DoubleML/multimodal_confounding huggingface dataset:
At first it seems the topical romance movie where a girl meets a boy and fall in love, but the point is that this movie has a feeling others don't have.The first time i saw it i couldn't see it complete because i had to leave.But while i was walking along i thought i must see it again but i didn't have any opportunity by then.One year went by until i saw this movie in a not-free channel and i saw it and i recorded it too.I saw it once,twice...until 200 times and not kidding.I did know all the dialogues by hart and i don't know why but i saw it everyday and never got bored.And i have to say that I'm not used to see a movie more than twice.The act is very good.Gerard Depardieu is a talented actor and katherine heigl too.I would like her to be in a good movie because i think she can do it.On balance,it's a movie i can't take out of my mind.

Sentiment: positive
Not to be confused with the Madonna film "The Next Best Thing", "The Last Big Thing" is a silly, campy, off-the-wall comedy about a man who yearns to start a magazine called "The Next Big Thing" which reviews a variety of up and coming artists. This low budget indie makes "Chuck and Buck" look like a masterpiece. Fraught with lousy acting, poor sets and costuming, etc., "...Thing" has earned some awful reviews and to date has only been nominated for one fringe award. Pass on this one.

Sentiment: negative
Some people have made a point of dissing this movie because they question the plausibility of black people in the Old West, Asian people in the Old West or women with guns in the Old West period. Get a grip and read a book. There were quite a few Asians (Chinese), there were quite a few blacks (freedmen) and everybody outside of the gentile class had ready access to guns; it is the second amendment you know. And as far as the use of modern language goes, none of those Westerns people have waxed nostalgic about actually used language that was consistent with the era depicted. Americans had different accents, used different inflections, spoke at a very different pace and used plenty of words and phrases that would be unrecognizable today. Don't blame historical inaccuracy for the fact that you just didn't dig it. Be honest. Maybe you're just uncomfortable with what you're seeing.

Sentiment: negative
I happened on "Shower" in the foreign film section of my local video store and passed it over several times since from its cover it looked like a farce or comedy. I then lucked into a copy to purchase at economical price and am happy for my luck. "Shower" is the story of three(3) men, a father and two(2) adult sons, each coming to terms with life changes as the world around them also continues to change in modern China. As with many "foreign" films, the Chinese culture itself is one of the most interesting facets of this movie.

Beyond the fascinating characteristics of the local, Chinese color giving the setting to this story, is the difficult yet touching relationships between the men and a sole woman involved in the story, all set against the backdrop of a village bathhouse.

The family's story moves from estrangement to understanding and made me glad I came to know these people. Added to the main story are the numerous small characters, bathhouse customers, and their individual conflicts and friendships. "Shower" is a film one walks away from smiling and touched by its warmth and humanity.

Sentiment: positive
I loved KOLCHAK: THE NIGHT STALKER since I saw it on the night it premiered on September 13, 1974. I loved the monsters which seemed scary at the time and the cool music by Gil Melle (hey, where's the soundtrack guys?) and have often thought about what makes this show work for me so completely and have finally concluded that the reason it endures when many others do not is one simple, important element it has that almost no other scary show seems to have and that is a main character that most people can relate to on an everyday level. When Darren McGavin's Carl Kolchak starts to discover odd situations, he reacts like most people would. He finds them odd and as he gets closer to danger, he is frightened, even if he knows he must move forward to try to defeat whichever menace is being showcased in that episode. It's rare that he is brave enough to stand up against some superior supernatural force. He's usually set a trap and is hiding or waiting in the wings to see if it works. Sometimes, he seems as surprised that he managed to defeat a foe as we are. In one episode, he goes to find a monster in a sewer but when he first sees it, he runs to get out of there but is trapped so reluctantly, he must go back and defend himself. He's heroic because he is willing to do things most of us probably wouldn't do but that doesn't mean he probably wouldn't much rather someone else did it instead of him. He's a regular guy, doing a job, trying to make a buck, not a monster-hunter. He just gets wrapped up in things involving the supernatural, which he has an interest in but he doesn't want to be hurt or killed anymore than any of the rest of us do. If his plan to defeat the creature didn't work, you will often see him running for his life to get away from it, which is of course what I would do in the situation. That's why I was often watching the climax of the shows through my fingers as a kid. Kolchak was likable and you cared if something bad happened to him. You were scared for him and for the other characters too. The producers and writers obviously knew that anyone can create a monster suit, scary music and direct a suspenseful scene but it's all for naught if you don't care about the characters. Darren McGavin said that the reason why the show only lasted on season was because he got tired of doing a "monster of the week" show and he decided not to continue. I can tell you I mourned when this show was canceled when I was a kid but, as an adult, I can see why it couldn't go on in that formula for very long. I still love the 20 episodes and two movies that starred McGavin as the bumbling, determined and brusk but good-hearted reporter for the INS, known as Carl Kolchak. I seriously doubt anyone who makes shows or movies will ever really understand why I loved the show. It's not the monsters, darkly-lit sets, creepy music or goofy guest stars, although they are all vital ingredients. The secret to it's success is right there in the title - "Kolchak: The Night Stalker". Without McGavin's lovable, bumbling Carl Kolchak to root for and to care for, then it just ain't a Night Stalker.

