DoubleML/multimodal_confounding huggingface dataset:
While flipping through the channels on a late Saturday night, my friends and I stumbled across this film. First of all, Irish actor Pierce Brosnan as a Native American? Seriously?! His accent was breaking through so much, although his character was apparently Scottish. Next, I was stunned to find that this film was made after he had already played James Bond/Agent 007 at least twice. This movie plays up the stereotypes, with the inspiring professor figure. The girl who played Pony should be paid to keep her mouth shut. And, this film won an award? I cannot believe it. Brosnan is an attractive man, but we seriously wanted to gauge our eyes out after watching this for just 10 seconds. We switched from "Kicking and Screaming" to this, and we wanted to switch back. We watched the 1995 children's classic "The Indian in the Cupboard" earlier in the night, which also discussed the Iroquois. The following line represents our desire to run away: "Take me outside, earth grasper." From "Grey Owl": "If you don't like it, you don't have to watch."

Sentiment: negative
In the immediate aftermath following World War II, sound minds in Hollywood tried to distance themselves from the mindless flag-waving that is a natural ingredient in a war effort. "Best Years of Our Lives' and even 'Gentleman's Agreement' investigated the way Americans looked at themselves in the wake of the war, but Delmer Daves' "Pride of the Marines" beat them to it.

The film is about Philadelphia smart alec John Garfield who goes to war as a marine and after a nightmarish evening in a foxhole, with Japanese soldiers eerily crying out at him and his buddies "Mariiines, tonight you die!", he is blinded by a hand-grenade, and dumps his girlfriend back home rather than have to depend on her after coming home.

Delmer Daves is uncompromising in his depiction on these men who are brave, as it were, almost by coincidence. They are there, in the foxhole, and when shot at, they react. So much for heroism, but they get the job done. And then comes the self-pity, the dark, gloomy sense of humor. Garfield is in angry denial of his blindness and the film makes no excuses, "There's no free candy for anyone in this world", as his buddy tells him. The same guy, a Jew, played by Dane Clark, reminds him, "In a war somebody gets it, and you're it. Everybody's got problems! When I get back, some guys won't hire me, because my name is Diamond".

Great movies are made with guts like these, and if the first half hour of 'Pride of the Marines' fails to rise to the occasion completely, from then on it evolves into a true work of art. You weep, and you ponder, you ache and you hope against hope. Well, simply: art.



Sentiment: positive
I have witnessed some atrocities of cinema. In the past couple of years, it seems producers and directors are bent on making films that drive me closer and closer to insanity. Hannibal was not an exception. I wasn't expecting much, when I went in to see the movie. The book was ridiculous, and the saying, "The Book is always better than the movie" did not assure me at all that this movie would be anything but trash. But what I came to see was a movie that made all other bad movies seem better in comparison.

 Usually, when I see a terrible movie, I find myself more amused than anything else. Sadly though, I could not even laugh at the sad excuse for a film that Hannibal is. The movie was filmed with promise, I guess. It had Anthony Hopkins, Julianne Moore, and Gary Oldman. And for directing, there was Ridley Scott. There have been movies with significantly less talent that have been tremendously better. There was so much I would have cut from this film that I doubt anything would have remained. It was pathetic. The storyline was so ludicrous that it seemed like a complete idiot had written it. What's worse is that the book was even crazier, and there were some scenes that were too extreme to be included, which is sad in the case of a movie where

***SPOILER AHEAD*** 

Ray Liotta's brain was being cooked in pieces. That scene more than any other made me want to cry, because it tarnished its predecessor to such a monumental level. Silence of the Lambs was one of my favorite films of all time. But Hannibal was a two hour plus joke. This movie should only be watched, if people want to learn how not to write a good movie.

Sentiment: negative
Once again Elmer is faced with the dilemma of who to shoot. Bugs of Daffy. He's unsure of what season it is and Bunny and Duck arguing help matters not. Though Bugs proves he's the smartest once more by repeatedly using reverse psychology on Daffy in increasingly subtle ways. And when that runs out he does his trademark cross-dressing thingy. Daffy freaks out and demands the bunny be shot. Though Elmer is too stupid he is hopelessly in love with the girl bunny thing. Elmer really is to blame for all this. If he weren't so dumb he'd know it REALLY is duck season and just blast Daffy. But poor old Daff can't believe the utter preposterousness of the situation. His cruel plans of misdirection have been foiled by Elmer's dumbness. Daffy is so shocked that he even goes home with Elmer to be blasted in his living room.

Poor Daff. He rules!

Sentiment: positive
I first saw this film in 1959 at the Hoyts Double Bay cinema in Sydney when fifteen years old. I loved it then and still do. The ensemble cast is great - in those days the actors acted "naturally" and you "felt" for them in the respective roles. A "glossy" film of the period -the relationships therein still relevant to today's world but now the sexes are on the same level, women would not or should not allow the type of treatment displayed in the past. The soundtrack music is wonderful and it is a delight that Film Score Monthly released the CD in January, 2005. Pity scenes were cut prior to release - even at two hours you want more! I have registered with Amazon for the DVD (they do now have a special page). To view this film in CinemaScope after forty six years of pan and scan will be great. Twentieth Century Fox, please look further into your catalogers of fifties CinemaScope productions for DVD - there IS a large market out there. I await arrival from US of March, 2004 Vanity Fair Special article on the film, which is said to be fifteen pages with many photos on set. Cheers.

