Sachinkry/imdb-preference-10k huggingface dataset:
I just watched Antwone Fisher on BRAVO. What an awesome movie and incredible young man. This movie is a must see for anyone who is dealing with how to overcome childhood abuse and abandonment as an adult. Denzel Washington puts in an outstanding performance as well as the young man who plays Antwone Fisher. Kleenex alert--Feel good and tearful. The most heartrending moment is when he finally meets his mother, who he was taken away from at 2 months of age. And one of the most courageous was when he stood up to his abusive foster mother and sister. I saw this movie on Bravo in 2008 and only wish I had known about it years ago. Definitely a movie to add to my DVD collection.

Robert DeNiro plays the most unbelievably intelligent illiterate of all time. This movie is so wasteful of talent, it is truly disgusting. The script is unbelievable. The dialog is unbelievable. Jane Fonda's character is a caricature of herself, and not a funny one. The movie moves at a snail's pace, is photographed in an ill-advised manner, and is insufferably preachy. It also plugs in every cliche in the book. Swoozie Kurtz is excellent in a supporting role, but so what?
Equally annoying is this new IMDB rule of requiring ten lines for every review. When a movie is this worthless, it doesn't require ten lines of text to let other readers know that it is a waste of time and tape. Avoid this movie.
Only a 9/10 from me, a perfect ten would have been if there was more of a plot to the movie, but nevertheless Moonwalker to this day remains a fun fest of music, dance and entertainment. Beginning with the montage of video clips from Jackson's long career, it reminds the viewer of just why he is often regarded as 'The King of Pop'. From his hit 'I want you back' to 'We are the World' the multi-award winning charity record for the benefit of Africa. Following this a short movie of sorts, although lacklustre in an Oscar winning script, nonetheless provides a fantastic and entertaining drama for the audience. Ending with a perfect (sexy!) rendition of 'Come Together'. Something the whole family can watch and enjoy.

Worst De Niro Scorsese collaboration in this horrible agonizing violent overlong mess. Scorsese is totally out of his element in this film with the horror cliched suddenly loud phone ringing and door slamming gimmicks that seem laughable and embarrassing coming from such a master craftsman. The cast is totally wasted here and the southern accents are very annoying and forced. Nick Noltie plays the wimpiest lawyer in history who would ever believe he can defend anyone ! De Niro's psychotic Bowden is nothing more than the typical 90's movie psycho killer. The scene with De Niro and Lewis early on is very awkward and the climax goes on and on and we should all be more than tired of the on psycho stalker that never dies. One of my most horrible movie experiences. Rent the original it's 100 times better.
I thought this movie was a lot better than most movie critics are giving it credit for. Though it has its confusing parts of the plot, it doesn't greatly interfere with your understanding of the movie. That being said, If you're not open to more liberal political ideas, then this probably isn't the movie for you. I thought all the actors in the movie were outstanding. Each character has their funny moments and the audience at the Tribeca Film Festival was laughing throughout the whole thing. I thought the satire was a tad over the top in one particular area, but that's intentionally done. John Cusack is right in that although it's set in the future, it really makes you see the present.

A noble effort, I guess, but ultimately a poor one. Before seeing this film, I felt "Bartleby, The Scrivener" was unfilmable. After seeing it, I still do. Unfortunately, I think only those who have read the story will understand what is going on, and they will be upset at the film's needless revisions (updating from 1850 to 1970, moving from New York to London). Even the superb talents of Paul Scofield can't salvage what looks to me like a well meaning but misguided effort to film Melville's metaphysical classic.
A lot of talk has been made about "psychological Westerns", but this is one of the very few that is truly in that genre. It has big name stars who perform very well, but it is the director who makes this such a good movie. Stewart Granger loses his British safari hunter stereotype to play a haggard retired buffalo hunter who is revered in the West as one of the best. Robert Taylor plays the upstart (in contrast to the usual young upstart, Taylor's character is middle aged, too), who wants to slaughter buffalo, and lures Granger into business with him. They hire two other big name actors, Lloyd Nolan and Russ Tamblyn, into being their skinners. Granger is haunted by the buffalo he has killed, knowing that he may be to blame if they become extinct, knowing if they become extinct, the Native American way of life will greatly suffer. Taylor soon reveals a sadistic side, but it is a realistic saidism, unlike the one dimensional sadists of modern film, created by nerds and dorks. He is insecure, and needs human companionship. Still, he won't stop at murder. The end pits the two against each other, with a startling conclusion. The psychological effects of what they're doing are well depicted.