Sentiment: positive
I have lost count of how many reviews I've written on Slaughter High. I've read a lot of bad ones and I will say right now this is a fantastic movie. Simon Scuddamore made his fame in a short time for his well known suicide, and even though this was his only film, he is what made the movie so great. At first I did not know anything about Simon until I read a review about his suicide. Then I found out due to the current webpage at www.IMDb.com he was born in 1957, in Dayton, Ohio. Simon may have played the most pathetic character known to man, but his real life self certainly had their strenghths and weaknesses. He did a good acting job, who can disagree? I always wondered how he felt showing himself naked in a movie. Must have been pretty embarrassing to say the least. I first saw this movie when I was 12 in the sixth grade. I agree with some pointers like the girl would not take a bath after somebody was murdered, and that high schools do NOT have bath tubs! I think Caroline Munro who was 36 at the time was the only other star that had any dignified acting talent, and unfortunately for Simon's death he made no future films. The reason(s) for his suicide are a mystery, and hopefully will be discovered in the near future. Doing the math on his webpage it tells you he was 29 years old when he made Slaughter High. He looked like a teenager. I give this film two thumbs up, the best horror film made. Probably because of their horrible acting the others didn't make fame in the movie business. -Jacob Young

Sentiment: positive
This is truly the greatest Swedish movie of all time. Not only is it revolutionary in its narration, but its also among the first movies to feature the next generation of Swedish humor and Swedish comedians. Felix Herngren and Fredrik Lindström are two of the most intelligent and witty filmmakers in Sweden today, and this film really puts that on display.

"Vuxna människor" (Adult People) is a warm-hearted and hilarious story about adulthood, and the question if we wouldn´t be better off without it.

Sentiment: positive
There wasn't a dry eye amongst the audience yesterday afternoon after I left the cinema, having seen this gem of a film in a sold-out house as part of this year's Hamburg Film Festival. And the tears shed were all of laughter. This film was hilarious, there's no other way of saying this. There wasn't one boring bit in it, I laughed right through it and with me everyone else of us three hundred lovers of French cinéma.

Alain Chabat was absolutely terrific. A great clown if needs be and serious if the situation calls for it. The performance was of course completely over the top, but this was exactly what the story needed and what made it work so well. Equally great was Charlotte Gainsbourg who I love to see a lot, and the mother was also a very strong performance. The sisters could have been a bit more detailed in character script-wise, but apart from that there is nothing to moan about. I had a great afternoon seeing this film while Hamburg was drowning in rain outside, and I wish films like this from France would get a regular release in Germany. But the distributors is this country don't seem to understand that the French make good films. I at least can't wait to find a DVD which offers subtitles (Hello Australia? Please?) because that film I need at home to watch several more times!

Sentiment: positive
Less than two hundred and fifty years ago, the last of the great pirates wrote their names in blood and fire across the pages of maritime history. This is the story of a buccaneer Captain whose name for one short year struck terror in the hearts of seafarers and merchants from the ports of the Caribbean to the trading houses of London.....

Hmm, that opening to the film sounds like we are in for one hell of a swashbuckling, pillaging, ripper of a movie doesn't it? Well it's not. Tho it's not totally without value as a curio piece. Out of 20th Century Fox, Anne Of The Indies is adapted by Philip Dunne & Arthur Caesar from a short story written by Herbert Ravenel Sass. Direction is by Jacques Tourneur, the score is by Franz Waxman and Harry Jackson is providing the Technicolor photography. Jean Peters is in the titular title role of Anne {AKA Captain Providence} and support comes from Louis Jourdan, Debra Paget, Herbert Marshall, Thomas Gomez & James Robertson Justice.

Originally meant to be be based on true life pirate Anne Bonny, the film ultimately turns out to be a tale of a woman seeking identity, and finding herself, in the predominantly male led world of piracy and sea based shenanigans. Filled with clichés and over familiar set pieces, the film also suffers from a cast that is largely misfiring. Peters gives it a right good go, and Paget lights up the screen with effervescent beauty. While Robertson Justice, although underused, actually looks the part and doesn't overact like the rest of the male cast does. Some reviewers have desperately tried to dig deep into the film to find intelligence and hidden meanings, purely because it's Tourneur in the directing chair. But there is no depth here, this is merely a job for Tourneur, a professional one granted, but its thinly plotted and actually lacking swash to go with the buckle in the action stakes. 

Disposable at best. 4/10

Sentiment: negative
You can debate Prince's acting talent, or even his choice to parody his own life in this film. There is no debate about his musical talent either then or now. He seems like a shadowy has-been twenty years later, but the music remains relevant and fantastic. 

Having lived through the hype of this movie (graduated high school in'85) I can tell you that there was nothing bigger at the time. From Tipper Gore (Al's wife) trying to censor "Little Nikki" and every thing else under the sun via the PMRC (Parents Music Resource Center) to every "Air Band" at the time impersonating Prince, it was the absolute hottest thing out. For a few weeks at least, Prince was bigger than Madonna and Michael Jackson. 

