Sachinkry/imdb-preference-10k huggingface dataset:
My rating refers to the first 4 Seasons of Stargate SG-1 which are wonderfully fresh, creative and addicting. When the cast stepped through the gate, you never knew what lay on the other side! Starting around Season 5, the show took a different focus - still good, but different.
The series follows the adventures of a team of humans (and one alien) who regularly venture into a planetary transport device called the "Stargate". The backstory of the series is based on the characters and events of the movie "Stargate" in which the device is discovered during an archaeological dig in Egypt.
The episodes are light (innocent and easy to watch) and very creative. Many of the inventive stories could easily have been made into great sci-fi movies of their own. What happens next was always unpredictable.
The characters on which the show rests are also well-defined and brilliantly performed. Their tone is serious, but the dialog is flowered with incredible wit and humor. They are simply fun to watch.
Starting somewhere around Season 5, the series started to evolve into a continuing storyline based on fighting a single foe (the Goa'uld, then the Ori). The plots become more complex (a lot more political/strategic oriented) and interdependent. The characters were still as great as ever but the show was different in nature.
One thing that must be mentioned is to watch the episodes that commemorated the 100th and 200th episodes. They are simply can't-miss shows. They exhibit the creative and wildly humorous genius that carried the series through 10 seasons.
If you are a sci-fi fan, watch a few episodes of the first 4 Seasons and you'll likely be hooked. If you like evolving story lines between two opposing sides, you have 10 seasons of shows to look forward to.

I agree totally with another of the reviewers here who was pleased "For The Birds" won the Oscar in 2002 for "Best Animated Short," not this sick material, which is pretentious at best and appealing to anyone, of course, who has no belief in heaven or hell.
The animation was good, but so are a lot of animated shorts. And, by the way, I love dark humor but this just was unappealing from the start.
As for the story here: a guy walking around and surrounded by nothing but grey (symbolism here) is told by a TV set (which appears every few hundred yards away) that he is in either heaven, hell, or purgatory. Each time he puts a gun to his head and shoots himself after hearing the news. I guess that would be funny in two of the three instances.
There were some great moments of reality in there depicting modern day life (not only in Japan, but everywhere). It shows how stifling ones culture can be, and wanting to break out of the mold its created for you.
The dancing was just a vehicle for saying "do what you love even if its against the norm". Rather Billy Elliot like I would say. I enjoyed that film as well.
The humour was well timed, and the touching moments felt so real, you could feel the awkwardness between Sugiyama and his wife, the tantrums in the dance hall. I loved Aoki - him and that wig and his excessiveness on the dance floor made me simply howl!
The actors all did a wonderful job, the story was well written. I watched it a second time and caught some little nuances that I missed on the first viewing. Good entertainment!

The acting was bad, the script was bad and the ending was just terrible...the only good comment i could make about this movie would be the special effects and make up...but apart from that...this movie would be one of the worst movies of 2001...why on earth did they have to remake such a perfect movie and ruin it...why!!!!
If you are under 13 or above 13 and pretty intoxicated, you'll enjoy D-war. If you are a seriously dedicated fan of all kinds of brainless action films, you'll enjoy D-war. Otherwise, don't bother! I saw the movie today with my nephews and 3 of their friends. They really loved it and that made me feel good. After the movie was over, all the kids(my nephews and their friends)could not stop thanking me for taking them to the theater.
The CG is good. Acting and directing are horrible. Storyline is extremely simple. But, since the half of the audience was kids, they were screaming, shouting and cheering every time the dragons appeared on the screen. This made the viewing experience far more exciting than it should have been.
It's a good movie to take your kids to, but except for the final battle sequence, D-War is disappointing. I give this film 7 out of 10 mainly because the kids loved it so much.

