Sachinkry/imdb-preference-10k huggingface dataset:
A masterpiece of comedy, a masterpiece of horror, a masterpiece of romance, if there is anything negative to say about A Chinese Ghost Story, it might be that the special effects looked dated in comparison to modern technology. The film has a simple premise: a poor debt collector has to stay in a secluded area while trying to collect a debt. Of course, it happens to be haunted as well.
What I wasn't expecting the first time I saw this film is that it's one of the most touching love stories I've ever seen; that is without losing any of the slapstick comedy that will have you in stitches. Unlike some films of Asian cinema, A Chinese Ghost Story isn't hard to swallow for those that aren't versed in Chinese culture. Indeed, it plays on timeless, cultureless themes of the paranormal and romance.
Think Evil Dead 2, if they had thrown a wonderful love story into the mix. This film is for real, despite being overlooked by many. It's absolutely among the best I've ever seen. It's ability to combine the best aspects of multiple genres, and cross cultural boundaries in order to appeal to humanity everywhere, is nothing short of fantastic. Highly recommended, 10/10.

This is truly terrible: painfully irritating stylised performers screech and mug gratingly incoherent dialogues which take place in scenes which seem to have no purpose, no beginning, middle or end, cut together without any apparent narrative or even cognitive intention, all in the service of some entirely uninteresting and almost undetectable "story". What makes it worse is the film's pretentions to "style": suddenly a remote-head crane shot spirals downwards, and, without any apparent reason there are sudden whip-pans or wobblyhand-held sections: all this "style" merely serves to magnify the almost unbelievably huge misconception of the project and the almost offensive vacuity of the material. Definitely a candidate for the worst film ever made.
Although time has revealed how some of the effects were done this story of love and adventure still is special.
If you've never seen this film before you'll be shocked at how much has been stolen by later film makers. I was watching this with a friend who was amazed at how much Disney's Aladdin cribbed from the film. They loved the movie and enjoyed that it was such a touchstone for so many other films and film makers.
I've given the film an 8 out of 10 instead of a 10 out of ten, which is where a good portion of this film dwells, because in the final 15 minutes the film falls apart in the pacing. Everything is rushed as if they has to suddenly get to the end. From the point from the departure of the djinn to the end it appears to be more sketch then finished painting. It doesn't kill the film, but it does weaken it.
Still its required viewing for anyone who loves a good fairy tale, or even a great movie.

I was utterly disappointed by this movie. I had read some of the other reviews here and had much higher expectations. I expected a drama with more intense character development. But that never happens in the movie. Daniel-Day Lewis is a good actor, but not as good as some reviewers here would have us believe. I tought he repeated the same set of 4 or 5 movements in the movie. I would rate his performance 6 out of 10.
Acting: 6 out of 10 Direction is 5 out of 10. Script is the worst: 2 out of 10.
I deleted the movie from my DVR at 70 mins. into the movie. Much better movies out there than this...
Pretty good film from Preminger; labyrinthine at times, as it explores sets and locales from various angles and perspectives as if it were a nature film on the denizens of the modern city and how they live. In this sense it is visually and spatially satisfying, as its hero, a good cop with a bad temper, gets into very hot water when he accidentally kills a guy with a plate in his head.
Dana Andrews plays the lead as if it were Hamlet, and has never been better. The story may be pure melodrama but Andrews gives it weight, and almost raises it to the level of tragedy. As his girl, Gene Tierney is attractive but unremarkable. Gary Merrill makes for a very interesting villain, with his natural warmth providing a nice contrast to Andrews' coolness; his smiling, amiable-seeming bad guy seems to be continually challenging his nemesis by the mere fact of his being emotionally open, as opposed to the tightly wound and moralistic cop who is pursuing him.
There are no major surprises in this film, which seems transitional for all concerned. For director Preminger it is a reunion of sorts with his Laura stars, Andrews and Tierney, who were passing their career peaks at around the time the movie was made. The supporting cast,--Merrill, Karl Malden, Neville Brand--are, understandably, more optimistic, as they were all on their way up. Preminger, as serene an observer as ever, lets the events unfold without expressing a strong point of view, as the morally ambiguous ending is somewhat disappointing, for the cat and mouse game between the two antagonists seems larger and more archetypal than any mere movie could contain, much less resolve.