We all waited for the film and were soooooo excited when it premiered. It didn't disappoint. EVERYONE was caught up. I was an MTV junkie at the time(they actually played music then....all the time)Prince played at least once or twice an hour. I must qualify this commentary by saying that, at that time, my favorites were Billy Idol, Oingo Boingo, The Fixx, Flock of Seagulls and others in the Punk/ New Wave genre' The music of Prince at the time transcended all types and styles. One of the reasons that some of it seems so cheesy and contrite now is that it was SOOOOOOOO big then. All the things that remind you of the 80's were iconic then. It was mainstream and it seems like a cliché' now. It got so popular that it became ridiculous. It's like the rappin' Granny commercial for Wendy's Hamburgers. 

It looks stupid now because EVERYONE was caught up in it (sadly, kind of like a bizarre purple macarena or something. Anyway, I hope this gave you all a little insight.

Sentiment: positive
That's what one of the girls said at the end.

Is the soccer game a metaphor for a qualifying game between the girls (or more broadly, a free-thinking group) and the authority? "To Germany" means to a future that's of hope? 

It's one of the most unforgettable cinematic experience I've ever had -- despite the crude cinematography and plot, and mild over-acting (though I like the cast -- they're lovable and well above the expectation for amateurs). The ridiculous situation is well captured. I can feel the deep frustration being denied to a game (being female and a soccer fan) and I cannot stop thinking how to make a convincing disguise. I wonder why there's no women's section in which protection from dirty language and bad behavior can be provided -- defeating the flawed reasons for the deny.

The movie is very cleverly made -- the amazing title, the filming during the actual game, the spontaneity, and various methods to put the viewers into the shoes of the characters -- the game that's so important but inaccessible (not shown), the luring light and cheering sound from the stadium, the confinement of the van, and the uselessness of it when those inside connect with the celebrating crowds outside. I can feel the comfort coming from the radio, the drinks and the food, and of course, the kindness and consideration from each character to others. During the end credits, I am amused that no character has a name -- he's just any "soldier" and she's just any "girl" or "sister".

Sentiment: positive
A good deal of running around. A badly conceived adversary with very little complexity. A scientist who works in communications sending off signals into space and receiving them, gets caught up with aliens. Along with his pretty wife, he invades their territory and is given secrets about them. He becomes rather traitorous in the process. Granted, he is given little choice anyway. There is a scene where he gives them everything they want. This is a dull movie with lots of long stretches where little happens. The plot isn't technically bad. It's just that we are usually following a car, a trip through a woods, investigating a building. This is what editing is all about. I suppose the story wouldn't technically support much more. Not much here.

Sentiment: negative
This film fails on every count. For a start it is pretentious, striving to be "significant" and failing miserably. The script was banal in the extreme, nobody at any time said anything remotely interesting. It was impossible to care about any of the characters. Knightly was a self-regarding waste of time whilst Sienna Miller was just a waste of time. The bit about the soldier who went off to war was a cliché even before the film Atonement used it. The use of the Second World War as a backdrop was in itself a cliché...the bombs, the sheltering in tube stations etc...employed to import a bit of much-needed drama. Why anybody thought for a moment that this film was worth making is quite beyond my comprehension. It was yet another case of "let's get the costumes looking authentic, never mind about the story, the script or the acting!"

Sentiment: negative
The pace of the film is ponderously slow in parts, but if you can tune into its languid speed and lengthy silences then it is a satisfying piece of courtly intrigue. The story of the first Emperor of China, his childhood sweetheart and the personal cost of power. The film is very atmospheric, the extremely mannered and polite courtly ceremony and ritual contrasted with sudden brutal violence. Filmed in a way that evokes shadows and cold spaces. Battle scenes are rare and short, the focus is on the battle within the individual on what is right to do and whether the ends justify the means. The emperor's journey from idealistic peacemaker to ruthless tyrant is aiming to be subtle, but gives little background or convincing insight into the motivation of the Emperor, indeed his actions and aims do not really change throughout, only Gong Li's attitudes to him are altered. The most interesting performances are Gong Li's and the titular Assassin as they reassess when to fight, when to retreat, when to kill. The most expensive film ever made in China at the time, the Emperor and the Assassin does not rely on hysteric emotion or big battles, but rather a brooding atmosphere of menace and inevitability. Gong Li fans will be unsurprised to hear she is as stunningly beautiful as ever, giving an understated performance.

Sentiment: positive
kite runner is undoubtedly one of the most amazing books i have read in the recent past. i perhaps had very high expectations from the film, but none the less the movie was good, the entire setting seemed realistic. nothing was made to fancy. the dialogs were not very attractive or powerful, they were just right. The movie was not a bad experience at all, especially at the last 15mins ,where it got real emotional and even the hardest man would probably cry.but my imagination was far better than the movie...i cried more upon reading the novel than seeing the movie. but overall a good movie to see for those of u who are not readers. but the readers- the novel would be a better experience,so if at all u want to see the movie, read the novel first and then compare it to the movie.