Oh what a condescending movie! Set in Los Angeles, the center of the universe from the POV of Hollywood filmmakers, this movie tries to be a deep social commentary on contemporary American angst.
Stereotyped, smarmy characters of widely varying socio-economic backgrounds cross paths in their everyday, humdrum lives. The plot is disjointed and desultory. Numerous unimaginative plot contrivances keep the film going, like: a drive-by shooting, an abandoned baby left in the weeds, a gang of thugs intimidating a lawyer, a guy flying through the night sky over the city, a kid at summer camp.
And through all these events, the one constant is the generous helping of sociological "insights" imparted through the dialogue, as characters compare notes on their life experiences. One character tells another: "When you sit on the edge of that thing (the Grand Canyon), you realize what a joke we people are; ... those rocks are laughing at me, I could tell, me and my worries; it's real humorous to that Grand Canyon".
And another character pontificates about the meaning of it all: "There's a gulf in this country, an ever widening abyss between the people who have stuff and the people who don't have ... it's like this big hole has opened up in the ground, as big as the ... Grand Canyon, and what's come pouring out ... is an eruption of rage, and the rage creates violence ...".
Aside from the horribly unnatural and forced dialogue, aside from the shallow, smarmy characters, aside from the dumb plot, the story's pace is agonizingly slow. Acting is uninspired and perfunctory. The film's tone is smug and self-satisfied, in the script's contempt for viewers.
This was a film project approved by Hollywood suits who fancy themselves as omnipotent gurus, looking down from on high. They think their film will be a startling revelation to us lowly, unknowing movie goers, eager to learn about the real meaning of American social change.
You sit there for a half an hour and watch a story, believing it all, then watch another half an hour of the same story utterly unraveling... and then put back together again. Brilliant.
One of the most exciting feature films at the San Francisco International Film Festival is a documentary. I don't know if - other than Andrew Jarecki's "Capturing the Friedmans" - there has ever been anything like Anna Broinowski's "Forbidden Lie$." It features, exposes, defends, reveals, and questions everything about Norma Khouri, author of "Honor Lost," the acclaimed and lambasted 2001 bestseller about honor killings in Jordan.
What is quite incredible and what makes the film so exceptional is that this "exposure" of Khouri is made with Khouri's full participation.
For the initial portion of the film, Khouri presents her story about the supposed honor killing of a friend of hers in Amman, the story of the book. She sounds completely believable, convincing.
Then her story is taken apart, exposed, by eminently believable and convincing people, such as women's rights activists in Jordan, investigative reporters there and in Australia, where Khouri lived for a while.
Khouri comes back and denies the accusations, taking a successful lie-detector test in the process. There comes another segment of devastating exposures - not to be specified here because that would lessen the shock value... and then Khouri comes back and faces the accusations (not all, but the essential ones in the matter of the book).
And the Houdini act continues, with round after round in this heavy-weight, seesaw prize fight, surprise after surprise - and there is no "happy ending" in the sense of resolution. Brilliant.