Sentiment: positive
Leni Riefenstahl would be embarrassed by the disgusting propaganda Moore tries to call "humor". That this movie, and Moore's other prevarications, actually attract admirers proves that, alas, it's possible to fool some of the people all of the time.

Let's see if we can bait foreigners. Let's see if we can extol obsolete factories. Let's see if we can add to the sum of hatred in the world. Let's see if we can pretend we're funny. Let's see if we can out-isolationist Charles Lindbergh. The only thing Moore lacks in comparison to Lindbergh is a medal from Göring.

Admittedly, in this film, Moore had a bit of self-deprecation to his schtick. In this film, Moore mocks Roger Smith, CEO of General Motors, as an aloof, uncaring elitist. Moore could do that in 1989, but now that Moore has surrendered himself to aloof, uncaring elitism, this characterization of Roger Smith has an ironic twinge. Who really wouldn't rather be Roger's buddy than Michael Moore's?

Sentiment: negative
There isn't a whole lot going on in this story -- just two men employing very different ways of handling memories of Vietnam. But what it lacks in premise, it more than makes up for in acting and realism. It's a quiet film about the bonds of friendship and shared experience. We even get romance (not gratuitous -- just another very real piece of this story). It's well worth seeing.

Sentiment: positive
I always wrote this series off as being a complete stink-fest because Jim Belushi was involved in it, and heavily. But then one day a tragic happenstance occurred. After a White Sox game ended I realized that the remote was all the way on the other side of the room somehow. Now I could have just gotten up and walked across the room to get the remote, or even to the TV to turn the channel. But then why not just get up and walk across the country to watch TV in another state? "Nuts to that", I said. So I decided to just hang tight on the couch and take whatever Fate had in store for me. What Fate had in store was an episode of this show, an episode about which I remember very little except that I had once again made a very broad, general sweeping blanket judgment based on zero objective or experiential evidence with nothing whatsoever to back my opinions up with, and once again I was completely right! This show is a total crud-pie! Belushi has all the comedic delivery of a hairy lighthouse foghorn. The women are physically attractive but too Stepford-is to elicit any real feeling from the viewer. There is absolutely no reason to stop yourself from running down to the local TV station with a can of gasoline and a flamethrower and sending every copy of this mutt howling back to hell. 

Except.. 

Except for the wonderful comic sty lings of Larry Joe Campbell, America's Greatest Comic Character Actor. This guy plays Belushi's brother-in-law, Andy, and he is gold. How good is he really? Well, aside from being funny, his job is to make Belushi look good. That's like trying to make butt warts look good. But Campbell pulls it off with style. Someone should invent a Nobel Prize in Comic Buffoonery so he can win it every year. Without Larry Joe this show would consist of a slightly vacant looking Courtney Thorne-Smith smacking Belushi over the head with a frying pan while he alternately beats his chest and plays with the straw on the floor of his cage. 5 stars for Larry Joe Campbell designated Comedic Bacon because he improves the flavor of everything he's in!

Sentiment: negative
I have watched this movie three times. The last time, I kept skipping around confusing scenes to find resolution for the plot. Perhaps the plot is not intended to hang together logically. Or perhaps these rough spots are in the plot because Ann's recall of distant events is rather faulty.

Take the young Ann Grant (Claire Danes). Here is a young woman who has attended an unnamed college with the scions of a rich family. She must have had help to afford this very expensive education, but never seems to have any family ties at all. She never seems to have any relatives she can turn to when the consequences of one of her disastrous decisions take effect.

Ann shares an evening of passion with her great love Harris Arden (Patrick Wilson). Then, when Harris comforts Lila after the tragic death of her brother Buddy, Ann suddenly finds him repulsive and is disgusted with her own behavior. I must have missed something significant here. Ann's behavior seems totally inexplicable. Ann abandons her relationship with Harris and eventually marries one of the groomsmen at Lila's wedding. Despite Ann's rejection of Harris, she continues to hold deep feelings for him on her deathbed.

It was obvious from his behavior that Harris was deeply smitten with Ann and would have gladly married her. A scene showing their chance meeting years after Lila's wedding showed that Harris still had deep feelings for Ann.

The film showed a pattern for Ann's romantic relationships. She always had a falling out with her men and she rejected them. This pattern held with Harris and two husbands. In contrast, Lila married a man she did not love and she remained with her husband until he died. Perhaps Lila was able to build a relationship because she refused to let her marriage fail.

Then came the too convenient reappearance of Lila Ross at Ann's bedside. Apparently Ann's nurse was able to extract enough information from Ann's last few lucid moments to identify and contact Lila. None of this communication appeared on the film.