Sentiment: positive
I love this movie a lot. I must get this on DVD. I have 2 VHS copies, but the quality is so poor that you can't read one written joke over the door of the ward. I'm forever amazed that Blankfield did almost nothing afterward. He made both Dr. Jeckle and Mr. Hyde totally believable.

The movie is plagued by it's low budget. (One atrocious edit jumps into mid-word and was described on, "Siskel & Ebert".) But, there are a thousand jokes, sight gags to subtle references, that more than compensate. I often find myself quoting lines (or, singing, "I've Got Nothing to Hide") and, from time to time, completely describe a scene which matches some conversation. There are, at least, six scenes which are among my all time favorite comedy bits.

Viewers with no history of cocaine use may miss a lot of gags.

"Here, take it." * Visual of driving while waving butt out the window.* "I said, 'Is this seat taken?'" "Nice Burn!" Visual of chaps, headdress, jockstrap, & swim fins. * "Yeah. I'm right handed." * "Me! Me!" says the woman trying to sell 'nads. * "Bernie's going to love these." * "That's my feet, Jack." says the black feet. * "Why should we tell you?"... "SHE'S AT THE SUPERMARKET!" * "Ivy!" on supermarket PA. * Loading whole shopping cart into ambulance. * etc.

Sentiment: positive
This movie is powerful. I watched this movie at 3:00 am and I was suppose to be at work at 6:00 am, needless to say I was late to work. I could not bring myself to get up off my bed to go to work. This is the most powerful movie that I have seen in a long time. And that made me cry and feel the pain of the family. I think Emilo did a wonderful job of directing this film. I agree with the previous comments from other views that this is the only movie that I have seen that has brought the war home and showed what a family had to go through, what a veteran went through. It is almost heart breaking to think that back then people just thought you could come home from a life changing experience and be the same person you were before you left. Kathy Bates reminded me of my mother in a way. I believe she really showed how women felt and acted back then. I am surprised that this film wasn't up for more awards.

Sentiment: positive
In Michele Soavi's confusing art-house zombie film, Dellamorte Dellamore, Rupert Everett plays Francesco, a caretaker in a cemetery where the dead don't stay buried for long. Aided by his simple assistant, Gnaghi, Francesco deals with the cemetery's zombie problem by either shooting the undead in the head or splitting their skulls with a spade.

However, soon after falling for the mysterious beautiful widow of one of his recently interred, Francesco finds himself busier than ever before

Having garnered some particularly favourable comments from some of IMDb's more respected horror officianados, I decided to see what the fuss was all about. I've just finished watching the film, and I can honestly say that I haven't been this disappointed by a horror film for quite some time.

With its dreary, muddled pseudo-philosophical plot, and an extremely bland performance from leading man Everett, Dellamorte Dellamore is an irritating and plodding mess that not even some splattery gore (courtesy of Sergio Stivaletti) and welcome gratuitous nudity (from busty Anna Fialchi) can save. I am at a loss to understand the amount of in-depth analysis and discussion that this pretentious bilge has received from its misguided fans.

Sentiment: negative
Jane Eyre_ is one of the greatest novels in the English language and this screenwriter should of read it. I hate it when writers use Spark notes for what a novel is all about. This movie is unbearable to watch if you have read the book.

The whole 'red room' is so down played that I wonder why they even bother to put it in. In the book the 'red room' is foreshadowing for the WHOLE story and the rest of Jane's life. Helen Burns is treated so badly in the movie I'm sure she was happy to die and leave early. In the book she is one of the most compelling characters and she was not the red head. The whole Christian theme is missing from her life and the rest of the movie.

Do yourself a favor and miss this movie and read the story as Charlotte Bronte masterfully told it.

Sentiment: negative
This film was basically set up for failure by the studio. One, Anne Rice (author of the book) offered to write the screen play but was refused by the studio. Two, they tried to stuff 2 in depth novels in to a 2hour movie.

I maintain the only way for these two books -Vampire Lestat and Queen of the Damned- to work in a live action form would be through a mini-series. First off the the Vampire Lestat alone takes place from the 1700's to the 1980's and has a plethora of character vital to the plot understanding of the main character, Lestat. The entire book Vampire Lestat sets up the events of the second part Queen of the Damned. Without that full understanding the premise of a movie is destroyed.

Lestat was not cruel and vicious to all, he was not wanting to go along with Akasha's plans, Marius did not make Lestat, Lestat did not love Jesse or make her, Lestat could not go remain unscathed by the light, Marius was not after David nor the other way around, every character was completely represented wrong, BASICALLY same names different story.

If they wanted to make a vampire movie, fine. Even if you wanted to be inspired by these novels, fine. But don't piggie back into the theaters off the success of Rice's great novels and characters just to destroy what her loyal readers have come to love.

If you haven't read the books you won't understand the film really, if you have read the books you will be insulted. That being said, I am such a huge fan I had to see the movie knowing full well this was going to be the case and still went for it. Catch 22, must see it, will hate it.

