Datasets:

KMaly

/

ait526_sentiment

like 0

If pulp fiction and Get shorty didn't exist this might be an OK film.When i say this i mean that nothing from this film is it's own unless it's another bit of terrible dialogue or a cliché full scene.All the lines like 'i won't say more than i have to if that' from Get shorty seem to appear in this rubbish sequel, all the cameos like Steven Tyler's are acted terribly and are not needed and as for Christina Milian, man, don't get me started.Sadly some of the coolest actors and actresses like John Travolta and Uma Thurman seem like they are trying to be down with the kids and hip and have nearly ruined there reputation because of this film and frankly i think the best acting is from The rock who plays alongside one of my least favourite actors, Vince Vaughn.The man tries to be funny throughout with him taking the mickey of how apparently rappers talk.Cedric the entertainer and Andre 3000 play another terrible double act {i personally think the background actors were better than Cedric and Andre} and the only funny part of the acting of Cedric,Andre and the rest of there gang do is the way there trousers are down to there knees so you can clearly see there boxers and the only reason i find this funny is because lots of people actually do that.So in conclusion this film tries to be funny and fails miserably, it doesn't have any new material, comedy or coolness throughout as it copies every other film and finally the only reason you should see it is if you want to compare how bad it is to it's brilliant predecessor Get shorty.Oh yes i forgot to mention there is a BIG cliché at the end.

Algiers is not a classic, it is a perversion of the wonderful original Pepe le Moko, directed by Duvivier and starring a much more attractive and charming Pepe, Jean Gabin. If you want to fully experience the Casbah and the characters in Algiers, I recommend you don't even watch this movie and see Pepe le Moko instead, for it is much more elaborate, more beautifully filmed, the lines are not clichéd and the characters adhere much more to reality. Furthermore, the ending is so dramatic and key to Pepe's character that you'll find the Algiers version intolerable. Although Algiers does an almost excellent job mimicking each scene, the acting falls short as does the credibility of the characters. Plus, the wardrobe is truly breath-taking in all scenes, particularly Pepe's in the last scene and Gaby's (at all times) but also when she's on the boat. Frankly, Algiers is cheap as far as imitations go.

When I saw the preview, I thought: this is going to be a great movie. And indeed it could have been. The actress playing the main character was very credible, and the beauty of the filming is undeniable. However the dialogues cast a dark shadow on the whole picture. The level of language was too familiar and too contemporary for an action taking place in 1610, and it took away most of the magic of the film. However, I must congratulate the translator, because the English sub-titles were more refined and appropriate that the original French cues, and it probably explains the good rating the movie received on the imbd!

Pyare Mohan can be safely included in the blacklist of one of the worst-ever films made by mankind. The film, one of the many handicapped-people flicks that arose after the phenomenal success of Black is makes a mockery of the handicapped fraternity. Vivek Oberoi and Fardeen Khan are mere caricatures of handicapped people. While Black portrayed the poignancy and emotions of a handicapped woman and gave us a glimpse of her world, Pyare Mohan shows two desperado-like monkeys who have no qualms about being handicapped and bash up half of the world to protect their love interests. Anu Malik's music is fair enough. Vivek Oberoi who made a promising start with Saathiya is sadly losing his balls quickly in Hindi cinema. Fardeen Khan was never an acceptable actor and deserves to be banned from the film industry. Amrita Rao and Esha Deol are just pretty damsels in distress having nightmarish times in Thialnd with no one to save them - except for the afore-mentioned desperados. Boman Irani, as the villainous Don Toni, is somewhat acceptable. Avoid the film if possible.

yeah cheap shot i know, but this movie is a great example of how a collection of signifiers of 'deepness' (political turmoil, love/lust) can be combined haphazardly to great critical acclaim (see also 'american beauty'). kaufman's movie plods along with gratuitous sex scenes interspersed with often painful dialog sequences (in one scene i counted three different 'generic European' accents affected by the actors) and displays of state might run amok, yet fails to tie them together into the coherent meditation kundera offered. and in its over-long three hours it manages almost completely to gloss over franz,the missing fourth piece in the love triangle that lies at the heart of the plot, and in this manner sacrifices the novel's central mechanism of displaying the spectrum of emotions and of power relations that obtain in love affairs. it also fails to even include token screen time for tomas' son, used in the novel to exemplify some of the political points kundera was making in the novel. combined with the overweening soundtrack, these flaws make this movie's three hours unbearably weighty in tone yet light in content.

As someone who was in a Pan-Hellenic sorority, I wasn't sure what to expect when I tuned into this show. After seeing so many over dramatizations in "made for TV movies" and the craziness of the reality shows, I was curious to see if Greek would be able to show the true College and Greek life experience.<br /><br />I was very pleasantly surprised at how the show was able to give the viewer the satisfaction of identifying the ever-familiar characters of this genre, but it was also able to add depth to the characters. Greek life isn't just about parties and petty conflict. Although those things happen within Greek Life, they also happen in any other social or professional circle throughout a person's life. To characterize it as some exclusive experience to those in a Greek Organization would be false. Most of the story lines and situations taking place in Greek can and do take place everywhere, in every circle of friends, on sports teams, in real life. But I've watched both episodes and my "little sister" whom I'm still very close to and I have spent both episodes laughing and being reminded of how they've truly captured the spirit of our college years and experiences.<br /><br />I liked how the second episode showed how the characters struggle with the other facets of their lives; school, relationships, goals, etc. Cappie telling Rusty that school comes first and going to your brothers for help, that was very true to life. You can't stay in an Organization if you have bad grades. The way Rusty got his assignment to his professor was far fetched, but it was entertaining. Even the dynamic between Casey and Rusty; It happens, you grow up and whatever your relationship with your sibling(s) was, it changes so you must adjust.<br /><br />The bottom line: Greek is a great show, great entertainment value, and enough "real life" in there to be believable and definitely worth the viewers time.

LA ANTENA (Esteban Sapir - Argentina 2005).<br /><br />A completely unique take on silent cinema in this fairy-tale like story by Esteban Sapir, beautifully shot in black-and-white and practically without dialog, "La Antena" is a feast for the eye and a must for lovers of German expressionist cinema, with most of the nods to the works of Fritz Lang and Friedrich Murnau.<br /><br />'The City without a Voice', 'La Ciudad sin Voz', is ruled by Mr. TV. He has taken the inhabitants voices and is in total control of all spoken words and images, forcing everyone to eat his own brand of TV-food. Mr TV is not just a monopolist, he is the personification of evil and totalitarianism, even the swastika appears as a symbol a number of times. He secretly works on a hypnotizing device to control all the citizens minds through his television broadcasts. For this purpose, he kidnaps the only one left with The Voice, a beautiful singer, but a TV repairman witnesses the kidnapping and flees to an old TV antenna in the mountains in order to halt Mr. TV's evil plans.<br /><br />The production design is stunning with beautiful sets and imagery. Although shot primarily with the basic language of silent cinema, Esteban Sapir also adds a number of fresh techniques of his own, like a combination of typographic and animation techniques. Everyone talks with each other through text balloons (usually floating near their mouths), the louder they talk, the larger the characters. The texts themselves can be pushed away or crushed. In the opening sequence, we see a book, titled "La Antena", that opens and a city of paper rises from the pages. There are hardly any references to Argentina. It's constantly snowing, which gives the film a very un-Argeninian feel, while the surreal setting suggests any large city in the Northen hemisphere, with only some of the songs revealing the film's Argentinian background.<br /><br />The pace is swift and there is so much happening on screen, it's hard to keep track of the film's surreal narrative. Not only breathtakingly beautiful to look at, we're also given a few messages about media monopolies, corruption and totalitarianism, but they are breezily packaged. One of the most original films I've seen in years. A delight.<br /><br />The film was shown as the opening film at the IFF Rotterdam 2007.<br /><br />Camera Obscura --- 9/10

Since watching the trailer in "The Little Mermaid II: Return To The Sea" DVD, I had a feeling that this movie is gonna be great 'cause I am a huge Disney fan. And guess what? I'm right! This movie is a very worthy successor to the original classic "Lady and the Tramp".<br /><br />It tells the story of Scamp, Lady and Tramp's mischievious son Scamp, who wants to be wild and free instead of living a housedog life. Though the movie might not be as good as the first one, it has a great moral that you couldn't find anywhere else until you watch it.<br /><br />I admit that the movie isn't for everyone, but those of you who hate it, all I can say is that you don't have a spirit for this and I suggest that you shouldn't go see it again. But hey! It's really an awesome story, packed with brilliant animation, music, and star-studded voice talents featuring Scott Wolf(Party of Five) and Alyssa Milano(Charmed). So if you haven't seen the movie, why standing there? Go and grab the copy!!!

Wow, the plot for this film is all over the place! There is so much plot and so many things that happen that it practically made my head spin!! And, as a result, none of it seemed particularly believable.<br /><br />The movie starts with Kay Francis as a housewife living in a small town. She's had some experience with local theater and has ambitions of going to Broadway. When a big-time actor arrives in town, she pursues him in hopes that he can give her a career boost. But, her husband is worried about shenanigans--as this actor is a cad. So, the hubby bursts in on them and hits the actor--and the actor dies! As a result, he's convicted of First Degree Murder!!! Not Manslaughter, but Murder 1! Now, pregnant and in need of funds, Kay goes to New York. But Broadway jobs aren't to be found, so she's forced to take any job--even Burlesque. Unable to adequately care for her young daughter, she gives it to another woman to raise. However, eventually she does find a job in a real Broadway play and everything looks rosy. But, the jealous diva starring in the play hates her for some inexplicable reason and forces her to be thrown off the play. Despondent, she makes her way to England and becomes a real star. Years later, she returns to New York to get her kid--but the child is older and thinks the woman caring for her is her real mother. At the same time, her husband's lawyer now thinks that if he gets $10,000 he can get the man out of prison. As another reviewer wrote, is this to bribe people?! How can $10,000 get him out otherwise--maybe it will buy a helicopter so they can fly into the prison yard and scoop him up!! Wow--this is enough for 2 or 3 films! And, all this occurs by the 45 minute mark!!! Believe it or not, there's quite a bit more to it. If you really care, see it yourself to find out how it all unfolds.<br /><br />This is sort of like 'kitchen sink writing'--throwing in practically everything and hoping, somehow, it will all work. Unfortunately, the film turns out to be hopelessly unbelievable and mushy despite Ms. Francis' best efforts. It's the sort of film no one could really have saved thanks to a 2nd-rate plot. It's almost as if someone just took a few dozen plot elements, threw them into a box and then began randomly picking them in order to make a movie!! Overall, unless you are a die-hard Kay Francis fan or love anything Hollywood made in the 1930s, this one is one you can easily skip. Not terrible but certainly not good.<br /><br />By the way, the child who plays Francis' daughter upon her return to New York (Sybil Jason) really was terrible. I think she was supposed to be...I think.

As John Grierson pointed out: "The documentary genre can be defined like this: the creative interpretation of reality"<br /><br />This fabulous 180-minute documentary marks the first time a computer-generated project about dinosaurs respects the intelligence of the viewer.<br /><br />When I saw Jurassic Park, which I was expecting with great excitement, I was left extremely disappointed. Of course the dinosaurs were great, but the story-telling was unnecessary. I thought: "What if they made a documentary on dinosaurs, with no crying children or bad puns, just dinosaurs made as realistic as possible, to let us marvel at what was once reality."<br /><br />My dream came true. The BBC has produced an exhilarating documentary exploring the different eras of the dinosaurs.<br /><br />This part is to all the people that seem to disagree with the fact that they had to guess at many points concerning the behavior, skin patterns etc: Of course they have to. Nobody was there. I think it is fantastic that they could present something as realistic as that. The guessings are all based on the knowings of many paleontologists, and it allows the viewer to have a pretty good idea of what it was like. If you wanna stick to what we know for sure, then just go visit a dinosaur bones museum. That is why I incorporated the Grierson quote at the beginning of this comment.<br /><br />Anyway, hats off to the creators of it.

