DoubleML/multimodal_confounding huggingface dataset:
I caught this during a brief run in a Philadelphia theater. Despite its local provenance (and its relation to a hometown tragedy, namely the beating death of Eddie Polec in 1994), I really have to come down hard on this movie. The director, for reasons best known to himself, decided to shoot the entire film guerilla-style, with nonstop handheld cameras and rapidfire cuts. Such technique might work for the scenes of jarring violence, but is utterly inappropriate for the rest of the material, which makes up the majority of the film. A stroll down the sidewalk, a brother-to-brother discussion on a sofa, hell, even a kiss on a first-date are all shot cusinart-style, distracting this viewer from ever being able to enter into the drama. Martin also undercuts his narrative by packing in far too many topics: besides the birth of mob violence, we get anorexia, alcoholism, divorce, racism, parental abuse...did I miss anything? No doubt a better cast (and a better-focused direction) would have knit these threads together, as Martin surely intended, to demonstrate how one moral flaw leads into and sustains a host of others...but good intentions do not necessarily a great film make. Just a sprawling mess. Martin, I know you're from my town, and I'm down with you man, I really am...just do a better job next time, like you did in Two Plus One.

Sentiment: negative
This thrown together piece of fecal matter adds together so many ludicrous scenarios that in the end it's a laugh riot of absolute hilarity. Too bad as the premise is promising (as it so often is in Duhllywood), but in the hands of this scriptwriter it segues off into la la land. 

Lowe is in Prison serving time for a DUI that killed off his mistress. We get to see him having nightmares just so that we know he feels real BAD about this. Then his cell mate neighbor hangs himself. Or does he? Lowe has some suspicions but drops them quickly. His suspicions are so weak that the bad guys have nothing to worry about. So why do they then set him up to be killed? Ah, that's where this story could get interesting. That's where it falls off the rails, and once off the rails it decides it can get away with insulting the viewers attention for the next numbing hour.

****************SPOILERS****************************

I won't bore with an endless recounting of the irrationality of what follows, but contemplate this ending. Lowe has been trapped by the bad guys on a train. They want a tape he has, because that tape will screw their boss, and them. So on to the train come 3 cops, guns drawn, ready to rescue Lowe. The bad guys kill the cops, in front of half the passengers and then....continue chasing Lowe to get the tape. HELLO!!!! killing 3 cops in public will get you into deep doodo, to hell with the tape. Yet off they go through a mall shooting up the place, as if the public did not exist as witnesses, and in the end Lowe is grabbed and the bad guy still wants the tape!!!

Sentiment: negative
I feel like I've just watched a snuff film....a beautifully acted, taut, engrossing and horrible thing! A two hour litany of perversion in the most basic and all inclusive sense of the word, sexual violence and torture, rape, decapitation, incest, corruption, live burial, and abuse, abuse, abuse. No redemption whatsoever. And I WAS entertained. I couldn't stop watching. What does this say about me, about the people who make and act in this sort of thing, and a world that has become so desensitized that eventually real snuff films will be the norm. And I'm neither puritanical nor humorless, I don't try to hide from the existence of darkness, and I definitely have not led a sheltered life, but I am ashamed of myself. AND I'm sorry to see my British cousins dragging the subject-matter sewers the way my own tribe does. It doesn't have to be cozy, but does it have to wallow in vicarious sadism?

Sentiment: negative
Wow, did this episode start on a STOOOOOPID premise! The Enterprise is chugging along when all of the sudden, Abraham Lincoln is floating around in space and welcomes the Enterprise!!!!!!! Is it just me, or is this a really lame-brained idea?! Lincoln comes aboard and they welcome them. Abe suggests they beam down to some barren planet, where they meet other famous dead folks--both good and evil. It seems that a really cheesy-looking rock monster has assembled a team of GOOD and EVIL people to battle it out for supremacy. The whole thing seems really daffy and inherently unfair, as the GOOD side is saddled with Surak--a Vulcan who makes Gandhi seem like Rambo!! Despite a totally AWFUL premise, the action is pretty good and it's great to see overhead shots of obvious doubles fighting it out in this grudge match. But, don't mistake this for high art or deep sci-fi. The bottom line is that the series was on its last legs as a first-run series and this really looked like they dusted off this turkey and filmed it regardless of the absurdity of the premise.

Sentiment: negative
How this film could miss so many of the fascinating, complex and mysterious aspects of the original story or the original movie is truly remarkable. An unbelievably thin and unengaging plot, ankle-deep characterisation/motivation and a really awful soundtrack (replacing tension with vast swathes of noise, replacing the arcane musical references of the original for digitised crashes and roars. Then there are the specific references to the original which are merely "plastered on" over the cracks... Dreadful. In a world where gormless, brain-dead Amerikan remakes of The Italian Job (a tear appears), Get Carter (sobs uncontrollably) and Alfie have desecrated our screens recently, this one takes the proverbial biscuit. Execrable nonsense. How Ellen Burstyn ever got involved is a wonder... Rubbish.

