Sachinkry/imdb-preference-10k huggingface dataset:
I don't know why some people criticise that show so much.
It is a great, funny show - probably not the right material for mainstream prime-time, but still...
The family dynamics are funny, and all in all the same you see in most comedy shows. The supporting characters are absolutely hilarious. The plots of the individual episodes and the frequent Siegfried & Roy jibes are only just above average, but ever so often you have sub-plots or one-liners that make you roll on the floor laughing.
This show was well worth the 8 Pounds I paid for it.
rating: 8/10

This was awful. Andie Macdowell is a terrible actress. So wooden she makes a rocking horse look like it could do a better job. But then remember that turn in Four Weddings, equally as excruciating. Another film that portrays England as full of Chocolate box cottages, and village greens. I mean that school, how many schools apart from maybe Hogwarts look like that? The twee police station looked like the set from Heartbeat ( a nauseating British series set in the 60s).This film just couldn't make its mind up what it wanted to be- a comedy or a serious examination of the undercurrents in women's friendships. If it had stuck to the former then the graveyard sex scenes and the highly stupid storming of the wedding might just have worked( i say just). But those scenes just didn't work with the tragedy in the second half. I also find it implausible that Kate would ever speak to Molly again after her terrible behaviour. A final note- what is a decent actress like Staunton doing in this pile of poo? Not to mention Anna Chancellor. Macdowell should stick to advertising wrinkle cream.
This zippy and fun short from 1916 - the time when Charlie Chaplin and Fatty Arbuckle were the big names in comedy - features the young Oliver Hardy as a ne'er-do-well who has to quickly impress his wealthy uncle by producing a wife and baby for his visit.
Of course this does not go smoothly and soon there are rather more wives and babies than he can cope with; plus the mandatory chases and misunderstandings that are the hallmark of early movie slapstick.
Restored well it can be viewed as part of 'The Early Films of Oliver Hardy' and is now available on DVD, a fine addition to the available corpus of the big screen favourite comedy duo.

Cliché-ridden story of an impending divorce - or is it? - through the eyes of a 6 year-old child. Corny dialogue, cardboard characters, stock situations, a red herring zombie sub-plot and, worst of all, absolutely no payoff, either emotionally or dramatically.
Does no-one teach creative writing any more? The true sign of a weak storyteller - when you cannot create any kind of satisfying denouement - just end the story. I'm compelled to ask, "what made you think this was a story worth telling in the first place!?"
Good, but wasted, debut by child actor Anthony De Marco - the rest of the cast was, at best, forgettable. And they wonder why no-one watches indie films! This is ninety minutes of my life I will never get back.
This is John Waters best film to date. The characters are obvious and symbolic, just as in his other films. So there are no surprises or character changes. I enjoyed the film because of the wittiness and pace of the story. It was good story-telling with honest people.

I notice that most of the people who think this film speaks the truth were either not born before the moon landings (1969-1972), or not old enough to appreciate them. I think it is much easier to question an historic event if you did not live through it.
I was a youngster at the time of Apollo, but I was old enough to understand what was going on. The entire world followed the moon landings. Our families gathered around the TV to watch the launch. Newspaper headlines screamed the latest goings-on each day, from launch to landing, from moonwalks to moon liftoff, all the way to splashdown, in a multitude of languages. In school, some classes were cancelled so we could watch the main events on TV. During Apollo 13 the world prayed and held its collective breath as the men limped home to an uncertain fate. You couldn't go anywhere without someone asking what the latest was. The world was truly one community.
Now with a buffer of 30-odd years after the fact, it is easy to claim fraud because worldwide enthusiasm and interest has died down. We are left with our history books, and anybody can claim that history is wrong and attempt to "prove" it with a bunch of lies and made-up facts while completely ignoring the preponderance of evidence showing otherwise--not to mention the proof that dwells in the souls and memories of those who lived through these wonderfully heady and fantastic days.
I never really watched this program before although it came highly recommended by members of my family. Funnily enough, my girlfriend lives in Hadfield (the filming location) and she pointed out a few landmarks when I first visited.
This got my interest going so I bought the 1st series on video and sat down to watch. Besides recognising some of the locations, I found myself not in the least bit surprised. Once again the BBC were responsible for producing another example of the finest comedy in the world. TLOG easily ranks up there with Red Dwarf, Fawlty Towers and Monty Python as probably the best.
Suffice to say I am hooked on the program now. The characters are superb and show unusual depth while retaining a scarily realistic edge. The look and feel of the program is perfect and reflects the sometimes bleak feeling of the North (no disrespect to Hadfield which I have found a very welcoming and warm place).
I only hope that it continues its originality throughout its run (which based upon the 2nd series which concluded its rerun in the UK last night, it certainly is).
Well done the BBC!!