Sentiment: negative
The Good Earth is not a great film by any means, it is way to ordinary. Maybe it was different in the 1930's but who would want to see the life of a farmer. It is not very interesting to me. Yes, Luis Rainer and Paul Muni do an excellent job acting but the film dragged on way too long. I could have told you the ending of this movie by the first act. In short Wang Lung (Muni) a small time farmer who does not want to be like his own father turns out exactly like him. Both falling in love with their wives just as they are on their death beds. The film does a complete 360 going from one generation to the next. Also this film did not have any good character actors or funny moments, it just was depressing stuff about lasting as a farmer during a time of crisis.

Sentiment: negative
Okay so there were the odd hole in the plot you could drive a zeppelin through, but how well was the emotional stuff handled? It would have been so easy to descend into cheesiness but the writer pulled it off. The image of the ex female cyberman making crying noises as she/it saw her reflection after regaining her emotions is one that will stay with me forever. That's twice now the monsters have shown a soft side and been presented fleetingly sympathetically, the previous being the last Dalek from series one, but by Jove it's worked. Add to that the other ex-female who had been "upgraded" on the eve of her wedding, and Jackie Tyler recognising her husband after she had become "cyber" and you have a permanent throat lump. Keep it up!

Sentiment: positive
I really enjoyed this -- I'm a big fan of movies that mess with your mind and leave you with a lot of questions and ideas to debate, and this was a stellar example. But then, Terry Gilliam is always good at that (well, almost always. Let's just forget about Jabberwocky and The Brothers Grimm, shall we?).

I particularly liked the way it handled the time travel theme and the avoidance of paradoxes -- the way events in the past and future intertwined and fed into each other.

It was also really well done aesthetically -- the art direction was really great, and I wish I'd been able to see it on the big screen. The future scenes had a similar feel to Brazil in a lot of ways, and even the present scenes were often really visually compelling.

But perhaps the most striking thing about it was that it featured two actors I normally don't much like, Bruce Willis and Brad Pitt, and they both delivered amazing performances here. Pitt especially -- I'd seen one or two films before that made me realize he could in fact actually act (contrary to what I'd originally thought), but this one really outdid them. I actually found myself asking my friends at one point "Are you SURE that's Brad Pitt?" This is probably the most memorable performance of his career (though admittedly that may not be saying too much).

Sentiment: positive
Joan Crawford is convincingly disfigured as our story starts, and of course she get fixed up. But she's a bad egg, exploiting one guy, while living out another guy's anti-social philosophy. All of this takes place in Sweden, which is truly bizarre. It causes anything and everything memorable in the visuals, which are freed from having to depict Anytown USA, but it makes a viewer wonder why every remake since is burdened and rendered unspecific by the need to Americanize everything. There is plot, plot, plot so chatty that you could drown in it, and making matters worse is a framing device that adds zilch to the movie. The photography is occasionally nice, with odd angles and miniatures incorporated quite well. But it's overwrought without ever once drawing you in.

Sentiment: negative
I just got back from the GLBT Film Festival at the AMC Loews 34th in NY. A friend told me about this film. Audience response was very positive! Lots of good solid laughs as well as some quiet moments of realization. Top notch in every area. A movie that makes you think, and then makes you realize how lucky we'd all be if we could turn back time and live without shame or guilt. I imagine this will come close to, if not win, the audience favorite award! What was most surprising was the fact the the movie appears to start off as a satire and then slowly weaves into a genuine commentary on the negative and sometimes violent reactions of the very group it started to satirize. There isn't any mean spirited humor at the expense of one group, just a slow realization that we would all be better off if we just went back to the gentle innocence that we all started off with.

Sentiment: positive
I found this film to be one of those great heart-warming gems. The story line is tightly woven and the character development throughout fantastic! I am a big fan of non-US films anyway and this is right up there with: "Happenstance," "The Closet" even "King of Hearts." Vlastimil Brodsky as Fanda, is fantastic. It is a love story in the true sense of loving life and the twists and turns it takes to get the viewer to understand/enjoy Fanda's view of life (which nearly costs him

more than he is prepared to give) are wonderful. His co-star Stelle Zazvorkova is unforgettable as his fed-up wife. I highly recommend this movie for the whole family--my children loved it.

Sentiment: positive
It came before "the ten commandments" "land of the Pharaohs" "Ben Hur" and it's overlooked today.How unfair!Based on Mika Waltari's mammoth novel ,it doesn't cheapen it!Waltari's novel was so huge only a miniseries could have done it justice (I hope it will be done some day).Waltari,whose message is essentially Christian remains intact(another of his books "the secret of the kingdom" (first part) takes place after Christ's death in the Holy Land).

"The Egyptian" is the rising of a monotheism close to Christianism long before Christ:the Pharaoh(Wilding) is some kind of Messiah who sacrifices his life because he knows that the true kingdom is not in the material world:he asks to return good for evil!And he has disciples ,who will eventually turn into martyrs (the scene when Simmons and the other worshippers of the Sun God are slain is visually stunning,looking like some pagan ballet).For the priests ,on the other hand,this new religion would mean the end of their influence on the populace,and that's why they look for a strong man (Mature)who can lead the army against the Hittites as well as against their dangerous compatriots.Another religion,or non-religion should we say, is Sinouhé's (Purdom)who during two hours believes in nothing (the sequence of the grain of sands is absolutely sensational and rises the whole movie well above the average peplum !!)