Sentiment: negative
If you haven't seen this, you do not know what you are missing. The first time you do, you will litteraly be in pain lying on floor throwing up from laughing so hard, and having probably wet yourself as well.

It is THAT funny. There hasn't been a single comedic performance to this date that I have seen that tops this or even comes close. So many classic one liners, stories, and segways..

The drunken uncle at the BBQ, Gi Joe, Mr T, goony goo goo, ice cream man, you say any of these things to anyone who has seen this performance and I'll bet you dollars to doughnuts they will not be able to keep a straight face and will burst out in laughter, or recite the rest of the dialogue from the act.

Pure classic!! Shame you can't get it on DVD..

Rating 10+ out of 10

Sentiment: positive
If you went to this movie to see some huge academy award presentation...oh well..but if you wanted to see a funny delightful adaptation of an old classic, you will love it..Jim Carey was incredible as usual. The story line was great, a few parts added like the history of the Grinch made it even better. Ron Howard never misses a beat..But although there were a few ADULT comments and cleavage added, this is supped to be a kids or family show. Try not to lose sight of that ..if you do you really wont enjoy the movie...and as for the comments about Ron Howard, try to direct a major motion picture and see how you do..its not easy as it looks ...

Sentiment: positive
Quite a heartwarming little film and not just for the kids. John Thaw is brilliant as always (without any hint of Inspector Morse about him). The boy playing William did a good job as well though I didn't find him convincing in every scene. I loved the whole feel of the small village and the slower pace of life in those times. I also felt the scenes in London where historically accurate, as far as I could tell.

It strongly reminded me of a Scandinavian film I saw a couple of years ago called Mother of Mine. That film featured a boy being evacuated from Finland to Sweden during WW II. The wife of the family taking him in asked for a girl because (as it turns out)she lost her daughter. Getting a boy instead she completely ignores him. The fact that the boy speaks Finnish complicates matters even further. I highly recommend that film to anyone who enjoyed Goodnight Mr. Tom, it has the same feel to it.

Sentiment: positive
This movie i have been dying to see. Well it took till now to decide to actually rent it. It was completely worth it. This movie made me laugh from the beginning to the end. Chris Rock is funny no matter which movie he is in. However, this should come real close to being his greatest. If ur lookin for a family movie, ie pre-teens and up then this is one u can't pass over.

Sentiment: positive
This TV-made thriller is all talk, little action. It works hard to set up its convoluted plot, yet the writing is so muddled the exposition is still cloudy at best. By the end, I knew no more about these characters than I did at the beginning. It has a quasi-"Ten Little Indians" scenario, but ditches it mid-way through in favor of spotlighting Sally Field and her uncovering of a killer. Field overacts here with a gracelessness I've seldom seen from her. The early introductions are good, but the writing quickly strays off-course and eventually goes over the top. Lots of hysteria, and constant thunder and lightning effects (which adds nothing). A curious failure from producers Aaron Spelling & Leonard Goldberg. With all this talent, couldn't they give us something more than a script full of red herrings and Sally Field hiding in a closet?

Sentiment: negative
Contains Major Spoilers, on the off chance you would actually care about the story line.

OK, we have storms that destroy a city and a computer hacker who clobbers the power grid.

Predictable schlock from the start, and if that weren't enough, the 5 second action bumps between the movie and the commercials kill what little suspense there might have been. For example: will they make it to the airport in time? Things look dim as we go to a commercialand the action shot before the ad shows them bouncing around inside the plane! Well, I guess they're gonna make it after allbut then again, they had to because they're good guys.

The acting wasn't any too impressive (exception and welcome relief: Randy Quaid as Tornado Tommy) , the effects were kinda lame, the bad guys got it, and the good guys came through. The real disaster of this movie was the script, especially the ending. Not only did they wrap things up happily as quickly as a soap opera given 24 hours notice of a cancellation, but they glorified the hacker as well-intentioned. So he caused a bazillion deathshe meant well. And, of course, an uplifting final TV report about people coming together. Barf. It was everything I expected from the commercials, and I'm glad I wasted my time watching it. It will make great conversation at the lunch table tomorrow.

Is CBS insulting us by making this? Surebut we watched it, didn't we? Did you count many ads there were for home backup generators during this pig?

Here's hoping for the next Plan 9 from Outer Space (which gets better with each viewing). This isn't it.

1 star.

Sentiment: negative
I stopped watching this POS as soon as the snakes started "taking over" the plane.

At first I thought maybe it should get a "one" for the comic relief. But then I realized I could just watch the three stooges for free and laugh more! 

Whatever respect I might have had for Samuel Jackson has been irreversibly destroyed. And Hollywood demonstrates once again how removed from reality they really are. When I was a kid we used to catch snakes for fun. The only thing snakes would do is huddle at the bottom of the cargo bay. And no amount of Hollywood cartoon snakes can change that.

This movie isn't worth a trip to Blockbuster. Be warned: if you pay for it, the only "victim" is your dumb ass.