I was talked into watching this movie by a friend who blubbered on about what a cute story this was.
Yuck.
I want my two hours back, as I could have done SO many more productive things with my time...like, for instance, twiddling my thumbs. I see nothing redeeming about this film at all, save for the eye-candy aspect of it...
3/10 (and that's being generous)
I managed to tape this off my satellite, but I would love to get an original release in a format we can use here in the States. Eddie truly is Glorious in this performance from San Francisco. I don't remember laughing so hard at a stand up routine. My wife and I both enjoyed this tape and his work on Glorious I just wish I could buy a copy and help support Eddie financially through my purchase. We need more of his shows available.

When a comedy movie boasts its marvelous soundtrack on the back cover you know your not dealing with a top notch movie. I rented this movie with friends expecting to get some chuckles but overall to get most of our laughs off each other making fun of the movie. We couldn't have chosen a worse movie.
The movie may have been alright with a few changes. First off, the comedy was painful. Physical gags were poorly performed and placed. The fat kid in the movie made us want to kill ourselves, bless him for trying scene in and scene out but he was like a puppy begging for love. If he had been pulled from the movie everything might have been bearable. There were some funny jokes, I believe one was when the group of boys steal one of the parent's porn movies and it turns out to be gay porn. But to best sum up the comedy I will simply tell the opening gag for the fat kid. He wears a puke stained shirt and talks about not knowing when something is done.
To finish off, the editor of the movie could have saved the movie by removing the fat kid, cutting out 20 minutes of the school scenes and making an ending that is longer than thirty seconds of random bickering.
OH, BTW, there are two good elements that the movie possesses. Kadeem Hardison plays his role wonderfully and performs his jokes so that none are missed or under-appreciated. The other redeeming element to the movie is the beautiful Mrs. Ali Landry. Her character is ignored most of the movie which is a shame.
Don't waste your time even renting this one. It didn't appeal to me and I was part of the target audience (18 male).
As with most of Eleanor Powell's films, this one plays out along the flimsiest of plots. For some reason -- oh it is explained! -- she's selected to transport a magnetic mine to Cuba. Good guys and bad guys compete for the mine and who is who gets confusing. But, as always, Powell's dancing is superb and worth the price of admission. And in this one Lahr plays his cowardly lion, evoking warm memories of that Technicolor film of 1939. A fringe benefit is hearing a young Frank, with that wonderful voice and skinny vulnerability that he abandoned for his wise-guy persona later on. In addition, the great drummer, Buddy Rich, has a wonderful time displaying his virtuosity. Watch particularly for his unique duet with Dorsey's trumpet man, Ziggy Elman. I say "unique" perhaps in ignorance, but I know of no other drum/trumpet sequence like this one on film or records. This film is fun. Even Skelton's goofy persona is relatively restrained. Powell shows again that she is the greatest film dancer ever.

There is no reason to see this movie. A good plot idea is handled very badly. In the middle of the movie everything changes and from there on nothing makes much sense. The reason for the killings are not made clear. The acting is awful. Nick Stahl obviously needs a better director. He was excellent in In the Bedroom, but here he is terrible. Amber Benson from Buffy, has to change her character someday. Even those of you who enjoy gratuitous sex and violence will be disappointed. Even though the movie was 80 minutes, which is too short for a good movie (but too long for this one),there are no deleted scenes in the DVD which means they never bothered to fill in the missing parts to the characters.
Don't spend the time on this one.
I saw this as a child in the late eighties and I must say, Galaxy Express is one of those films that sticks in your imagination for a long time. If you've never understood the appeal of anime, discovering this film may be your golden ticket to Otaku-town.
The story is as delicate and poetic as Ridley Scott's Blade Runner. The cell animation, while somewhat traditional, possesses a vivid style that explosively portrays Leiji Matsumoto's great talent for character design and visual storytelling.
This is one of those unique children's films like Star Wars, The Dark Crystal and The Wizard of Oz that completely transcends 'family entertainment' status and stands as a classic of cinema on its own terms.
I highly recommend this film.