There's another fascinating side:the movie looks like a flamboyant melodrama.Not only for the screenplay (notably pharoah's sister's (Tierney)final revelation which predates "the ten commandments" by two years),but also the splendor of the cinematography:Viviani ,in his book about Curtiz,talks about a Baudelairian atmosphere ,blue and gold,notably in the scenes which involve the prostitute (Darvi)who contemplates her reflection in the water of her bath,supreme narcissism. Around the hero,all the characters appear,disappear,appear again,but when they reappear ,they have followed their way and all the subplots come together with consummate skill.Besides,as such is often the case in "modern " melodramas ,the story is a long flashback,framed by two short sequences showing Sinouhé an old man who's remembering.

This is a wonderful sword and sandals,that had a strong influence,not only in America but also in Europa,notably in Poland where Jerzy Kawalerowicz directed a spellbinding "faraon" (1966) which owed a lot to Curtiz.

Sentiment: positive
ALL FOR LOVE ( as it titled when it was broadcast at the weekend ) is a romantic period drama featuring Captain Saint Ives a French officer in Napoleon`s army who is captured by the British and imprisoned in Scotland where he meets and falls in love with a young maiden who visits the prison . There`s also a storyline involving a murder .

I will be honest and confess that I wasn`t too taken by the movie since I`m not much of a fan of period dramas and the screenplay feels somewhat episodic but I will say that this is well acted by everyone involved and it`s got a good cast that features Miranda Richardson , Anna Friel , Richard E Grant , Michael Gough and Jason Isaacs . The costume design as you can expect is also excellent 

I`ll be very surprised if this movie doesn`t get any complaints after being broadcast on BBC2 at teatime . Captain Saint Ives lies in bed with a prostitute where a nipple is fully exposed and there`s a scene of French prisoners bathing that includes full frontal male nudity not to mention a murder scene where blood is clearly seen . You really do have to worry if BBC schedulers have any type of clue as to what they`re doing

Sentiment: negative
The Comic Strip featured actors from 'The Young One's' - a student based sitcom from the 80's. Comic Strip features included parodies of westerns, 'The famous 5', and The Professionals - all a lot funnier than this. Having said that Alexei Sayle puts in a good turn as a traffic cop with ambition and the soundtrack features great music from the era. 5/10

Sentiment: negative
This delectable fusion of New Age babble and luridly bad film-making may not "open" you up, to borrow one of the film's favorite verbs, but it might leave your jaw slack and your belly sore from laughter or retching. Based on the best-selling book by James Redfield, first (self) published in 1993, this cornucopia of kitsch tracks the spiritual awakening of an American history teacher (Matthew Settle) who, on traveling to deepest, darkest, phoniest Peru and sniffing either the air or something else more illegal. Namely what he discovers is a schlock Shangri La populated by smiling zombies who may be nuts or just heavily medicated, perhaps because they're often accompanied by a panpipe flourish and an occasional shout out from a celestial choir. Although there's a lot of talk about "energy," that quality is decidedly missing from the motley cast whose numbers include Thomas Kretschmann, Annabeth Gish, Hector Elizondo and Jurgen Prochnow, all of whom are now firmly ensconced in the camp pantheon. For those who care, the plot involves the military, terrorists and the Roman Catholic Church; Armand Mastroianni provided the inept direction while Mr. Redfield, Barnet Bain and Dan Gordon wrote the hoot of a script. In short, easily the worst film seen in 40+ years of viewing movies.

Sentiment: negative
Average viewers looking for any sense of internal coherence in a film should probably give this one a pass. It generates the same feeling as staring at a curious array of individual images that seem to have some relationship one to another, but never coalesce into a totality.

While this isolative approach to creating a kind of cinematic montage may appeal to a few students or critics steeped in the inside language of contemporary filmmaking, it is flatly irritating and condescending to us commoners who just fell off the haywagon. An overt avoidance of accessibility may be the intentional hallmark of auteurs like Kar-wai Wong and Tarantino, but to me it comes across as Andy Warhol warmed over. The only redeeming characteristic I find is in the production values, and them there just ain't going to cut it all by themselfs.

This is one of those productions in which you watch and listen and wait anxiously and in vain for some clever development of an idea or thought to sustain all the remarkable and beautiful individual scenes. Sorry. The calligraphic credits unexpectedly begin to roll just as your interest begins to stir. I get the same big yawn and let-down reading what I guess are very knowledgeable and thorough comments about this film that never lead to anything truly comprehensible. Ideas and images without some external context are not my idea of fun.

Call me a philistine roaming the streets of Hong Kong looking for a bowl of chop suey.



Sentiment: negative
I would rather have 20 root canals than go through this film again. The Prince of Annoying, Myles Berkowitz, has wasted nearly two hours of my life with this piece of cynical pseudo-cool. The only amusing thing in this whole mess is Mr. Samaha's obnoxious off camera patter about tits and ass. Berkowitz takes a great concept and grinds it into the dust. It is choppy and badly done, in an apparent effort to make it seem edgy or funny. It is neither. I seldom feel that a movie was a waste of film (or tape), but this one qualifies for that distinction. If a date suggests seeing this film, run.