I kept wondering about the house Ann was living in during her final days. How did she afford to buy such a house on the meager earnings of her singing career? Ann always seemed one step ahead of financial disaster while raising her two daughters.

On another level, I enjoyed the film's setting and music immensely. The seaside mansion was just so heartbreakingly beautiful. Claire Danes was luminous as the young Ann Grant. She is really quite a talented singer. I much prefer her natural brunette to the bottle blonde look she had in the film extras. If only those pesky CGI fireflies would go away, I could raise the movie a whole point in my vote!

Sentiment: positive
As a camera operator, I couldn't help but admire the great look that this picture achieved. The performances were excellent, as was the story. Just when I thought this film was about to slow down, it didn't. Heart-pounding tension, great pacing through editing, and a score that knows when to be quiet all come together here under competent and capable direction. The camera was always in the right place. Love that.

Sentiment: positive
It's depressing to see where Jackie Chan has ended up. He used to be an unstoppable hurricane of punches, kicks and incredible stunts. To be fair, he's now in his fifties and one would expect some slowdown. But with 'Rush Hour 3', where he takes a back seat to Chris Tucker (of all people!), and then there's 'Kung Fu Panda' where not only is he in a purely vocal role but his character barely has any dialogue... to say that Jackie Chan has seen better days is a colossal understatement.

It's times like this when the only solution is to whip out a dusty old VHS tape and watch Jackie kick some arses in his younger, fitter, Chris Tucker-free days.

Enter 'Police Story'. Jackie Chan plays Kar-kui, a policeman whose task it is to protect a witness before a major trial. He faces resistance from both the unco-operative witness and the numerous hit men sent by the mob to silence them both.

But on the other hand, who cares? We don't watch Jackie Chan films for the story. We watch them to see Jackie Chan perform eye-popping stunts and generally punch and kick a whole lot of people who are less awesome than he is.

And on that level, 'Police Story' doesn't disappoint at all. There is an awesome showdown in a shopping mall at the end that culminates in Jackie sliding down a giant, high-voltage chandelier. Seriously, if this sort of thing happened more often, no male would ever need coaxing to go shopping for clothes.

There is also comedy, much of which involves Kar-kui inadvertently upsetting May (Maggie Cheung), his eternally suffering and apparently ever forgiving girlfriend. The humour on the whole is pretty unsubtle, but it works so I'm not complaining.

The acting isn't too subtle, either. Indeed, I'm not sure there was anything subtle about 'Police Story' at all. Director Jackie Chan (yeah, he does that too) clearly has a deep understanding of why we watch his films, and knows that while we're waiting for the next fight to start, the last thing we want is to be looking for nuance and depth and inner meaning.

So 'Police Story' is a blast. As is the case with most of his films, the fact that Jackie actually does the stuff you see on the screen puts it head and shoulders above the competition. I mean, when Jackie Chan really is hanging from a speeding bus by an umbrella, a whole new "Wow!" factor is added to the action.

Sentiment: positive
This show is great for many reasons..The father and mother can communicate with their kids this day in age. Its so great to see a real family instead of some stuffy overacting family. I watched this one time and became hooked.It so great to see a black family on TV worth watching. This show left too soon but on its way out it dealt with pregnancy, sexy, drugs, bad dates,death etc .The best thing about the show was that it dealt with it in a real humorous sort of way. Great show for the family ..I cant tell you how many times I have sat up watched this show late at night sometimes and laughed my head off. Great pg 13 rated show.I loved everybit of this show.

Sentiment: positive
Sharp, well-made documentary focusing on Mardi Gras beads. I have always liked this approach to film-making - communicate ideas about a larger, more complex, and often inscrutable phenomenon by breaking the issue down into something familiar and close to home.

I am sure most people have heard stories about sweatshops and understand the basic motives behind profit and capitalism, and globalism's effect on poorer nations (however people feel about it). Rather than expound on these subjects and get up on a soapbox (not that there's anything wrong with that, other than such documentaries typically preach to the converted), this documentary simply shows Mardi Gras beads, how they are manufactured, by what people, and under what conditions, and then how they are utilized by consumers at the end of the process. It openly and starkly investigates the motivations of everyone involved in the process, including workers, factory management, American importers, and finally, the consumer at the end of the chain.

I felt a little sickened by this; equally by the Mardi Gras revelers, but also by the way the workers in China have accepted their situation as normal and par for the course (even if they have some objections to the details of how they are managed). The footage of the street sweepers cleaning up the beads off the streets at the end, made a particular impression. But that was just my reaction; I can see how someone else might read this documentary a little differently.

Unlike other documentaries on this subject, I don't think you have to have any specific political opinion to be affected by this. This is ultimately a story about human beings and our relation to the goods we produce and consume. If you have ever bought a product made in the Far East, this should give you something to think about.

Outstanding and highly recommended. Need to see more documentaries like this. Kudos to all of those involved in the making of this film.