THE BOX (2009) * Cameron Diaz, James Marsden, Frank Langella, James Rebhorn, Holmes Osborne, Sam Oz Stone, Celia Weston. Truly disappointing adaptation of genre legend Richard Matheson's sci-fi chiller "Button, Button" by on the wane wunderkind filmmaker Richard Kelly who truly stretches a small, well-crafted piece into a grab-bag 'WTF'-a-thon! Mysterious (and ridiculously maimed!) man, Langella, posits a million dollar offer to 'struggling' couple Diaz and Marsden (both surprisingly vanilla bland to the hilt!): a box with a red-button, that when pushed, will kill some stranger in the world (!) Sure strings are attached but does that really matter here? What does is why in the name of God does Kelly trowel on so much oddness (i.e. nose-bleeds; watery transport systems – that's right – Watery.Transport.Systems) when the tension should be strung as tautly as possible (oh the possibilities). If this sounds like a bad TWILIGHT ZONE episode you are half right (the '80s TV re-boot actually did a decent small-screen adaptation; in fact rent that instead!) One of the year's worst films.

i am surprised so few have good words for this movie. For its time (the 80's) it was a very entertaining and engaging story. Casting was good. Story was good. Special effects were remarkable for the time period. Deserving of an 8/10.

I will divide my review into following 5 categories each accounting a maximum of 100%(if perfect) ________________________________________________________________ <br /><br />Visual Pleasure:[100%] This is extremely pleasing movie visually. I had a great time watching it. Golfing scenes are very well shot and the dramatic effects on the green were quite amazing. I also loved seeing the old wooden golf clubs and the bag.<br /><br />Director's Work:[70%] Bill Paxton is more associated to acting but this film shows he's got talent. Did a decent job.<br /><br />Acting:[90%] Shia LeBeouf was very good in his role of Francis Ouimet(this guy can ACT well). The rest of the cast was also good.<br /><br />Entertainment Value:[100%] I enjoyed every minute of it. It was overwhelmingly entertaining.<br /><br />Script:[91%] Based on a true story and therefore it makes the film that much more special. It was intriguing right from the start and loved every scene till the very end.<br /><br />__________________________________________________________________ <br /><br />My Advice: Definitely a MUST watch for all the Sports lovers especially Golf(You all will love it). Anyone who is looking for a nice entertaining movie and doesn't hate Sports can watch it. <br /><br />_____ <br /><br />10/10

'How To Lose Friends & Alienate People' is a superb film. A hilarious film from start to end. A lovely entertainer. Enjoyed it. Thumps Up! <br /><br />Performances: Jason is fantastic. He's a treat to watch him from start to end. Jeff Bridges is excellent as the boss. He's a Legend. Megan Fox looks amazingly hot, and deliver a good performance. but dude, She's so hot man! Anderson is delightful. She doesn't look old at all, still hot indeed. Kristan Dunst looks lovely and does a pretty good job. Others are also pretty good.<br /><br />'How To Lose Friends & Alienate People' is a excellent entertainer. Don't miss this flick!

This movie states through its protagonist that the world is essentially sadness and pain and those that ignore this have blinders on. One can argue whether this is true or not. But even if you accept this as true, the movie's ending either A) disputes this by saying there can be some good in tragic situations or B) forgets this and uses a cliched montage in order to leave the audience feeling uplifted.<br /><br />That the movie metaphorically acquits its protagonist by presenting him as a sympathetic character despite any evidence for that sympathy shows contempt for the supporting characters who were the most compelling in the film.<br /><br />So what you have in this film is a script that is not consistent in its theme and direction that does not bring the ending into sync with the rest of the film. There are excellent performances given by every member of the cast especially Spacey, Olin, Martin Donovan, and Ann Magnuson. It's a shame that they weren't supported by a better writer/director.

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

I had the privilege of being one of the Still photographers on the set of "Grand Champion" and enjoyed every minute of the 42 days I worked on the movie. I have been in the Photography business for 25 years and have worked on 16 movies and I can't think of a time when I enjoyed providing my craft more. The Kids were wonderful to work with and little Emma Roberts has so much energy she's a real trip. She even grabbed one of my camera during the stockshow scene rehearsal and started shooting. Some of her images were used for PR. I could have made more money working for a production with a bigger budget but I doubt I would have had the fun and been around so many great actors and the great people of West Texas as I was.

As always Joan Hickson is wonderful as Jane M. Subtle, sharp and aware. I do not wish to dwell on her acting skills as they are praised enough on this site. I would like to criticize some of the smaller parts as the rest of the cast seemed to be hand picked by director David Tucker.<br /><br />Liz Fraser's performance as Mrs. Bent (the mother of the missing girl Nora) is a joy to watch. Subtle and deeply moving as the alcohol-depending grieving mother who loves and misses her daughter desperately. A good long shot of her monologue (thanks Tucker!) so she can be enjoyed to the fullest. I was moved when I saw her the first time when it was broadcast and I am moved again, now I have it on DVD. Brava.<br /><br />Joanna Hole as Madge the tour-guide I find highly amusing. She is on the edge of over-acting but her role can have it. She is SO funny as the over-organized guide who wants to do good with everyone on that bus, I find her hilarious. Her reaction after she boarded every-one on the bus is great... As always: to perform comedy one has to take it very seriously, and that's what Ms Hole does.<br /><br />I do hope those two ladies have good careers (as I live in Holland I do not know if they have, not all theater productions can be googled...) -their performances on the screen deserve it.<br /><br />Pieter

BTK Killer, Green River Killer, Zodiac Killer; the man keeps putting out absolute garbage and the ironic thing is, he loves his crap.<br /><br />I've never seen a Ulli Lommel film but I was so amazed on how everyone thinks his stuff is so awful. Like the movies I said in the beginning don't even equal a six when added together! After reading the comments I was curious to see how bad this guy really is. He is the worst out there.<br /><br />The credits wouldn't end as the pathetic movie started and quickly I noticed that the audio was incredibly badly dubbed in. The acting was incredibly awful and same to the camera shots. The editing is easily the worst. This movie made no sense and I unbearably couldn't take it anymore as it wouldn't end and I was only 45 minutes in the movie. I couldn't take it anymore. I wasted 45 minutes of my life.<br /><br />DO NOT WATCH THIS CRAP!

Only after some contemplation did I decide I liked this movie. And after reading comments from all the other posters here, and thinking about it some more, I decided that I liked it tremendously. I love American films - probably because they are so narrative. They usually have a well-defined beginning, middle, and end. "Presque rien," on the other hand, makes no such attempt. I disagree with other posters that say it's 'too artsy.' In every way, this film is meant to evoke your sense memories. So often throughout the film you feel like you're there... you feel the summer sun, the breezes, the heat, the winter chill, the companionship, the loneliness, etc., etc.<br /><br />In every way, the director pulls you into the lives of the characters - which is why so many people feel so strongly that the movie disappointed them. After I finished watching it, I felt the same. But upon some reflection, I recognized that this is how the movie had to be: the 'story' isn't the narrative, it's the emotions you (the viewer) feel.<br /><br />The lighting, scenery, and camera angles immerse you in the scenes - they're rich, exquisite, and alive with detail and nuance. Although I normally cannot countenance films without a fully developed plot (after all, isn't a movie 'supposed' to tell a story), this film is definitely one of my new favorites.

A lot of things in this futuristic satire are more theoretically funny than actually funny (though it does have some laugh-out-loud moments) but a lot of that is because it seems to have been cut by the studio to better appeal to exactly the idiots it's mocking. Many situations aren't allowed to develop, there's obvious overdubbing of expository material, and worst of all a narrator explains EVERYTHING (most of which needs no explanation), probably because some preview audience didn't understand what was going on. In other words, a movie about dumbing down has been... you guessed it.<br /><br />One hopes that a longer, better version of this comedy will eventually surface on DVD, and it will become the cult fave it deserves to be, but even in this mutilated and somewhat comic- spirit-diminished form it's one of the more memorable films of the year-- a screech of disgust against our culture and all the ways it's become trashified, stupidified and uglified in the name of appealing to the yahoos. I watched it right after Land of the Dead, George Romero's latest milking of the single idea that consumers = zombies, which is basically the same point Judge is making; yet where Romero's counterculture viewpoint (now zombies = underclass that needs to revolt against the rich) seems hopelessly out of date, Judge's take is fresh, dead-on and far more disturbing. Just listen to the yahoos in your movie audience whooping it up for President Camacho's State of the Union just like their counterparts on screen, and you'll know that we're all doomed.

Perhaps it's because I am so in love with the William Holden - Kim Novak version, or because I'm not a Gen-X'er, but this was absolutely the worst remake I have ever seen. Without the original's soundtrack, it just seemed like another typical TV movie...yes, about as bland as Kraft cheese.

The father of the Who's alcoholic drummer, Keith Moon, was named Arthur. I found so many similarities between Dudley Moore and Keith Moon in this movie. Liza Minelli, who usually OVERACTS, did quite a good job in this one, and was able to turn cheek on Dudley Moore in every turn. Yes, I agree, Sir John stole absolutely every scene. It was a very "different" movie, enabling the viewer to have a glimpse into another life. We often try to catch a rerun of this movie on satellite. God rest Dudley Moore; this was such an enjoyable movie. Much satire and thumbs down to the rich and snobby/affluent. The close friendship between Moore and Sir John is rather endearing.

I have seen this movie only once, several years ago. But I remember liking it a lot.<br /><br />**Spoilers ahead** An old famous opera singer is retired and she decides to give all the money she has to her cats. Her butler hears this and plots to get rid of the cats so he can have the fortune. He puts knockout drops in their milk. When they wake up, they find themselves miles away. They must journey back to their house before it is too late. With the help of an independent-minded tomcat and other animal accomplices, while evading the butler and foiling his plan.<br /><br />Could have been better, but it also could have been a lot worse.<br /><br />My Score: 7/10.

I and my brother are very big Asian movie fans, so when finding this movie hidden in a shop, I bought this one on DVD, because it sounded very promising and I couldn't wait to watch it. So I watched this movie with my brother and I must say, in the beginning it was very promising. Both of us really loved this brutal ball scene in the first scene. But i guess that was all. There are some interesting fights, but it is not a action movie, as it claims to be. Instead it's a love movie... with the cliché of love so extremely played over the top, even Shakespeare would vomit on this title. Sorry for my language. By the way: The characters act like being picked up from the street and given 100€ for playing in this movie.<br /><br />Well, I and my brother watched it to the end, because we thought, it can only become better. But, heck, it never did. This movie challenged place #1 on my and my brothers "worst movies ever seen"-list, only followed by "Fantasy mission force" - do not watch this either.

This movie is amazing. It is funny, sexy, violent and sick, but it all holds together for a brilliant Troma rendition of Romeo and Juliet. If you don't mind being grossed out a bit (ok a lot, but it's funny grossed out), see this movie. It's worth it!There's not one level on which it doesn't deliver. I've seen it thrice now, and it is still amazing. I recommend it. Go! Get it!