This film is a huge steaming pile.
I have no idea why anyone felt that the Garland/Mason version needed to be redone, nor why Striesand would have been a first choice to star.
For that matter, I have no idea why our people (Gay Americans) tend largely to regard Striesand as some kind of treasure. At least in my opinion, she had peaked professionally with with Funny Girl, and Bogdanovich's What's Up Doc.
Do yourself a favor and rent the Judy classic, or even the original (a fine film in its own right), but please, Please, PLEASE skip this stinkpot!
Sublimity is the way we have to reach for The Beauty. And sublimity is the stuff this film is made of. If not his best, it's my most loved of all Bogdanovich movies.
This unique masterpiece remind us, as most of the other films from the director, what life is (or should be) about: love, lost (or failure) and hope and faith and charity. As the song from whom the films takes its title (Gershwin's well known composition) the film makes the impossible true, and tries to make us aware that no-one is able to judge anybody; all this with the lightness of a comedy and the timing of a masterful direction (the first ten minutes, with the detectives following the ladies, almost without a line of dialogue, constructed upon the looks and views of the characters --with that "Bogdanovich touch" based on the point-of-view-- is a class on Cinema Language, something that P.B. learned well from his admired directors from the Golden Age of the Movies). With a superb cast and a glorious soundtrack (including the best of Sinatra's "Trilogy"), this movie, full of self-consciousness and compassion, and far away from self-indulgence and emptiness (as some critics wrote), deserves a better place on the History of American Cinema than where it have been placed. It's not "long on style, short on substance": it is complex in its simplicity, and beautiful, absolutely beautiful.

1993 was the year. This was long before Phillip Seymour Thomas had won an Oscar. Who knew I would be an extra in a movie with him? I was actually a paid extra in "My Boyfriend's Back," which was shot in a suburb of Austin called Georgetown, TX. The original title was "Johnny Zombie" (thank God the producers had a change of heart!) I was in the theater scene. I rushed out to watch the movie the day it was released in theaters. It is more of a comedy than a horror movie. But... for a good laugh, you might want to check it out. Nothing that is even close to "Dawn of the Dead" or even "Shaun of the Dead" quality, but the cheese factor is good enough. ciao
Caught this film in about 1990 on video by chance and without knowing what i was in for. Many horror fans may have missed this thinking it was a typical prison film and the ones who did get it didn't like it as it was not what they wanted to see. The above mentioned factors are probably the reasons it is low rated but just ignore that and give it a whirl if you're a fan of the genre.
It has strong suits in all departments from script and atmosphere to acting and the prison itself.
An absolute diamond, a film i still have on video to this day. Check it out.

This film essentially deals with Inspector Gadget's arch-nemesis Doctor Claw who has returned after many years to the now-peaceful city of Metropolis. Claw's plan is to foil Gadget once and for all by using a newer "cooler" crimefighter to help destroy Gadget's popularity. Sadly the film fails miserably, the series was great, but it was revived nearly 20 years later with tragic results. Without the voice of Don Adams as Inspector Gadget it just doesn't cut it anymore; Dr. Claw is not only visually less frightening, but sounds more like a wrestler with a cold, than his original intimidating self. Granted this is a children's movie, but the plot is so painfully weak (heaven forbid I mention the animation) that it pales in comparison to the original series. Someone has decided to updated Penny as well to bring her two decades up to speed, she now has some quasi-punk rebellious clothing style and doesn't play half the role that she did in the TV series. The Gadgetmobile talks, as well as including a plot angle that focuses entire ON talking cars. Maybe I'm just a kid who loved the show who's grown up jaded, but I thought that the live-action version was more pain than I could bear, but now they go and spring this complete watering-down of the quality TV series on us. It's more than I can take.
The Last Hard Men finds James Coburn an outlaw doing a long sentence breaking free from a chain gang. Do he and his friends head for the Mexican border from jail and safety. No they don't because Coburn has a mission of revenge. To kill the peace officer who brought him in and in the process killed his woman.
That peace officer is Charlton Heston who is now retired and he knows what Coburn is after. As he explains it to his daughter, Barbara Hershey, Coburn was holed up in a shack and was involved in a Waco like standoff. His Indian woman was killed in the hail of bullets fired. It's not something he's proud of, she was a collateral casualty in a manhunt.
Lest we feel sorry for Coburn he lets us know full well what an evil man he truly is. Heston is his usual stalwart hero, but the acting honors in The Last Hard Men go to James Coburn. He blows everyone else off the screen when he's on.
Coburn gets the bright idea of making sure Heston trails him by kidnapping Hershey and taking her to an Indian reservation where the white authorities can't touch him. He knows that Heston has to make it personal then.
Coburn's gang includes, Morgan Paull, Thalmus Rasulala, John Quade, Larry Wilcox, and Jorge Rivero. Heston has Chris Mitchum along who is his son-in-law to be.
The Last Hard Men is one nasty and brutal western. Andrew McLaglen directed it and I'm thinking it may have been a project originally intended for Sam Peckinpaugh. It sure shows a lot of his influence with the liberal use of slow motion to accentuate the violence. Of which there is a lot.
For a little Peckinpaugh lite, The Last Hard Men is your film.