Sentiment: negative
Before seeing the sneak preview today of Angels & Demons, I cleared my mind of any uncertainties that might hold me back from enjoying it; the enormous amount of hatred towards Dan Brown, the fact that it was written by Dan Brown, and because Dan Brown's name is slapped on all of the posters. I went in with an open mind, and expected the worse, but instead what I got was a 2 and a half hour Roman cat and mouse game with Forrest Gump, and that is by all means good entertainment value.

The movie hangs loosely on the actual novel itself. Harvard symbologist Robert Langdon (Hanks) jets off to Rome after the Pope's sudden death and the re-election through Papal Conclave. Arranging all of this is the carmelengo, Patrick McKenna (McGregor). However, he soon learns of a new threat, one that involves a secret brotherhood making its presence known, an anti-matter time bomb that Vatican City is now targeted with and the kidnapping of four cardinals. Langdon, using his intellects (and trust me, you'll be hearing a LOT from it) is given the task of finding and rescuing them using the mysterious Path of Illumination. Aiding him on the quest is CERN scientist Vittoria Vetra (Zurer), who is also the co-creator of the anti-matter. 

The movie itself runs at an uneven pace. One minute Langdon and the Swiss Guard are speeding to save a branded cardinal, the next minute he bores you with pointless information about every random object he passes, evidently slowing the book's much anticipated action/thriller sequences down. It makes for an interesting read on paper, but on screen it can go either way. 

The character's are decently written onto the big screen. Ewan McGregor does a convincing performance as the quiet but knowledgeable Patrick McKenna, famous accent included. Tom Hanks is slightly more agile, intellectually and physically, since his last performance in the mediocre Da Vinci Code. Stellen Skarsgard plays Commander Richter, the straight-faced leader of the Swiss Guard. Unfortunately, neither his nor Ayelet Zurer's performance are worthwhile ones, and instead of playing a part in the story, they are just kicked aside as assets. 

However, Angels & Demons accomplishes what DVC could never; a thrilling fast-paced movie filled with satisfying explosions, beautiful recreations of St. Peter's Square and Basilica (including many of the churches) and a pulsing bomb counting down the midnight hour. Ron Howard does a decent job at directing this second Langdon adventure, this time taking in much criticism and almost completely exchanging the boring dialogue for tense chases (almost). 

While newcomers might call it a "National Treasure 3" with a much larger threat, there is still enough contagious suspense/thriller eye-candy and brilliant still shots of Rome to breathe in. Fans of the book might feel differently towards the movies drastic changes, but considering the amount of blasphemy and inaccuracy it generates, A&D does exceedingly well at keeping the viewer locked on to the screen this time rather than on their sleepy shoulder. 

A good book-to-movie adaption that will both appeal and entertain.

7.4/10

Sentiment: positive
This movie looked like a classic in the cheesy 80s slasher genre, which is my favorite genre of them all, so when I saw it was Free on Demand, I had to watch it! It stars Caroline Munro, from both Dr. Phibes films (she was his wife that died!), Dracula A.D. 1972, The Golden Voyage of Sinbad, Captain Kronos - Vampire Hunter, The Spy Who Loved Me, Maniac, and Faceless.

Brought to you by the people behind Don't Open Til Christmas and Pieces, Heres my thoughts on this...

It opens on April Fools Day, where a bunch of kids play an elaborate prank on the school nerd- promising him sex in the shower, and giving him public humiliation and a face in the toilet (all while hes naked!). The coach puts a stop to it, but both parties swear revenge. But, the cool kids end up burning the nerd alive.

Cut to the future, and its th High School reunion, or so they think (bwahahha?). The only ones with invitations were the gang who burned the kid, and its April Fools Day (or really, the day before April Fools, but the fun starts at midnight), yet they fail to see the coincidence and hang out in front of the school until nightfall. Then they finally break into the school and it starts storming.

Inside they find food/drink and a little shrine for each of them, each of their lockers and belongings, along with Marty's (the nerds) locker and yearbook. They also find the old black janitor/caretaker who spends his time saying "Oooh yesser! Yesser! I don't want no trouble, sir!" and then is killed instantly. Pretty pointless character, but hes still my favorite.

The movie takes a page out of Alien's book, in a deliciously gory way that you just have to see! Thats when everyone realizes that they're there to die, and they start freaking out, except for Shirley, who decides it would be best to take a bath in the old school showers at a time like this. Of course, it pours out blood and acid and her face melts off (very cool, mind you) The rest of the night goes as usual, sex, drugs, and Marty killing everyone whilst wearing a jester mask.. Whats their plan? "All we have to do is stay awake and wait till noon. Marty wont kill us during mid-day!". Seriously, thats what he said. Apparently you can only kill at nighttime. But will they survive through the night? Who will live and who will die? And why are all the bodies disappearing? Rent, buy, or steal this great movie to find out! The movie is actually very good, filled with clichés (car wont start, DAMMIT!) and just plain slasher fun. Not to mention they all have names like Carol and Nany and Frank and Joe and Susan. I recommend it to all of you! And, not to mention, it has a Spin Off! 1989's Cutting Class is a spin-off from this slasher gem, and that movie starts the career of Brad Pitt and Roddy McDowell.

