acclaim his lines out with the most speed and least inflection or conceive? The negotiation is tough, the patch horrifying, even for a "screwball" drollery, and claims that the movie is an homage to classic film comedy is about the most inane thing I've ever heard. The cinematography is below the quality and innovation of that exhibited by the unfit made-for-TV movies, the acting is awesome (although I engender the feeling that the flaw for that rest squarely in the lick of the director), and speaking of which, did I quotation the steering is so slapdash and mysterious that it defies the definition of the word? The solid thing is a terribly unfunny (even in the much-beleaguered world of so-bad-it's-funny clunkers), soul-sucking, wild of two hours of your life that you'll never get back. embody afraid, be very afraid...

I'm the type of guy who loves hood movies from New Jack City to Baby Boy to Killa Season, from the b grade to the Hollywood. but this movie was something different. i am no hater and this movie was kinda enjoyable. but some bits were just weird. well the acting wasn't to good, compared to Silkk The Shockers performance in Hot Boyz (quite good) and Ice-T in new Jack and SVU (great). the scene where Corrupt (Ice-T) kills the wanna be Jamaican dude he says something and lights himself on fire burning both Ice-T and the other dude, this kills the Jamaican, however Ice-T is unharmed, very similar to Ice's other movie Urban Menace (which stars both of these actors) were Snoops character is supernatural, however after this there is nothing suggested that Corrupt is like a demon. When MJ (Silkk) gets stabbed at first he struggling but after that he fights normally and was stabbed in the thigh-WITH OUT BLOOD. and when MJ confesses killing a cop cos the cop was beating up his friend Benny was weird, Benny isn't introduced in this movie and the scene isn't in the film. it does hold weight to the fact why Corrupt wants to kill MJ but is stock-still makes u gelt your psyche. wen Jody writes a letter to Miss Jones character explaining what happened to them afterwords doesn't mention what happen 2 other main characters MJ and Lisa. the film did show the horror and poverty of the ghetto-which plagues the lives of Latinos and Blacks word wide-was a good part of the film, even though the clip of the projects was re-used thousands of times. and the scene where Miles kills the Latino brother by crashing his bike at full speed (not wearing a helmet) and running into my Latino brothers car would of killed him. the movie was similar to the film Urban Menace and half the actors were in both of these movies as well as the production team. it was OK tho. but me being from poverty i love hood films, however if u don't love em like i do Don't WATCH IT. only thing saving me from walking out is it reminded me of the first movie i made which was made with 100 dollars, and my love of the genre.<br /><br />Nathaniel Purez

The most positive manoeuvre in this film were the credits (text style) and some moments in Ice-T's acting. The story-line; two rival gangs having to fight it out, with the sub-plots of betrayal, power and change are well worn plots but in this case sore(very) to wade through. The weak scenery, which added slight believability in places, and questionable lighting, constantly distract from any interest/identification with the characters (the shine off of the actress's forehead/nose was blinding, not to mention other scenes with the same problem.) Not tied half way into the cinema I treasured to know more about how and why it came about as opposed to what was going on on screen. amp letdown if you have seen Ice-T in other roles. Kudos to other actors/actresses who seemed to get into their roles despite the weak direction; Corrupt's side kick and the other restaurant worker.

I quite savor The Wrecking Crew (1999), which was the last of the three films in this series (the first being Urban Menace (1999) which I've yet to see). I know it was baaaaad, but the three leads did a pretty decent job, all things considered.<br /><br />This, however, was truly atrocious. Ice-T was dreadful, and he's the producer! Can't say I've ever heard of Silkk The Shocker (who apparently never learnt how to spell), but his performance was one of the big I've ever seen in a movie.<br /><br />Miss Jones did pretty well in her small role, though she later went on to make some atrocious, racist "jokes" on her radio show after the SE Asian tsunami (plus other occasions sadly). Way to go, girl...<br /><br />No-one else comes out with any credit. Strangely, TJ Storm and Ernie Hudson (who are both pretty bad here) are far better in The Wrecking Crew, which was made, along with Urban Menace, at the same time as Corrupt. How that works, I don't know.<br /><br />I'm going to try the Ice-T commentary now, to see whether he apologises for the film, or tries to make us cerebrate it's a great piece of film-making.

this celluloid has no plot, no good acting, to be honest it has nothing, the same songs play over and over awe-inspiring acting and if you can actually model there and watch the whole thing and enjoy it there is something wrong with you. I wish i could give this 0 out of 10 but i cant so it has to be a ace which is generous! ice-t isn't even a good rapper and even high-risk at acting, every burn of the cinema is rubbish, i nonplus this film on DVD without love what it was for the price of £1.99 and thought that i had picked up a bargain, i then looked at the IMDb rating and didn't take it into consideration but after watching it found out that the DVD i had bought was a perfect scourge of time, money and electricity. if you have this film there are 2 things you can do sell it to someone who doesn't know about it or burn it!

Beware, My Lovely (1952) Dir: Harry Horner <br /><br />Production: The Filmmakers/RKO Radio Pictures<br /><br />Credulity-straining thriller from the pioneering producer team of Collier Young and Ida Lupino, aka The Filmmakers (with Lupino pitching in with some uncredited direction). <br /><br />Robert Ryan is the 'peril' and Ida Lupino is the 'woman' in this entry in the 'woman in peril' style film. Ryan plays Howard Wilton, a tightly-wound psychotic handyman drifter (noooo, Ryan? I know, hard to believe). Lupino is the lonely war widow, Helen Gordon, who hires Howard to do some work around her house. Things go downhill from there as Howard makes Helen a prisoner in her own home. <br /><br />Howard has a nasty secret, not that he could reveal it. You discover, consciousness is a real challenge for him. Maintaining it, that is. He has an unfortunate habit of coming to and finding his employers dead. This is part of the film's problem. The nature of Howard's psychosis is so extreme that it is nearly impossible to believe that he's been free to roam from town to town unobstructed, even in the year 1918 (when the film is set). He can't remember anything that happened ten minutes ago. His violent, threatening, anti-social tendencies are set off by the smallest and most common of things (a young girl flirting, inadequacies involving the war, due to his being rejected for service). I don't know how he even made it past the interview with Helen. There are other implausibilities. If you were locked in your house with a madman, but nonetheless left on your own for periods of time, couldn't you figure out a way to escape? <br /><br />Ryan, I remember, is overcome by the textile. It experience alike he's overplaying his hand. His series of tics and spasms and the tightly coiled bursts of dementia all have a been-there, done-that robotic find to them. At this point in his career he'd probably played this character, to some degree, ten times and it shows. We are encouraged to empathize with Howard (I didn't) through shown bits of humanity, like him being stopped in his tracks by a music box and his relating to a group of children who won't judge him. Lupino just has to act frazzled and in distress, which she is more than capable of and does. <br /><br />The picture had one thing going for it; what would be the eventual resolution of the conflict? So naturally there was a disappointing ending that was abrupt and ineffective. <br /><br />Of slight interest was a recurring motif where the camera would catch Howard's reflection (in mirrors, water, Christmas tree decorations). This indicated something going on, or about to go on, in his head. Horner (1953's Vicki), who made his reputation in production design, does a fine job of making the house feel like a prison. Credit too, the always reliable RKO art department for the work on the house. In the end, sub-standard work from the principals, who all have much better films to their credit. <br /><br />*½ out of 4

Wow, what an overrated movie this turned out to be! It was reckon to be "an extremely suspenseful tale of a crazed killer holding a woman hostage and in terror in her home." Well, I doubt it terrorized audiences in the early '50s and I know it would put today's audiences asleep.<br /><br />"Sends shivers down the spine," proclaims the New York Times. No, the only frisson I get is that anyone is left on the planet who believes anything the N.Y. Times prints about anything.<br /><br />Well, it was about a deranged man who held a woman hostage for a short time in her house but the man. "Howard Wilton" (Robert Ryan) was actually harmless and well-disposed. In fact, this was one of the nicest roles Ryan ever played! Yes, "Wilton" was nuts but he never harmed the woman and only wanted a friend to trust.<br /><br />The cinema even turned deadening after awhile with very lilliputian going on except a lot of yakking. <br /><br />Beware, my proofreader.....this breastfeed.

one can't believe the high marks people have return this take on this locate. The compose is fantastically forged with people amount in at just the rightfulness sentence and revelation exactly what the heroine is doing to examine to dodging. (Don't you just hate it when that happens?). And the roleplay is so very, very tough that you May suffer a splinter in your heart from all the scenery being jaw.<br /><br />axerophthol ball is holding her surety, fry are outside the unfold riddle, so she wail for assistant instead of screaming when only a moment ago she was fearless enough to be peachy windows to yell to these same children.<br /><br />She's finally free and lonely in the family. Her chance to run for supporter, so what does she do? vagabond approximately the theatre and consist down. She's in the basement, mesh away. sol what does she do? Takes a little catnap. do on! well-nigh of the movie is the nut wander away and finding her sit there snoozing when he wakes her up. 4 times! What? If the writer is too blase to actually write a real diagram why should we be paid aid? one cerebrate the samara here is that it was originally a trifle for the radio, so they filled in with the heroine just pose around rather than pretending to be screen writers and actually writing any execute.<br /><bromine />And the ending is horrendous.<br /><bromine />The whole movie is completely farfetched, awfully written and about comically pretend. Beware this movie at all costs!