My friends and I went into this movie not knowing what to expect, but hoping for the best. When we came out, we were only slightly more informed on what the plot of the movie actually was. Though not the worst movie I've ever seen, I definitely do not recommend spending your money to see it in theaters. Maybe have a friend rent it for you (it's not even worth the rental cost, either) if you really want to see it.
When a movie is so convoluted that you have no idea what's going on until the last five minutes, there's really not much that can be said in its defense. The acting was decent, more than you'd expect to get from this movie, and some of the shots were good, but it was all bogged down by a lame plot and poor script.
This movie was actually so bad that as soon as it got out, I went and purchased a ticket to see a good movie just to cleanse my mind. I recommend that all of you just skip the first step and go see a good movie instead.
The man who directed 'The Third Man' also directed the 'Who Will Buy' sequence in "Oliver!" Now that is talent.
I raise my hat to Carol Reed.
I know there are 'second units' involved, but still ...
And he had to deal with Orson Welles and Oliver Reed ...
I suppose quality will out.
(It does show in the final scene with Nancy [ avoiding spoiler - everyone has to see Oliver! for the first time sometime ].) How many lines do I need to type.
Encouraging people to type too much is not to be encouraged.
I hope this counts as the "10th line".

I've seen many of Guy Maddin's films, and liked most of them, but this one literally gave me a headache. John Gurdebeke's editing is way too frenetic, and, apart from a tour-de-force sequence showing a line of heads snapping to look at one object, does nothing but interfere with the actors' ability to communicate with the audience.
Another thing I disliked about this film was that it seemed more brutal than Maddin's earlier works--though his films have always had dark elements, his sympathy for the characters gave the movies an overriding feeling of humanity. This one seemed more like harshness for harshness' sake.
As I'm required to add more lines of text before IMDb will accept my review, I will mention that the actor playing "Guy Maddin" does manage to ape his facial expressions pretty well.
Anyone who doesn't laugh all through this movie has been embalmed. I have watched it at least twenty times and I still get tears in my eyes at many of the scenes. Sally Field is absolutely perfect as Celest Talbert, a fading soap star whose supporting cast is trying to get her replaced in hopes that their own star will rise. Fields, at 45, still has that wonderful and beautiful pixie quality and a perfect figure that belies her having had three children. I'm biased, I'm in love with her.
The cast of "Soapdish" is filled with stars who perform their roles to perfection. Kevin Kline is flawless, as are Robert Downey Jr., an ingénue Elizabeth Shue, Whoopi Goldberg, Teri Hatcher in one of her early roles, Carrie Fisher as the oversexed casting director who auditions an actor for a small part as a waiter without his shirt on. Kathy Najimy is wonderful as the hapless costume designer, and best of all, Cathy Moriarty as Nurse Nan who leads the plot to get Fields character removed from the show is hilarious.
This movie should have won Oscars for best comedy, best leading lady in a comedy, best leading man in a comedy and myriad other bests, including writing, directing and supporting actors and actresses. Get the DVD so you can watch it over and over for the next twenty five years. You will still be laughing at it when the disc wears out.