Favorite scene: 2 people having sex, the guy wants to finish but the girl doesn't. "Talk dirty to me, Frank!!" she screams "Uh... tits!" "DIRTIER!" "Uh... tits. F*ck. tits. Boobs. F*ck.". It seems to work for her and at her climax, the killer electrocutes them both!

Sentiment: positive
Arthur Hunnicutt plays a very stereotypical role as a mountain man (probably the Ozarks) who goes hunting with his favorite coon dog. However, the dog appears to be drowning when Hunnicutt jumps in after him. It becomes obvious pretty soon that despite Hunnicutt and his dog roaming about after leaving the water that they both died in the water--as no one responds when he talks to them and sees and hears people talking about his and the dog's death. Yet, oddly, Hunnicutt is REALLY slow on the uptake and it takes him a while to understand they are talking about him! I think this was actually done as padding, as there really wasn't enough material to fill the half hour time slot.

Later, in the "surprise twist", he comes upon Heaven--or at least his concept of the place. He's invited in, but since they won't allow dogs, he has other ideas! Overall, reasonably well acted but of dubious spiritual value! With no twists or irony, this episode is a bit dull--not "Twilight Zone-y" enough for my tastes.

Sentiment: negative
Some movies you just know you're going to love from the first few seconds. This is one of those movies. Tracing it's roots back to "Double Indemnity," and "The Postman Always Rings Twice" in the 40's - this was a great example of Modern Film Noir in the 90's. Nick Cage plays the "down on his luck" main character who gets entangled in a husband-wife murder plot - and his luck goes from bad to worse to even worse as he tries and tries to get away from the people, town, violence and threat of Red Rock West. Lots of twists and turns, great performances by Cage, Hopper and Walsh, an hypnotic slide-guitar musical backdrop, and seamless directing make this a real joy. Favorite Line: When Cage looks at the empty gas gauge in the get-away car, shakes his head and says: "F***in' story of my life."

Sentiment: positive
I should have figured that any movie with the Poltergeist lady in it isn't going to be good. It actually starts out okay, but during the first murder scene you find out that the movie you're watching is a movie inside of a movie. There's people sitting in a movie theatre watching that movie. One girl in the audience is so annoying that I would have turned around and strangled her. A bit strange, but far from good.

Sentiment: negative
Based on the best-selling novel "The Dismissal", The Missing Star, the latest film by acclaimed Italian director Gianni Amelio, is the story of the growing friendship between an older Italian maintenance man and a young interpreter he hires in Shanghai to be his guide through China. Vincenzo Buonovolonta is the Maintenance Manager at a steel mill in Italy that has been shut down and the blast furnace sold to China. When Vincenzo (Sergio Castellitto) discovers that a control unit in the furnace is defective and potentially dangerous, he travels to China to find the steel mill where the part has been sold in hopes of preventing a fatal accident.

The film, of course, is about the journey not the destination to use a familiar cliché and, on that journey, we are privy to an engaging look at China with all its immense beauty and complexity, via the outstanding cinematography by Luca Bigazzi. The film takes us to Shanghai, Wuhan, Chongquing, Baotou, and a trip along the Yangstze River showing us coastal areas that are scheduled to be flooded when the Three Gorges Dam is fully operative, a Chinese mega-project that has resulted in the displacement of 1.2 million people. The trip brings the travelers face to face with poverty, overcrowded housing, and children left to fend for themselves.

The film revolves around the relationship between Vincenzo and translator Liu Hua (Tai Ling) who first meet in Italy where his impatience with her translations at a dinner meeting causes her to lose her job. When he tracks her down in Shanghai she is working at a library and resistant to Vincenzo's approach. Looking at his offer to help him in his travels in China as little more than a well paying job, she reluctantly agrees to accompany him. Their relationship, however, grows as they move from city to city, her interpretive skills much in evidence to help the bewildered Vincenzo who does not own a cell phone.

As they slowly open up to each other, they expose each other's vulnerability and the film delves into their past and present life and how they arrived at their present situation. We meet Liu's son (Lin Wang) at the home of her grandmother. In China's one child policy, he is one of the unwanted children who have been "hidden" since the father of the boy abandoned the family. Although the meeting between Vincenzo and the boy is casual, their relationship becomes central to how the story plays out.

Castellitto is an excellent actor (though one longs for a younger Enrico Lo Verso in this role). However, he is emotionally distant throughout the film, his expression rarely changing from a far away hangdog expression. Though Tai Ling brings a great deal of presence to the role, her relationship with the much older Vincenzo never seemed real to me and the ending seemed to exist only in a reality known as the movies. Though Amelio is one of my favorite directors, coming on the heels of the brilliant Keys to the House, Missing Star is a disappointment.

Sentiment: positive