I'm stunned that the reviewers @ IMDb gave this TV film as a high a rating as they did. It's an innocuous, sweet, uncomplicated cliché' of a film that had two big names from the past in it (both of whom did a decent job), but this film reeks of the low budget work we can see any day of week on the lesser cable channels. I like a good romance as well as anyone, but as my wife and I were watching this--and before we saw the rating-we said, "There are people who are going to rate this film too highly simply because there's nothing in it to challenge their brains, their faith, their comfort level or their cultural preferences. It's possible to make a good film like that (and Away from Her is an example), but this was amateur hour. There are some quite good films rated much lower than this one. Truly, another in a long line of woefully inadequate holiday films. Watch The Family Stone. It's miles ahead of this schlock.
The best part of An American In Paris is the lengthy ballet sequence at the end, where Gene Kelly and Leslie Caron are the living personification of several major painters. Kelly has earlier been established as a pavement artist in Paris, so the sequence is the logical ending to a musical bursting with life and energy, Gershwin tunes, and cast members like Georges Guetary and Oscar Levant. Kelly was at his best here - it's a little different to Singin' in the Rain, and the effect of all the film as one topped with the ballet gives it a definite wow factor. No wonder the sequence ended 'That's Entertainment' after all other MGM musical highlights had gone by!

Just too many incidents of violence.
The film goes from one scene to another, and in nearly every one violence erupts.
Now I am not one who is shocked by violence, and to me a film without a fight in it has something missing. But, please, not one after another. My reaction was not shock or horror, it was: "Here we go again." There is some semblance of a story in between the scenes of violence, but two thirds of the way through the film I had switched off completely, and couldn't wait for the end.
If this is the best the film makers can do, they should find something else to do with their miserable lives, like making shoes or delivering mail.
A first time director (Bromell) has assembled a small but powerful cast to look at the world of a middle aged, middle class, depressed hit-man and his struggle with his relationship with his father. This film in less than 90 minutes presents an incredibly interesting contrast in human nature. David Dorfman as the 6 year old son of William H. Macy is the most refreshing little actor I've seen in awhile. Macy is brilliant in a part that almost seems written for him as a self tortured sole struggling to break the reins of his father and his business. It's always great to see Donald Sutherland and here he's wonderful as the callous father of Macy. The films alternate audio track is well worth it to hear the director explain how he picked the cast, locations, and filmed the movie. The basic dolby 2 channel sound is adequate for this film and well recorded. The cinematography creates the mood along with a very subtle musical background. Any film buff or observer of human nature will enjoy this one especially if he's a fan of contradiction.

I'm not a big fan of rom/coms at the best of times. A few have been quite good (check of Dream for an Insomniac), but this one is just more of the same but less.
With a running time of 100min, I expect more than 1 laugh every 30mins. The only real belly laugh are when male strangers and friends instinctively help out Lee's character.
All I can say is AVOID. I guarantee there is at least 10 other movies on the shelf that deserve you $$
3 of out 10 (And only cos I'm a big Lee fan)
If you are a Crispin Glover fan, you must see this. If you are a Sean Penn fan, you must see this. If you are a movie fan in general, you must see this. If you have no idea who Crispin Glover is and you have no idea who Sean Penn is, this film will probably still have a lot of value, but the more work you've previously seen by Crispin or Sean, the better.
This movie is so funny, but it is also pure genius. There is nothing that I know of that resembles this film. It is its own genre. I doubt that anything like it will ever be made again. I cannot say anything more about exactly why without partially spoiling it, and some of the other reviews here have already done a good job at doing that.
In response to any of the reviewers here that gave it a bad review, I ask that you view the film again. In reality, there is no point at which this film could fairly be called "boring." This is possibly the funniest, most entertaining, and least boring film ever made. And it only gets better with age and repeated viewings. A timeless classic that, unfortunately, very few will be able to claim to have seen.
Beaver Trilogy is the brilliant work of director Trent Harris, also responsible for the amazing Rubin and Ed, which Crispin Glover also stars in.
Unfortunately, copies of this film are rare and hard to find. I managed to find a VHS version after some diligent searching though, and there are a couple of ways to find it that I know of. But I really wish someone would put this onto a DVD.