"Raw Force" is like an ultra-sleazy and perverted version of Love Boat, with additional Kung Fu fights, demented cannibalistic monks, white slaves trade, energetic zombies and a whole lot of lousy acting performances. No wonder this movie was included in the recently released "Grindhouse Experience 20 movie box-set". It's got everything exploitation fanatics are looking for, blend in a totally incoherent and seemingly improvised script! The production values are extremely poor and the technical aspects are pathetic, but the amounts of gratuitous violence & sex can hardly be described. The film opens at a tropically sunny location called Warriors Island, where a troop of sneering monks raise the dead for no apparent reason other than to turn them into Kung Fu fighters. The monks also buy sexy slaves from a sleazy Hitler look-alike businessman, supposedly because the women's flesh supplies them with the required powers to increase their zombie army. Tourists on a passing cruise ship, among them three martial arts fighters, a female LA cop and a whole bunch of ravishing but dim-witted ladies, are attacked by the Hitler guy's goons because they were planning an excursion to Warriors Island. Their lifeboat washes ashore the island anyway, and the monks challenge the survivors to a fighting test with their zombies. Okay, how does that sound for a crazy midnight horror movie mess? It's not over yet, because "Raw Force" also has piranhas, wild boat orgies, Cameron Mitchell in yet another embarrassing lead role and 70's exploitation duchess Camille Keaton ("I spit on your Grave") in an utterly insignificant cameo appearance. There's loads of badly realized gore, including axe massacres and decapitations, hammy jokes and bad taste romance. The trash-value of this movie will literally leave you speechless. The evil monks' background remains, naturally, unexplained and they don't even become punished for their questionable hobbies. Maybe that's why the movie stops with "To Be Continued", instead of with "The End". The sequel never came, unless it's so obscure IMDb doesn't even list it.
I admit I had some trepidation when I first saw the previews for this film. Was VH-1 treading on hollow ground here? I mean, Harris and Quinn don't really look or even sound like John or Paul. But I have to admit, this film really surprised me. It's far from the exploitation film I expected. Instead, it's a character study, a low-key, whimsical, and ultimately bittersweet look at friendship, and the ultimate lesson we all learn: it's hard, if not impossible, to capture what we once had, and what has passed us by.

Faith Domergue (better known as "Dr. Ruth" in THIS ISLAND EARTH) is the only reason to watch this film. The story is very thin, and once the Air Force buddies return to the States with a Cobra Curse upon them the action is just a waiting game. See Faith the Snake Woman and try to pretend the rest isn't happening.
Superman and the Mole Men is quite possibly Superman's toughest adventures ever.
Lois Lane and Clark Kent are sent to Silsby, home of the world's deepest oil well. While there, some radioactive mole men come up through the oil well and explore the town. Jeff Corey and many other townspeople try to dispose of the invading mole men. Can Superman change the people's ways in time to save the mole men? Can Superman warn the people in time about the radioactive danger the mole men bring?
In my opinion, Superman and the Mole Men is a very intelligent, well-written and well-acted movie. Even though we only get to see Superman fly once briefly, It still makes a great Superman adventure. A must see for anyone.
10/10 Stars