If you want to be really scared, I suggest the Descent. If you want humor, go to your local stand up comedy club. Their worst performer will be a million times better than this trash.

Sentiment: negative
This film is great! Being a fan of "The Comic Strip Presents..." I just knew I would love this film. And love it I do. I finally got round to buying a copy of this film early this year. However I was annoyed to find that it had been cut! So I'll keep looking at car boot sales for the original version.

Anyway, the film is about Dennis Carter (Adrian Edmondson), who tries to impress his girlfriend (Dawn French) by claiming to be a drug dealer. However, Dennis is overheard bragging one night in the pub and nicked! So Dennis turns supergrass but the trouble is he doesn't know anything and starts to make up lies and dig himself into an even deeper hole! The irony of all this is that there is drug smuggling going on down in Devon.

This film is not as funny as I expected but it is still a really good film with some good laughs and a great soundtrack. It also has the best scene ever in a British film (Robbie Coltrane's walk across the pier set to "Two Tribes" by Frankie Goes To Hollywood.

So if you are a fan of "The Comic Strip Presents...", of any of the cast members, or a fan of British comedy see it A.S.A.P!!!

Sentiment: positive
Since the characters begin with "Unknown" identities, they not identified by name, so you start with handsome James Caviezel waking up in a warehouse. He finds out the place is locked up tight. Don't ask - the windows are made with security glass, and it's impossible to get out. Four other awakening men make it a quintet - Mr. Caviezel in his "Jean Jacket", Barry Pepper in a "Ranger Shirt", Greg Kinnear with a "Broken Nose", Joe Pantoliano as a chair "Bound Man", and Jeremy Sisto shot and "Handcuffed Man". Oh, Man 

These five men have collective amnesia. They think that three of them are kidnappers, and two are victims - but, they don't know who is which or which is who. The forgetfulness is due to a pipe leak. Don't ask - it happens. Meanwhile, on the outside, lead lawman David Selby (as Parker) sends his cops to solve the kidnapping while one of the men's wives, Bridget Moynahan (as Eliza Coles), frantically waits. But, criminal element's gang leader, Peter Stormare in "Snakeskin Boots", is also on his way to the scene.

Like the DVD synopsis says, "As secrets are revealed and clues unraveled, (the five men) must race against time to figure out who is good and who is evil in order to stay alive." This story reads a lot better than it looks on film, unfortunately. When the secrets are finally revealed, and memories become clear, there is no longer much interest in what has happened. Simply, director Simon Brand has a great premise with Matthew Waynee's idea, but they encumber light investment in the characters holding the short end of the stick.

**** Unknown (11/1/06) Simon Brand ~ James Caviezel, Barry Pepper, Greg Kinnear, David Selby

Sentiment: negative
Without question, this film has to be one of the greatest ........ in cinematic history. I have it watched too many times to remember, and each time it is like I am seeing the film for the first time.

Where does one begin?

Meena Kumari's central performance is undoubtedly one of the finest of her career, followed closely by Sahib Bibi aur Ghulam and Phool aur Pathar. Each movement and nuance of her performance, makes any other Bollywood heroine pale into significance. Her masterly interpretation of Kathak coupled with her grace, tragic vulnerability and poetic delivery of Urdhu, is like nothing ever seen on the bollywood screen.

Pakeezah is perhaps the most stylised interpretation of the human condition; the photography, sumptuous cinematography and mise en scene, are so charged with symbolism and meaning, that the viewer is left breathless.

Naushads music, is unsurpassed, his knowledge of the music of the courtesan gharanas is incredible, and the way in which he punctuates the narrative with dark atmospheric motifs and overwhelming romantic melodies is indeed remarkable.

My only advice to anyone who seriously enjoys the spectacle of total cinema, should watch this epic mediation on life and art.

Sentiment: positive
I have to hold Barney drilling my head every day; well.. I guess there must be reasons. First, I'm convinced that our kids are not stupids, they are just kids, but they know (my 1 and a half years old son "selects" what to see) what's nice or disgusting. Did you see the news? Do you think your kids HAVE TO KNOW the reality as it is? Maybe..or maybe not; we (the adults) have the responsibility about what we want for our kids, and what to teach them. A film of drug dealers? news about massacres in Middle East? Of course, the kids must know there is a Real Life, but... they are kids; let's give them some mercy. What do you want for them? If you wanna have kids trained on weapons or the best way to kill a neighbor, go ahead, impose them Lethal Weapon, Kill Bill, any manga's anime, tell them Santa's a depraved who enters through the chimney directly to violate them. I want illusions for my son (don't get me wrong, I'm not saying Barney and Friends is the best; in fact, the show have a lot of defects, I read other comments and I agree with most); maybe the happiness is made of dreams, or illusions. At least, I want to teach him to grow WITHOUT FEAR BUT CAUTIOUS, that learns to think and believe that everything is not serial killers or hijackers, whom they're reasons to worth to grow. That, at least, he can be a little happy with his own dreams. So, parents, don't underestimate your kids; they know what they want.