"Unconditional Love" starts with great promise. As directed by P. J. Hogan, the film works great up until the last third of the movie, when it falls flat on its face. The screen play Mr. Hogan and Jocelyn Moorehouse wrote showed a myriad of possibilities that fizzle at the end. It appears the artistic team behind the movie had great hopes for it to play differently. The reality is this is a film that is looking in different directions in how to bring it to a resolution that ultimately fails. Don't get me wrong, the movie is tremendously appealing and will resonate with a lot of its viewing public.<br /><br />Based on the strong cast, we decided to take a look. The tremendously talented Kathy Bates is the perfect choice to play Grace Beasley, the woman who finds at the beginning of the film that all is not well in her marriage. Ms. Bates is an excellent actress who deserved much better, even when her character is not helped by what the authors have her do in the film.<br /><br />Rupert Everett is always dependable into delivering. His role, as the late Victor Fox's lover is well written, that is, until Dirk is lured into coming to Chicago to find Victor's murderer. It's bizarre and it defies all rules of logic. Dirk doesn't look capable of hurting a fly, let alone hunt down a killer with the help of Grace and her daughter-in-law, the incredible funny, Maudey.<br /><br />As played by Meredith Eaton, this little woman, Maudey, is one of the best things in the film. She's is brash and tells it as she sees it. Peter Sarsgaard, one of the best actors working in films these days has nothing to do in the picture; he is totally wasted. Dan Aykroyd also has nothing to do. We see him at the beginning and at the end of the film and his Max doesn't make sense. He appears to want changes in his life and his marriage, only to come back to Grace without any explanation, all things forgiven.<br /><br />The English actors are good. Lynn Redgrave has a better opportunity as the hysterical Nola. Jonathan Pryce is seen throughout the film as a ghost singing bland songs. Julie Andrews makes a funny contribution in a couple of priceless scenes. <br /><br />Ultimately the television show hosted by Sally Jesse Raphael is a turn off and doesn't add anything to the movie. The best part is hearing Kathy Bates singing. What a beautiful voice she has! In fact, Ms. Bates is the best excuse for staying until the end.

I have been a huge Errol Morris fan ever since I saw Thin Blue Line and heard it saved a life. To date, this movie is his best piece of work.<br /><br />The plot is a mixing of Stephen Hawking's Book of the same title intertwined with the man's life. The story is told through interviews with family, friends, and Hawkings himself.<br /><br />Don't be fooled; It totally sounds boring but the whole package is dynamic and thought provoking. The blending of life and theories is seamless and thoroughly entertaining. I was particularly moved at how well they humanize this genius and omniscient man. Tho physically powerless, Hawking's greatness and shear brilliance is encapsulated into a real live human being that we are allowed to laugh at and aw over at the same time.<br /><br />Find this movie. Watch it and enjoy. And if the studio who owns this picture reads this, A 15 year Anniversary edition would be perfect NOW...

If you love The Thin Man series, you will love this movie. Powell's character of Vance is very similar to his character of Nick Charles. There are even dogs. . .<br /><br />The chemistry between Powell and Astor may not be as fabulous as Powell and Loy, but it isn't half bad.

Yes i really found this film distasteful. <br /><br />I didn't like the Sandra Oh character, she really annoyed me. It is unlikely she would be accepted into rural Italian life due to the fact she is non-white. this was a bit of PC nonsense. <br /><br />the film is also offensive to Italian men. For instance, the one man she (Diane Lane) has an affair is turns out to be a caddish cheat. But guess what: at the end your typically plasticky American brick-head turns up, all cheesy white smile and tan, and she finally finds what she wants all along: a real American man, and now she has colonized another part of the world. <br /><br />In fact, this film is quite racist in its depiction of Italians and the way it subjugates them as either smarmy lotharios or backward peasants. <br /><br />the photography was good but the film and its attitude were trash.

Coltrane and Idle are members of a bank robbery gang who double cross their leader during a robbery. They hide out in a nunnery school and disguise themselves appropriately to avoid detection from the mob and the police. Alot of catholic humor and slapstick but the script is kinda thin as are the laughs.. There is a GOOD shower scene though... on a scale of one to ten..4

Miranda Cosgrove is known for her debut in "School of Rock" with Jack Black and her role as Megan in the show "Drake and Josh" and she has become a fan favorite amongst the Nickelodeon public, so it isn't a surprise that Dan Schneider would create a show just for her. Unfortunately, it ends up being as bad as, if not worse than, "The Amanda Show".<br /><br />"iCarly" is about three friends, Carly, Sam, and Freddie, who have become idols in the junior high community through a webcam show called "iCarly". Carly and Sam are the hosts and Freddie shoots and puts it up on the internet. Carly also has an older brother named Spencer, acted by the hilarious Jerry Trainor who is known for his work in "Drake and Josh" as Crazy Steve.<br /><br />Well, let me tell you this. Don't believe the 8.3 out of 10 this show received because it is pathetic in nearly every aspect. Dan Schneider probably went through about 5 minutes of studying teenage interests because all I see is him saying "iPod? iPhone? iHome? Aha! Teenagers love anything beginning with 'i'!" and a majority of gigs that were used in "Drake and Josh", if not, then they are just really dry and forced jokes that don't even count on a generousity chuckle, such as "You want me to turn up the AC to 60 degrees?" "No. We want you to turn it up to 60 pickles!" Not only that, but if you look closely, nearly all the sets in the shows were used in "Drake and Josh" and "Ned's Declassified" that were simply spit-and-polished with random stuff to try and make it look different.<br /><br />The scenes where the show is showing a broadcast of the iCarly network is just as terrible as the entire series itself. The dialogue in them is atrociously bad, which may be accepted by some since it IS just two friends playing around in front of a camera, but what's the deal with the really odd, humorless antics they do like "Random Dancing!"? And it just gets worse from there.<br /><br />In terms of acting, Miranda and Jennette aren't at their best, by far. Nathan Kress, who played Freddie, isn't believable at times, but he does an okay job. The person who really steals the show is the humorous prowess of Jerry Trainor, who fits in his "protective older brother" role very well and his wide-eyed loud-mouthed acting can make for some pretty funny segments. Too bad they aren't frequent, because that might have given the show an extra star in my opinion.<br /><br />Dan Schneider must have made this show for the sole purpose of giving Miranda Cosgrove her own cable-born playground to hop around and spew unfunny jokes and pathetic cue-card lines in every direction, because everyone else has exceptional talent buried underneath the poorly-done script and weightless acting. Dan Schneider did a great job with "Drake and Josh" so it's a real disappointment that "iCarly" is such a failure. Jerry Trainor's acting saved this show from a 1 out of 10 rating, but he alone can't save "iCarly" from being as horrible as it is.

End of Days, starts off pretty well, Arnie plays a down and out cop (a very similar character to Riggs in Lethal weapon) and the story looks like a kind of serial killer action thriller that will be good entertainment.<br /><br />Sadly it fails to deliver, Arnie is as good as we we have come to expect, but as for Gabriel Byrne i expect him to chose his roles more carefully than this. cast as the devil; this is probably the weakest portrayal of the lord of darkness ever.<br /><br />This movie gets a little too daft for me, and the end sequence, aside from being very weak, is visually one of the worst i've seen in recent years, CGI is have been better than this since the early nineties.<br /><br />Quite simply not good enough. 4/10 (Watch it if you have too, but don't expect too much, cause it won't deliver)

Yes, I felt like I had been gutted after first seeing it. But not until the next day did I begin to see the true brilliance of this creation. I won't repeat much of what has already been said by those who appreciate the film, but there is one new area I want to touch on... **SPOILERS** Why exactly did the teacher put the broken glass in the student's pocket? Most reviewers have noted that it only reflected her cruelty and reaction to an unsatisfactory performance. I must disagree. Watch the scene again. Huppert is moved to tears as she watches her student playing on stage. The student is quite an expressive girl (crying & vocalizing her fears)- just the opposite of Huppert's character. There is a scene later in the film, after the girl is injured, when Huppert discusses the accident with the girl's mother. The mother, visibly upset, states "We gave up everything so she could study piano" and Huppert immediately snaps "You mean SHE gave up everything, don't you."<br /><br />So it was my thought that Huppert was simply saving this young expressive student from her own destiny. She didn't want the girl to end up like HER, repressed & hardened, condemned to a life of recitals...gradually killing the soul in the pursuit of perfection. Maybe she saw herself on the stage years ago, before things grew bad. Maybe she wished she had escaped when she was that age. Is she ruining the student's life, or simply freeing her?<br /><br />For me, that realization made all the difference in what I experienced through this film. Brilliant.

A superb and compelling drama about the hunt for the notorious Russian serial killer Andrea Chikatilo. Magnificent performance from Stephen Rea as the forensic scientist put in charge of the investigation, who finds the biggest obstacle to his progress is the Russian government, in particular the old communist party members who want to maintain a closed society.<br /><br />The film is has an underlying theme about the decline of the communist society, and progress in the hunt for the killer is reflected by progress in social and political change in Russia, which is subtly put across. There is a conflict of old ways and new ways, and these are represented by the two viewpoints of Rea's superior (played by Donald Sutherland), and Rea himself . These are at first polarised, with Sutherland 'high' in system looking down, and Rea 'low' on the ground, looking up. However, they have a common cause – to catch the serial killer.<br /><br />Throughout the film the relationship between these two develops, and the tension gradually eases until at the end of the movie Rea and Sutherland and Rea and Sutherland have mutual respect for each other, the killer is caught, and Glasnost symbolically comes. Excellent script.<br /><br />Further credits go to Sutherland's performance, which is superb and sympathetic, Jeffrey DeMunn as the killer whom we despise but can't hate, and Max Von Sydow, who is thoroughly convincing as the humble psychologist who risks his reputation to help.

First off, I refuse to even consider this piece of work a Music video... I consider it a short film that uses excerpts of the song "Thriller" in its soundtrack. To me a music video must be no longer than the song itself, and the song must play the entire length of the video. Calling this a music video is like calling The Great Gatsby a poem. On top of this... let's face it... "thriller" is a boring 14 minutes, including the extremely dated werewolf transformation, the mindless Vincent Price poem (just because VP recites it doesn't mean it's not lame), and the least threatening zombies I have ever seen. Sure, this was certainly a cultural phenomenon, but don't forget, this also happened at the same time the A-Team was the #1 show on TV, so lets not give the culture too much credit on that one... One last point on this film's impact on the media on music videos... what exactly did this add to the equation that "Billie Jean" and "Beat It" didn't already add? From what I can tell, it only added the practice of stopping the song for some dialog, or a superfluous dance scene... so you could say that all this video really did was give Puffy the inspiration to make more annoying music videos... Not quite my definition of great

As a writer I find films this bad making it into production a complete slap in the face. Talk about insulting. I was writing better stories than this in 8th grade. Bad acting, bad writing, bad directing and when added all together the result is complete and total failure. <br /><br />The only thing this movie manages to accomplish is tricking the unsuspecting consumer into wasting their time. Who would green light something so poorly written? It's not artistic, clever, smart, suspenseful, mysterious, scary, dramatic-NOTHING.<br /><br />The characters are flat and boring with no development. The plot is as recycled as an aluminum can. They somehow managed to cast a few very familiar actors who all must be pretty desperate for work or hoping one of these low budget independent movies will turn out to be the next "Pulp Fiction". This script should have been used to line a bird cage, not a movie. <br /><br />Oh and last but not least, a 5'2 105 lb woman of course has the strength to kill men and women twice her size without a struggle and in a single blow. <br /><br />Avoid this bomb like it will infect you with an STD.