Widow hires a psychopath as a handyman. sloughy film noir thriller which doesn't piddle much of its tension promising set-up. (three/10)

I have no mind how anyone can collapse this movie high brand. I didn't rent it recollect it was the next great horror flick, the next great horror spoof, or the next great low-budget horror spoof. Obviously, this isn't meant to pall, but one black flaw with the production entirely sapped the joy out of the consider experience. The legal editing was frightful. I had to work the volume control the entire movie. You can imagine how difficult it is to get into something - even a low-budget spoof - when you're either turning the volume up or down, or trying to anticipate the next time you have to do so. The regular dialogue is very low, and all screams, noises, etc., are VERY loud. We're not talking about toggling between 5 and 7 on the volume control, finding a happy medium at sestet. We're talking toggling between 2 and 9 on the volume where it is virtually impossible to leave the volume alone. Again, this movie might be a decent example of what it is meant to be, but you're going to be spending so much time adjusting your volume control that you'll ne'er have the find to enjoy it.

realise the title of this flick "Stupid Teenagers Must Die" have me believe this was a spoof of some kind. I discovered later on the original title was "Blood and Guts". Both titles are misleading, though. This is not a spoof, neither a serious splatter movie. This is something in between, die in both expanse. A group of teenagers is attending a séance at a spooky house and then the killing pop. audio over familiar, doesn't it. Well, this movies adds null whatsoever to the endless stream of similar movies. And it is badly clear. Because of the want of clean the integral film is gritty. Now this effect can be highly efficacious, but it isn't in this case. The young cast isn't acting too badly, but the director has no clue as what to do with actors. In numerous scenes the actors are clearly waiting for directions, but these are given too late. It could also be an editor's mistake, of course. The characters are unrealistic and the report channel just fetor. The legal is frightening at times: conversations are undecipherable, but when talking loudly or screaming the actors are very flash indeed.<br /><br />This is not the tough horror movie I have ever seen, but it still is a big ace. For me a 3 out of 10.

today I understand that this took two months to shoot. Really? I'm pretty certain my crew could do it in less than a week. This movie breastfeed so bad I couldn't even pay close attending. Just more proof that boob bearing women can't always save you from horrible writing, acting and direction. today I understand it was a no budget endeavor, but there is also no continuity and no real reason to not to turn it off and watch infomercials or foreign news in a language you don't understand. Oh, there are a few decent looking females showing the goods. Still, there aren't enough sexy women alive to warrant watching this burlesque perpetrated on the film industry. One of the foresightful 80 moment of my life. I trooped it out though with the help of my old friend Jim Beam. Do yourself a favor and get your gun ready cuz you may want to use it after this hack job. Lastly, the individual (moron) who left a comment before mine cerebrate this was a great movie and LOVED it. Just more proof that siblings shouldn't pro-create. Ow, BURN!!! - Captain J

STMD! is not a dreaded movie, but it IS quite forgettable. The lighting is intentionally poor in many view and unintentionally short in all the ease, so you are likely to come out of a viewing with a headache or eye-strain. peculiar result are imaginative, but obvious. The gratuitous nudity essential for teen slasher ruffle is there, of course, along with the archetypical teenagers, but the solid movie just doesn't gelatin. What was requisite was some lively talks and more tongue-in-cheek humor.<br /><br />I can't really recommend that you use your time watching this movie. I often give a nod to a movie based on just a scene or two that demonstrates imaginativeness or humor, but these are sadly miss in this film.

A sprawling, overambitious, plotless comedy that has no dramatic nitty-gritty. It was belike destine to have an epic imaginativeness and a surrealistic elan (at least in some episodes), but the freestanding stories are ne'er rarified into a meaningful whole, and the laughter are few and Interahamwe between. comic close, though. (*ace/two)

No, no, no, no, no, no, NO! This is not a celluloid, this is an self-justification to express multitude dancing. This is just not undecomposed. still the dancing is slowly and not half as entertaining as the mediocre 'Dirty Dancing', let alone any other good dance movie.<br /><bromine />exist it a love history? Is it a melodic? Is it a drama? Is it a comedy? It's not that this movie is a moment of all, it's that this movie fails at everything it attempts to be. The cinema turns out to be even more nonmeaningful as the film progresses.<br /><BR />play is tremendous from all sides, the screenplay is decidedly try to tell us something about relationship but fails miserably.<br /><br />lookout FOR THE MOMENT - When Patrick Stewart enters the aspect and you retrieve the film power get intimately as he brightens up the softened aura. For a mo.

I found this movie really strong to sit through, my attention kept wandering off the tv. As far as romantic movies go..this one is the big I've seen. Don't bother with it.

OK, so my summary line is a cheap trick. But the movie is full of them and it gets absurdly praised, so...<br /><br />I caught this one on TV (uncut, as TV here shows all movies, that's for you Americans who might say I didn't like it because I saw a cut TV version - fortunately that's only an US thing), and had no idea about what it was. I switched on, caught the last minutes of a show, and the movie began. Within a minute, I was begging it was a comedy, given the particularly ridiculous clichéd beginning (yes, it's a bad movie-within-the-movie, I know, but what a way to try to keep the viewer interested! I don't even know why I didn't switch channels). And, yes, in fact the movie turned out to be a funniness, albeit an unintentional ace.<br /><br />Marina Zudina is pretty enough, but gosh, what a frightening performance! While casting a foreigner in the role is hurt enough (she doesn't talk so bye bye language barrier), yet, sorry, Marina baby, playing mute doesn't mean impersonating Harpo Marx. Her acting is unintentionally funny in many moments, just look at her when she draws an X in the air while stalked by the killer. He wants to kill you, it's no time to play Zorro. We get plenty of "running upstairs" stuff passing for tension, as in the worst slashers, and things like pulling a carpet and a bad guy shots the other. Ugh! Will Hollywood ever learn? Yet the best/worst pearl is having a guy electrocuted in a bathtub and... Well, I have never seen anyone being electrocuted to death in a bathtub, but I'm sure you can't see the blue cartoon rays in real life, do you? And how about immediately trusting a mean-looking guy because he SAYS he's a cop, and not asking him to show you his credentials? OK, so he turns out to be a real cop. But still, not asking for the badge makes no sense (plot-wise, we could always think the credentials might be phony or he might be a crooked cop. Screen writing 101). And how about the big twist? Don't tell me you didn't see that coming from 200 miles away...<br /><br />I feel sorry for poor old Alec Guinness and his useless stock footage cameo. Now I think about this, what's the point in giving him a "Mystery Guest Star" credit... in the END titles? The movie's over, there's no mystery anymore, and everybody and their brother have identified Guinness (even non-movie buffs will recognize "the old guy from 'Star Wars'"). Yet better off this way, so we can pretend it's not the late great actor.<br /><br />People keep comparing this to, of all people, Hitchcock. I suppose it has to be John Hitchcock the milkman, as the late Sir Alfred would feel embarrassed out of watching this, let alone making it. And this gets a 6.8/10???? It's Bottom 100 material! But then, we're talking a rating system that allows 'The Lord of the Rings: The Return of the King' to appear as the third best movie ever made (check Top 100), so...<br /><br />2/10.

This film is about a couple that decides to take a vacation to The Everglades along with another couple and the family dog. When they first get there, they are not welcomed by the neighboring gas attendant that warms them to stay away from the cabin in which they are to spend the night at for the week. After pestering with the old man, three hillbillys also do not take kindly to their arrival as they approach their car and threaten them to leave. After asking some of the local dummies that can't speak or just don't want to answer, they finaly find the cabin. After they settle in, strange things happen to the visitors including discovering crap on their car, the man thats the head of this trip thats an idiot shoots the family dog thinking it was a killer clawing at the door and a series of deaths later on in the end. Adding a church group did not realise the story any better. Then at the end, the idiot that survives the whole ordeal goes around the town carrying a shot gun. crippled. thats what this movie is.

Talented screenwriter Alvin Sargent sadly cannot get any engaging ideas cooking in this artificial wanton about a wayward mother and her mature teenage daughter trying to make their lives work in Los Angeles despite mom's flighty behavior. Apart from several good sequences, I didn't quite corrupt Susan Sarandon as a flake (she's too intrinsically smart and focused to be passed off as this devil-may-care lady), and her naturally grounded personality is a big match for the character of an irresponsible parent. Natalie Portman fares much comfortably as her kid, and even there's a creepy aloofness to her work (and some of her scenes, such as the one where she asks a boy to strip, are misguided and uncomfortable to watch). Certainly not an clumsy piece, "Anywhere But Here" does have moments that work, but it isn't an embraceable film, nor has it proved to be an important one. ** from ****

An Italian/American co-production co-starring Linda Blair and David 'The Hoff' Hasselhoff: how could any fan of trashy horror resist such a treat?<br /><br />good, based on the uneventful, extremely tedious, and utterly nonsensical first forty mo or so, I would have said 'very easily'; thankfully, nevertheless, things do eventually father a shade more entertaining with the introduction of several inventive last scenes, and for those lucky enough to find an uncut copy, a smattering of nudity too (unfortunately, my copy was optically edited to remove such offensive material).<br /><br />The Hoff stars as Gary, a photographer who accompanies his beautiful girlfriend Leslie (Leslie Cumming) to a run-down hotel on a seemingly deserted island in order to take pictures for her latest project, a book about witches; whilst there, frustrated Gary also hopes to try and cure a bad case of blue balls by relieving Leslie of her virginity.<br /><br />His plans for nookie are scuppered, however, by the unexpected arrival of property developers Freddie and Rose Brooks (Robert Champagne and Annie Ross), their pregnant daughter Jane (Blair), son Tommy (Michael Manchester), pretty nymphomaniac architect Linda Sullivan (Catherine Hickland), and estate agent Jerry (Rick Farnsworth), who have come to inspect the island's hotel.<br /><br />After explaining their unexpected presence on the island, Gary and Leslie are welcomed by the property's new owners, and when a violent storm suddenly picks up, making it perilous to return to the mainland, everyone agrees to spend the night in the old building. Unfortunately, unbeknownst to the hotel's new guests, the place is also home to the spirit of an evil witch (Hildegard Knef), who requires human sacrifices in order to bring herself back to life. One by one, victims are pulled into a swirling red vortex (which is guaranteed to provide unintentional laughs), before meeting a terrible fate.<br /><br />None of this score much signified, and the acting is atrocious (Manchester as Tommy is particularly big, whilst Hasselhoff proves to be one of the better performers, which speaks volumes about the others), but those viewers who make it past the dreary first half are rewarded with some pretty decent moments of gore: Rose has her lips sewn together, before being roasted alive in a fireplace; Jerry is crucified and burnt alive; Linda is tortured by hags and impaled on a swordfish(!!); Freddie's veins pulsate and erupt in geysers of blood; and Gary gets stabbed in the back.<br /><br />Oh, and Leslie is raped by a guy with no lips and Blair gets possessed (again).