Sentiment: positive
This late 50s French study of disaffected youth (in their early 20's, actually--"grown up", but not yet settled down into the adult world) probably missed the mark by a mile in terms of being an accurate depiction of 1958 French youth (don't virtually ALL youth films made by adults do this? The ones that don't--River's Edge comes to mind-- are rare indeed), but director-writer Marcel Carne, of Les Enfants du Paradis fame, is too accurate an observer of humanity to NOT provide an insightful view of the essence of these characters. In a sense, the details are not important--you could change the details and set this film today and it would work just as well--but the loneliness and insecurity and superficial passion and self-righteous anger of the characters is captured well. The young Pierre Brice and Jean-Paul Belmondo are in supporting roles, but leads Jacques Charrier, Laurent Terzieff, Pascale Petit, and Andrea Parisy play the roles with subtlety and depth. There is also a fine jazz score, which you can get on the CD JAZZ IN PARIS--JAZZ & CINEMA VOL. 2. Unlike some who have commented on the film, I don't really see director-writer Carne as sitting in judgment on these characters--he seems as though he is an objective observer to me. Of course, these middle-class characters may seem like people who are spoiled and have nothing to whine about to some working-class viewers of the film, and I think Carne is certainly aware of this. For this American viewer (I watched a dubbed, fairly literally I'd say, version of this titled THE CHEATERS), the film provides an interesting window into the France of the 1950s. It also is self-consciously poetic (the scene on the ledge, saving the cat, is but one example of this) and has intellectual aspirations in that charming way that only French films can get away with--I can imagine the heavy-handed, melodramatic, shallow way this kind of material would have been handled by an American studio production, and the sensationalistic, moralistic, suggestive way this kind of material would have been handled by American drive-in/exploitation filmmakers. I feel that Marcel Carne has captured the essence of that period between, say, high school graduation and when, by one's early 30s, people have largely settled into a routine, whatever that routine may be. Those willing to watch the film with an open mind and not fire away at the many easy targets it offers should find a serious and valuable study of people in their early twenties. And even if you don't want to do that, you can go in the other room while the film is playing and simply enjoy the fine soundtrack, with great 50s jazz and instrumental pop, including the wonderful original score by an American "Jazz at the Philharmonic" group including Coleman Hawkins, Dizzy Gillespie, Stan Getz (spelled "goetz" in the credits), Roy Eldridge, and Ray Brown.

Sentiment: positive
Dan Duryea, a perfectly decent B-movie actor who made lots of lookalike noirs in the 1940s, can't do much with this one: young man is accused of murdering an unhappily married singer; when he's sentenced to die, his wife decides to solve the case herself with help from the dead woman's husband. After a dazzling opening shot, flick quickly settles into B-movie formula. It certainly looks good, but the twist finish is colorlessly handled and the cast (including Peter Lorre and Broderick Crawford) is just a bit stiff. Based on a Cornell Woolrich novel, and passable for a single viewing. 

** from ****

Sentiment: negative
I didn't expect much from the movie so am not all that disappointed. Carrie looked ugly, Mr. Big had his eyebrows colored with crayons and Samantha didn't say f***. 

Charlotte's kid was annoying to watch as she was in too many scenes--the title could easily have been "SATC: Parents' Night Out." Camera angles just weren't that good, especially regarding Carrie's face. 

There was a token black woman thrown in whose character doesn't have a proper exit and too few appearances by the gay men friends who seemed thrown in with no purpose anyway. Samantha's going back and forth from LA choked the story flow, especially when she comes in for Fashion Week and nothing happens. 

The movie seems to have been made in rush because it could have been good but scenes were just thrown in to show different outfits or to offer viewers a chance to jump back in the show without adding much to the story of the movie.

Sentiment: negative
Ah Animorphs. I loved the book series and eagerly devoured each one in middle school and when I heard that there was a television adaptation, I was very excited.

Boy what a let down the final product was. I think for me, this was the moment when Nickelodeon stopped being about cool programming and more generic.

So what was wrong with the series? Let me count the ways: 1. The characters were HORRIFICALLY miscast. In the books, the Animorphs were somewhere between 12-14, the television cast were at least 18. I remember being horrified when I first saw the cast photos.

2. Horrific acting/bad writing. I dunno which was to blame so I'm lumping into the lumpy mass that it was. Perhaps it was the fact that the accelerated age of the cast hampered the humor that is at least cute coming out of a 13 year old because Marco - not funny. In fact, I don't remember a single comical moment from the group and there were a few. The actors were certainly not helped by the writing which was bland at its best and head smackingly pathetic at its worst.

3. My lord they were stingy with the budget. The final result of the Andalites alone should have convinced Viacom to pull the plug...Their heads had clefts that clearly showed which was the helmet.

4. Back to the cast - Rachel by far was the biggest let down, far from being the warrior woman in the books, the best equivalent in the TV series was "scarecrow". Also, I know Cassie was an idealist but there is a difference between "idealist" and "idiot".

5. One of the worst opening titles ever. Did the music have to be THAT obvious? 6. Answering question 6, "yes" because everything else was dumbed down so why shouldn't the expectedly less intelligent viewers receive a thick as a brick song from a lame rap-rock rip-off or whatever the hell that was.

Since then, there have been bigger let downs (Iraq, 2004) but in case I haven't made myself clear - this show sucked and was an abomination to the book series it was supposed to be based from.