This film is one of Michael Keaton's best. Throughout the film he is 'on'. With co-stars like Ms. Henner, Joe Piscopo and Danny DeVito, you can't go wrong. Great laughs, great fun for everyone.

I recently bought this movie and I do not regret having it at all as a matter of fact I am very please have this movie to add to my collection. Matt Manfredi and Phil Hay, movie directors, took less than one month to film and spent about 1 million EUR to produce this great movie. This proves that not only big productions make great movies.<br /><br />The title of this movie fits in perfectly. In computer language BUG means program error which causes reactions in computer function. Our reactions can cause these negative side effects, but also great moments of beauty. The vertiginous happenings in this movie start with the death of a BUG. A man witnesses the "crime" on the other side of the road...From there onwards everything gets complicated...<br /><br />I point out John Carrol Lynch ("Fargo"), Wallece, the man who cannot make everything right at all.

I just saw a press screening of this film and I was pleasantly surprised. Not often is it that I get to see all of my favorite actors in one film at one time.<br /><br />I really enjoyed the pick pocket scene and it was good to see Rachael Bilson and Hayden back together. I think their chemistry on camera is a direct result of their time together off camera. My favorite scene was by far (surprisingly so) Bret Ratner's piece... Without giving too much away, I'll just say that there is a surprise that leaves you hanging...<br /><br />The old couple were really good together and you actually got the impression that they had spent a lifetime together. <br /><br />Both the Chris Cooper and the Ethan Hawke segments packed a punch with surprises that seem realistic and similar to experiences that I've had in the big apple. Over all the film is a great place to take a date... especially if you're already fond of the city itself.<br /><br />I can't wait for the next in the Cities of Love.

My wife and I both thought this film a watered-down, made-for-TV (BBC) version of Manhattan Murder Mystery...which is itself good, but not great. The story has little inter- character tension or chemistry, and not much of a plot. Woody Allen's character just sort of wanders around running off at the mouth, and Hugh Jackman and Scarlett Johannsson don't have a lot more to do. It's pretty disappointing, I must say. Ian McShane's role is just an expanded cameo appearance. <br /><br />The first thing that occurred to me was "I wonder how much the BBC had to pay Woody Allen to dislodge him from Manhatttan?" He must've needed the money, and they must have needed his appeal to expand their audience beyond the youth market drawn to the two stars. I'm giving this movie 4 stars instead of 3 because it is unbothersome background noise. If you ever want something to have on while you're knitting or sorting your stamp collection, this'll do the job. I wouldn't pay to rent it again.

A Brother's Promise is a wonderful family film. This is a biography of Dan Jansen, a champion Olympic speed skater. The movie depicts this athlete's life from a young age through full adulthood. The love and support of the family members is evident throughout. How Dan and the rest of his family handle winning and losing races is a life lesson for all of us. The commitment and determination of Dan's coach and his teammates, shows what it takes to make a real team. How Dan and his family deal with a devastating illness of a loved one is depicted without undo sentiment or sugarcoating. The faith of the family is shown in basic terms and is obviously a major part of their lives. This is a powerful family film which can be meaningful for a person of any age.

Besides Planes, Trains and Automobiles and Uncle Buck, this is John Candy's funniest movie. When he gets hypnotized with the playing card (similar to the Manchurian Candidate) and becomes a horny guy who does not know what he is saying, he makes two very memorable quotes (Both deal with the male anatomy). The love scene involving grocery items has to be seen, it cannot be described.<br /><br />

There's plenty to appreciate here: spectacular locations and flying sequences; period costumes, props and sets; and competent writing and acting. However, to enjoy a drama, we need at least one principal who exhibits some qualities that we can like or admire. In this bunch of catty snobs, we found only one character who is at all likable — a hapless enlisted man in a fleeting peripheral role as their helpless victim. From the reviews here, it is clear that we are completely out of step, but we did not find their malicious-schoolgirl behavior amusing or entertaining. Even the dog is detestable. We threw in the towel after two of the six episodes, so you should discount these observations accordingly, but what I could find written about this mini-series gave us no cause to expect character transformation or redemption.

One True Thing rises above its potentially schlocky material to give us a view of a family of complex relationships and flawed, real people. It opens with Rene Zeleweger discussing her mother's death with the District Attorney; sparing us the cheap cinematic shots of a "shocking" illness and death. From there it proceeds into a look at a family system, in which everyone plays by a set of unexamined rules, and uses the mother's cancer to show what happens when all the rules change. <br /><br />William Hurt as the self-important father, and Meryl Streep as the Suzy Homemaker mother are both superb; nuanced and not what they appear to be. Zeleweger is seething, angry and surprised with herself. Tom Everett Scott doesn't have much to do, but he does it well.<br /><br />The story is predictable, and takes at least one badly soppy turn it needn't have taken, but the performances, and the view of family as a place where anger and love are equally mixed, make it worthwhile.

This animated feature (a co-production between Ireland, Belgium and France) deals with what is surely one of the oddest subject ever for a movie: the creation in the 9th century of a famous illuminated manuscript, the book of Kells. In this fantastic retelling of that story, a prepubescent boy named Brendan, living in a monastery ruled by his uncle, a stern abbot who is worried preparing the defenses of the abbey from the impending attack by the feared vikings, must get into the forbidding surrounding forest to find the materials that a master illuminator named Aidan needs to finish the book. To do that task, in the forest he unexpectedly finds the help of a friendly fairy named Aisling.Gorgeously and delicately drawn by hand (there is some computer animation in a few key passages) in a manner that wants to resemble both medieval and traditional Celtic art, and with a very creative use of color and all sorts of geometric shapes, this film is relentlessly strange, but is a good strange, not of the off putting variety but of the eye opening sort. If one were to nitpick - beyond some anachronisms, like an African monk in 9th century Ireland – one would have to say that the blend of Catholic mysticism with Celtic paganism in this movie never really coalesce. And the comic relief is sometimes a bit too broad. That's why I cannot give them the highest ranking. But these are minor problems with an otherwise delightful and superbly imaginative film.

You can't watch a film like Peter Watkins' "Privilege," a story of the exploitation of a pop music performer by big business, the state, and even organized religion, without thinking of creatively degenerate commodities like Michael Jackson or Britney Spears, who hawk corporate giants like Pepsi or some other poison for money. Or any number of entertainers, in music or movies, who become tools of political parties or commercial religious interests like Scientology and Kabbalah. A film like Privilege must have seemed almost like science fiction when released in 1967, so fantastic was its premise. Today we tend to take celebrity endorsements for granted, giving little thought to its more alarming implications. Watkins' vision has not only become reality, we tacitly accept this reality as "normal."<br /><br />Now consider Punishment Park. As Privilege challenges the viewer to examine what is being sold to us, and why, Punishment Park demands that we reckon with what is being taken from us, and why. <br /><br />Heaven help America, and for that matter the world, if contemporary politicians get their hands on this film. It is already so close to reality, that in viewing it recently, I experienced a genuine, nauseating feeling of anxiety.<br /><br />Watkins again skillfully employs a documentary-style narrative. Whereas in Privilege some rough edges to this technique were apparent, in Punishment Park it has been honed to sharp, seamless perfection. The sense of realism is enhanced by disarmingly unpretentious, economical, believable portrayals by the entire cast. This is the kind of acting Hollywood has completely turned its back on, to its detriment, in favor of cosmetically perfect image projections. The cast has first-rate material to work with in Watkins' screenplay. <br /><br />Many cinematic visionaries have tried to shake the viewer out of their complacent, false sense of security. No one has ever achieved this result with such stark and chilling accuracy as Peter Watkins does here.<br /><br />"What seems quite clear now, is that instead of trying to bring the estranged and excluded Americans, such as these people, back into the national community, the Administration has chosen to accept and exploit the present division within the country, and to side with what it considers is the majority. Instead of the politics of reconciliation, it has chosen the politics of polarization."<br /><br />To paraphrase one of the characters, we don't have to call them pigs because they know what they are. Better than we do.

Girlfight is like your grandmother's cooking: same old recipe you've tried a million times before, yet somehow transformed into something fresh and new. Try and explain the story to people who haven't seen it before: a young women from the wrong side of the tracks attempts to improve her situation by taking up boxing whilst dealing with a bitter, obstructive father and her growing attraction to a male rival. Watch them roll their eyes at the string of clichés, and they're right: it *is* clichéd. Yet I was hypnotized by how well this film works, due to the frequently superb acting and dialogue, and sensitive direction that makes it 'new'. I avoided this at the cinema because it looked like complete crap but don't make the same mistake I did. Definiately worth a look.

Forget depth of meaning, leave your logic at the door, and have a great time with this maniacally funny, totally absurdist, ultra-campy live-action "cartoon". MYSTERY MEN is a send-up of every superhero flick you've ever seen, but its unlikely super-wannabes are so interesting, varied, and well-cast that they are memorable characters in their own right. Dark humor, downright silliness, bona fide action, and even a touching moment or two, combine to make this comic fantasy about lovable losers a true winner. The comedic talents of the actors playing the Mystery Men -- including one Mystery Woman -- are a perfect foil for Wes Studi as what can only be described as a bargain-basement Yoda, and Geoffrey Rush as one of the most off-the-wall (and bizarrely charming) villains ever to walk off the pages of a Dark Horse comic book and onto the big screen. Get ready to laugh, cheer, and say "huh?" more than once.... enjoy!

Spoiler for anyone who is lucky enough to ever see this film (so not really spoiler after all). Saw this film when it was released and can still remember parts of it. It's all set in a small town in the west or what is left of that town. It more resembles a ghost town with few inhabitants. Among them a couple, where the wife is especially wicked. She lets her man die in the end of the film and leaves the town but has to cross the desert. We never know what happens to her next but just before she left her dying man shoots after her and deliberately does not hit her and instead the water supply. She is not aware of that soon she will be very thirsty. Mark Damon kills a couple of bad guys in a funny manor - but that's another story, which I don't remember too good. The remaining impression of the film was that it was one of the first times I saw a really wicked woman on film, who pretends to be anything but wicked - can't be compared with the witch in 'Snowwhite', who, in comparison is easy to find out. Very tight western with few main characters and still absorbing.

This was the greatest movie I have ever seen in my life, the action was great, and i was so scared, there was a lot of gore WHICH MADE It GREAT, i would see it 1,000 more times, and Paris Hilton, D*MN she fine in that movie. But anyway, i would recommend it to anybody, even kids(like me) Adults like it to. You would probably have nightmares at night though, but beside that, IT IS AWESOMe, I CANT STOP BRAGGING ABOUT IT. EVER SINE AUGEST WHEN I HEARD ABOUT IT I BRAGGED AND BRAGGED and in school i gave out flyer's saying may 6 house of wax see it. i got my whole school into it. But anyway, i would definitely saySEE IT may 6 house of wax, be there It be slayed.

If you're a sane person and you have seen films before then you cannot tolerate this piece of idiocity for more than 20 minutes. And if you do stay there longer then it won't be because you'd expect akshay or paresh (not govinda please!) but because you value your money too much and you want at least a short nap on the plush seating in the multiplex in return of the money they robbed you off! Its hard to believe that the director who gave us a cult film like HeraPheri can fall to such levels.. alright he's repetitive but now he's coming out of all third rate storied and expects us to laugh because he's brought in Paresh Rawal and Akshay Kumar...!No sir this ain't going to work now.. especially with this stupid script of yours!Even comedy films can have meaningful scripts (Lage Raho Munnabhai anyone?).<br /><br />Govinda doesn't have much to do so can't comment..Akshay Kumar was boring, Paresh Rawal cracked some of the worst joke possible.Lara Dutta had real scope for acting in this one but she fails miserably...the only high point of the film (possibly) is Tanushree's acting!But she's there only for the first 10 minutes.<br /><br />I don't think this film is worth any more space... (probably not even this much!). So final warning- don't watch it!