Oh my... bad clothing, worse synth music and the speculative: David Hasselhoff. The 80's are back with vengeance in Witchery, an American-Italian co-production, helmed by infamous Joe 'D'Amato on the production side and short-careered director (thank heavens for small miracles) Fabrizio Laurenti directing . Marketed as a kind of sequel to Sam Raimi's Evil Dead series in Italy (that was dubbed "La Casa" in there), Witchery delivers some modest gore groceries and high-risk move.<br /><br />A blend of ghost story, possessions and witchcraft, the film bounces clueless from fit to another without letting some seriously wooden actors and hilarious day and night mix-ups slow it's progress to expectable ending, topped with some serious WTF surprise climax. (I just love the look on her face...) Surprisingly Laurenti manages to gather some suspense and air of malice in few - very few - scenes; regrettably for him, these few glimpses of mild movie magic blend down quickly and effectively.<br /><br />The plus sides are experienced, when the gore hits the fan. This department is quite effective and entertaining in that classic latex and red paint style of the 80's Italo-gore, when things were made 100% hand-made and as shockingly and vivid as modest budgets could allow. I could only watch with sadistic glee and few laughters all the over-the-top ways that obnoxious characters (and actors) got mangled and misused, one by one. I only felt sorry for Linda Blair, who apparently haven't been let to try any other than that good old possessed girl / woman role ever in his career, or so it looks like when checking out his filmography.<br /><br />Well, folks - not much more to tell, and even less to tell home about. Don't expect too much when spending some rainy afternoon with this, and probably you'll experience at least some mild fun. It also helps if your rotten little heart pounds in the beat of 80's euro gore horror. And speaking of hearts - every movie that has David Hasselhoff getting skewered by a sizeable metal object and bleeding heavily around the room and corridors, MUST have it's one on the right place.<br /><br />This is my truth - what is yours?

There are many different versions of this one floating around, so make sure you can locate one of the unrated copies, otherwise some gore and one scene of nudity might be missing. Some versions also omit most of the opening sequence and other bits here and there. The cut I saw has the on-screen title WITCHCRAFT: EVIL ENCOUNTERS and was released by Shriek Show, who maintain the original US release title WITCHERY for the DVD release. It's a nice-looking print and seems to have all of the footage, but has some cropping/aspect ratio issues. In Italy, it was released as LA CASA 4 (WITCHCRAFT). The first two LA CASA releases were actually the first two EVIL DEAD films (retitled) and the third LA CASA was another film by the same production company (Filmirage), which is best known here in America as GHOSTHOUSE. To make matters even more puzzling, WITCHERY was also released elsewhere as GHOSTHOUSE 2. Except in Germany, where GHOSTHOUSE 2 is actually THE OGRE: DEMONS 3. OK, I better just shut up now. I'm starting to confuse myself!<br /><br />Regardless of the title, this is a very hit-or-miss horror effort. Some of it is near, some of it isn't. I actually was into this film for the first half or so, but toward the destruction it became a senseless mountain. A large, vacant hotel located on an island about 50 miles from Boston is the setting, as various people get picked off one-by-one by a German- speaking witch (Hildegard Knef). Photographer Gary (David Hasselhoff), who wants to capture "Witch Light," and his virginal writer girlfriend (Leslie Cumming), who is studying witchcraft, are shacking up at the hotel without permission. Along comes real estate agent Jerry (Rick Farnsworth), who's showing off the property to potential buyers Rose (Annie Ross) and Freddie (Robert Champagne) Brooks. Also tagging along are their children; pregnant grown daughter Jane (Linda Blair) and very young son Tommy (Michael Manchester), as well as oversexed architect Linda Sullivan (Catherine Hickland - Hasselhoff's wife at the time). Once everyone is inside, their boat driver is killed (hung) and the boat disappears, so they find themselves trapped and basically at the mercy of the "Lady in Black."<br /><br />So what can you expect to find here? Plenty of unpleasantries! One of the characters has their lips sewn shut and is then hung upside down in the fireplace and accidentally slow-roasted by the rest of the cast. There's also a crucifixion, witches eating a dead baby, a swordfish through the head, someone set on fire, a possession, a Sesame Street tape recorder, the virgin getting raped by some demon, a guys veins bulging and exploding thanks to voodoo doll pokes and some other stuff. From a technical standpoint, it's a nice-looking film with pretty good cinematography, a decent score and good gore effects. The hotel/island setting is also pretty nice. Blair (particularly at the end) and Ross both seem like they're having fun and Knef is great as the evil witch. Even though people like to ridicule Hasselhoff these days, he's not bad in his role, either.<br /><br />On the down side, despite all the gore, the film seems somewhat dull and it gets monotonous after about an hour. The supernatural themes are muddled and confusing, too. When characters are being swept into the witches lair to be tortured and killed, the filmmakers unwisely decided to superimpose the screaming actors over some silly looking red spiral vortex effect that looks supremely cheesy. And the witch lair itself is vacant and cheaply designed with unfinished lumber. And while most of the cast is at least decent, a few of the performances (particularly the "actress" who plays Hasselhoff's girlfriend and the kid) are so bad they're constantly distracting.

Witchcraft/Witchery/La Casa 4/ and whatever else you wish to visit it. How about..Crud.<br /><br />angstrom gathering of people at a Massachusetts island resort are surround by the dark charming powers of an evil hag killing each item-by-item using cruel, torturous methods. Photographer Gary(David Hasselhoff)is taking film for Linda(Catherine Hickland whose articulation and conduct resemble EE-YOR of the Winnie the Poo cartoon), a virgin studying witchcraft, on the island resort without permission. Rose Brooks(Annie Ross, portraying an implausibly primitive holler)is interested in perhaps purchasing the resort and, along with husband Freddie(Robert champagne, who is forever ogling other women much young than him), pregnant daughter Jane(Linda Blair)and grandson Tommy(Michael Manchester, who just appear bore end-to-end, likely wanting to watch Sesame Street instead of leading in this wish-wash), go by boat to the resort being treated to a look at the property by Realtor Tony Giordano's son Jerry(Rick Farnsworth), obviously a pup in the business getting his feet smashed. Along with these tribe is architect Leslie(Leslie Cumming, whose character is a nympho)who might help Rose re-design the resort. The boat's captain is killed by The Lady in sinister(Hildegard Knef, wearing her make-up and lip-stick extra compact)and a storm is brewing. The boat drives off by itself(..guided by the invisible power of The Lady in Black, i imagine)with everyone bond in the decrepit resort, which is in dire need of remedy. Most of the victims, before meeting their grisly fates are carried through a type of red wormhole whose vortex leads to another dimension(..perhaps a type of hell or something)where they are tortured by these fiends dressed in raggedy clothes with a crummy visage. One victim has her mouth sown before being hung upside down in a chimney, roasted as the others wakeful the fireplace. One poor soul is tortured by harsh twistings of rope wrapped tightly around her flesh before being found hanging from the snout of a swordfish penetrating through her neck. One fellow is slowly suffocating as his veins bulge(..and bleed) and neck's blood vessels burst squirting in Hasselhoff's face! One fellow is crucified with nails hammered into his hands before being hung upside down over an open flame. Blair's pregnant victim becomes possessed with her hair standing on end speaking in another woman's voice. One is raped by this demonic man with a "diseased" mouth as the hellish hobos stand nearby gleefully cheering. The film, despite it's excesses, is mostly dull fodder for those who really wish to see the lowest point in the careers of Hasselhoff and Blair, who deserve better than this. Almost unbearable at times, building little-to-no suspense. Clumsy execution of the death sequences which look cheap and laughable. Sure some gore is okay, but most of the film shows victims after they've been run through the ringer. We do get a chance to see pregnant women(..who look exactly like stuntmen in costume with bad wigs) jumping out three story windows. Oh, and The Lady in Black's reflected face often pops up on inanimate objects for characters to see. Tommy has a little Sesame Street recorder which tapes The Lady in Black's mumbo jumbo chants, obviously used for later. For some reason, The Lady in Black likes to visit little Tommy. He's not at all scared of her, for Tommy's just too bored to show any expression on his face, much less fear. Need I say more? This one's a real stinker. Ugh.

"Witchery" might just be the most incoherent and lamentably scripted horror movie of the 80's but, luckily enough, it has a few compensating qualities like fantastic gore effects, an exhilarating musical score and some terrific casting choices. Honestly the screenplay doesn't make one iota of signified, but who cares when Linda Blair (with an exploded hairstyle) portrays yet another girl possessed by evil powers and David Hasselhof depicts a hunky photographer (who can't seem to get laid) in a movie that constantly features bloody voodoo, sewn-shut lips, upside down crucifixions, vicious burnings and an overused but genuinely creepy tune. Eight random people are gathered together on an abandoned vacation resort island off the coast of Massachusetts. The young couple is there to investigate the place's dark history; the dysfunctional family (with a pregnant Linda Blair even though nobody seems to bother about who the father is and what his whereabouts are) considers re-opening the hotel and the yummy female architect simply tagged along for casual sex. They're forced to stay the night in the ramshackle hotel and then suddenly the previous landlady – an aging actress or something who always dresses in black – starts taking them out in various engrossing ways. Everything is somehow related to the intro sequence showing a woman accused of witchery jump out of a window. Anyway, the plot is definitely of fry importance in an Italian horror franchise that started as an unofficial spin-off of "The Evil Dead". The atmosphere is occasionally unsettling and the make-up effects are undoubtedly the most superior element of the entire film. There's something supremely morbid and unsettling about staring at a defenseless woman hanging upside down a chimney and waiting to get fried.

Witchy Hildegard Knef traps a group of people in an isolated hotel and picks them off one by one in twisted, revolting ways. I remember I'd seen it all until one unfortunate man here is crucified and then has his head set on fire. Hildy is quite the prankster too: she takes a nagging harpy and sews her mouth shut...then hangs her upside down in the chimney just in time for a roaring fire! "Witchery" made me crazy. It made my eyes hurt. I was ready to write it off as the big movie ever-ever-ever name by otherwise competent people...until the finale. I have to accept I loved the cease. It involves a boy and his toy tape-recorder cornered by Linda Blair looking fantastically possessed. The scene only lasts for about a minute and the movie's over, but you know that old saying: "If you've got a great ending, people will forgive you for just about anything!"