Sentiment: positive
When originally screened in America in 1972, 'The Night Stalker' became the highest rated made-for-T.V. movie in history. Based on Jeff Rice's unpublished novel, it told how a fearless investigative reporter named Carl Kolchak ( the late Darren McGavin ) discovered the existence of a vampire in modern-day Las Vegas. When it arrived on British television four years later, it did not quite have the same impact, but my friends were talking about it at school on Monday morning, as indeed was I. We all agreed that it was one of the most exciting things we had seen. 

I did not know of the existence of 'The Night Strangler' until it turned up nearly a decade later. I.T.V., who screened the 'Kolchak' movies, had apparently decided to pass on the spin-off series; they felt 'Barnaby Jones' starring Buddy Ebsen to be more of a draw, and anyway, viewers might confuse 'Kolchak' with 'Kojak'! For years my only source of information concerning the show was an article in Fangoria magazine. I could not even purchase the Jeff Rice novels.

Then something wonderful happened. In 1990, B.B.C.-2 put out the show as part of a late-night Friday series devoted to the supernatural called 'Mystery Train', hosted by Richard O'Brian. 'Kolchak' found himself rubbing shoulders with the likes of 'The Brain Eaters' and 'Earth Vs.The Spider'. The opening titles were trimmed, removing Kolchak's whistling, and the closing credits...well, there were none.

The first episode screened was 'Werewolf'. I cannot say I was overly impressed, but stuck with it, and am I glad that I did!

I really wish I'd seen it in 1974. My twelve year old self would have adored it. Creepy, humorous, exciting, no wonder it fired Chris Carter's imagination. 

The show's biggest asset was, of course, McGavin. Unlike the recent Kolchak, the original was an everyman figure, eccentrically dressed, rather conservative. He was to the supernatural what 'Columbo' was to crime. The late Simon Oakland was great too as Kolchak's bad-tempered boss Tony Vincenzo. The scripts overflowed with wonderful, dry wit. I found myself enjoying the programme more for the humour content than the horror. When the twenty episodes ended, I felt bereft.

'The X-Files' came along a few years later and filled the void - but only to an extent. I wanted Kolchak and Vincenzo back. I am glad that the show was never revived though. Without Oakland it would not have been the same.

I have the Rice books now and have read them several times. I was very surprised when Stephen King slated the first ( in his book 'Danse Macabre' ) as it is as good as anything he has written. 

Alright, so some of the monsters were hardly state-of-the-art, but so what? The new 'Kolchak' totally missed the point of the original. What you don't see is sometimes more frightening than what you do...

Best Episode - 'Horror In The Heights' Worst Episode - 'The Sentry'

Sentiment: positive
Winchester 73 gets credit from many critics for bringing back the western after WWII. Director Anthony Mann must get a lot of credit for his excellent direction. Jimmy Stewart does an excellent job, but I think Stephen McNalley and John McIntire steal the movie with their portrayal of two bad guys involved in a high stakes poker game with the treasured Winchester 73 going to the winner. This is a good script with several stories going on at the same time. Look for the first appearance of Rock Hudson as Young Bull. Thank God, with in a few years, we would begin to let Indians play themselves in western films. The film is in black and white and was shot in Tucson Arizona. I would not put Winchester 73 in the category of Stagecoach, High Noon or Shane, but it gets an above average recommendation from me.

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Sentiment: positive
Being a person who does not usually enjoy boxing movies, feeling they only focus on the boxing and not the characters themselves, this movie truly moved me. I loved being able to see the main character Diana(Michelle Rodriguez) go through so many things in such a short while, it was amazing to me. Michelle (Rodriguez) did such a wonderful job playing Diana especially since this was her first acting experience, she showed true emotion and portrayed Diana wonderfully. All actors had chemistry on screen and made this movie even more amazing. I highly recommend this movie even to those who do not usually watch boxing movies. 10/10

Sentiment: positive
Acting, of course! Think about it, Closet Land could easily have turned out so horribly - an entire movie filmed in one room with only two people, they better have some damned interesting things to chat about.

But it didn't turn out horribly. On the contrary, thanks to incredible portrayals by both Stowe and Rickman, Closet Land is a masterpiece in its own right.

That's not to say it is for everyone. Persons who have had their attention spans decreased through glitzy sex scenes and random gun fire may have trouble digesting Closet Land. However, those who can appreciate good story telling without explosions should give it a look (no matter how many video stores you have to call to find someone who has it in stock).

Sentiment: positive
A clever script from the late SEBASTIAN JAPRISOT and smart performances from the two male leads - ALAIN DELON and CHARLES BRONSON (or should it be the other way around) result in an engaging and entertaining thriller.

Add to the above the competent direction from veteran JEAN HERMAN and a sparse but effective score by FRANCOIS DE ROUBAIX, it becomes easy why this film has an odd timeless quality.

This is a buddy buddy or bonding story with two loners, both disillusioned and world weary, returning, presumably from Algiers. Like the other colonial powers of this time (post WW II leading into the 60s), France had struggled to keep up appearances overseas. Losing Algiers was a bitter blow.