I just finished watching this on TV and what can I say but this is the worst film I have EVER seen! I'm embarrassed to be from Melbourne, where the film was made. Diabolical acting, amateurish makeup effects and a REALLY bad soundtrack. As for the plot, well, thats even MORE stupid! Some of the scenes just left me stunned as to how bad it was. There's a reason they put these types of films on late night TV - because they're utter rubbish! Avoid at all costs.
Farewell Friend aka Adieu L'Ami/Honour Among Thieves isn't perfect but it is a neat and entertaining thriller that sees mismatched demobbed French Algerian War veterans Alain Delon and Charles Bronson trapped in the same basement vault, one to return stolen bonds, the other to clean out the two million in wages sitting there over the Christmas weekend. Naturally things aren't quite that simple even after they open the vault, leading to some neat twists and turns. On the debit side, there's a very bizarre striptease scene in a car park, Bronson has a very irritating Fonzie-like catchphrase he uses at the most inopportune moments, Brigitte Fossey, sporting perhaps the most hideously misconceived hairstyle of the 60s (it makes her look like a bald woman whose wig is blown back off the top of her head by a high wind), is something of a liability  her "I'll cook spaghetti! I'll learn to make love well! I'll read Shakespeare!" speech is hysterical in all the wrong ways  and it's a shame about the horrible last line/shot, but otherwise this is a surprisingly entertaining and unpretentious number that's worth checking out if you can find a decent print.
Cinema Club's UK DVD only offers the English soundtrack, but since Delon voices himself and the rest of the cast are fairly well dubbed that's no great problem, especially since the widescreen transfer is pretty good quality.

AKA: Mondays In The Sun
I have no idea what I just watched. Three men wander aimlessly and drink, grousing about everything and at everyone in their path. This is supposed to be a drama, but what it is, is a total waste of film, without a single redeeming quality.
I have read reviews touting the performances herein as "wonderful," "beautiful," and "heroic." I'm afraid I cannot agree, unless these men were supposed to come off as the dumbest most ignorant proto-humans who ever walked.
All in all? This was not a movie. It wanders throughout and loses everyone but the audience. I've watched this three times, and cannot for the life of me see what anyone sees in this garbage. There is nothing profound here, whatsoever. It's crap.
It rates a ZERO/10 from...
the Fiend :.
This movie is so wonderful, it's hard to find words to describe it. This is the only time I can't decide which was better, the book or the movie.
Whoopi Goldberg is awesome, and Oprah Winfrey, such a good actress, she could be funny, happy and miserable all at the same time. All together the movie was well directed by Steven Speilberg, and should not be passed up. 9/10