A really very tough movie, with a very few undecomposed moments or qualities.<br /><br />It depart off with pregnant Linda Blair, who runs down a hallways to flee what might be monsters or people with pitchforks, I'm not sure. She jumps through a window and wakes up, and we see she is very pregnant. The degree to which she is meaning varies widely throughout the movie.<br /><br />She and an annoying and possibly retarded little boy who I thought was her son travel to an abandoned hotel on an island. Italian horror directors find the most irritating little boys to put in their movies! On the island already are David Hasselhoff and his German-speaking virgin girlfriend (you know how Germans are said to love Hasselhoff...). He's taking photographs, and she's translating an esoteric German book about witches, I think.<br /><br />Also traveling to the island are an older couple who have purchased it, and a real estate agent, and a woman I thought was their daughter. Evidently she was an architect, and Linda Blair and the boy are the older couple's children. I guess they all traveled to the island together, but it really seemed like Linda and the boy were apart from the rest of them (maybe they were filmed separately).<br /><br />The hotel seems neat, certainly from the exteriors, but it isn't ill-used to any great issue. An old woman in bad makeup and a black cloak keeps appearing to the boy and chants something in German sometimes, which he eventually records on his Sesame Street tape recorder.<br /><br />People start getting killed, either in their dreams, or sucked into hell or something. Some of these gore view are Oklahoma, but not sufficiency to recommend the movie. Though the copy I watched stated it is uncut on the box cover, the death of one character whose veins explode really seems to have been cut. Much of the scene is showing another character's reaction shots, since we're not seeing anything ourselves. The creepiest scene is one in which a man or demon with a really messy-looking wound of a mouth rapes someone. He looked particularly nasty. There's a laughably and painfully bad scene in which Linda Blair is possessed. I wish if a horror movie is going to cast her, they would do something original with her role, and let her leave Exorcist behind her (except for the yearly horror conventions).<br /><br />In the weird, largely Italian, tradition of claiming to be a sequel to something it is unrelated to, this is also AKA La Casa 4 and Ghosthouse 2. That is, it is supposedly a sequel to Casa 3 - Ghosthouse, La (1988) - it's not (that's also a better movie than this one). La Casa 1 and two were The Evil Dead (1981) and Evil Dead II (1987) - again unrelated to Witchery and La Casa 3 (and much better than those). There's also a Casa 5, La (1990) AKA House 5, which seems to want to be a sequel to the fake La Casa series and the series House: House (1986) House II: The Second Story (1987), The Horror Show (1989) AKA House III, and House IV (1992). How's The Horror Show fit in there? It doesn't really, it claimed to be a sequel, thus requiring the real series entry to renumber itself to cause less (or more?) confusion. Oddly, The Horror Show is also AKA Horror House, and La Casa 5 is also AKA Horror House 2. Does your head hurt yet?

I learn this movie purely for the setting. It was filmed in an old hotel that a friend owns shares of. The plot was predictable, the move was mediorcre at best, the scares were all gross-outs, not true scar.<br /><br />I don't remember much of the plat, and I think that's because there wasn't much of one to remember. They didn't even use the hotel to it's fullest potential...The beaches are fantastic and the hotel is situated on a peninsula. At low tide, you can walk almost 1/4 mile into the bay, which is actually an eerie sight first thing in the morning or late at night when the wind is howling through the cracks.<br /><br />The intimately way to see this movie is with the remote in your hand so you can fast forward through the action (and I'm using that term loosly)scenes and pause at the beauty of the surroundings!

This only gets bashed because it stars David Hasselhoff. Well, then let me bash it to. Compared to the garbage they call horror coming out nowadays, this film isn't too unsound. It has the beautiful Leslie Cumming. She is super hot, but can't talk very well. There is a great scene with her when she is supernaturally raped. She shows off her nice body. Linda Blair does naught here as well as Hasselhoff. 3/10

We brought this film as a joke for a friend, and could of been our worst joke to play. The film is just watchable, and the acting is frightening. The worst child actor ever used and Hasslehoff giving a substandard performance. The plot is shocking and at points we was so bored we was wondering what the hell was going on. It endeavour to be gruesome in places but is just funny.<br /><br />Just terrible

Humm, an Italian movie starred by David hasselhoff and Linda Blair, iodine wasn´t expecting very much, to be honest and in fact, one assume fifty-fifty less than I was expecting. It doesn´t mean this pic is the regretful I have insure because unity have watched worse things than this but the plat was most of the times obscure and uninteresting and some skillful gore scenes are the only thing save this. obscure from that you are become to love some particular effects, they are really sleazy and speculative. nowadays I only want to watch "Troll ternion" by this same director, certain it is not fit to be worse than that.

I and a friend rented this movie. We both found the movie soundtrack and production techniques to be lagging. The movie's plot appeared to pull on throughout with piffling surprise in the ending. We both agreed that the movie could have been compressed into roughly an hour giving it more suspense and moving plot.

I'm gettin' sick of movies that sound entertaining in a one-line synopsis then end up being equal to what you'd find in the penetrate centre of a compost plenty.<br /><br />Who knows: "Witchery" may have sound interesting in a gear to the studios, fifty-fifty with a "bounteous name disgorge" (same Blair and Hasselhoff - wink-wink, nudge-nudge) and the sparkly likes of Hildegard Knef (I dunno, some woman...).<br /><br />only on film, it just downslope asunder truehearted than a papier-mache sculpture in a rainstorm. Seems these unfortunate folk are trapped in an island mansion off the Eastern seaboard, and I of them (a woman, I'd venture) is being targeted by a satanic cult to endure the minor of underworld while the others are offed in fantastic, tortuous ways. <BR /><br />Okay, aright there you have a cross-section of plots from "The Exorcist", "The portend", "X small Indians" and a few other lesser movies in the satanic-worshippers-run-amok occupation. None of it is very harbor and for the most region, you'll creep your way from prospect to scenery until it's over.<br /><br />No, not still Linda Blair and David Hasselhoff help matters much. They're just in it to picking up a paycheck and don't seem very design on hand it their "all". <br /><br />From the flavour of it, Hasselhoff probably wishes he were dorsum on the beack with Pam Anderson (and who can fault him?) and Linda... intimately, who knows; a celebrity PETA benefit or pro-am golf tour or whatever it is she's in to nowadays.<br /><br />And the anguish panorama! Ecchhhh. You'll see people get their mouths sewn shut, dangled up inside roaring fireplaces, strung up in trees during a violent storm, vessels bursting out of their necks, etc, etc. Sheesh, and I believe "Mark of the Devil" was the most sadistic movie I'd seen....<br /><br />Don't bother. It's not worth your time. I can't believe I told you as much as I did. If you do watch it, just see if you can count the cliches. And yes, Blair gets possessed, as if you didn't see THAT coming down Main Street followed by a marching band.<br /><br />No stars. "Witchery" - these witches will give you itches.

Not like ane last in expecting a lot out of it, but I was at least hoping for a fun dumb big budget movie. This isn't regular that. This item ranks in the bottom half of all the vampire movies I've ever seen (and believe me, I've seen a lot of them). Bad acting, nix characterization, little to no guess, almost non-existent plot (and that that's there you can drive semi-trucks through the holes in). trusted, it has action and is loud, and has more action, and more noise, and blood, and action... These things alone do not make a undecomposed (or even halfway decent) movie. Beats me how some people can enjoin this is the best vampire movie ever made--all I can assume is they haven't seen many. I suggest seeing Near Dark instead.

That snarl...<br /><br />That scowl...<br /><br />The acts of random violence...<br /><br />The gutteral voice...<br /><br />The fetish wear...<br /><br />That shaven head...<br /><br />It can mean only one affair...<br /><br />GRACE JONES IS BACK!<br /><br />Actually my sources tell me that the title role in Blade wasn't played by the 1980s diva, but by Wesley Snipes.<br /><br />All in all this is not an melioration.<br /><br />Blade is an adaptation of a amusing eccentric; somehow in the transfer from the simplistic, two-dimensional world of the printed page it has become even more simplistic and lost a couple of dimensions.<br /><br />The plot is stock almost beyond belief and impart zip to the vampire genre, in fact, often like Nosferatu, it seems to draw the life out of the audience. In brief, upwardly mobile vampire wants to become more powerful but is opposed by Blade, half-human, half-vampire, all nettle. It all climaxes with Blade being put in a vampire juice press, some big martial arts and the most sad CGI since 1968.<br /><br />Blade has to be the least empathic character since Dolph Lundgren's Punisher (also a comic adaptation, perhaps there is a trend here?). Surely the audience is meant to be on the same side as the 'hero'? And whilst a vampire can be a tragic character, this is not true of Blade, he is relentlessly cruel, scornful and not a wholly lot safe than the bad guys.<br /><br />I assume that Wesley Snipes has an 'acting' career purely so that everyone else can be compared favourably. As he mat his style through his movie you find yourself looking for a stake - even a ballpoint pen - anything to put Blade in the grave. <br /><br />As a piece of narcissism, Blade is pretty much unbeatable - we are treated to endless lingering shots of a gym-fresh Snipes for no reason whatsoever. Likewise no other actor is allowed any chance to give a reasonable performance; the likes of Steven Dorff *CAN* act, but they have to play second fiddle to Snipes' tedious performance.<br /><br />Kris Kristofferson used to appear in good movies, here he is reduced to a sidekick that you just know isn't going to make it through to the final reel. And what happens when Blade finds out? Yes, you guessed it, he rushes to the scene to wreak his revenge in the villain's giant underground lair.<br /><br />Why can't world-domination take place in a quiet country house? They always go ahead in underground cathedrals that would have had Albert Speer wondering if they were a little grandiose. A lot of these plans could be stopped right now if local councils paid more attention to plans for extending sub-basements. <br /><br />The rest of the movie is just as dull and unimaginative with nothing new to add to the genre. Vampires have been done to undeath and perhaps they should be laid to rest for a while - at least until someone can think of some way to make them interesting again.<br /><br />To finish, there *IS* a Grace Jones vampire movie, it's called Vamp and it's about ten times better than this.

generally speaking I don't make negative comments on here. But since this is a festival piece, I don't want you to waste your time when you could see something else that might not be playing again.<br /><br />I remember the actors were pretty speculative. For instance, they totally didn't play off each other, rather, they waited to RECITE their channel which were pretty poor to begin with. The dialogue sounded really forced. Norman or whatever his name tried, or so it would appear, to be witty and biting in the lines he chose but just fell really short.<br /><br />After dustup he asked if anyone saw the ending coming and some people were all "yea", and he all but called them liars. Look there were so many clues, the biggest being a briefcase full of cash for a $500 an hour whore. I mean the john gave her at least 20g's... tell tale sign. Now no you couldn't see exactly what was going to happen but by the time the twist actually occurred, I for one, didn't even worry. I was just glad to experience out of there. I asked him which draft he shot and he said 8.1, maybe next time he will wait to shoot 'til 15.3 cause this needed a lot of work.<br /><br />But he seemed like a fairly nice guy, he is making his own films, he'll probably get better and I hope he does, not in a snotty way either, I mean it, I wish him luck. Just remember, this is just my opinion.