As if the storyline wasn't depressing enough, this movie shows cows being butchered graphically in a slaughterhouse for all of five minutes while the protagonist is narrating her early life as a butcher. Weird stuff. Then there's the core premise of the hero/heroine who goes and cuts his dick off because a he's besot-ten with at work says he would have gone with him if he was a girl. Is this person a psycho, a masochist, just a doomed queen who takes things too far? And what sort of traumatic childhood did he have? Just that he didn't get adopted and had to live it out with nuns who at first loved him and then later hated him because he was unruly. He tries to explain to us the reasons he did what he did, but it's really really so hard to empathize. Such sad and unusual self destruction. Was it supposed to be funny? What was it all about really?
Trio's vignettes were insightful and quite enjoyable. It was curious seeing so many soon to be famous actors when they were very young. The performances and attention to detail were wonderful to watch.
Observation. In film it isn't necessary that source material be in alignment with the contemporary era to be interesting or worthwhile. "Small morality" storytelling is quaint (or coy) only in the eye of the beholder--thankfully. Story content--well told--can overcome it's time, subject or place.
Ironically, there are quite a few contemporary films today that have not overcome the conventions or cutting edge mores of the present era. Inserting "small morality" content--occasionally--might provide a dimension lacking.

WHITE CHICKS Hold on, why couldn't they have dressed as Black Chicks, oh yeah, they wouldn't look different at all. Can anyone give me one Wayans movie where they haven't dressed up as ladies? Don't Be A Menace doesn't count, Jack White and Michael Costanza ghost wrote that (the other Norton Trio members acted as Directors).
In White Chicks, there's never really any jokes. It's just the Wayans acting like girls for 2 hours. There's no setups, no punchlines and no laughs. There is a lot of "I think I'm gonna play some Time Crisis 3." At least for me there was (5 times to be exact).
Somebody has to tell Kenan Ivory, Damon, Marlon, Shawn, Damien (the only talented one), Kim, Rakeesha, George W., and Osama Bin Wayans to stop making movies. Its only hurting the O-Zone layer.
VERDICT 1/2* out of ****
This Cecil B. DeMille epic of the old West contains what may be Jean Arthur's finest performance, as a hysterical, eccentric, incurably amoral, but devotedly doting Calamity Jane. She really pulled it off! Gary Cooper is at his most taciturn, but manages some occasional pithy sayings: 'The plains are big, but trails cross ... sometimes.' The story is a pastiche to end all pastiches. All the cowboy heroes of Western lore seem to be in there somehow except for Jesse James. Even Abraham Lincoln opens the story in person (or at least, DeMille would have us believe so). There is no room for anything so evanescent as subtlety, this is a 'stomp 'em in the face' tale for the masses. A remarkable thing about this film however is that it is a very early full frontal attack on what Eisenhower was eventually to name 'the military industrial complex'. It isn't just a story about gun-runners, but about arming anyone for money, and doing so from the heart of Washington. But let's not get into politics, let's leave that to DeMille, who can be guaranteed to be superficial. The chief interest of this film all these years later is that it uses the first film score composed by George Antheil, who has a lot to say about the job in his autobiography, 'Bad Boy of Music'. Antheil seems to have originated 'the big sound' adopted by all subsequent Westerns, whereby the plains sing out with the voices and sounds of countless cowboys in the sky, celebrating the open spaces and interweaving common melodies. That is why it does not sound at all unusual, because we have heard it a thousand times. But he seems to have been the first to summon up the combined rustlings of all the sage brush into this symphony of the open skies which has entered into American mythic lore, and given it a soundtrack which has never varied since then, corny as it may be, but doubtless appropriate. It is amusing to see Anthony Quinn in an early appearance as a Cheyenne Indian. Gabby Hayes is in there somewhere, but you miss him in the crowd. Gary Cooper overtops them all, looming large, - but when did he ever loom small?