Sentiment: negative
As I reach the "backside" of 35 I find myself shaking my head more and more at the sex crazed, drug influenced teens of today. It was great to be reminded that it was just as crazy for me back in my day as it is for teens today. This film drives that point home to the core. If you are a late 70's fan you'll love the film. From KISS-posters to an Angel concert this movie rocks ! 

Watch for a young Laura Dern. Why they didn't have more songs from the Runaways I'll never know ? 

I did have a problem with Randy Quaid's character deflowering a 16 year old girl. While he was away she and her friends have a party that destroys dude's house. The cops come and everything but no mention of all the underage drinking and how these kids got their hands on this stuff.

Foxes belongs right there with Over the Edge, Fast Times, Dazed & Confused, and Kids as one of the all time teen angst flicks.

I say buy it and watch it with your kids and talk about it all.

Sentiment: positive
I remember being so excited on Saturday nights when I was a kid, waiting for Dr. Who. I thought it was the best show ever made. Then, I grew up, Dr. Who went off the air, and no one I knew had ever heard of it. Then I found out there was going to be a new series. I was a little nervous about it. Was it going to live up to the expectations I had carried around since I was little? Would they screw it up? Would the Dr. suck? Would his assistant suck? Would they create a more intimate relationship with the Dr. and his assistant? YES, NO, NO, NO, NO!!! This show is wonderful!! I love the new Dr. I love his assistant. I love the show. And I find myself excited on Friday nights now, waiting for the "new" episode. I'm just now seeing 2005 episodes, as I live in the States, so I'm a little behind the rest of you. I hope the next Dr. is as great as this one!

Sentiment: positive
one day someone said lets redo the mod squad we can make it hip cool and all that YO!it'll make a mint then they actually made it and as you are watching it you can hear your spleen cringe in agony as it twists and binds into a knot from the pure horror of it all any movie ever made has something on this id rather meet wayne newton and sing karaoke with him in a gay bar in idaho and drink a virgin bloody mary than ever watch this again may god have mercy on my soul

Sentiment: negative
Well no, I tell a lie, this is in fact not the best movie of all time, but it is a really enjoyable movie that nobody I know has seen.

It's a buddy cop movie starring Jay Leno and Pat Morita(Mr Miyagi) with some fluff story about a missing car engine prototype or something, but that doesn't matter. the reason this movie is fun is because of the interaction between the two leads, who initially dislike and distrust each other but in a shocking twist of fate end up becoming friends. The whole culture difference thing is done quite well,in that it's fun to watch, it's completely ridiculous but in a cheesy and enjoyable kind of way. The soundtrack is cool,once again in a cheesy 80's kind of way, it suits the movie, I've been trying to find one of the songs for ages, but as I'm working from memory of what I think a few of the words were i can't seem to find it.

Another thing this movie has is the most fantastic pay off of any movie ever, but I won't give that one away, oh no! In conclusion I'd take this movie over 48 Hours\most of Eddie Murphys output including Beverly Hills cop, and whatever buddy junk Jackie Chan or Martin Lawrence have to their names. If you're looking for a buddy cop movie and are getting fed up with "straight white cop meets zany streetwise black cop" give this a shot. You might be pleasantly surprised cos this turns the whole formula upside down with "straight Japanese cop meets zany streetwise white cop".

I'm giving this 7. to be honest I like it more than that. I'd rather watch this than a lot of stuff I'd give 8. But I guess I know deep down that it's some sort of insanity that makes me like this movie.

Sentiment: positive
It's partly bad luck for "Illuminata" that it comes out after "Shakespeare in Love" as it deals with virtually the same themes of life as art, art as life and the Magic of the Theatre and the same archetypal Foibles of Theater Folk, but a whole lot more ponderously.

There are scenes that come alive, as a play develops and gets reinterpreted by a writer's life, but there's a whole lot of Orson Welles-ish ego in this produced by/directed by/lead acted by John Torturro as a vehicle for his wife Katharine Borowitz (with an adorable cameo by their son).

Each actor gets his/her moment literally in the spotlight, but there's so many "masques" or set pieces that seem like 19th century parlor games. Bill Irwin Talks. Susan Sarandon gets to be a diva. Christopher Walken gets to be a different kind of villain - a gay critic. The women have to disrobe unnecessarily because this is an Art Film.

The art and set direction are marvelous, though quite dark. This should get an award as the Best Use of a Jersey City Theater as A Set Ever In a Movie. (originally written 8/21/99)

Sentiment: negative
Since I'm from Norway (one of the top ten (or so) richest countries in the world), it was much fun to watch how we use trucks from the 50ies and live in cottages from the medieval times. And since we have very strict laws when it comes to handguns, it was fun to see how much guns there actually were in Norway during the five minutes of the shooting there. Mr. Direct-to-video even managed to bring his silencer on short notice, so he must have powerful friends in the customs.

Please do at least _some_ research before going to an "exotic" country, dudes -- you may hurt the feelings of old fans.

Sverre -- old fan with hurt feelings.