i can't believe i actually watched this but i guess i just wanted to know if this movie would get unintentionally funnier and funnier towards the end. and it did. the climax was the poorest performance ever given by the defence lawyer - so out of real life that even for a fictional story it was far too weird. no way anyone on this planet can behave in front of a court like she did. and probably the worst prosecutor on earth. why was he in court anyway? he did nothing and absolutely nothing to prove her guilty. a simple search of her house would have resulted in the find of the rings. but no go. he preferred to say "objection" 2 or 3 times during the whole trial - that was it. the blonde lunatic was given a truth-drug to prove her innocent but not Brett. the lunatic almost had an altar of Brett in her home that could have proved her sick obsession. but again no go. during the court scene i felt the silent urge to take the needlepoint out of her hand and bang it several times against her head. even real weirdos do not look that silly fake "i am innocent" like she did. and what does this movie tell us? never marry a woman with a life insurance: as soon as she falls down the stairs her husband will be thrown into jail, guilty or not. evil, evil men.
Tony Hawk Underground came at a point where the series was really starting to lose its luster, Tony Hawk Pro Skater 4 did not live up to expectations and left the series really up in the air on what Neversoft and Activision could do with the series that would be different and interesting.
Underground introduced the storymode, which was very cool because it made a whole new world for Tony Hawk Pro Skater fans. Another feature introduced which fans pretty much argued for and that was being able to get off the skateboard, which is nice because now you can actually climb, run, and do all sorts of new things.
The levels are good, Neversoft also improved on an issue that started with Pro Skater 3 and that was the length of the level designs. The first two games for the PS1, N64 and Dreamcast were great because the levels were nice and long and some hidden features in some. Pro Skater 3 and 4 were shortened because of a handful of features that were added and really pushed the systems too their limits. In this version, they shortened those features, there isn't as many people wondering the streets, in fact there are almost none in some levels, and the graphics and the skating physics are toned down a little but not a lot.
This game does have one con, the storymode is a little short, of course this is Neversofts first time doing this with Tony Hawk Pro Skater, so that is understandable. However, with that being said you will definitely finish this game within a day.
Overall, a great addition that was very refreshing.

This movie is phoniness incarnate, a straight 11 / 10 on the phoniness scale. The fakeness of the accents as well as the tightness of the cardigan spandex pants are just staggering. Yanks, although the real Scotland may be just as colourful, if you ever go there don't expect to be given much of a the chance to "dance out" controversies with the locals. Also, don't attempt to sway local opinion through the otherwise fine art of tapdancing.
There are a couple of infectious singing-and-dancing scenes, but the plot is far too cheesy and linear, and the dialogue is often too weak. I also doubt whether anyone would want to be stuck in a timewarped 18.th-century Scottish village in the boondocks rather than gay New York City. Maybe it wasn't such a big sacrifice for that priest to have left Brigadoon, maybe he was just trying to get the hell out of that dump.
Watch it for the fine alternative-reality view of what a Christopher Streed Day-parade in Scotland would look like on LSD. Other than that I'd only recommend it to Hollywood muscial completists.
This is a cute and sad little story of cultural difference. Kyoko is a beautiful Japanese woman who has run to California to escape from a failed relationship in Japan. Ken is a Japanese American manual laborer with aspirations of rock and roll stardom but little concrete to offer a potential partner. Kyoko "marries" Ken in order to be able to stay permanently in the U.S., with the understanding that although they will live together until she gets a "green card" the marriage will be in name only. It soon develops that the parties are not on the same wavelength - or perhaps in the same "time zone", hence the title of the movie. As an immigration attorney I have seen such "arrangements" take on a life of their own, so I was pleased to see how well the filmmaker developed the dramatic possibilities of this situation.

You should know that I am the type of person that watches even the worst of movies to the finish, often out of sheer morbid curiosity. I even watched Leprechaun to the end before giving in to the temptation of tearing out my eyes and stamping on them. You should also know that this movie was in my VCR for less than half an hour before I made a frantic leap for the stop button and dashed back the rental store just to put as much distance between me and it as possible.
Excellent, pre-code amoral tale with Barbara Stanwyck as the newly inspired (by writings of Nietzsche!) to drive out her sensitivities and exploit herself, use men to her advantage. Not really fair on the German philosopher but interesting that this was the year Hitler came to power. Stanwyck, even in this young version doesn't do a lot for me but she certainly performs well here, ever driving herself and the film forward. Not as much flesh on display here as one might have expected but plenty of risqué situations and astonishing quips and innuendo. Great fun, if not a particularly attractive presentation of men and I suppose in all honesty not a very attractive view of the gold digging female. Still, that's life!