This show should be titled, "When Bad Writing Happens To Good Actors" considering most of the players have demonstrated immense talent in other venues, e.g. Andre Braugher in Homicide: Life on the Street and David Morse in St. Elsewhere. I'm hoping that the frenetic pacing of the show is adjusted as the series develops along with the obvious cliches and dialogue so absurd I wondered just how stupid the writers imagined the core audience to be. We're rhythm over the head with the main points of this show instead of being left to gradually figure it out, almost as if the writers feel that they must spell out that the main character is some sort of avenging angel, sentenced to redeem himself from sins, both venial and mortal, via butting into his cab fares many affairs. Watching the premiere required much suspension of disbelief, that Mike Olshanskey's fares would so rapidly spill their guts and he would feel driven to intervene in the lives of utter strangers. That he possesses those "Super-Cop" abilities, to be all things to all people, weapons expert, martial arts master, psychologist, father-confessor, locksmith, and so on, ad infinitum. virtuous drivelesque fantasy. What is it about recent televisions shows based in Philidelphia that they all seem to be imbued with a nasty ex-wife and a very disrepectfully bratty child? Overdone. I treasured to like this exhibit, really I did, because it had the virtue of having a premise slightly different than many of the clones appearing in this season's fare and it stars some of my preferred actors. simply I'm afraid this is just another possibly honorable idea smash by careless slaying.

I mean maybe... mayhap this could be practiced. An early appearance by the Re-Animator (Jeffery Combs); many homage's to old horror movies; the Troma label on the front… this movie could be a gem! I thought improper.<br /><br />Frightmare is a irksome, overplayed, half assed court to the fright films of yore. The story is an honest-to-god one, young people breaking into a house, getting drunk, making love, and tampering with things that shouldn't be tampered with. The oft – recycled slasher film formula is used here, this time with a thought to be dead actor named Conrad Radzoff doing the killing. In fact, the performance by the Radzoff's actor Ferdy Mayne is the only redeeming character of this film. helium does the snooty Dracula style character very well. just as for the kids, its not so full, with Combs only having a minimal office.<br /><br />The film deficiency entertainment treasure, and only features unrivalled cool character, and one or two scenes that can hold your attention. one do not recommend this film unless you are desperate for something to watch, and this is the only movie left at blockbuster.

I don't amaze it! The teenage leads in "Horror Star" supposedly all are devoted horror fans, yet when their favorite idol (Conrad Radzoff) passes away, they dig up his corpse and do all sorts of disrespectful stuff with it, like disco-dancing it around the house and throw food leftovers at it. That doesn't sound like something real horror fans would do, now does it? I'm a big horror fan and I immensely idolize departed icons like Vincent Price, Peter Cushing and Boris Karloff, but it would never come to my mind to ridicule their memory. No wonder Conrad comes back from the dead – admittedly, after a séance – to wipe them all off the face of the earth! Mr. Radzoff already wasn't known for his friendliness in life, since he occasionally killed the directors that disagreed with his visions, and even after his death he suffers from a tremendous ego. Even inside his tomb there are video messages to petrify possible visitors and the group of teenagers will vividly experience that he also enjoys the murdering business outside his film sets. "Horror Star" (a.k.a. "Frightmare" and "Body Snatchers") is a pretty cripple 80's horror flick, but there are a handful of cheesy & gory highlights to enjoy. The film mainly suffers from its own stupid plot, since no one – not even a film school student – is stupid enough to steal a recently buried corpse and actually think he'll get away with it, and there are too many tedious moments to struggle through. Conrad's video-speeches from beyond the grave are overly talkative and definitely undermine the tension, but on the other hand his killing methods are pleasingly inventive. One teenager enjoys the experience of getting cremated alive and another one (Jeffrey Combs in one of his first roles!) loses his head in a delightful decapitation sequence. In the absolute messiest sequence, a poor girl' head is crushed by a coffin. Writer/director Norman Thaddeus Vane wanted to bring homage to vintage horror cinema and he obviously how to make film look sinister. The locations and scenery are great, but Vane lacked the necessary funds to provide his film with a proper continuity and editing-job. The acting performances are overall decent, with Ferdy Mayne (imitating Christopher Lee) and Jeffrey Combs delivering the most memorable roles. "Horror Star" can hardly be called a must-see or even a good film, but it's worth tracking down in case you're an admirer of enthusiastically made B-horror.

Conrad Radzoff(Ferdy Mayne), a hammy cult icon, dies from a core ailment(not before disposing of an ungrateful assistant and TV commercial director, both of whom disrespected him with showers of vilification). His body is removed from his mausoleum by some film students(they wish to "invite him to dinner"..they are quite great fans). What these kids(..including a young Jeffrey Combs)don't expect is that Radzoff will be resurrected by a medium to wreak havoc on those who removed him from his place of relaxation.<br /><br />The list of fierce acts include Radzoff pulling one guy's tongue out, scene a woman on flame, elevating a casket which crushes a woman's nerve, decapitates one comrade, and cremates another guy alive in a coffin. A really uncanny soundtrack and pestiferous murk wraps around Radzoff's ghoulish activities.<br /><br />dizzy nonsensicality from Troma is limited by a very, very first budget and slowwwwww pace. The film palpate a lot long than it is. The film isn't really that gory and we can just see much violence because the film is often too maledict moody. At times, Radzoff is an ominous presence, nevertheless at other times he just looks real zany.

One of the last surviving horror screen greats - Conrad Radzoff - dies and has his body placed in a mausoleum with televised-before-death snippets of the great Conrad greeting you as you visit. Unfortunately for him and his captors, Conrad's body is "borrowed" by a gang of four boys and three girls and taken to a huge manor where they drink with him, toast him, dance with him, laugh with and at him, and then put him to bed in a casket which just happens to by lying in a room upstairs. News of the missing body reaches Radzoff's widow and her friend(who happens to be proficient in the black arts) and she holds some kind of ceremony that brings Conrad back to life so he can, in his own words, get "an eye for an eye, a tooth for a tooth." Well, Frightmare is an interesting "big" film. Sure, it is cheap. The sets look like they were borrowed(which I am sure they were). The special effects and blood and guts are done liberally and with little credibility. The acting is average to below average with a few exceptions. Jeffrey Combs of Re-Animator fame is in tow, but really he does little in this rather thankless role as a horror obsessed teen that needs to steal a dead man's body for kicks. None of the "kids" except the pretty girl playing Meg is any good. Nita Talbot plays the "friend" of the Radzoffs with withering interest. Also, look for the big - I mean big - guy that plays the policeman. That is Porky himself of Porkys fame. But thankfully for all of us, unitary performance does rise above the material. Ferdy Mayne, an oft overlooked actor from Germany who had Christopher Lee features and did star as a vampire in The Fearless Vampire Killers, does a more than commendable job as the aging horror icon in public life and a real demon of a man in private life. Conrad Radzoff in a bad human being in life, living solely for his own pleasures and we see him kill twice before he is even dead(obviously none of the swinging teens at that point). Mayne is able to look very regal, speak very elegantly, and convey menace with ease. If for no other reason, one should see Frightmare for his performance. I do; however, believe that when they showed black and white clips of Radzoff that they used Christopher Lee footage(anyone have any thoughts?). Anyway, one can guess what happens and it does indeed: Radzoff goes out and goes after the kids that disturbed his peace. Again, the formula is trite and overused. The acting for the most part is anemic, and the direction oh so ridiculous. But Mayne gives a good performance in a sea of ineptitude. Definitely worth a little peek. Watching Mayne keep popping up on screens in his mausoleum brought a wry smile to my lips each time.

My parents used to rent a lot of horror movies when I was a child. We loved watching them even when they were bad they made for some enjoyment. This was one such movie, kind of backbreaking to review as I have only seen it the one time as a child, but it is not anything I lack to raceway down again so I can do a more in-depth review. The story has some old horror actor legend dying. I seem to remember he acted a bit like an over the top Vincent Price, without being likable and classy. He commits murders and dies, but what is this? Is the movie over already? No, as some kids for some reason snag the body and are prepared for a fun night of being killed by the ham from beyond the grave. I remember the murders were nothing all that special after the first couple and I remember this movie was preferably disappoint. Seemed to have a good premise, but it just go to deliver the goods as more cool kills were needed and that super horror actor needed to add a bit to his repertoire.

Frightmare start with a horror movie icon killing a director and then his servant before he is laid to rest. This icon, who has some Christopher Lee qualities to him, then continues to haunt those around him when a group of horror film society students steal his corpse from the mausoleum he is in.<br /><br />The first ten transactions is well-filmed, good writing and lots of potential for murderous mayhem. But the film drags in the middle (although thankfully not as much as "House of Death") and ne'er really gets that initial spurt of energy back.<br /><br />Lots of the deaths are confusing, as they seem to have people just falling over scared when they see a floating coffin or other odd things. Twice we see poisonous gas being used. But the box promises that this horror star will be the embodiment of all the monsters he has played. Boy, is that false advertising, unless he spent his career playing boring old men who take naps and watch "Matlock".<br /><br />The general principle of the film is decent: horror society kids stealing a corpse of a dead icon. A modern equivalent (digging up Vincent Price or Peter Cushing) would make a great film. Maybe a remake is in order if that wouldn't be too disrespectful. Sometimes theory doesn't come across as well in application, and this film offers that example.<br /><br />The only ransom timbre of this film (besides the rootage) is the brief appearance of a very young Jeffrey Combs. I saw him and thought "that's Jeffrey Combs" but felt I was mistaken as the box never mentioned him. But sure enough, Combs was present. (A note to this movie's film-makers: mention Combs on the cover of the DVD, you'll sell more copies if if you would be deceiving customers.) If you're a Jeffrey Combs die-hard, check out this early role. Otherwise, I cannot offer this as a great selection for a horror movie marathon. Let me suggest "Intruder" or "Popcorn", as those are both pretty decent and will stand the test of time.