ADIEU L'AMI (the original title) chronicles the actions of our two (anti) heroes as they struggle to make a go of it, after their discharge.

One thing happens after another, and the viewer really has to pay attention, because JAPRISOT is lean and economical with his script: if it is there, then there must be a reason.

Suffice to say, these two men battle it out, physically and psychologically, one long weekend. Their motivation is quite different, their goals are different - their survival depends entirely on each other. That ALAIN DELON and CHARLES BRONSON are outwardly so different - the former, arguably a pretty boy, and the latter an ugly thug, adds to the chemistry.

That quest makes for a great story, which in turn, makes for a great film.

Lest I forget there are women in this film, and true to the Japrisot method, they too are memorable, though not nearly as fleshed out; to say much more would be to spoil one's delight in discovering their true nature.

FAREWELL, FRIEND HAS BEEN RELEASED IN THE UK; AN ANAMORPHIC IMAGE, 16.9 ENHANCED; IN English ONLY (not even subtitles for the hard of hearing); A RUNNING TIME OF 110 MINUTES; MONO SOUNDTRACK but the DE ROUBAIX music has lots of punch! 

Highly recommended.

Sentiment: positive
I'm not going to say that this movie is horrible, because I have seen worse, but it's not even halfway decent. 

The plot is very confusing. I couldn't really figure out what was happening and where things were going. When the movie was over, I was left scratching my head. I watched through to the end of the credits to see if they had something after them that may clear things up, but once the credits were over, that was it. I felt like I was jarred from one weak plot point to another throughout the whole movie, with little or no transition between the two. 

Character development is very shallow. I couldn't figure out when somebody was angry or had a grudge against someone. I couldn't tell if half of the characters were just supposed to be drunk, stoned, mentally challenged or they just had a bad actor to portray them. This film seems to be based around stereotypes (to it's credit, they are hard to avoid using when you are making a film about a singer in a rock band), which SHOULD make character development easier, since so many other films have already illustrated the suffering of an abused child, or the trials of a heroin addict trying to come clean. Stereotypes are easy to depict, which would explain why so many bad films tend to overuse stereotypical characters. This film, on the other hand, uses stereotypical characters left and right, but then tries to keep them as incomprehensible as possible.

Another problem with the characters is that they seemed to be dismissed with no explanation. I guess that's OK because so little time was spent developing the characters that I really didn't get a chance to know any of them, so I never really missed any of them.

And last but not least was Sadie's singing. It's awful. The music backing her up is not prize winner, but it is usually drowned out by the screeches that are released from Sadie's vocal cords. I swear that there's one point in the movie where she sings a song for at least 10 minutes. I seriously thought I was going to have to turn it off during this howl-a-thon.

As a whole, this movie is confusing. Characters are ill-developed, Georgia's acting is wooden and stiff, Sadie's character is yanked from one bad situation to another, with no back story or explanation. The music was unbearable, and I can think of no good reasons to see this film unless you have a thirst for cinematic pain.

Sentiment: negative
I am a big follower of Indian Movies especially Malayalam and Tamil.

Shame on India for not sending this movie as their official Oscar entry. I have seen this movie and it has clearly revealed to me the maturity Tamil cinema has in its screenplay and narrative which bollywood better catch up with.By the way to all we westerners, Tamil Cinema is more qualitative and very different from Bollywood which is all about good looks glamour and promotion.

Coming to the point what was India thinking when they sent a movie like 'Devdas' to the Oscars? That was a really a Masochist move. I think they are trying to punish Oscar judges with boredom by sending Devdas since the judges toppled Lagaan last year.

'Devdas' is just a brigthly colored but stale and predictable melodrama of Love, fate and destiny. I would keep away from it. Anyway, not sending a movie like Kanathil Muthital shows how much of a revamp Indian administration needs to save them from poor administrators who lack intelligence. Now I know why this country has so many issues. They are heavily talented but not showcased properly.

Sentiment: positive
This movie had a very unique effect on me: it stalled my realization that this movie REALLY sucks! 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 utter pretentious cr4p. Probably written by some collage student with friends to compassionate to tell him that his writing sucks. The whole idea is  I don't even know 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 stupid "riddles", the kind you learn on elementary 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 acts (lie solving riddle rhymes) start to have an abnormal effect on people. Acting was horrible, with that girl always trying 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" behind that smirk on their faces just horrible, HORRIBLE.

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 ugly excuse for a movie that will keep you wanting to be good for an hour and a half, and at the end you will just lament that you fell for it.