80 minutes, and it felt twice that long! Brief Crossing is not brief enough. Indeed, the first 50 minutes or so consist almost entirely of a dialogue (more of a monologue, really) of a woman approaching middle age, tediously droning about "men," disappointment, sex, aging, and her recent breakup, to a French teenager she met in the ship's cafeteria.
The tedious monologue continues as they go to duty-free shop, and to a bar, where finally her self-involved rant pushes him away. The "story" can't end there, of course, so she persuades him to listen to her drone on more as she brings him to her cabin.
What little romance, sex, or for that matter, anything at all this film has besides bitter rantings is hardly enough to justify the price of a rental unless you are one of those who love dramas where nothing interesting happens at all. Yes, the ending is very nicely done, but it is scant reward to subject yourself to what amounts to a turning your living room into a virtual therapy session with a narcissistic whiner.
Of course, some people like it. I could be wrong.
I first saw Rob Roy twelve years ago. With little money for entertainment, I rented it for my fiancé and I to watch on a bone chilling winter's night. The movie I had wanted was gone, so I rented this instead, not expecting much, and was very much surprised with how good it was. I just recently watched it again, and loved it every bit as much as the first time.
For those unfamiliar with the story, it's about Scottish outlaw Robert Roy MacGregor, a cattleman and folk hero. From the little I know about the man and his story, liberties have been taken with the facts, but it's a movie, not a textbook, and so the filmmakers can be excused. Basically, the plot of the movie is that Rob Roy borrows money from the Marquis of Montrose to buy cattle which he then intends to sell and reap a large profit from. But, his plan is foiled when the friend entrusted with the money is robbed of the cash and murdered in the forest. Our hero finds himself on the run after failing to settle the matter with the Marquis, and Mary, his wife, suffers a sadistic rape at the hands of Archibald Cunningham, a smarmy Englishman with no soul. Atrocities ensue, until, in an immensely satisfying conclusion, Rob carves Archibald up like a Christmas turkey.
There are many great performances in this movie, but allow me to touch specifically on a few. Liam Neeson, as usual, is fantastic, a sexy beast you can't take your eyes off of. Honestly, this man is like ice cream: even when he's bad he's good. His Rob Roy is an honourable man struggling to provide for those who depend on him, in the best way he knows how. Jessica Lange, as Mary, gives this woman a fierceness which is a nice change from the simpering, dull movie wives audiences are usually forced to endure. You just know she doesn't take any b.s from Rob, or anyone else for that matter. Tim Roth is completely over the top with his portrayal of the evil Archibald, yet somehow, it works. All the posturing and preening, combined with some wicked dialogue, result in one of the most memorable movie villains in recent memory. Combine all of this, and the stellar work by other supporting players, with the luscious scenery of Scotland, and you have what amounts to one really, really cool movie. If you haven't seen this, I highly recommend that you do.

In all of low budget history. this movie has to be one of the worst. True ther are some humorous sides to the movie, but in general it was just plain awful. I just can't understand what person could not out run a bunch of slugs. I mean they have to be one of the slowest creatures on the planet. The only part worth while in this movie is the close up of a slugs attempt to bite the finger of a man. This was rather amusing.
This film plays really well with an audience. Especially once the chase begins. Plus, Trevor Howard with his sensible, smart charms and Jean Simmons with her innocent demeanor and piercing eyes are terrific together.
The film starts as a psychological drama but after the murder it segues into a chase thriller as the two leads head for the border. Some may think the chase is superfluous but actually the chase is essential because it aids in clearing the mind of the Jean Simmons character by getting her out of the oppressive household, plus it helps bring out the real killer - who is suddenly put into such a position that they have to finish the job. The killer rightly believed that once the Simmons character was arrested she would be put away. And it is true that her lack of control in the household - as well as evidence pointing her way - there is no way she would have gotten out of the murder charge. The chase that ensues helps bring out the truth.
This is an entertaining film. Seek it out if you can find it.

Story of a good-for-nothing poet and a sidekick singer who puts his words to music. Director Danny Boyle has lost none of his predilection for raking in the gutter of humanity for characters but he has lost, in this film, the edge for creating inspiring and funny films. Strumpet is painful to watch and barely justified by the fact that it was made for TV.
...may seem like an overstatement, but it is not.
What is so hard to comprehend is - why didn't they make more musical shorts like this? Wasn't the beauty of it totally apparent to everybody involved? I guess not. So many shorts were made for commercial reasons only, and with some luck there may be some artistic value in there. This is one exception - the only one? - where it seems they were the director had a vision and clearly could appreciate the music as art. Why didn't anybody ever think to shoot Lester or Charlie Parker on a live date? Crazy, man.
A pity there were no sequels. If you've seen anything of similar quality please share it!

Dear Friends and Family,
I guess if one teen wants to become biblical with another teen, then that's their eternal damnation - just remember kids, "birth control" doesn't mean "oral sex", I don't care what the honor student says. On the other hand, even if the senator's aid quotes himself as a "bit of a romantic guy", he's still only hitting on a high school girl. If she was my sister, I'd eat this guys kneecaps.
Other than that I found out that Mongolians don't kiss the same way the French do and that baseball players named Zoo like delicate undergarments.
I think I'd almost rather watch Richie Rich one more time than suffer the indignity of this slip, slap, slop. Thank you, and good night.