Sentiment: negative
ManBearPig is a pretty funny episode of South Park.It spoofs Al Gore and his speeches on Global warming, only replacing global warming with ManBearPig(a fictional monster who has parts of a man, a bear and a pig).He tells the boys about it in a school assembly and Stan feels sorry for him, so he and the boys decide to hang out with him.Gore eventually gets them trapped in a rock cave where he believes manbearpig to be and they are stuck for days.Meanwhile, Cartman finds treasure but wants to keep it all to himself.ManBearPig is a good spoof on Global Warming and overall a funny South Park episode.

8/10

Sentiment: positive
Now don't get me wrong I love bad movies... no I adore bad movies, Troll 2.... ouch painful, Manos The Hands of Fate... just watch Torgo go, Guru the Mad Monk.. is that traffic noise in the medieval background? OK so that's clear, but this is one of those films that was quite obviously trying to be something better, but didn't make it. Why not? Well it would be easy to blame the plot, but heh we've seen worse, there weren't too many holes and heh I know there's not a lot of originality in it but then that needn't kill a film. The effects aren't bad (if you completely ignore the last scene), the monster is OK, the truck quite menacing so where did it go wrong? Well I'd love to blame it on the 'Chris Moyles' look-a-like Harley... so I will! Comedy and horror are difficult to mix well, bad comedy and horror even worse and there's the problem. I loathed this guy from the moment he stuck his head up (literally), the continual bating of the overly meek Adam becomes annoying, so annoying that you lose belief that the mildest of people wouldn't react by pushing him out of the moving car door... and I thought it was the monster bits that the director was meant to have trouble convincing us of. Why are bad movies fun? Well you have great fun poking holes in them, laughing at the script, all the howlers etc. This film doesn't make the coveted category of 'Worst Movies' because its just bad due to being annoying nuff said. Don't bother, go watch anything else and you'll be a better person for it... I promise! (Fade to chants of Torgo Torgo Torgo)

Sentiment: negative
A paranoid scientist creates a wolfman by transfusing wolf blood into a meek, quiet, but very large gardener, in order to prove an hypothesis. So the gardener begins nightly rampages and the scientist tries to use him to reclaim his credentials, but is rebuffed by his former colleagues for tampering with nature. Island of Dr Moreau, Frankenstein and various wolfman films all blended together into a terribly dated, goofy, morality play.

Though the subject matter is pedantic and unoriginal at best, this film is not too poorly made, and interesting to watch as a representative of horror film making of its time. Like most mad scientist films, this is a weak warning against fooling around with Mother Nature. It doesn't have the power or intellectual challenges of Frankenstein, but it doesn't ever extend its reach anyway. The acting is passable, as is the cinematography, and the film moves along at an entertaining clip. Some of the dialog is utterly ludicrous, but hey... it's just a movie - and a B minus one at that. There are also a few nice shots of a wolf, and a smattering of humor tossed-in to prevent the film from appearing to take itself too seriously - always a plus for this genre.

Sentiment: negative
It's hard to believe, after waiting 14 years, we wind up with this piece of cinematic garbage. The original was a high impact, dark thriller that achieved "cult" status demonstrating the fine art of cinema as directed by Paul Verhoeven. This film adds nothing, delivers nothing, and ultimately winds up in the big box of failed sequels.

The opening sequence could have triggered an intriguing set of plot developments using a considerably talented and able cast. Unfortunately we are treated to a 90 minute dissertation in the self-indulgent life of Catherine Tramell... or is it Sharon Stone. Possibly a copulation of both.

If the desire is too see a continuation of the sensually provocative stying of sex as in "B.S.1", forget it. You wind up with soft-porn boredom which ultimately upholds the old adage that a woman can be more alluring in clothes than out of them. It's interesting to note that the wonderful Charlotte Rampling was romping around in her skivvies, via the 1966 GEORGY GIRL, when Ms. Stone was only 8 years old. A very talented actress and quite adept at holding her own even here.

If you're a true cinema fan then you must see this film and judge it using your own rating system. If not, you might as well wait for the DVD release in the "rated" version, "unrated" version, "collectors" edition, or "ultimate" version, and perhaps in another 14 years we will be saturated with news of "Basic Instinct 3" at which point Ms. Stone will be 62 years old and nobody will really care.

Sentiment: negative
Other than John Krasinski, this movie was absolutely terrible. The Lacey Chabert and Andrew Keegan love story was as clichéd as possible, full of unbelievably bad lines about how her parents wouldn't ever let them be together and super-hammy longing looks. None of the "emotion" had any depth or reality whatsoever. The two accented-characters (Dean Edwards as Rupert and whoever it was playing the gun expert)....once they saw how bad the accents were, couldn't they have decided to just drop them and rewrite a couple of lines to avoid giving the audience headaches? Apparently not. I don't even know where to start with the editing, particularly the sound editing. If you hate obvious over-dubbing as much as I do, don't watch this. That being said, Krasinski was great. Off the bat I'll admit that I'm a huge Office fan and that's why I rented this. But he's quite entertaining as the "off-the-wall friend with crazy ideas". He's got a clichéd role, but he still manages to make it as entertaining as possible. The ending was awful. Just flat out terrible. The idea of the robbery gone awry had potential, but Keegan floundering around after being shot, all the way to his studio to fall ontop of a painting of Chabert (which looks nothing like her) is the most cringe-worthy scene.