I saw this when it first came out, and found it to be a work of some genius; but I must confess I was clearly in the minority at the time.<br /><br />For me, the progressive lunacy of the proprietors of Guest House Paradiso just gets better and better throughout the film, with one of the most hilarious climaxes to a film ever.<br /><br />But I wouldn't recommend it to Mother.<br /><br />Lovers of gross-out comic book style humour will appreciate this movie; there are subtle jokes hidden away, but they are usually quickly flattened by a comedy frying pan. Rik Mayall and Ade Edmondson are superb, and the deadpan, unsuspecting guests are also excellent.

Move over Manos. Back off Boogens. It doesn't take a Baby Genius to know that Malibu Beach Vampires (MBV for the rest of this tome) is now and always will be (unless someone makes a sequel to Zarkorr The Invader) the worst film ever. The only horror in this thing is watching it. I wonder if this was an attempt for someone to meet babes by casting a movie. If this was the case, the babes ain't babes just like this ain't a movie. It's dreck. No wait. I dishonor the word dreck by calling it dreck. Ulli Lommel (of Boogey Man fame) would call it "uber dreck" or Scheiße. It should be used to torture prisoners. If you find it on a shelf in a video store, back away from it quietly and notify the authorities.

I have to admit, I don't remember much about the characters or the story, though I'm not sure there was one, I was soooo irritated by this movie that I had a bit of a hard time focusing on it. How can you name a movie "Keys to Tulsa" and then film it in Texas? The flat desert country around Arlington ( I think that was the location) in no way resembles the green rolling hills around Tulsa, and a celebrity in Tulsa would have a much nicer neighborhood to live in. Obviously no one in the movie has EVER BEEN to Tulsa or else they would have realized how nothing in the movie even resembled it. Hadn't anyone at least seen Rumblefish or The Outsiders? I know this sounds picky but I can't help it. I watched this because I love James Spader and I usually find Eric Stotz interesting. But even these two intriguing actors could not liven up this meandering,and mean story of self-involved people who are NOT IN TULSA!! I'm sorry, it can't be more expensive to film in Oklahoma. What if "To Live and Die in LA" had been shot in Toronto? Would that suck? Well so does this.

I got this in the DVD 10 pack CURSE OF THE DEAD. You gotta love those bargain packs. For even if they don't feature true remastering, restoration and all that hoo-ha, and the films are generally in full-frame pan and scan format, there's no denying that there are always a few gems included. And by "gems", I mean there's always some good crap to be seen, especially if the films are from the '70s as The Mansion of Madness is.<br /><br />My copy is called Mansion of Madness, but when the title screens roll it's Poe's Dr. Tarr's Torture Dungeon. Doesn't matter, really, as crap is crap is crap, no? Yes! But saying this film is completely worthless is not true at all. There are some funky elements here and there, and obviously the flick did have a decent budget.<br /><br />The opening title sequence is cool with its colored negative run through a cheap TV look. The dialogue is always hilarious. Near the beginning of the film, the horse and buggy driver gets out to move a dead tree stump in the middle of the road. "WHAT STRENGTH!" says Our Hero. Funny, then, that this dude should later not be able to fight off the wacky woodsmen when they come to make freaky fun. You'll completely forget that this guy was even in the movie until he crops up again later near the end. That's how memorable these characters are.<br /><br />The best part about Mansion of Madness, however, has to be the wacky music and screwball hijinks that the good guys have to endure. It's like bad cartoon music that a three year old would find enjoyable. And why all the weirdo slapstick, anyway? I'd say my fave moment had to be when the horse and buggy is ambushed by the forest freaks when they pull a stupid looking homemade ghost up by a stick in the middle of the road and make the buggy stop. What the hell? Oh yeah, there's plenty of boobies to be seen, too, for those of you that dig such things. Boobies, bad dialogue, and wacky music. That best sums of Mansion of Madness for me. It's well worth at least one viewing, and may be a lot better if you've had a few to drink or whatnot. I can't say I was ever bored watching it, but I can't deny that it's also a barrel of poop. Kinda like Magical Mystery Tour but with a plot, but not. Hmm.<br /><br />And Mr. Chicken PWNZ.

After the lead actress of the opera is killed in a car accident, her young understudy, Betty, is brought to the forefront. That's very lucky for her, with one problem: she has an admirer that has decided he will kill all her friends and make her watch. What is his connection to the opera, and what is his fascination with Betty? <br /><br />I love Dario Argento with every part of my body. And I'm not an orthodox fan, I think. Many people, particularly critics, praise his earlier work ("Suspiria" and "Deep Red") but really frown on later films, such as "Sleepless", which I liked. My favorite, "Phenomena", is usually vastly underrated. "Opera" tends to fall somewhere in between. Some consider it one of his last great films, others see it as part of his so-called decline. I loved it.<br /><br />The picture is crisp, the music is great (unlike other critics, I love the metal soundtrack), the female lead is someone I can feel for (not unlike Jennifer Connelly from "Phenomena"). And the imagery... wonderful. Great cinematography, and some amazing kill scenes. The concept of taping needles to a person's eyes so they cannot blink... brilliant. My assistant Tina thinks this looked fake, but even if it does, the idea is more than enough to pay off. And some great effects, like a knife blade coming up inside a man's mouth? Awesome.<br /><br />Jim Harper calls the film "stunning" and calls attention to the "innovative cinematography, well-constructed shots and exceptionally violent murders." I agree with this completely -- one shot follows the camera through winding tunnels, and there is a very interesting visual use of crows throughout the story. Mike Mayo likewise calls it "visually fascinating eye-candy" and lauds the "crisp editing and flowing camera-work". It's really a wonder that this is not one of Argento's more highly-praised works.<br /><br />Argento returned to the opera with "Phantom of the Opera", which was a bit of a failure despite the casting of his daughter Asia and Julian Sands. Even more interesting, this same year offered the release of Michele Soavi's "Stagefright", which (like "Opera") has a killer loose inside a theater killing off the people involved with the presentation. Both are great films, with Soavi's more on the slasher side. (Soavi actually served as second unit director on "Opera"... you can make your own conclusions.) <br /><br />My only complaint with this film is the length and pacing. While it is very beautifully shot and the kill scenes are glorious, they are not as frequent as they should be. The first one takes over a half hour, and then we get down times between them. The lead actress should be in constant terror, but she is given time between kills to calm down as if everything is normal again. Not cool, Dario. We need to keep the suspense low and the intensity high.

This is one of the worst movies i've ever encountered, but i want to say that some of the criticisms i had heard turned out to be unwarranted..<br /><br />As far as pure film-making technique goes, this director is competent. He's held back by the limited budget and the VHS camera, but the actual editing, camera angles, camera movements and scene staging are pretty professional. i've seen many movies where the "directing" was much worse. At least the scenes flow in a way that is not confusing and he has a few clever shots here and there. Also, the forest scenes contained a decent atmosphere. There is only so much you can do with a VHS camera, and he does a nice job as far as the technicalities go. As far as artistic merit, there is none. The scene where the camera pans down so that we can watch a guy urinate in the woods for 15 seconds sort of epitomizes the artistic style of the whole film. This is pure trash... Total garbage.<br /><br />The gore is decent for a film in this budget range. , it's obviously fake but there's lot's of it, and it's very outlandish..<br /><br />I saw the American version with the intentionally campy dubbing. This was a good idea (and it's the only thing that allowed me to make it through the film)... Unfortunately, it's overdone, especially towards the end.<br /><br />It's really a terrible film, but i have to recommend it for it's camp value. It's really hard to find a movie that's worse than this and that sort of puts it in a unique category.

If you've ever seen Open Water , this is the same kind of gritty, edgy, indie style of film. i liked the action, suspense. the slow building of it all,, i just hope they don't do to this one what they did to Open Water, with that sequel.. but anyways,, the one thing i didn't like was the annoying younger sister,, i was rooting for the croc the whole time.. film starts out pretty much like it should,, kids packing up for a trip,, they hire a guide who mysteriously left 5 mins. before they got there,, so i guess his assistant takes the two sisters,, and the boyfriend out on the water , now mind you this is the second day of their adventure,, curiously enough the first day they spent at guess ,, hmm a crocodile farm.. so they are out there and all is good for a little while,, then bang,, crocodile time... very intense,, you know something in this movie you don't see the crocodile, a whole heck of a lot,, but when you do,, gosh it is very scary,, i love the croc's snout and eyes,, and the shroud of fog that seems to enshroud the croc every time he raises his head above the water,, very very creepy, but good,, overall this is a great film,, if you can get past the annoying little sister.

I went to see this by myself first to make sure it was suitable for my little boy to see.<br /><br />Thank goodness I did because I certainly would not allow any young child to see this. Why? The violence, death, the funeral. If you are not ready to explain these concepts to your kids then keep them away.<br /><br />Why on earth are these topics covered in a kids movie - especially one that has a tag line of "The original party animals". Might as well put a gangland execution in a Hello Kitty cartoon.<br /><br />As for laughs there were very few and far between. Speaking for myself there were none. The cows looked remarkably similar to the cows in the The Far Side comics. I guess there isn't anything original about this movie apart from the addition of ridiculous violence and antisocial activities for all the young kids to enjoy.

This is not a story. It's a bunch of psychic needles reaching for your subconscious. If you wait for a story you'll be bored. But if you give yourself over to it you'll be inside it's dreamworld within 10 minutes. The vague but disturbing images of pain and torture in a desolate landscape leave room for your own fantasies. The strange soundtrack that gives you the feeling of isolation, the visual echoes of the crucifixion of Christ, the pulsating light and deep dark shadows, they all reach to your subconscious to fill in this mind-space. I found myself trembling and unable to escape in front of my television. It was like dreaming with eyes wide open. A strange nightmare, a bad trip, a religious experience... it touched me deep inside and marked me for live. It freed my mind and gave me one of that rare experiences of loss of personality, and merging with the world of archetypes. A little freedom for the soul. A violent freedom however.... Not a nice movie, but a very strong and unforgettable one. Literally my text has no spoilers. For me the great surprise of this film was the unbelievable intensity of it, and describing this can be understood as a spoiler. The less you know about this film as you watch it, the better.

When I spotted that Noah Wyle and Ricky Schroder were in the same movie, I was like, score! I admit, I was eager to see the movie. And I have to say, the first fifteen minutes or so were nostalgic in a way. Then it went all down hill. I didn't expect it to be a dump of politically correct civil rights mumbo jumbo. They took every possible controversial topic and threw it into one stupid story. I was appalled that Noah was involved in anything of the sort, especially his role. Nobody with a fully functional brain would actually accept all that crap about the Vietnam War. If anyone really wants to know how Communism was like, sit down and read a book on it. And not one that praises it or is against it, just the cold hard facts.<br /><br />I only watched a few scenes here and there only because I wanted to see Ricky's body, but that was all that interested me. Everything else about this movie irritated me.