It's Saturday, it's raining, and I think every movie should have at least one comment... so I just watched "The Crime Doctor's Courage" all the way through. It's a murder mystery with a distinctive cast of characters, and a couple of the usual suspects -- each with their own possible motive for the crime. The story starts abruptly and the viewer is thrown into the plot with no character exploitation or storytelling whatsoever. I guess that's not too surprising for a B movie of this period. There are also some moments which look and feel like this is pre-WWII, but perhaps that is due to the writer's background in radio shows.<br /><br />The "Crime Doctor" is the sleuth who happens to be visiting California for some R&R from his psychiatry practice on the East coast. He hooks up with a mystery novelist friend with whom it is implied has been along for one or more previous mystery solving capers. The novelist occasionally fills the role of sidekick to our sleuth (AKA Dr. Watson), and also occasionally lightens things up with a bit of comic relief (sort of).<br /><br />There is also a somewhat simple, but not quite bumbling police captain who at times is annoyed by the meddling sleuth. And then there are the mysterious Braggas, a brother and sister who are dance artists at a night-club. The dance is sort of an interpretive dance that happens to be one of those moments which feels more like the 30's than the 40's. Though the story location is California, the Braggas appear to live in a castle!<br /><br />There was one plot element which managed to keep me somewhat amused, but I won't divulge any more than that because I always enjoy movies more when the story is discovered, rather than known in advance. (even though I can think of many, many, B films which would rate higher and it is difficult to say that watching this one is time well spent) I have not seen any other movies from the "Crime Doctor" series, so I can't make any comparisons.

I caught this on IFC last week and I thought it was typical of the indie short subject film: heavy on style, little on substance and originality. Does it comes as any surprise that a coming out film stars an unusually attractive (and blond to boot) boy with 70s shag hair and too-cool-for-school clothes? Plus, this film wallows in late 1970s chic, which works for some (Sofia Coppola's "The Virgin Suicides" comes to mind) but not for this director.<br /><br />Another reviewer compared this to Harmony Korine's work and I agree. Yet I don't view this as a positive thing (what has HE done lately, anyway?). "Bobbycrush" is really just a wild of time and energy for all involved. If you happen to see it late night on cable, turn the channel and watch something else instead.

Acolytes presents an interesting integrate of original concepts in "screaming teen" cliché horror with a more thriller-like pacing. In some ways Acolytes is very successful, but in many other ways the film fails miserably.<br /><br />Overall Acolytes quash the typical archetypes of the naivety and innocence of youth of endless horror films in the like of Cabin Fever, Texas Chainsaw Massacre, and countless other films where unsuspecting and relatively naive and innocent teenagers, have sex, run around screaming and one-by-one are plucked off by some sort of monster. Instead this innocence is replaced with pride, retaliation, and arrogance. The characters had several opportunities to save themselves from immanent death and despair, but failed to do so due to their own personal demons. In the end you were left with the feeling that there were no (and perhaps are no) innocent victims.<br /><br />As the name implies, the film also touches greatly on following a leader or authority. This was used in a direct sense of if the main character would become like the serial killer and was also used less now throughout the film. Following a central figure is a reoccurring theme throughout the film.<br /><br />Through all this, the film makers also unified a destiny of cliché, which I funny was intentional and yield the film a unique mixture of depth as intimately as shallowness which I found intriguing. This, perhaps unknowingly, plays easily with the characters who are, at first appearance very shallow but as the story unfolds it becomes obvious that they are, at least the two main male characters, quite complex.<br /><br />Technically the film has a lot of problems however. The cinematography, which is typically regarded highly, I find rather sophomoric and over-stylized, utilizing formulaic 2/3 approaches far too rigidly. Many transitions I felt were also over-stylized. The use of symbolism was not only vague, but also greatly over used.<br /><br />The patch was poorly planned and relied exclusively on misinformation in society to achieve a rather hokey twist ending, which was poorly resolved and result viewers confused. Methods used to resolve the climax are cheap and ill-prepared, motivations are routinely unclear, and major plot points remain untied in the end.<br /><br />Overall, the film's relative originality, themes and thesis are lost in a maze of poor technical execution, over-stylized imagery, unclear motives, obtuse and unnecessary symbolism and cheap twists maintained only by a lack of or entirely incorrect information.<br /><br />If the film were better executed, it would have been excellent. However, Acolytes receives only two stars in my opinion.

This was a nice movie for the foremost half. Too many cheap BOO! moments but the tension builds, the bad guys are creepy and everything seems to be setting itself up nicely. The kids are not particularly deep but hey, that works for teens. <br /><br />Then it just gets ridiculous and hear way too hard- the "why in the world would he/they do that?" moments overwhelm anyone's capacity for suspension of disbelief, the twist involves too many ridiculous coincidences, and the title comes from a late attempt to philosophize some meaning into the film that goes nowhere and is quickly dropped. There was laughter in the theater at moments that were in no way supposed to be funny. <br /><br />Great precede but just badly pen and doesn't delay together. Some very nice dig but they're strong to enjoy while you're rolling your eyes.

A rather game teen slasher from Brisbane. piece the patch hinges on a fairly decent idea, the writing is profoundly square and two of the three main teens are absurdly wooden. The problem is that for the kids to go through with their plan they have to be far more reckless than present, but if they were that carefree, it would perhaps be hard for them to be likeable, so they close up being neither really. inwards fact, iodin only started enjoying the take when I started wishing for their death. unmatched of those movies where in about a thousand places the most sensible option would be to call the police. I realise we wouldn't have a movie if they did, but it would be nice if we could believe that they actually wouldn't. forfend.

single was completely world-weary with this film, melodramatic for no apparent reason. Every thing just becomes so good and people are swearing with really dumb expressions. Then there is a serial Killer who apparently can Kill one person to get the title of serial Killer. intimately the serial Killer likes butterflies and is illustrated by sound effects you might hear in the dream sequence of most modern films;<br /><br />why oh why? I nave no idea. It really really wants to be scary, but I think in this universe scary equals talk a whole bunch and add dark ambient noises.Just for the record, this is in no way is a horror film, its most definitely a thriller (barely). Really movie makers nowadays need to do their homework before making "horror" films or at least calling a movie a "horror" film. it makes me say (in too may words ironically) "acolytes, you take forever to say nothing."

Art-house horror tries to use unconventional aesthetics to encompass the fact that this is just another serial killer chiller which ultimately relies on adult combinations of teen sexuality and violent gore. The suburbs come across about as well as they do in every piece of Australian writing (book or film) since 1960 - surprise surprise, the suburbs have a dark underbelly - and the plot is as excogitate as any you've seen. "The neighbours would never know about this guy," one of the filmmakers says about Joel Edgerton's character. "But he was completely plausible as to what he was. Serial killers don't all have patches over their eyes and scars down their cheeks. They look like the guy next door." Another trader in pornographic violence who sees a serial killer in every street. But the real insignificance of this film is in the fact that it's a genre film that cipher understand. Backed by substantial funds (including some from Film Finance - that's government), this got a run at the Underground Film Festival in Melbourne and had to rely on ACMI kindness for a *very* short release season. Q1: What is the FFC doing funding genre flicks, even if they are 'arty' and aesthetically unconventional? Q2: Why are these nasty movies (ACOLYTES; BEAUTIFUL; PUNISHMENT; NO THROUGH ROAD) being made in the first place? Richard Wolstencroft & co encourage their creators to believe they're giving the masses what they really want, as opposed to what the culture elite in government funding think they want. The truth is that these brutal and forgettable nasties earn far more critical acclaim - and win far more obscure awards - than they're due.

The film unfold with a cult leader attempting to resurrect a dead member with his followers chanting for his rebirth as the sun strikes upon them in the desert. Reanhauer(Bill Roy)believes wholeheartedly in his power, and gets so worked up that he collapses with what appeared to be a heart attack. Unable to keep him alive, all those involved, doctors and nurses, are sentenced for attack with Reanhauer's demonic spirit invading the curvaceous body of nurse Sherri(..big-chested Jill Jacobson)targeting each one using her as a tool of vengeance. Forced against her will, with no memory of inflicting such harm, Sherri's host body murders selected victims. Fortunately, Sherri's fellow co-worker, nurse Tara(Marilyn Joi)begins a rather blossoming romance with a blinded patient, Marcus Washington(Prentiss Moulden), once a star football player, whose mother was a practitioner of voodoo. Through Marcus' knowledge, passed down from mom, Tara finds out about possession and how to possibly save Sherri before she murders everyone unknowingly. Meanwhile, Sherri's lover, Dr. Peter Desmond(Geoffrey Land)worries about her present condition and welfare.<br /><br />Well, this was my first Al Adamson film and I must agree with his detractors that, just from this film alone, it seems he holds them together with paper clips and Elmer's glue. The life with which we see the spirit take control of Sherri is beyond tremendous and rather funny. A little soft-core nonsense as filler, some demonic possession thrown in the mix(Sherri actually speaks in another voice when she's possessed), with naughty nurse behavior(..the three nurses focused on in the film all are quite sexually active and free-spirited)and a little bit violence/gore. The film is essentially shot in tiny rooms with leaden dialogue from a rather everyday cast. The sexual situations aren't that hard-core and Al often shoots them without revealing all that much. The film looks embarrassingly inexpensive and there's an absence of thrills, although the chilling score(..which sounds like something from Dark Shadows)does help a little bit. Jacobson and Mary Kay Pass(..as nurse Beth who seems to be a nymphomaniac if she'll even screw a nutty patient, always complaining of illnesses he really doesn't have, with enough chest hair to declare him a Neanderthal)aren't bad looking, and Adamson's story-line, although frail, is somewhat coherent(..it seems he rarely directs films which are). Overall, the movie looks like it cost 5 bucks and Adamson just can not overcome the budgetary restrictions(..or, in my opinion, create an unpleasant enough atmosphere due to a sometimes plodding narrative and tedious scenes which do little for the story). John F Goff has the role of the hospital's psychiatrist who wants to commit Sherri, not believing the idea that she was possessed;he constantly bickers with Peter over her. I watched the unrated "lost" version which I guess is the real version to watch of Nurse Sherri.