Sentiment: negative
OK, first of all, Steve Irwin, rest in peace. You were loved by many fans. Now...this movie wasn't a movie at all. It was "The Crocodile Hunter" TV program with bad acting, bad scripts, and bad directing in between Steve capturing or teaching us about animals. He was entertaining as an animal seeker/specialist. Millions will miss him. But the whole movie idea was a big mistake. The plot was so broken, it was almost non-existent. Casting was horrible. The acting wasn't even worth elementary school-level actors. The direction must be faulted as well. If you can't get a half-way decent performance out of your actors, no matter how bad the script is, you must not be that good in the first place. I could have written a better script. I wish I had never been to see this movie. Of course, I watched it for $3 ($1.50 for me, $1.50 for my son.) while out with friends who insisted upon seeing this instead of Scooby Doo Live Action. My son, who is not so discriminating, liked the movie alright, but he still has never asked to see it again. If you want fond memories of Steve Irwin, buy his series on DVD. Avoid this movie like the plague. If I were Steve, I know I wouldn't want to be remembered for this movie. Respect him: avoid this movie!

Sentiment: negative
Drive was an enjoyable episode with a dark ending. Basically a man and his wife are infected in their inner ear by a high pitched sound wave being emitted by some military equipment. Some favorite parts of mine from this episode are Mulder's dialogue in the car, and the scene where Scully goes in with the Hazmat team and find the little old deaf lady completely unaffected by what they thought was a virus. The ending of course is tragic in its realism because it leads the viewer to believe that they are going to actually be able to pull off this elaborate plan to save the victim but when Mulder arrives the man is already dead. 8/10

Sentiment: positive
"You got any beans? Beans is good. You just eat them and you go." I couldn't help but laugh at that bit of dialog. Beans are the musical fruit, you know. The more you eat them, the more you go toot, toot, toot.

Hmmmm... OK, i can understand why the actors were in this because they needed paychecks to pay their bills with, but i'm not really too sure what the intentions of the director and the writer were. Even after watching the making-of documentary in the DVD extras.

Mike Rooker gave this a performance it really didn't deserve. I've seen him in other movies MUCH better than this one. What would have vastly improved this movie was to throw everything out, keep Rooker and instead made another entry into "The Substitute" franchise. Rooker would have made for a terrific substitute teacher who instructs naughty and morally-impaired youth regarding the error of their ways and how they can become more useful and productive members of society.

Casper, you really shouldn't be just pushing through the undergrowth like that as you could get poison oak. Whoops. Never mind. I guess poison oak is the least of your worries now. Well, at least this time your croaking wasn't done by the tail of giant python. There are few things more embarrassing than being skewered through the chest by a giant snake. At least the death scene in this movie had a bit more dignity to it. As well as a more liberal smearing of karo syrup and red food dye. Nothing says sad and tragic death like the liberal use of karo and red dye!

First time i've seen a monster wear a shiny rayon cape with a fur collar ruff. First time for everything, i guess. Just to be nitpicky, though, if this was an Indian ghost, how come it looked exactly like a monster out of European culture and folklore? Wouldn't the monster have been more sort of more indianish?

While i did watch this all the way to the end credits, i don't realistically believe that i could in good faith recommend it to others.

Sentiment: negative
I managed to avoid reading Hemingway in college. From what I could tell, along with his reductivist verbiage, he offered reductivist story lines. This film-transfiguration of AF2A into a simplistic, hoary, belabored narrative, does not disabuse me of my suspicions: A guy who barely sees action on the European battlefield (Hudson) falls in with a nurse (Jones), and they conspire to spend time together. Hemingway's big contribution to narrative was the romantic travelogue? Who knows what these two lovers have in common? They're so utterly generic. The movie never even brings up the utter irresponsibility it takes to abandon the front in favor of a lovers' adventure. The two have a season on the Alps, straight out of a J. Crew catalog. A number of better scenes are undermined by corny, conventional melodrama elsewhere. The movie keeps piling on tiny, improbable, unspecific details that fight the epic treatment. The cavernous hospital that Miss Barkley works in is virtually empty, so that no secondary plot line can possibly distract from the flimsy main story. Complicated, it is not. 

The camera work is better than average, with some amazing location photography. Director Charles Vidor (or maybe Huston?) does striking things in the first hour with an on-location, wide-screen camera... there are no second unit cop-outs. Vidor shows massive, panoramic tableaux, pans over a line of hundreds of soldiers trooping through the mountains; and then with a 90 degree swivel of his camera catches up with Hudson's ambulance barreling down on him. 

Hudson looks great. He's a better actor than he gets credit for, but with unshaped material like this, he can become very mechanical. Mercedes McCambridge plays a one-dimensional shrew. Jennifer Jones is puffy and miscast in the lackluster female lead. The movie is best when she's off screen. The love scenes are about as affecting as a coffee commercial.

Sentiment: negative
The original 1965 Japanese film "Gamera" http://pro.imdb.com/title/tt0059080/ was essentially an updating of the darker, less kid-oriented Gojira (Godzilla)for 1960s sensibilities. Gamera, of course, is a giant, flying, flame-throwing turtle who literally consumes energy - not quite as big as some versions of Godzilla, but generally similar in most ways. 

This version of the original film was edited and recut by the notorious Sandy Frank. And just like the Americanized version of Godzilla ("Godzilla King of the Monsters"), "Gammera the Invincible" gets more than just the spelling wrong. The American scenes are not nearly as ludicrous and annoying as those added to the great Gojira, but don't really add much to the story either because there is little follow up on them. 