Okay. You saw the film and I saw the film. True? If not, there are plenty of plot summaries out there, and there is absolutely no reason for us to waste time on any feeble attempts of mine to create another.<br /><br />The most stunning aspect of the film is unquestionably the performances by the two young men and the young lady in the leads. Their emotional honesty was as compelling, if not more so, than any performances I've seen in recent months. I found I laughed, cried and cringed right along with them, and that's saying a great deal because I'm often called a jaded and cynical jerk.<br /><br />As one would expect, the story is rife with clichés and I suppose that's the Achilles heel of the picture. It's a story we've all seen many times before; we all know how it will end from the moment they introduce Rory. Though you may not know exact mechanics, you know there will be a transformative friendship, a bittersweet romance and a gut-wrenching conclusion. If it weren't for the strong cast and directing, this film would be nothing more than the soporific swill that comprises eighty percent of the Hallmark Channel's program schedule.

No doubt, when Madonna and Guy Ritchie married, it was because they both thought it would help their movie careers. If you've been through the ordeal of watching "Swept Away," then you know at that level it was a match made in hell. After nearly 20 years of trying to become a respected actress (or "octress" as she might have pronounced it in "The Next Best Thing"), she still can't get out of herself long enough to turn in a performance that anyone with taste could even call decent. And that's the thing that makes people dislike her so much on the screen: that gut feeling that her ego is so inflated that it prevents her from being able to just let go and connect with her audience. If there's any justice in this universe, she just blew her last chance.

I for one was very anxious to watch this movie.<br /><br />Though I knew it was going to be another type of movie in the style of Revenge of the Nerds, I was still impressed.<br /><br />There is plenty of truth to the fact of this type of learning and believe very strongly that it should be allowed in a "new style of schooling".<br /><br />Conventional teaching methods do not always teach students what they need to know or should know or want to know.<br /><br />This approach to teaching should be further sought out in true academic courses.<br /><br />While there still was too much of the partying scenes, it obviously had to be thrown in there - for Hollywood's sake of making a comedy about college...even though we all know that life isn't really like that by any means.<br /><br />A touch unbelievable, still funny and with a killer ending.<br /><br />Awesome ending. Crucial to the entire story and very surprising.<br /><br />Without the final scene, the movie would have been half as good.<br /><br />I liked this movie and it didn't have to have overly amounts of swearing or nudity or gross out jokes for it to be good.<br /><br />Great crew and cast, story and even the generic typecasting of the obligatory "Hampton frat members" was well done.<br /><br />American Pie 1, 2 3 and American Wedding or whatever clones it makes doers not measure up to this by 1/3.<br /><br />Far better than most comedies about first year College with no demeaning stupid jokes to make somebody throw up with.<br /><br />I liked it, even though it was simple...it was interesting and even had heart...my only regret for watching this movie is that it wasn't longer.

This is the most messed up entry on IMDb that I've yet to stumble across. All the previous reviewers act like this is the movie. This is NOT the movie. Rather it's merely a featurette that's an extra on the DVD of the movie "The One" It also nowhere near being the 90 minutes that it's listed here as. In actuality it's barely over 13 minutes of how cool Jet Li can do martial arts. and his reflections on the movie. So yeah this IMDb entry is quite a bit fubar. Don't listen to any of the other reviews as they are ALL wrong. You can trust me, because I never feed you, dear reader, BS.<br /><br />and that's the truth. i guess u can say that i'm "the One" Reviewer that matters.

Not as bad as 1992's "Nails" (where Hopper plays an "unstable" cop) but pretty bad. How can a movie with such a great cast go so wrong? This film manages to find a way. The story was pretty stupid and Hopper's direction seemed like he had never directed before. All of the long shots in the beginning were bothersome. Lots of meaningless scenes with a lot of meaningless dialogue.

Having read another review, I thought this movie would actually be good. I do enjoy the "B" movies, but this couldn't even be classed as such. The photography is probably the only half-way decent thing in the movie. But the editing left much to be desired. It was very choppy and staccato. Whoever chose the music and sound did a terrible job. The music was awful, specially anything atmospheric or scene setting. If the acting had been better, they could have pulled the movie off. Unfortunately, I've seen better acting in porn flicks. If you want to see a "B" vampire movie, check out 'Blood Ties'. You'll be much more entertained.

I can fondly remember Bo Derek's heyday and the UK press attention (the mucky Sun & News of the World papers especially)- all following her small role in "10" with Dudley Moore. Understandably, much fuss was made of her photogenic face, crystal clear blue eyes and her perfectly formed bouncing breasts. <br /><br />Unfortunately, acting is, and never was, her forte! I think they should make one of the triple disc collections you always find in the bargain DVD bins- Orca, Tarzan the Ape-man and Bolero. All these films could be nominated for the "So Bad They Are Great".<br /><br />It would be a guilty "must buy" of mine! Should you ever read your press, or this comment Ms Derek, please do not be offended- ALways had a soft spot for you and there are more important things going on in the world to worry about than your acting ability. Much Love.x

A group of forest rangers and scientists go into the woods to find fossils.They stumble on a Bigfoot burial ground eventually (the didn't notice it in the dark), The scenes of the CGI Bigfoot are horrid, but better than the endless scenes of talking that they rarely punctuate. I used to think that there just might be a good Bigfoot movie to be made. But now after so many sad sad movies about the legend, I'm having serious doubts. To pour salt in the wound of watching this film, the ONE good-looking girl just doesn't get naked once. And while this one MAY be better than "Boggy Creek 2" (no mean feat there), it's still sad that the best non-documentary film on Bigfoot remains "Harry and the Henriksons" <br /><br />My Grade: D

There was nothing of value in the original movie, this one was even lamer. The fact that I even found it to rent was absolutely amazing. Anyone connected to this film has to be high on something! So what was the story line? What was with the girl? Was the viewer supposed to get the story line in the first four minutes of the film. Sadly, I tried several times to watch this. I even borrowed a kid from someone to get some feedback. Kid said it was stupid, and he was four years old. I find that possibly some credit could go to the filming director, as possibly some of the shots made the movie more than a B film. That might be pushing it. I did love the theme song. Good thing it was only a dollar, it was worth it. I suppose you might enjoy the film if you were high as the cast and crew would have to be. Is pot legal in France?

Eichard Gere & Diane Lane back again in another romantic love story. They are an excellent team,BUT somehow this film will not be among there best, <br /><br />The director George Wolfe using a screenplay by Ann Peacock & John Romanao, for Nicholas Sparks novel, does a capable job. This is yet another tale of 2 strangers meeting & falling in love,then they go on there way,then when they are about to meet again & start a life together.<br /><br />SPOILER but not really. Tragedy happens, one of them dies.<br /><br />How many times have we seen this already.<br /><br />Those who never saw tearjerkers like this will hopefully like it more than I did. This story has about every cliché there is.<br /><br />The only reason this has the ratings I will give it. is because of the fine acting & excellent production . The cast besides our 2 stars, includes Christopher Meloni, Viola Davis & Scott Glenn. they all give real good performances & do the very best with the material they were given<br /><br />There is a good but not over done storm sequence, The sex scenes are well done, no nudity & next to no foul language,<br /><br />Ratings: *** (out of 4) 82 points (out of 100) IMDb 7 out of 10)

I love this movie. It is great film that combines English and Indian cultures with feminist-type issues, such as girls wanting to play sports that were previously reserved for men. It shows the struggles of both an Indian person wanting to break outside her cultural barriers and women wanting to break outside the gender restrictions found in sports, especially in England at the time. I feel that the cultural struggles are more emphasized than the other issues.<br /><br />In contrast to the other comment, I do not think this movie is anything like Dirty Dancing or any other such chick flick. This move is loved by many types of people, men and women, young and old alike.

I saw the film in its original theatrical release in Austin Texas. The old Paramount Theatre (I don't know if it still exists.) went all out with speakers around the walls connected accurately to all six channels. At 15 years of age, I was blown away. The concept of surround sound was completely foreign to music and film at that time.<br /><br />I vividly remember at least three outstanding scenes where the surround sound made a huge impact. (Though please forgive me if time has warped my memories with inaccuracies.) The first was a travel by the camera through Catfish Row, alive with the sites and sounds of daily activity. You saw each one first, such as a blacksmith for example, then as the camera passed them by their sound would continue to be heard passing left or right down the side of the theater to the rear. The second was a marching band that was seen first in the front, then it marched past the camera splitting left and right. Not only did the sound of each instrument follow its own directional path, it also changed in timbre as it played toward you, to the side of you, and then away from you. And if that wasn't enough, they also accounted for the Doppler effect for each instrument as it went by. The third scene was near the end of the movie as Porgy is leaving Catfish Row for New York to look for Bess. He and about half the cast members pass by the camera as they leave the village with the same sound effects as the marching band. The other half of the cast/chorus sing along with them and also wave and voice goodbyes to Porgy and their other friends. The friends' replies can then be heard from the sides and the rear.<br /><br />Surround sound was used with splendid effects throughout the movie. I think I remember a rock or something thrown from a pier and hearing it land in the water behind me. Little things like that were evident to theater-goers lucky enough to have the full six channels -- things that would just seem mundane in theaters without it.<br /><br />I stayed in the theater for several showings. You could do that then. And I went back several more times before it left town. I never saw the movie again. It literally BEGS for release on DVD with restored picture fidelity and surround sound. I do hope someone somewhere has preserved it. Please, Gershwin family, allow it to be released before it is lost for good to other generations.

...On stage, TV or in a book, 'The Woman in Black' is an outstanding ghost story. Other reviewers have already said just about all there is to say about this film, but I thought I would add my belated little review too. The made-for-TV movie has a deliberately slow first act, which chronicles the main character Arthur as he goes about his business as a solicitor in 1920s London. I can understand why this might not appeal to all palates. Nevertheless, for me, I love this British-style of storytelling similar to any of the BBC's "Ghost Story for Christmas" adaptations of the great M.R. James' work. In the second act, the ghost story kicks in as Arthur is sent to the provinces by his boss, to tidy up the affairs of a deceased client. The third act relentlessly builds up to a spine-tingling conclusion... As a Londoner, I have seen the play. I own the book, DVD-R and have the unabridged audio book on my iPod, too. What is sure for me, 'The Women in Black' on any medium is a ghost story with few equals. It is about time that we had a legitimate region 2 DVD release.

I am at a loss to find the words to express how bad I thought this film was. The initial precept was promising, but in all respects afterwards it was totally awful. Let's run through the main points. Plot - good initial idea but truly terrible development. There were many points when I thought "no, nobody would do something that stupid". The ending was amazingly anticlimactic. Characterisation - all of the characters were either completely bland or grotesque caricatures. I keep trying to think of one that wasn't - possibly the mother, but that's it. Music - intrusive, inappropriate and generally terrible. Direction - totally amateurish. Cinematography - doubt they've heard of it. Camera angles / stability / zoom levels often really bad. I am totally bemused at how this film has scored so highly. It's the worst movie I've seen at the cinema for years, if not ever.

This movie changed it all for me...I heard of breakdancing and hiphop, but had never seen it professionally done (hey I was an 11-year old kid from Holland!) When I saw this movie, this all changed. I got actively involved in the hiphop-movement in our city, started breakdancing and writing lyrics.<br /><br />To this day, I still consider this movie to be a personal favorite. Sure, the filming and "cinematographic" importance might not be that significant. But who cares if the wide-shot was filmed badly or if you could see a mic hanging above somebody? It's what it does to you personally that counts...

I enjoyed this movie extremely. It was the last great Mario Van Peebles movie I know of. It had a hip-hop old west flavor to it. Big Daddy Kane and Tone Loc had major parts. It shouldn't have won any Oscars, but it was enjoyable all the same.