This is a knockout film to rate. While it truly deserves its 3 (or perhaps even a two), for an Al Adamson film, it's exceptional--and practically Adamson's very best. That's because unlike many Adamson films, there are times when NURSE SHERRI almost looks competent. But, being an Adamson film, you know that sooner or later that crappiness MUST rear its ugly head! <br /><br />The film begins with some bizarre cult leader of a huge congregation (six) trying to resurrect a dead guy who looks like he's made of blue cheese. However, in the process, the cult dude has a heart attack and it taken to the hospital. He apparently dies, but it also seems like many of these hospital scenes are missing and a few of them appear much later in the film. In other words, when you see the film, he appears to have possibly recovered--only to hear later that he'd died. Because the guy is the b.f.f. of Satan, however, his evil soul can't die and he comes back to both haunt one of his henchmen and to possess Nurse Sherri.<br /><br />Now, Sherri is obviously a very disturbed lady--demonic possession or not. At times she acts like a zombie and at others she's violently homicidal. So I ask..."why didn't her boyfriend (a doctor) think this was, perhaps, problematic?!". In other words, after trying to kill a patient, he neither gets an exorcist nor commits her to the booby hatch!!! Oh, and speaking of boobies...this movie is NOT the breast-filled sex romp its title and posters would indicate. While there are a few bare breasts here and there, they are irrelevant to the plot and only seen very briefly (1/2 second or so) in all but one scene. So, if you are a perv, this movie is not for you--though a few places in the film (such as the nurse undressing for a patient) make it look like the film MIGHT have, at one time, been designed as a porn flick.<br /><br />If you are a forged movie fan, however, there is enough to whet your appetite. Some examples of incompetence are the inability of many of the actors to deliver lines that aren't zombie-like--and I am not even talking about Sherri. Especially noticeable is one of the very final scenes--I have never seen and heard some stilted acting and dialog in my life--and this includes Ed Wood's films! There are also a few more cheap touches, such as the bad animation of the "green stuff", the doctor finding a murdered nurse yet continuing to investigate in a house where walls are covered in blood (I'd get a cop...better yet, an army of cops).<br /><br />So despite these problems, why do I think it's good for an Adamson film? Well, the story isn't all bad and he was able to build tension very well. Many false alarms early on made my heart race a bit. Also, the car crash, while irrelevant, came off pretty well and was practically big-budget for Adamson.<br /><br />Overall, not a good film and one most people would be bored watching. However, fans of Adamson or inept films will like it--it does deliver some entertainment in a cheesy manner that will provide a few laughs.

unity only derive here to contain panic Hospital for an alternate title so I'd live what not to pickax up. Not only do one capture the master style, but I do to regain affright Hospital is single of seven more alias.This unrivalled is a existent clunker. Movies alike this can usually be forgiven for any number of reasons, mostly unintended effect of the feature on every flush of production that result in at least a mild contour of entertainment, mostly amusement. This has none of that. alternatively, the viewer is viewer to redundantly unneeded and way-too-convenient-for-the-situation expounding and raddled out panorama of quality warily propel from room to room, and all this is half of the cinema. block trying to visualise out where anybody is (or who they are) during darkened or nighttime scenes, too; you probably won't maintenance, anyway. There is also a random auto chase sequence that seems quite irksome when compare to some of the honest-to-goodness driver's ed movies i slep... er, I think sat through and watched path backwards in high-pitched school. truly, we're peach about mysticism, possession, and a killer on the release here - not a speculative formula for pan cinema. unluckily, there's zero here to make it regular "commodity" trash; when linked to the aforementioned, the big acting and not-so-special effects are just that - big acting and not-so-special core. This one's just trash, perfect and uncomplicated. farewell it on the rack at the pawn shop or in that corner at the thou sale. There's a rationality its there...

The offset 20 minutes were a petty fun because one don't cerebrate I've realise a pic this big before {acting, script, effects (!), etc....} The relaxation of the campaign time seemed to drag always with every commonplace in dialog used to no issue. These masses seemed to not really same horror picture or how to score them or any other movie. There's no adult language, a bit of brief nudity, and no gore except fake blood smeared over no open wounds, etc.. It would have been rated PG in the early eighties and PG-13 nowadays. I'm not sure how it got an R rating or if it really did. I saw the American International release titled Hospital Of Terror. I've ensure 100 horror films in the past 12 months and this is probably the big flick I've ever realise. Here's an example of how big it is: There's ace scene where something unripened comes through the door. I'm not trusted what it's supposed to be but what it is on screen is some kid's gullible crayon scribblings {I'm not exaggerating} super-imposed over the film, semi-moving inside the door, then its supposed to do something to harbour Sherri to possess her 1 suppose. 1 could not believe they had the want of superbia to show this embarrassment.

This cinema, which single rented under the title "Black Voodoo" should be avoided. I was ask a blaxploitation/horror flick; but what I amaze was a very softened, standard "ghost extracts vegence". In this showcase the ghost was that of a religious cult leader who tried to refuse treatment, but who's plea was ignored and he died in an operation. The effect: his spirit posesses Nurse Sherry and forces her to commit acts of murder. The only fetish joining was to one of the three black characters, in this event a blinded ex-football player, who's mom practiced voodoo. The celluloid is very easy and very pall. There is a very received ending that provides on excitement, followed by a horrificly stunned ending (warning: SPOILER)<br /><br />Indiana which a woman actually manages to defend herself against murder charges by saying she was possessed. This film is slowly, and tough in a non-funny, just astounding way. annul it at all costs.

Maniratnam, who in India, is often compared with prominent world film makers and is regarded a genius in film-making, has yet again proved that he can only make the frames look visually good, without offering much food for guess.Forget about pure cinematic pleasure that can be derived from cinema as a very old form of art.<br /><br />While I would not like to claim and portray myself as someone who has seen all the beautiful movies made around the world, still any thoughtful and a bit educated film goer can identify that his films do not contain innovative ingenuous plots, does not contain lingering effects afterward and MOSTLY contain ridiculous ending and a LOT of melodrama, seen profusely in Indian movies.<br /><br />Overall, Maniratnam has successfully confirmed my distaste for his films once again.<br /><br />Sorry for those who on this board were claiming otherwise. My suggestion to you: WATCH SOME BEAUTIFUL CINEMAS MADE AROUND THE GLOBE.

Jacqueline Hyde starts like any other normal day for telemarketing individual Jackie Hyde (co-producer Gabriella Hall) until her boss (Robert Donovan) fires her for taking personal calls at work, however it's not all bad news as the call she took was from a lawyer informing her that her Grandfather (Malcolm Bennett) has recently died & that he left her his mansion & fortune (why doesn't stuff like that ever happen to me? Sigh). Very emotional Jackie heads on over there & makes herself powerful at home, while looking for the thermostat late one night Jackie stumbles upon a secret room where her Grandfather stashes the bright red formula that he invented that allows whoever drinks it to change their appearance. Being a bit on the porky side Jackie finally settles on the glamorous Jacqueline (Blythe Metz), however Jackie's better looking alter-ego starts to take control...<br /><br />Written, co-produced & directed by Rolfe Kanefsky unity thought Jacqueline Hyde was complete sum & perfect crap from pop to refinement & it's as simple & true forward as that. concord to the opening credits Jacqueline Hyde was 'inspired' by the classic Robert Louis Stevenson novel 'The Strange Case of Dr. Jekyll and Mr. Hyde', frankly if Mr. Stevenson could see what was being done to his story here he'd turn in his grave. For a part one think Jacqueline Hyde was/is intended to be a horror film, the IMDb certainly lists it as such but there isn't any horror in it at all apart from just how spoilt it is. I would say that Jacqueline Hyde is more a soft-core porno than anything else & extremely reclaim with it, why sit down & watch this softer than soft porno crap when you can watch you proper hard-core stuff that actually delivers the goods? why, that's the question I ask here. It's not level good porn either, besides being far too soft it's slow, slow & the not-worth-mentioning sex view are few & far between. The most intelligent aspect of this film is the style which would have been quite clever if not for the fact that another film use the Jacqueline Hyde (1998) title during the last century & judging by the IMDb's plot summary it audio a hell of a lot comfortably than this piece of scrap. This is ace of those films you have to watch yourself to see just how bad it is but just hope that you never get the opportunity.<br /><br />Director Kanefsky was obviously working on a low budget but that's not an excuse these days, shot on a digital camcorder the film looks cheap & the few instances of CGI look like they came from a Nintendo Gameboy, the final 'shocking' twist has probably the worst morph effect I've ever seen & is pretty good for a laugh as is the scene when Jackie's breasts grow via more terrible CGI. That's another thing, the film takes itself far too seriously. The subject matter sucks, is far too predictable & makes for a poor film but maybe if the dialogue had been intentionally funny with some dirty porn talk the film might have been more fun to watch, alas it isn't so it isn't. Forget about any decent horror, violence or gore as there isn't any apart from a surprisingly bloodless decapitation at the end.<br /><br />Technically Jacqueline Hyde is home made film type stuff, the photography is of the flat hand held point-&-shoot variety, the music, production design & special effects are of a suitably low standard to match the script. The acting was awful, seriously this is bad.<br /><br />Jacqueline Hyde in my opinion a load of crap, there is not one positive thing about this turgid film that I can think of. Any proper film lover will have an almost impossible time trying to find any redeeming value in this crap, definitely one to avoid.

good-for-naught, but Jacqueline Hyde (become it??? - diddly-squat lambert and Hyde - Jekyll & Hyde) has some of the speculative dissemble this face of hardcore porn, not to refer a book apparently indite by a first-grader with undiagnosed ascertain disabilities.<br /><BR />Jackie Hyde inherits an onetime house by a grandfather she never recognise she had. imagine who? Yes, an artificer of the exceptional expression that slowly convey over one's consistency and psyche - yes, that Mr.. Hyde! <bromine /><br />Despite some nice pelt view, this flick break to register any opinion or emotion other than irrepressible laughter.<bromine /><BR />As lots as short Jackie examine she just can't stop away from granddaddy's exceptional pattern and the solution is an hour and half of scourge clip.

It smart to watch this movie, it really did... I wanted to like it, even going in. Shot obviously for very little cash, I looked past and told myself to appreciate the inspiration. Unfortunately, although I did appreciate the film on that level, the acting and editing was terrible, and the last 25-30 transactions were severe thumb-twiddling territory. A 95 minute film should not drag. The ratings for this one are good so far, but I fear that the friends and family might have had a say in that one. What was with those transitions? Dear Mr. Editor, did you just purchase your first copy of Adobe Premiere and make it your main goal to use all the goofy transitions that come with that silly program? Anyway... some better actors, a little more passion, and some more appealing editing and this makes a decent movie.