The film starts off promising, there are a few scenes worth of character development, and there are enough personalities to create some tension outside of the main plot. Once Gamera appears, however, the film begins to descend into a fairly run-of-the mill kaiju film.

The acting is good enough- even the American add-ons are OK. The directing is pretty good for this period and genre, and the special effects are not bad at all for their time (all miniatures). Some of the sets and backdrops are actually very good. 

The biggest problem here, of course, is that there is little to nothing original about this film. Gamera, however, develops a much more unique personality in his later films - most of which are worth watching if you are a kaiju fan.

Sentiment: negative
Once again Canadian TV outdoes itself and creates another show that will go unwatched after its premiere episode. 

Last time I remember sitcoms were supposed to induce a reaction we in the business call laughter. How funny is it to beat the stereotype of all white people thinking that all Muslims are terrorists? OK maybe one joke just to stick it to the masses. But not 30 minutes. It's called beating a dead horse. Even SNL would know to give up after a commercial break.

Also, let's have a little conflict in these scripts. Will she or won't she be able to serve cucumber sandwiches to break the fast on Ramadan? When will Ramadan start? Ohhhhh this is Emmy winning stuff here. 

And the characters! What characters?! They are all cardboard cut-outs without anything interesting to make us want to follow them from one situation to the next. That's the point of the situation comedy. We need to have strong, interesting, dynamic characters so that we are constantly drawn to the TV set each week. We have to care about these characters to worry about what trouble they're going to get into next week. If I never see these characters it'll be too soon. Thankfully I can't remember any of their names (note to CBC - that's not a good sign).

And the acting is so bland. It's more so a problem in casting than in the actors. None of these people actually embody the characters they play. They just seem to act their part as though they were working on a movie of the week. Sitcoms require actors who live and breathe that character - make us fall in love with them - where they become inseparable from the character the portray. Watch any American sitcom and you'll see how easily identifiable characters are. Part of the problem is that the actors seem to treat this project as though it might be a platform to bigger and better things instead of being their one big character of a lifetime for whom they will spend the next 8 years portraying. That level of disinterest in the characters and the project shows. But to be honest, considering the lame concept and the horrible writing, there's not much for the actors to do but say their lines and try not to bump into any furniture. As another commenter mentions, this seems like a TV movie and not a sitcom.

And the directing or lack there of! What can I say, Canada has so much talent, look at what the Comedy Channel is doing with Puppets Who Kill and Punched Up. Look at the Trailer Park Boys (not the movie cause it bit the big helium dog). Look at any American show to see the potentials our talent as that's where many of our stars go to find decent work.

Give credit to the CBC, they really know how to build publicity for a non-event. Remember "The One"? No - well don't even try to learn any characters names in this show, as it's sure to go the way of the dodo.

Let's all hope for a full blown ACTRA strike so that nothing like this emerges from the Ceeb for a good long while.

Sentiment: negative
There are so many '10 Best' lists which could easily fit "The Dead" - Best Screen Drunk, Best Literary Adaptation, Best Use Of Music Not Specifically Written for the Film, Best Use of Poetry, Best Screen Speech, Best Ensemble Cast and finally, perhaps, Best Film Ever Made. This was John Huston's last and greatest film, adapted by his son Tony from James Joyce's short story and set on the evening of the Feast of the Epiphany in the Dublin of 1904. It is confined, largely, to one setting, the home of the Morkan sisters, and not a great deal happens in conventional 'dramatic' terms. They entertain their guests; there is singing, dancing, recitations and much small talk but watching this film you can't imagine anywhere else you would rather be than in this company.

Finally, of course, it is 'about' much, much more. It is about love, loss and regret, those stable mainstays of great drama. In the film's closing scenes the tenor Bartell D'Arcy, (Frank Patterson), sings a song, 'The Lass of Aughrim' which conjures up in the mind of Gretta, (Anjelica Huston), wife of Gabriel, (Donal McCann), the ghost of her first and probably greatest love, a boy who died in all certainty of a broken heart at the age of seventeen, and suddenly Gabriel realises he has never really known his wife and that he has not been the great love of her life, after all. Emotionally, these scenes are incredibly powerful, firstly as Gretta recounts the circumstances of her lover's death and then as the voice in Gabriel's head sums up his own feelings. This is great cinema, the monologues superbly delivered by Huston and McCann.

But then all the performances are extraordinary. This is ensemble playing of the highest order and while it would be invidious to single out one performer above another, has the screen ever given us a more likable, genial or convincing drunk than Donal Donnelly or has poetry ever been delivered with such passion that Sean McClory, (the IRA man in "The Quiet Man"), brings to his reading of Lady Gregory's translation of 'Donal Og' here? Added poignancy is to be had, of course, from the knowledge that Huston himself was close to death when he made this film which seems to me the culmination of his life's work. Death may well be its central theme but viewing this film is a life-enhancing experience.