this is not just a bad film, it's one of the worst films ever. it's so bad that i found it to be quite enjoyable. the acting, oh my god, the script, you gotta be kiddin'. how can you imagine the writer coming up with things like: - a kid who makes fireworks in school, fireworks SO powerfull, that when someone gets hit by it, they fly a hundred yards backwards and explode. -a girl is trapped in the celler, the killer is trying to break open the door. she gets a drill, but the wire isn't long enough. she first makes an extension cord, oh the horror, and then, when she's done, she drills through the door and drills through the head of the killer. WOW - and there are plenty more examples like that. oh yeah, and what happened to George Kennedy, he used to be great (Thunderbolt and Lightfoot/Cool hand Luke)
This is an very good movie. This is one that I would rent over and over again. It is not like your normal superhero movie. This movie blends comedy, action and great special effects. It even has a person in it that does a lot of voices on The Simpsons. William H. Macy is the bomb.

This is pretty much the first Jason Scott Lee film I've seen. I say pretty much, because I have also seen Soldier, in which he plays the villain... but from what I've heard, it's not considered a Jason Scott Lee film. This, however, is. And if this is any indication of the quality of such films, I won't be seeing any of the others. Lee is basically passable as a martial arts artist... as the lead, he's awful. He gets in a fight with random no-name characters every few minutes of the film, probably because the script writer couldn't figure out how else to stretch out the film to the minimum required running time for a feature film. The villain is the only character with even a hint of personality, and aside from the fact that he's certifiably insane, he barely seems like a villain at all. The majority of the film is basically Lee chasing the villain through time... or maybe it's the other way around. I can't say for sure... and I definitely wouldn't watch it again to make sure. The effects are not completely horrible... but it's close. The title comes from the popular idea of using a time-machine to go and kill Hitler. Somehow, the film screws up that interesting idea as well. The plot is too complicated for its own good. The pacing is poor. I can't think of one positive thing to say about this film... I really can't. It's simply too formulaic and pointless. If only I had a time-machine, so I could go back and prevent this film from ever being made... no, never mind. I just hope as few fragile minds are exposed to this as possible. Listen to the negative reviewers. Avoid this turkey. I recommend this to fans of Lee, and no one else. If you're looking for a quality film... well, this isn't it. That's for sure. 1/10
I grew up with H.R. Pufnstuff and the dashingly talented Jack Wild and now my daughters are adoring fans of Jack Wild too. This movie is exactly what movies should be: fun and entertaining. This movie is not limited to children either. A lot of the dialogue is directed to adults and Witchiepoo's performance is something you do not want to miss. The music in this movie suited Jack Wild and Mama Cass beautifully. And as a Jack Wild fan, I would never miss the chance to watch him dance or hear him sing. Knowing the hard life that Jack had now makes this movie even more wonderful especially when he sings the opening song "If I Could". It makes me pause in loving adoration for him for giving me wonderful childhood memories that I am now passing on to my children. Let's all go to Living Island where there is friendship and fun! And keep Jack Wild's memory alive by passing Pufnstuff on to others.

If you're looking to be either offended or amused or both, you'll probably have to look elsewhere. LMOTP really isn't even very thought provoking beyond rehashing the usual silly clichés. At the end of the second episode I felt a little embarrassed that I actually sat through the contrived mess.
Beyond the thinly veiled gimmicky premise thats attracted all the initial attention to it in the first place it's just another lame, innocuous and anti-septic attempt at commentary and entertainment that the CBC typically excels at producing. And once the "ZOMG MUSLIMS IN RURAL CANADA ROFLMAO!!" hype wears out its welcome, the show is likely to follow into the ether of cancellation because it's so shallow when judged on its merits alone.
Unless you're obsessed with Muslim culture in the west and/or are easily amused by the most minute idiosyncrasies on the subject I really don't see how LMOTP is enjoyable beyond satisfying the curiosity that stemmed from the hype. Other shows have better addressed the issue of cultural/ethnic dichotomy in western multi-ethnic societies. LMOTP will never rank among them in entertainment or insight.