Sentiment: negative
This movie is painful. That's probably the best way to describe it. It's 93 minutes of your life that you will never be able to get back. Well, actually it's more like 86 minutes because there is no way anyone would want to sit through the credits in this stinking pile of dog feces. Immediately you can tell the movie is from the producer of "Mortal Kombat", due to it's thumping and annoying techno soundtrack. This drains the few laughably enjoyable moments this movie can give you. The rest is drained by the completely uninteresting and annoying characters, the "Freddie Prinze, Jr. School of Acting" acting abilities of all involved (including the miscast Christopher Lambert), and the non-existant directing. Did I leave anything out? Of course I did. Let's not forget about the suicide-inducing script, with it's unitentionally (??) funny dialogue. Oh, yes, and let us also talk about how they shamed the original poem with this sad and useless futuristic/medieval translation. The costumes and weapons (were those giant pizza cutters I kept seeing?!?!) are just plain stupid, that's the best way I can describe them. And the last culprit of the night is the always awful CGI. When will filmmakers learn that CGI sucks? When will we see the wonderful effects used in the 80's? Probably never, but films like this and "Star Wars, Episode 1: The Phantom Menace" make us wish that they would bring them back. In closing, avoid this movie like the newest Freddie Prinze, Jr. movie. Then again if you like Freddie Prinze, Jr. movies then you deserve to sit through this horrid excuse for filmmaking.

Sentiment: negative
General Trelayne is a super-being who wants to play a little game with the crew of the Enterprise. A lot of extremely unlikely and nonsensical stuff seems to be happening, and Trelayne seems obsessed with the human practices of warfare and murder. He seems to need to experience what he imagines to be a thrill and has created a human environment (though a few hundred years out of date) in which to play out his fantasies. The environment is subtly inauthentic, and the crew immediately begins to spot the inconsistencies. Pretty soon it becomes clear that Trelayne is not just an immature god, but a very fallible one. Regardless of how you feel about this one, stick around for the Twilight Zone-like ending. It is well worth it.

As many have pointed out, Trelayne's character inspired the more developed and amusing on-going character Q - and you can see in John DeLancie's construction of that personality more than just shades of Campbell's Trelayne. It is fun to compare how the four captains we have seen coping with Q all deal with him so radically differently.

Sentiment: positive
As a huge fan of the original Operation Delta Force, I thought I'd pick this film up. I figured it couldn't be too bad. However, here's a list of things I learnt from watching Operation Delta Force 4: Deep Fault.

- The Delta Force, despite being the elite in American armed forces, are mostly mildly-overweight men in their late 30s and early 40s.

- The Delta Force, despite being the elite in American armed forces, carry standard police issue pistols or AK-47s on their most important missions.

- The Delta Force, despite being the elite in American armed forces, haven't learnt that during stealth missions, wearing bright red ski jumpers and running around in open spaces aren't exactly going to keep you out of sight.

- When you drop a Molotov cocktail into a tank, it explodes externally like a grenade.

- When you get hit by tank fire, you can run away, although the smoke caused may present minor difficulties for breathing.

- You can die from one standard gun shot, but you can also live despite being hit multiple times by a sniper rifle, and a few times by an AK-47.

- In hand-to-hand combat, members of The Delta Force, despite being the elite in American armed forces, are regularly pummeled by railroad attendants.

- If bad guys are approaching you while on a slow-moving train, there's nothing to worry about - between the 4 of them, they can't manage to figure out how to get an automatic weapon to fire automatically, let alone hit anyone from 5 metres (16 feet) with at least 50 attempts between them.

- If you're short on actors, just recycle them - the bad guy from Operation Delta Force 1 plays a good guy called Mac in Operation Delta Force 4, and the guy who played Mac in Operation Delta Force 3 now plays Skip Lang, a different good guy.

- It's not OK for The Delta Force to shoot an unarmed terrorist, even if he's attempting to reload his weapon to kill you.

- Grenades explode on impact with the ground when thrown by members of The Delta Force. When thrown by non-Delta Force personnel, they explode at exactly the point where the Delta Force members have thrown the grenades back at the bad guys.

- Tanks can drive faster than standard trucks.

- Militias and personal armies use the exact same chopper that the UN used in Operation Delta Force 1.

- When a chopper arrives, a bad guy in that chopper cannot see you if you lie face-down.

- Shooting someone multiple times in the chest will cause minor damage. Stabbing that person in the knee will kill them inside 5 seconds.

- The Delta Force steal cars from old people to get around when in foreign countries, because the US Military do not provide them with any means of transport. This may also explain why they caught public transport.

As you can see, this is not really the finest moment in film-making, but it's good for a laugh.