I always have a bit of distrust before watching the British period films because I usually find on them insipid and boring screenplays (such as the ones of, for example, Vanity Fair or The Other Boleyn Girl), but with a magnificent production design, European landscapes and those thick British accents which make the movies to suggest artistic value which they do not really have.Fortunately, the excellent film The Young Victoria does not fall on that situation, and it deserves an enthusiastic recommendation because of its fascinating story, the excellent performances from Emily Blunt, Paul Bettany and Jim Broadbent, and the costumes and locations which unexpectedly make the movie pretty rich to the view.And I say "unexpectedly" because I usually do not pay too much attention to those details.<br /><br />"Victorian era" was (in my humble opinion) one of the key points in contemporary civilization, and not only on the social aspect, but also in the scientific, artistic and cultural ones.But I honestly did not know about the origins from that era very much, and maybe because of that I enjoyed this simplification of the political and economic events which prepared the landing of modern era so much.I also liked the way in which Queen Victoria is portrayed, which is as a young and intelligent monarch whose decisions were not always good, but they were at least inspired by good intentions.I also found the depiction of the romance between Victoria and Prince Albert very interesting because it is equally interested in the combination of intellects as well as in the emotions it evokes.The only fail I found on this movie is that screenwriter Julian Fellowes used some clichés of the romantic cinema on the love story, something which feels a bit out of place on his screenplay.<br /><br />I liked The Young Victoria very much, and I really took a very nice surprise with it.I hope more period films follow the example of this movie: the costumes and the landscapes should work as the support of an interesting story, and not as the replacement of it.

Well, you might not actually SEE any women in love in this movie, but you'll certainly hear women TALKING about love, and men talking about love, and women talking about men, and men talking about women, and men talking about men, and everyone talking about death, and talking, and talking, until you yourself will want to scream and do something that requires no talking at all, like paint your bedroom or water your plants.<br /><br />Welcome to the world of D.H. Lawrence, where psycho-babble reigns supreme, and where no one can get down to living a productive life because everyone is too busy talking about how unproductive their lives are. Spending time with the characters in a D.H. Lawrence novel is like being locked in a closet with a group of your most self-absorbed acquaintances who you would run away from if you met them at a party. When I read "Women in Love," I so desperately wanted to strangle every single character in it, but since I couldn't, I was hoping they would at least strangle each other. Alas, only one of them dies, not by strangulation, and I won't spoil it for you by telling which one, in case you actually give a damn about this story or any of these people.<br /><br />To give director Ken Russell his due, he makes this filmed version about as entertaining as it's possible to make this essentially unfilmable novel. He throws out much of the psychological mumbo-jumbo that Lawrence adored, and focuses instead on all of the naughty parts, so we get lots of histrionic lovemaking in beds and fields, two buck naked men wrestling by firelight, and one embarrassing scene featuring Alan Bates (yup, buck naked again) roaming around in a meadow making love to bushes and grass (I'm not kidding). Glenda Jackson won an Oscar for her performance as Gudrun, the more dominant of the two sisters at the story's focus, and she certainly tries her hardest to do something with this material; anyone would deserve an Oscar simply for having to bear Russell's decision to give her a scene where she has to dance wildly in front of a herd of mystified-looking cattle. Oliver Reed has one expression, an intense glower. The whole thing is over-written and over-directed, and it's deliriously campy. Indeed, this vies with "Mommie Dearest" as perhaps the most unintentionally hysterical movie I've ever seen.<br /><br />Grade: D

After the initial shock of realizing the guts of Mr Branagh to film this, I was literally shaking with the excitement of having this epic just ahead of me. I was not disappointed. So true to Shakespeare and yet so accessible. It blew my mind. I always enjoy seeing, or rather listening to, Branagh and it made me wonder...is this movie dubbed in other countries? That would be like painting a moustache on the Mona Lisa.

Henri Verneuil represented the commercial cinema in France from 1960-1980. Always strong at the box-office, and usually telling dramatic and suspenseful tales of casino robberies, mafia score-settling and World War II battles, Verneuil could be counted on to give us two solid hours of entertainment on Saturday night. He worked with the cream of the male actors of his day: Gabin, Belmondo, Fernandel, Delon, Sharif, Anthony Quinn. I... comme Icare is the only time he directed Yves Montand. It's an oddly static film, taking place mainly in offices and conference rooms, containing not one chase scene and hardly any violence.<br /><br />Montand gives a good performance, if somewhat dry, and he is well supported by the other actors. I couldn't help wondering what Costa-Gavras could have done with this story, on the basis of Z (the Lambrakis assassination) and L'aveu (the torture of Artur London in Czechoslovakia by Stalinists).

Saw in on TV late last night. Yeah, I can hear what y'all say about this one. It IS likely to be categorized as one of those stereo- typical TV soap series. In all fairness, the story line does have a fine twist to it, and you might nod saying, "Well, that's not what I expected." But, as a film, well it is not easy to spot a redeeming element. Casting, acting, camera work, cars, costume, setting, script, no, there's nothing to congratulate. Rated R?? Oh, that scene. Did we need it? This is a film that you can watch it and then forget that you even watched. And what was the title again?

Does anything at all happen in this movie. There are only the bizarre short scenes where I didn't know what the hell was going on so that doesn't count. This movie is sooo boring it hurts, and this is coming from a person who likes it when movies are about making movies. Confused?, well I was after watching this crap. What was Donald Sutherland on, because he missed it with this one completely. And what's with the "pedofile" scene at the beginning of the movie. Can put anyone to sleep! 4/10

I just re-watched a few episodes of this series on very poor VHS tapes that I recorded the series on. I'm glad I did, though.<br /><br />Ramona is based on the children's books by Beverly Cleary and follows the adventures of the title eight-year-old (Sarah Polley). She has fun with friends and family and gets into trouble much like many eight-year-olds. All ten episodes are pretty good. "Mystery Meal" kind of grosses me out as a vegan, but it's funny seeing the parents trying to get their kids to eat cow's tongue! And any episode that mentions Godzilla Versus The Smog Monster twice can't be all bad. I like "Ramona's Bad Day" even more. Although it's disheartening to see Ramona going through a rough day, she does imagine herself getting revenge on her friend Howie's uncle (a pre-Psi Factor Barclay Hope), who always teases her. "The Perfect Day" is also good.<br /><br />Lori Chodos plays Beezus, Ramona's sister. I swear I've seen her on something else, but IMDb doesn't list anything besides this show. Unfortunately, this series is not on DVD. Why is every crappy show made these days on DVD except something I'd actually like to buy? An injustice if there ever was one!

With the amount of actors they have working on the project they have a wide variety of cast. Nice starship CGI in places BUT their green screen needs some work. Anyone heard of Adobe After Effects 7, they should buy it get their keying better.<br /><br />Stories are well thought out, plenty of trek elements in this to keep it in the right context. BUT BUT the idea of two guys kissing makes me wind forward the episode. Im not homophobic but i cant help that i don't find men kissing entertaining (dont mind women). Anyway... For a fan series this is good stuff. With minor improvement in their green screen, brush up acting and some guidance ratings this series is stunning. Anyway i recommend this series to who ever enjoyed TNG and DS9.

This deceptively laid-back, low-key, casually paced Aussie crime thriller unravels with a casual ease and relaxed self-confidence that's a delight to behold. Eager beaver working class kid Jimmy (an appealingly feckless Heath Ledger) yearns to make something out of his unrewarding ordinary life. Jimmy gets his big break when local crime kingpin Pando (an outstanding Bryan Brown) assigns him an easy courier gig which entails delivering $10 grand to an old lady. Jimmy finds himself knee deep in serious trouble when he loses Pando's money. Writer/director Gregor Jordan's engagingly simple tale of how things aren't always what they're cracked up to be, young love, all actions having consequences and that hoary old chestnut about how crime doesn't pay works like a charm thanks to a wonderful wealth of well-observed minor quirky details, a strong subtext concerning man's duel capacity for both good and evil, a nice sense of unforced irony, the chillingly matter-of-fact way the violence is presented, and the marvelous grounding of the assorted complexly drawn warts'n'all low-life characters in an instantly recognizable and totally believable banal day-to-day reality (e.g., Panda is shown playing Scrabble with a flunky and at one point interrupts a business conversation with a fellow hood to talk with his son over the phone). Judging from his finely shaded and two-fisted portrayal of the cunning, not to be trifled with Pando, Bryan Brown undoubtedly qualifies as one of the finest actors to ever grace celluloid. A sturdy and satisfying little sleeper.

It seems evident from this adaptation that he did not. Not only did he leave the plot behind, he made up his own! The things that he chose to leave in were so ridiculously unbelievable that I was happy he chose to leave out some of the most important parts of the novel. The plot was hazy, inconsistent and choppy to say the least. I don't want to say anything mean-spirited about the actors, but they can't act! Dickens is difficult, of course, but this is pathetic! Micawber was nothing more than a mid-nineteenth century Kramer, and the less said about Betsy Trotwood the better! If you want to see the real Copperfield, watch the wonderful 1999 BBC adaptation. As for the screenplay writer,I think he read the Cliff's Notes!

Terrible film with Frank Sinatra as Tony Rome. Here, he gets involved with a dead woman below the sea.<br /><br />Rome is soon hired to find out what happened to a woman. Naturally, it's the woman below the sea. Her room mate, Lainie Kazan, soon winds up dead on the floor.<br /><br />An aging Richard Conte plays a police officer and friend of Rome. When a local club owner gets killed, the blame falls on Rome and there becomes an interesting chase scene. That's how bad this picture is if you have to depend on a chase scene to supply the action.<br /><br />Raquel Welch plays the beauty up to her neck in intrigue. Her acting leads a lot to be desired. <br /><br />Martin Gabel is a retired hoodlum whose son is trying to outdo him.<br /><br />By the film's end, you don't know why the girl was murdered. Don't even bother to ask.

Picture the classic noir story lines infused with hyper-stylized black and white visuals of Frank Miller's Sin City. Then picture a dystopian, science fiction thriller, such as Steven Spielberg's Minority Report or Richard Linklater's A Scanner Darkly. An amalgamation of the above would be a suitable way of describing visionary french director Christian Volckman's bleak and atmospheric take on the future in his feature film debut. But although Volckman's work does unquestionably take reference from the aforementioned films and those similar to them, such a simplistic hybrid does not do Renaissance, Volckman's end result, justice - the film itself is a far more complex piece of work than that.<br /><br />Genre hybridity is usually a hit and miss affair, especially in a contemporary context, with the well of individuality appearing to be increasingly exhausted. As such, Renaissance is laudable as a cinematic experiment at the very least, with its unique interspersing of the gritty nihilism of the neo-noir detective thriller and the fantastic allegorical terror of the dystopian sci-fi drama, which serve to compliment each other's storytelling conventions in a strangely fitting fashion. The screenplay is a clever and intriguing one (although one gets the sense that many of the lines in the script would have been much more effective in their original french than the English translation - the film's title also becomes far more poignant) managing to stay one step ahead of its audience all the way through. Though many elements of the plot will seem quite familiar to those who frequent such science fiction thrillers, the script throws unexpected twists and turns in at exactly the right moment to keep the viewer on their toes, making for a truly compelling work.<br /><br />Volckman's film truly excels in its visual component, and the stunning black and white animation is easily the film's highlight - superbly moody and stylish, it goes to show what tremendous aesthetic effect the simple use of two shades can have. With tremendous detail paid to the composition and look of each shot, and superb use of very noir shadows and intriguing angles to accentuate the emotional tension of the scene, the film appears straight out of a Frank Miller comic, but with a twist, the end result being consistently visually sumptuous. <br /><br />The film's English rendition is also given added credence by its very fitting array of voice casting. The gruff voice of Daniel Craig is an absolutely perfect piece of casting for grim, stoic policeman Karas, and Catherine McCormack is a strong presence as the mysterious woman whose sister's disappearance he is investigating. Despite a wavering English accent, Romola Garai does great work as the frantic sister in question, and Jonathan Pryce is suitably menacing as the shady head of ominous mega-corporation Avalon. Ian Holm's reedy voice is also a strong choice as a mysterious scientist, and Holm makes a powerful impression in his brief scenes.<br /><br />All together, Renaissance boasts a visually stunning, unique and compelling futuristic thriller, just as intelligent as it is entertaining. Though the plot may seem familiar to those who frequent such fare and the occasional weak line may inhibit the film from being the moody masterpiece it set out to be, the superb animation in itself easily carries the film through its occasional qualms. For fans of either of the film's intertwined genres or the gritty graphic novels of Frank Miller, or those willing to appreciate a capably crafted, slightly less conventional take on the futuristic thriller, the film is without question worth a watch.<br /><br />-8/10

Tim Robbins did a masterful job directing this film. I say this because he avoided convention and cliché. He also oversaw superb performances from Susan Sarandon (who won an Oscar for her role) and Sean Penn. Even more amazing, Robbins doesn't patronize. He just tells the story and lets the events play on the viewer's mind. This is so effective because it allows the viewer to form his own opinions on the death penalty, one of the most controversial subjects of our time, without being unfairly manipulated in either direction. I can't recommend this film enough, 9/10.