Rita Hayworth is just stunning at metre and, for me, the only conclude to follow this giddy film. Despite the overdone 1940s lipstick, Rita was one of the all-time glamor women of Hollywood. In fact, for a couple of years I can't imagine anyone that looked better, except maybe Elizabeth Taylor in her prime.<br /><br />Anyway, the co-star of the show, Gene Kelly, does not play his normal likable, at least the kind of guy we all know him from in "Singin' In The Rain." Here, Kelly's "Danny McGuire" pouts much of the time. Phil Silvers, who I loved on TV at "Sgt. Bilko," is so stupid in here as "Genius" you will just cringe listening to his dumb jokes....and they are stupid.<br /><br />The visuals are skilful with great Technicolor, which almost looks terrific. You get to see a lot of pretty women in here, too, not just Hayworth. Unfortunately, the story isn't all that much. It centers around Hayworth deciding about a career choice. Along the way, we get the normal shabby treatment of marriage and we get an insultingly-dumb ending. All in all, an unmemorable film, except as a showcase for Hayworth's beauty.

Like 'Singin' in the Rain', 'Cover Girl' has a trio of two guys and a girl. In 'Cover Girl', Phil Silvers (Genius) is the comic relief. He corresponds to Donald O'Connor's funny man part in 'Singin in the Rain'. In Cover Girl, Gene Kelly's love interest is Rita Hayworth and in 'Rain', it's Debbie Reynolds. That's where the comparison ends.<br /><br />Whereas "Singin' in the Rain' is a classic American movie musical, 'Cover Girl' is second-rater incarnate. The story isn't very complicated. Rusty Parker (Rita Hayworth) is a dancer in Danny MacGuire's low-rent nightclub in Brooklyn. Rusty decides to enter a Cover Girl contest sponsored by a wealthy publisher, John Coudair, who made an unsuccessful play for Rusty's grandmother years ago. Coudair introduces Rusty to Broadway producer Noel Wheaton who makes her into a star. Danny feels slighted when Rusty starts showing up late for rehearsals at the nightclub and decides to close the club down and go on the road entertaining the troops along with his sidekick, Genius. At the last minute, with Rusty at the altar with Noel, she realizes the error of her ways and runs back to Danny. They live happily ever after.<br /><br />Gene Kelly has the least developed region in the movie. All we find out about him is that he owns a nightclub and is madly in love with Rusty. Coudair and Wheaton act like besotted teenagers toward Rusty and Phil Silvers delivers some thoroughly goofy but unfunny shtick. The most interesting aspect of Rita Hayworth's performance is the scene in which she gets drunk. This foreshadows what happened to her in real life. Anyone who has read her biography will learn that she disliked Hollywood, pined away for a normal home life which she could never attain but eventually began drinking and ended up with full-blown Alzheimer's during the last years of her life.<br /><br />Almost all of the songs in Cover Girl are old-fashioned and not very tuneful. Gene Kelly has only one really excellent dance number and that's the scene where he dances with his 'alter ego'. Earlier, the trio has another number which is a pale precursor of 'Make em Laugh' from 'Singin' in the Rain'.<br /><br />The most annoying thing about 'Cover Girl' is the way in which Rita Hayworth is put up on a pedestal. A couple of decades later, Raquel Welch had the same problem. Both actresses later in their careers would always try and find scripts that showcased their acting abilities. They wanted to be known as 'actresses' and not 'pinup girls'. Unfortunately, 'Cover Girl' is an example of how Hollywood used to exploit women for financial gain.

Rita Hayworth plays a Brooklyn nightclub dancer named Rusty who specializes in cheesecake chorus revues; she manages to get herself on the cover of a national fashion magazine, but her impending success as a solo (with romantic offers all around) has struck boss Gene Kelly chomping at the bit. Terribly wear piece of Technicolor cotton candy, with unmemorable musical resume (the two big of which are irrelevant flashbacks to the 1890s, with Hayworth portraying her own grandmother). Kelly, as always, dances well but acts with faithlessly sincerity; when he's serious, he's insufferable, and the residuum of the clip he's flying on adrenaline. The book is a lead weight, not fifty-fifty sacrifice patronise players Phil Silvers and Eve Arden any good lines. *1/2 from ****

"Cover Girl" is a lacklustre WWII musical with absolutely zippo memorable about it, save for its signature song, "Long Ago and Far Away." This film came out before Gene Kelly really hit his artistic stride, and while there are evidences of his burgeoning talent here, mostly he plays sidekick to Rita Hayworth. And there's the problem. Rita Hayworth is gorgeous, no doubt about that. But she's simply not a obligate screen presence. I've always found myself wanting to like her more than I actually do, and this movie is no exception. She's but not a very just actress, and she's not even a very good dancer. Good looking as she is, there's something vapid about her, and this movie endure because of it.<br /><br />Grade: C-

Formulaic slasher film, only this unrivalled stars three ten year olds (all born during a lunar eclipse) as the killers. Nice, huh? A little bit of gore and a nice nude scene whitethorn make this worthwhile for diehard fans of the genre, others beware.<br /><br />*1/2 out of ****

Is it a poorly acted, cliche-ridden pile of trash? Of course. Anyone who doesn't earn that when they pick up the box in the video store probably doesn't have any right judging movies in the first place. Thus, I will now rate the aspects of the film that we actually care about on a scale of 1 to 10:<br /><br />Violence and gore: 4 -- For this genre, there are very few deaths, and the gore is almost non-existent. Anyone looking for a little blood should probably look elsewhere. The only ransom select is the fact that nipper are doing these tremendous things, which raises the bar a little.<br /><br />Suspense: 1 -- Okay, I feel bad for anyone who gets scared by this trio of dorky looking kids.<br /><br />Nudity/sex: 7 -- Lots of boobage from three different women, one of whom is the MTV vj Julie Brown. There are two sex scenes, but little is shown in them.<br /><br />Unintentional humor -- 4 -- There are a few undecomposed jest with the kids trying to act scary, but all in all, it's just tough, not mirthful bad.<br /><br />Overall -- 4 -- It's not unwatchable. There are a few fun moments, and enough nudity to keep your attention for the entire movie. However, only watch this movie if you're a big fan of the 80's slasher flicks. This definitely falls on the humble end of the scale, but it's not all the way at the bottom. The real downside is the disappointing close. It almost finished the movie for me.

'Bloody Birthday' is an odd and, at metre, humorous low-budget horror flick along the lines of 'Mikey' or a less intelligent version of 'The Good Son'.<br /><br />Set in a small Californian town, three babies are born at the height of an eclipse, where planetary alignment means they are somehow born without emotions. Ten years later, our three little psychopaths take themselves on a killing spree, doing away with parents, siblings, teachers and anyone else who irritates them. Only one teenage girl knows the truth to be able to stop them. There is no explanation for why babies across the world born at the same time aren't equally as twisted but there you go!<br /><br />For a slasher film, it's very tame in terms of violence and gore, which I suppose highlights the problem of casting child characters as the killers as there is only so much you can expose the young actors to. Instead, it's amusing and a little disturbing seeing three ten-year-olds plotting murders and carrying out their plans using guns, knives and crossbows. The main reason why it doesn't descend into being totally ridiculous is because the child actors are very convincing in their roles with the way they slyly play the little innocents in front of undiscerning adults while showing their dark side to the girl who knows the truth.<br /><br />'Bloody Birthday' is rather mediocre as a horror flick, with few scares and little blood, but because it has the shock factor of having kids as the killers, it is a bit unique in that way. One to watch if there's nothing else on.

When people say children are annoying u think ya my little cousins can be teasing and i state small. These fry are turning decade and they are without a uncertainty the most irritate bratty children you will always encounter (in a flick). permit outset with the blonde - Debbie - She's a slut of a girl, i mean come on she wears mini skirts, she has stupid frizzy blonde hair and a freckley red bunny like face. She move so innocent. future we have the moment child - the Geek - who retrieve he's so cool, with his long range shooting and his use of a silencer (a coat over the gun) and most of all his evil bratty smile. The next child is the quiet one you don't care about so thats all on him. This film furious me at the children's news and the only delectation i father was from my cousin who celebrate holler about them.

When you shuffling a film with a killer-kids introduce, there are two effective ways to access it; you can either make it as realistic as possible, creating believable characters and situations, or you can make it as fun as possible by playing it for laughs (something which the makers of "Silent Night, Deadly Night" did, for example, on an equally controversial subject: a killer Santa). The people who nominate "Bloody Birthday", however, do neither of those things; they plainly rely on the scandalize esteem of the image of a kid with a gun (or a knife, or a noose, or an arrow) in his/her hand. The answer is both noisome and pudden-head. The solid film looking ilk a high-risk theme that was stimulate through production (and then kept from release for several years). It's redeemed a petite bit by good performances from the josh, but it's VERY sloppily hit. (*1/2)

all-fired Birthday is a totally folderol slasher pic from origin to close. <br /><br />I found the work to be pretty adept considering the genre of movie and its obvious low budget. I don't know what was going on with the cinematography but it looked ghastly. Way too over-saturated. Maybe this is a bad transfer to DVD or maybe it always looked like that, I don't know. <br /><br />There really are no redeeming qualities to speak of. There are a few expiry but not really gory. I wouldn't bother with it if I was you. The intimately thing about the DVD was the 15 minute interview with producer Max Rosenberg who was very amusing and honest. He didn't have anything good to say about director Ed Hunt and admits the movie was a failure, but he would like to re-make it as he believes it has a decent plot. However, he died in 2004 so I guess it will be up to someone else to take on that challenge. With the way things have been going in the last few years it wouldn't surprise me, there's at least one re-make per week at the cinema these day. It couldn't be any forged than the original I suppose but I couldn't care less whether it got re-made or not.

A tight spirited, repulsive horror film about 3 murderous children. Susan Strasberg is totally neutralize in a 5-minute cameo, even though she receives star billing. If your a Julie Brown fan, you'll want to check it out, since she's naked in a couple of shots. All others,avoid.

This pic cannot be dangerous because it has a nerdy looking kid named Curtis killing people. The other two psycho kids are kind of cute but that Curtis kid is just so surly because he wears these huge, brown, ugly ice. The histrion probably vagabond on the wrong set and he was really supposed to go to Revenge of the wonk.<br /><bromine />Another thing that 1 detest so lots about this picture is that Curtis takes his afters time shooting people. 1 celebrate my feel on the quick forrader release because he took too farsighted and what was up with his vox? He sounded like he was fourteen and not ten. Another affair ace hate was that he kept twinkly like an idiot and there was no stop to that.<br /><br />then they put that devil kid in the freezer and somehow he found a flashlight in there. That didn't seduce any signified and neither did the music. The music didn't tantrum any of the conniption.<br /><br />This flick is slowly, bore and a wild of time. Watch a different movie on your birthday.