Sentiment: negative
BEFORE THE DEVIL KNOWS YOU'RE DEAD starts off promisingly, setting up a simple heist that goes awry, told from varying perspectives (in RASHOMON style). At around the hour mark, Sidney Lumet transforms this film into something that is so much more than the sum of its parts; it eventually morphs into a multi-faceted family drama, exploring the full realm of human emotions/relations, as the story comes to its chilling climax.

As is the case with Lumet, he manages to coax exceptional performances out of his star-studded cast, without any notion of over-acting or hyperbole. Philip Seymour Hoffman, in one of his best roles, is a complex, mysterious, and interesting character, and oftentimes dwarfs Ethan Hawke, who plays his brother, Hank. That's not to say that Hawke is not bad; in fact he is quite above adequate, in a troubled role that suits his style. Marisa Tomei is excellent for her relatively short appearance (the fact that she bares her flesh adds to this). Albert Finney's character (Andy and Hank's father) is the most intriguing, and in my opinion, he deserved a bit more screen-time. Amy Ryan also performs her job adequately.

BEFORE THE DEVIL KNOWS YOU'RE DEAD is not an exceptional movie, but it proves that Lumet is still near the top of his game at the (apparent) twilight of an illustrious career. Many of his characteristics and trademarks appear here, not least of which involves the use of his characters. Infused with a killer script (no pun intended), smart dialogue and pacing, and a decent score, BEFORE THE DEVIL KNOWS YOU'RE DEAD is a must-see. A truly underrated gem. 8/10. 3 stars (out of 4). Should just enter my Top 250 at 248. Highly recommended.

Sentiment: positive
A most recommendable masterpiece, not only for the underlying themes of the story but also for the unmatchably brilliant and ingenious picture work of Angelopoulos, not to mention the acting of giants, Mastroianni and Moreau, and the remarkable character play by Ilias Logothethis. Gregory Karr's performance may seem overshadowed by his "tough" partners' at first stance but in fact he perfectly plays his character, which is revealed in his very last scene with the girl (Khrysikou) and the man (Mastroianni), albeit hinted beforehand. (Hence the spoiler.)

Get your expectations straight! It's an "art movie" in whatever meaning that phrase has to offer and requires attention. Not for spending free time, but for watching an artwork with the necessary concentration as in reading a book or attending a concert. Due to the overall photographic style, large screen viewing is recommended.

Dialogues are used sparingly. But the film includes -in addition to the standard Greek and English speaking- fragments spoken in Albanian, Kurdish and Turkish, which will be attractive for those who are charmed by the beauty in hearing various languages.

Sentiment: positive
I can tell by the other comments that NOBODY could ever actually enjoy this trifling piece of crap, that's the same way I felt.

The whole time I was watching it I was horrified that anyone could make a movie this stupid! What is the world coming to? I guess it is my fault for sitting through the entire movie (ugh!) but it was like a bad car wreck, I couldn't look away.

If you are a kid under 8 years of age, you might like this movie. Otherwise, stay away from it at all costs. It's the stupidest movie I've ever seen.

Everything's stupid--the story, script, and especially the acting, everything! While watching the movie you'll either turn the TV off and think "how can a movie be so sadly stupid", or keep on watching from curiosity, to see if things can get more stupid than this (they can't).

These movie makers (if you can call them that) need to seriously go back to their day jobs, not one of them has an ounce of talent, and I highly doubt you can make a living churning out such horrible useless garbage that no one in their right minds would ever want to see!

Just drawn out B.S. Don't waste your time.

Sentiment: negative
Ahhhh, 1984.... I was young and stupid, and just developing a taste for those exotic cigarettes, whilst living in a squat in Manchester's Moss Side, with the most unbelievable case of cockroach infestation.

After a few of those doobies, this show was ROTFLMAO material - I was an avid fan. Then I'd look down at the floor (or up at the walls, or just about anywhere) and see my very own collection of "little armadillos" scuttling about.

Not sure if it was the chemical enhancement, but I remember thinking at the time that the overt surrealism of the show was fantastic - it was my second favourite thing on TV at the time (#1 was the season of Luis Bunuel movies being shown by Channel 4). Radical art lives on! 

Also you gotta that theme tune! ....I swear, I'll never drink no more....

Sentiment: positive
Red Skelton (in his first starring role) plays Wally Benton who plays 'The Fox' on a radio show. He writes the murder mysteries and as 'The Fox' solves them. Joseph Jones (Conrad Veidt) is trying to figure out how to perform the perfect murder on someone. He kidnaps Benton, his girlfriend (Ann Rutherford) and another girlfriend (Virginia Grey). He tells Benton to write out the perfect murder...or his girlfriends get it...

Very funny and enjoyable movie. Fast-moving (it's only 77 minutes), a good script and perfect casting really puts this across. Skelton is very good in his first starring role--very funny, fast, handsome and intelligent. Veidt is excellent as the evil Jones. Rutherford and Grey are lots of fun as Skelton's girlfriends. All three of them play off each other perfectly--their verbal sparring is the highlight of this pic. Also fun to see Eve Arden in a small role.

Well worth your time.

Sentiment: positive