Sentiment: positive
Adela is a rebellious teenager with the attitude that she is right and everyone else is wrong. She needs to be the center of attention and she'll act stupid to make it so. With her attitude she gets sent to charm school.

There she meets the typical characters in today's cinema; the nerd, the clumsy one, the stepford housewife and the sexual minority. Things happen and in the end Adela "learns her lesson" so to speak. The plot tries to carry a deeper meaning to the state Adela is in, but utterly fails to deliver (at least I didn't buy it). So what you are left with is superficial interaction within the same stereotypes you've seen in a million movies before. Plus the director seems to have a breast fixation, Adela flashes her boobies a few times too many, at least I can't see that they are relevant to the story.

So the film is OK, but if you are like me and don't like to watch a teenager pissing people off and making a behavioral U-turn in an instant, which I found very unbelievable, think twice before watching.

Sentiment: negative
Absolutely one of the 10 best music films Ever! A totally essential educational experience for any music fanatic--Especially young rock/punk fans today...understanding the beginnings of any particular "artistic" movement absolutely requires understanding the roots of the music,as well as the mindset and musical environment of the times....not to mention the political and social factors involved at the time. And,besides all that,this documentary is flat-out rock-n-roll F U N !! Do Not Miss It!!! that said,can anyone tell me when,if ever, "the decline of western civilization"...part 1,( Not part 2,the metal version) will be made available again..hopefully on DVD?

Sentiment: positive
This movie really starts strong. We know that Roberts is an Atlanta hotshot sent to Australia to fix Coke's marketing problems. We also know he is an eccentric genius. Roberts' fine acting convinces us of this rather quickly.

Unfortunately, the plot is so flimsy, that whatever fine character development has been achieved, it is negated by voids, inconsistencies, and downright boring film sequences.

Usually, I am a sucker for bold and far out plots. Examples which I am fond of include, "Dark Star," "O.C. & Stiggs," and "Popeye." Coupled with the fact that I must admit that this film was well acted, it surprises even myself that I cannot recommend this film.

The utter breakdown in this movie occurs about midway through the film. All comedy is instantly lost and the film turns dark. Afterwards, the film plods along. The film's attempt to get the comedy rolling again is not successful. More surprises await the viewer and they are darker still.

To be sure, mixing drama with comedy can be a formula for success. However, with this movie, the result is about as successful as "new coke."

Sentiment: negative
WESTERN UNION tells in melodramatic fashion the stringing of telegraph lines between two points out west. Siblings Dean Jagger and Virginia Gilmore work for Western Union, and Randolph Scott and Robert Young work for the Creightons. Indians and some bad white guys get in the way, but nothing can stop America's progress. This sense of manifest destiny is greatly enhanced by a first-rate musical score and vibrant color photography. Scott is a bank robber looking to mend his ways, and both he and engineer Young vie for the attention of the perky Gilmore. Lots of great character actors help keep the large production moving forward.

Sentiment: positive
Luchino Visconti was light years ahead of his contemporaries. The great directors of Italy of the 40s and 50s were men who understood the medium, but it was Luchino Visconti, a man of vision, who dared to bring a film like to show what he was capable of doing. He clearly shows his genius early on in his distinguished career with "Ossessione", a film based on James Cain's "The Postman Always Ring Twice", which was later made by Hollywood, but that version pales in comparison with what Visconti achieved in the movie. Luchino Visconti and his collaborators on the screen included an uncredited Alberto Moravia, a man who knew about the effect of passion on human beings.

The film has been well preserved in the DVD format we watched recently. The film is a must for all serious movie fans because we can see how Visconti's vision translated the text into a movie that rings true in a plausible way, something the American version lacked.

What comes across watching the movie, is the intensity which the director got from his key players. The magnificent Clara Calamai does an amazing job as Giovanna, the woman who has married an older man, but when Gino appears in her life, all she wants to do is rid herself of the kind man who gave her an opportunity in life. Giovanna is one of the best creations in Ms. Calamai's achievements in the Italian cinema. The last sequence of the film shows Ms. Calamai at her best in the ironic twist that serves as the moral redemption for the monstrous crime that was committed.

Equally excellent is Massimo Girotti, one of the best actors of his generation who appears as Gino, the hunky man that awakens the obsessive passion in Giovanna. Gino is the perfect man for Giovanna, something that Mr. Girotti projects with such ease and sophistication not equaled before in the screen. Mr. Girotti makes the man come alive in a performance that seems so easy, yet with another actor it might not have been so apparent. Juan DeLanda is seen as Giuseppe, the older man who fell in love with Giovanna. In fact, his character rings truer than his counterpart in the American film, where he is seen more as a buffoon.

The film is beautifully photographed by Domenic Scala and Aldo Tonti. They gave the film a naturalistic look that was the way Italian directors of the era favored. The original musical score of Giuseppe Rosati is perfect. Visconti, a man who loved opera and was one of the best directors, also includes arias by Bizet and Verdi that fit well in the context of the movie.

"Ossessione" is a film to treasure because we see a great Luchino Visconti at the top of his form.

Sentiment: positive