Though not a complete waste of time, 'Eighteen' really wasn't all sweet as it pretended to be. Nor are the ages of the actors they're portraying – 18, my butt. McKellen could have actually shown up in the film telling us he was 30 and ask us to believe it. Even Michael J. Fox was more believable as a teen in 'Back to the Future' Parts II and III (okay, maybe not; they're probably equal believability.) If you can get past the obvious age flaw, you'll have either the complete void of acting or simply overacting (Paul Anthony's so called anguish, Clarence Sponagle's Lifetime moments, and even though I do favor Brendan Fletcher, it's best to just watch him, and more, in 'Freddy Vs. Jason,') incomprehensible scenes (a faster than Britney Spears marriage, incest to prove a point and a man who needs help to urinate, but still has one hand free – I'm guessing this was the writer's fantasy,) an entire movie of despicable characters (Anthony might be playing someone that's 18, but acts like he's 12 and some odd "john" thrown in so Anthony's character Pip can save the day – was there really a sex scene in front of a baby?) and practically every character questioning their own sexuality by strange actions/scenes. On the positive side, I did enjoy Ian McKellen's voice-over, seeing a (rarely well portrayed) straight/gay friendship, puppy love (from someone who collects stuffed puppies, that is,) good score, some decent dialogue (love the separation of gays and pedophilia – wish more people would realize that) and acting from the female leads (as well as Cumming.) I can't really recommend it as it's really trying to be too many things – gay tolerance, gay hustling, homelessness, WWII epic, priesthood, first love, flawed judges, etc, etc, etc – on a shoestring budget.

Yakitate! Ja-pan (translated as Fresh Baked! Japanese Bread) is the story of a young man named Azuma Kazuma and his journey to make the perfect Japanese Bread or Ja-pan, for Japan, and for the Japanese, that will be recognized the the whole world.<br /><br />Of course, that's just on the outside. In reality, Yakitate! Ja-pan isn't really about the bread, but the reaction that come after eating the bread, and the pun that comes with the reaction. The series is lovable because of these puns. From popular anime titles like Naruto, Detective Conan, and Dragon Ball to blockbuster movies like The Matrix and Lord of the Rings. It's all there.<br /><br />So what makes this title different from other titles of the same genre like Cooking Master Boy or Mr. Ajikko? Well, unlike the others who use cooking for world domination, Yakitate! Ja-pan is purely comedy. Sure, there are times that the story turns to drama, or even murder, but the comedic atmosphere makes you laugh at them. You'll be laughing at their own view of heaven. Just watch it.<br /><br />Just remember that this is also fiction, although some of the bread made here are based on real bread, eating the home made Japan #2 won't turn you to a Super Saiyan or turn your body to rubber.

This movie has been done before. It is basically a unoriginal combo of "Napoleon Dynamite" and "Sordid Lives." There are some funny bits, but otherwise it is a cliché bore. It is a good first film attempt and the director (who also stars in and wrote the feature) shows a lot of promise. But the writing was kind of choppy and the story was not very original. I swear I had heard some of the lines in other films. However, the acting was very good and the film was shot in an interesting way. It is also refreshing to see gay-themed movies not be so bogged down with political correctness and tired stories of angst. The main character seemed fairly well adjusted for a gay teen in rural Texas so no saccharine, coming out drama here!

If we really want to get serious and find Osama Bin Laden, then we should take this stinker down to Gitmo and force the detainees to watch it. They'll be singing within minutes. Of course, I'm sure that making them watch this god-awful dreck violates the Geneva Convention in several ways. <br /><br />Look, my 5 year old daughter isn't allowed to watch TV at home. So take her to her grandparents or cousins and she's a little TV zombie. She got up and walked away after about ten minutes. That's how bad this is. <br /><br />You know, when the person responsible for this garbage was a young writer, I bet he or she had dreams of the great American novel. Now they have to look in the mirror every morning with the realization that they wrote what is possibly the worst hour of television in the history of the medium.<br /><br />And we wonder why the rest of the world hates us...

Paul Reiser steps away from the standup comedy spotlight to write a warmly humorous and gently tender story about family - what we see and what we don't see, what we expect and what surprises us. THE THING ABOUT MY FOLKS doesn't set any new standards for film, but it is a fine little story well told that reminds us about the significant bonds that family represents.<br /><br />Sam Kleinman (Peter Falk) has been a workaholic, at times pushing his wife Muriel (Olympia Dukakis), his daughters (Mackenzie Connolly and Lydia Jordan), and his son Ben (Paul Reiser) into the background. One day Muriel leaves a note that after years of marriage she is leaving! Her daughters, along with Ben's wife Rachel (Elizabeth Perkins) immediately begin the search for her whereabouts, leaving the confused and hurt and disgruntle Sam to sort things out on a road trip with son Ben. The road trip becomes a time for the two men to learn who each other is and what they each mean to their status as father and son and as family members. Sam relaxes for the first time in his life and introduces the now workaholic Ben to the pleasures and fun of living. The trip comes to an end with a phone call about the whereabouts of Muriel and why she left and the regrouping of the wiser family draws the story's warm ending. All is not what it seemed: it's better and, well, different.<br /><br />Falk and Reiser play off each other like the pros they are, but in many ways the film belongs to the brief moments when Olympia Dukakis is on screen, reminding us that she is one of our strongest matriarchs on film. Well worth viewing. Grady Harp

I seriously enjoyed watching this movie for the first time some years ago and whenever it gets aired again somewhere (which luckily happens from time to time in European cable television) I experience the same thing, I'm moved, entertained and end up wishing there were more movies like this one.<br /><br />It all deals with Leo (Kevin McKidd) and his group of friends living in urban London, Leo as a gay guy who follows a friend to a hilarious New Age Men's Group and falls for straight guy Brendon, played by dashing James Purefoy, who turns out not so straight after all. Thrown in as side characters are the equally great Tom Hollander and Hugo Weaving whose side story alone is worth watching the movie, Simon Callow as the leader of the Men's group, turning in a great as ever performance. But it's really hard to pick some folks out here, because every character, the female ones like Jennifer Ehle's, Julie Graham's and Harriet Walter's as well, are exquisitely acted. Maybe even Kevin McKidd looks a little pale compared to his co-actors but it benefits his somewhat subdued character.<br /><br />The idea behind this movie is a simple one: There is never only black and white, classifications are difficult and may not always stand the test of time.<br /><br />Leo identifies as gay but ends up falling for a woman as well who turns out to be his teenage sweetheart and Brendon's long time girlfriend. Brendon starts out straight but gets to learn that gay may be more than just an option for him and being bisexual might not be that bad after all. Darren and Jeremy (Hollander and Weaving) are gay and loving it and even the straight folks in the movie, like Angie, Leo's female roommate, get their fair share of love and funny moments up until the end of the movie. The comedy bits(especially Tom Hollander who's just hilarious) are funny and on point and the emotions are believable, as confusing as they may appear at times reading this summary.<br /><br />What I like about this movie is its genuinely positive notion. Whether you're gay, straight, bisexual or simply not sure, this movie leaves you feeling that it's just okay NOT to be sure and that "not being sure" might be something worth living out as well! Sexuality is portrayed fluid in this movie and none of the main characters seem to have a real problem with it, apart from all the gay/straight camp fights that you sometimes get fed with in other gay themed movies. I can only wholeheartedly agree with the subtext of the movie, that what you feel certain of one day, when you think you identify as gay, straight, whatever, can look very different on another. I have never seen (what to call it?) bisexuality or maybe just the absence of the segregating need for sexual classification being portrayed in such a heartwarming and true to life manner. <br /><br />This movie dares going where few movies go, gay or straight movies, by not playing on labels and stereotypical assumption of sex and relying on that. It goes further and assumes that there may be a life to sex after well-known classifications and I think the times are more than ready for that and other movies exploring postmodern themes like this one! <br /><br />And for all others who don't care about that, heck, it's just a funny comedy worth watching on a rainy Saturday evening with some popcorn on your hands. Give it a try!<br /><br />Loved it!

This is possibly the worst of the worst. I am a huge fan of the horror movie industry and I can believe this movie was allowed to be made. The acting was juvenile and the story completely idiotic. The camera work was also juvenile. One scene that comes to mind is outside a store. It is nighttime and you can see the moon, yet the characters all have shadows that cast on the wall. There was no street light to be seen. One character gets gutted at one point, yet manages to resurface later after removing herself from a post. Come on!!! It felt like I was watching a middle school play. I kept expecting the characters to wave to their family members off camera and mouth "hi mom". I can only give it two positive comments...it ended and it was good for a laugh. Please do not rent this movie!!!!

2002's the Bourne Identity is one of my all-time favorite movies. however, many fans of the book have complained that the movie had very little to do with the book's plot.<br /><br />The Assignment is the real deal. It's odd that no-one on the "Bourne Identity" threads has mentioned this movie at all. (Well, I jst did.)<br /><br />Besides the excellent plot, I personally found this movie to be as good as any espionage movie I've ever seen, with the possible exception of The Bourne<br /><br />Identity itself.<br /><br />The action is all completely realistic. I especially liked the protagonists' training regimen, which was very inventive.<br /><br />The feel is dark and gritty. There are a few surprising plot twists. The acting is excellent. <br /><br />If you like this genre, I cannot recommend this movie highly enough.

The endless bounds of our inhumanity to our own kind never fails to stun me. This truly astonishing story of a horrifically abused and largely unheard-of population is compelling, well-documented and enraging. As an American, I am constantly humiliated by my country's behaviour and this is just another in our long catalogue of international debasement. We suck. This is probably the first John Pilger documentary I've seen, but it immediately made me want to see what else he's done. My only complaint, and the reason I gave this film only 8 out of 10, is that Pilger shows us this travesty and the appalling collaboration of the US and UK governments, demands that we viewers/citizens are complicit in our own inaction...but makes no suggestion of how to help. I don't know about Britain, but America's made it nearly impossible for the citizenry to take part in their government's doings. A gesture in the right direction might help these islanders' cause.