Buck's role as The Kahn brings to mind Bob Barker (of The Price is right) running a country the same way he runs his show. But there's lots more to chuckle and snort through in this turkey. Kurt Thomas as the baby-faced "hero" displays some considerable acrobatic skills, but not a whit of acting talent whatsoever. There's a few spooky moments (in the Village of Crazies, mostly), and some mildly impressive martial arts sequences. But any given "Ninja" movie will give you much more entertainment, and you won't feel as guilty about laughing.
I can't believe that they took this off the air. Especially, when they only had a few more episodes left. My daughter, sister and a few of my friends loved watching this show. We were so upset when they stopped showing this because of so called ratings. It is not fair to the people who were watching this show since the beginning. We had a right to see the end. I wish they would take an overall vote from all people with a 3 times a year voting system. They could send out papers in the mail and we as viewers could give an overall vote on all programs that we watch or have heard about. This could also help promote a new show. People would see it and wonder what it is. Not only could you see what the viewers are watching, you could also use this as a tool for free advertisement for TV and cable channels. We want to see the other episodes. Bring it back!!

This movie is unworthy of the Omen title. It is so bad that it has actually damaged the classic nature of the first three. It never should have been made, they ought to change the title.
They don't even spell Damien Thorn's NAME correctly!!!! And there are no daggers, the most important element of all the Omen films. Pull it from the shelves and burn it.
Allen and Julie move into a cabin in the mountains after their daughter is murdered one night. No one knows who killed the little girl but it's why they moved to the mountains. So the couple moves into this cabin and it's haunted by people who killed themselves there and no one in the nearby town wants to talk about it.
This movie has a lot of creepiness to it and it has a lot of parts that made me jump. Some of the parts are predictable but once in a while there is a part I didn't expect. It was a pretty good movie that wasn't the scariest movie in the world but it was still scary enough to make it pretty good.
I also liked the ending because it left the viewer to decide how it ends. It is also kind of a sad movie as well but a well done horror movie.

Uta Hagen's "Respect for Acting" is the standard textbook in many college theater courses. In the book, Hagen presents two fundamentally different approaches to developing a character as an actor: the Presentational approach, and the Representational approach. In the Presentational approach, the actor focuses on realizing the character as honestly as possible, by introducing emotional elements from the actor's own life. In the Representational approach, the actor tries to present the effect of an emotion, through a high degree of control of movement and sound.
The Representational approach to acting was still partially in vogue when this Hamlet was made. British theater has a long history of this style of acting, and Olivier could be said to be the ultimate king of the Representational school.
Time has not been kind to this school of acting, or to this movie. Nearly every working actor today uses a Presentational approach. To the modern eye, Olivier's highly enunciated, stylized delivery is stodgy, stiff and stilted. Instead of creating an internally conflicted Hamlet, Olivier made a declaiming, self-important bullhorn out of the melancholy Dane -- an acting style that would have carried well to the backs of the larger London theaters, but is far too starchy to carry off a modern Hamlet.
And so the movie creaks along ungainfully today. Olivier's tendency to e-nun-ci-ate makes some of Hamlet's lines unintentionally funny: "In-stead, you must ac-quire and be-get a tem-purr-ance that may give it... Smooth-ness!" Instead of crying at meeting his father's ghost (as any proper actor could), bright fill lights in Olivier's pupils give us that impression.
Eileen Herlie is the only other actor of note in this Hamlet, putting in a good essay at the Queen, despite the painfully obvious age differences (he was 41; she was 26). The other actors in this movie have no chance to get anything else of significance done, given Olivier's tendency to want to keep! the camera! on him! at all! times!
Sixty years later, you feel the insecurity of the Shakespearean stage actor who lacked the confidence to portray a breakable, flawed Hamlet, and instead elected to portray a sort of Elizabethan bullhorn. Final analysis: "I would have such a fellow whipped for o'er-doing Termagant; it out-herods Herod: pray you, avoid it."