A fun concept, but poorly executed. Except for the fairly good makeup effects, there's really not much to it. There are obvious problems; for example, after taking what seems to be weeks and weeks to get from fat to normal size, the main character seems to go from normal size to deathly thin in days... and once he's deathly thin he stays pretty much equally deathly thin for what seems to be a long time.
In any case, the movie has far worse problems than that--the cinematography is decidedly low-budget-TV-show quality and most of all the acting is pretty awful all around. Robert John Burke seems to always be trying for some kind of weird snarling Charlton Heston impersonation and is literally painful to watch... the only scary thing is that Lucinda Jenney and Kari Wuhrer are both even worse.
The only reason why I'm giving this movie as high as I am is that once the movie enters its last 1/3 or so and Joe Mantegna's character takes over, the movie develops a fun, campy 'cheesefest slaughterhouse' feel, and the gangster's crazy schemes for tormenting the totally obnoxious gypsies are somewhat fun to watch. The ending, if predictable, is also nicely mean. Avoid unless you're a King-o-Phile or are REALLY psyched up at the idea of the voice of Fat Tony from the Simpsons terrorizing a gypsy camp.
I was totally impressed by Shelley Adrienne's "Waitress" (2007). This movie only confirms what was clear from that movie. Adrienne was a marvelously talented writer-director, an original and unique artist. She managed to show the miseries of everyday life with absurd humor and a real warm optimistic and humanistic tendency. Ally Sheedy steals this movie with a terrific performance as a woman who has fallen over the edge. Male lead Reg Rodgers, looking like Judd Nelson, is fine. There is also a great cameo by Ben Vereen. The song at the end of the movie "The Bastard Song" written by Adrienne can stand as her optimistic eulogy:
"It's a world of suffering,
In a sea of pain,
No matter how much sun you bring,
You're pummeled by the rain...
Don't let the heartless get you down,
Don't greet the heartless at your door,
Don't live among the heartless"

Disjointed, unclear, bad screenplay, poor photography and direction...all in all very obviously an ill-conceived first effort at commercial film-making by the good people at TBN.
TBN Pictures has had great success in the past by helping to bring "China Cry", the story of Nora Lam, to the big screen. But "The Omega Code" is an unfortunate miscue. As a Christian who supports TBN and a lot of its programming and who loved "China Cry", I still find it impossible to recommend this film to anyone. They do much good with their ministry, but this isn't an example of it. Don't waste your money...go rent "China Cry" instead.
To me this was Colin Farrells best movie evr! He introduced himself to America through this movie and he was great. He really got you into his charictor and made u feel the passion he was putting into his role. In my opinion it is a great movie and my favorite.

Of all movies (and I'm a film graduate, if that's worth anything to you), this is THE WORST movie I have ever seen. I know there are probably some worse ones out there that I just haven't seen yet, but I have seen this, and this is the worst. A friend and I rented it one night because Denise Richards was on the cover. Talk about being young and retarded. She's uncredited! Her role was unbelievably small! How did she make it on the cover!? IMDb doesn't even list it in her filmography. This movie was so bad, we wrote a little note to the video store when we returned it, and slipped it inside the case. It read something like "please save your further customers from having to view this complete and totally bad movie!"
With the mixed reviews this got I wasn't expecting too much, and was pleasantly surprised. It's a very entertaining small crime film with interesting characters, excellent portrayals, writing that's breezy without being glib, and a good pace. It looks good too, in a funky way. Apparently people either like this movie or just hate it, and I'm one who liked it.

Just the fact that the cover is a drawing, like those old B-movies should give you a warning about the quality of this movie. This is, however not a B-movie. It is a D-movie!
There are no known actors, and the animals - WOW - it is the worst data-animation ever made during the last two decades.
You hardly ever see the SCAAARY sabretooth shown on the front cover. You just hear people scream, bleed and die and you occasionally see a teeth or a tiger-paw. It's so amateur! Maybee worth seeing, just because it's so bad. Give it to a friend and say: "This is the best movie I have ever seen, and wait for their reaction" He, he.
The movie is to weak to give it a Spoiler Alert! THIS IS A SPOILER.
I know this sounds odd coming from someone born almost 15 years after the show stopped airing, but I love this show. I don't know why, but I enjoy watching it. I love Adam the best. The only disappointing thing is that the only place I found to buy the seasons on DVD was in Germany, and that was only the first two seasons. That is disappointing, but that's OK. I'll keep looking online. If anyone has any tips on where to buy the second through 14th seasons, please email me at darkangel_1627@yahoo.com. I already own the first one. The only down side is that the DVDs being from Germany, they only play on my portable DVD player and my computer. Oh well. I still own it!

A painfully protracted, maudlin and predictable drama, my twenty-fifth Sidney Lumet film, Garbo Talks, gets filed precipitously on the low quality end of my quest.
The film documents a harried young working man named Gilbert (Ron Silver), who is son to Estelle Rolle (Anne Bancroft), eccentric, feisty and above all, an obsessive fan of Greta Garbo. When Estelle becomes afflicted with a brain tumor, her son decides to go on an obsessive quest of his own: track down Greta Garbo, and bring her to his mother.
Anne Bancroft is in full-on, chew-the-scenery Auntie-Mame mode here, that kind of feisty ol' gal that film loves, where she mouths off to people, and stands up for her ideals, and ends up in jail all the time. She stands outside of the film as an obvious artificial construct, and every scene with her is yuk-yuk lame; every note striking false. The rest of the characters are equally as one-dimensional, but tremendously less-interesting. Ron Silver is flat as can be, and his attempted love triangle is as telegraphed as anything else in the film: He is dating affluent Lisa Rolfe (Carrie Fisher), but becomes smitten with oddball co-worker Jane Mortimer (Catherine Hicks), and I called every scene three scenes before they happen.
That's the other problem. One-dimensional characters can survive if they are posited in an intriguing and captivating story, but there's simply nothing here. The film's pace is glacial, resplendent with extraneous material that strengthens absolutely nothing, and when the film does begin to follow a linear plot, it's both plodding and uninteresting. There are plenty of guest stars, so to speak, including Harvey Fierstein as a gay New Yorker (imagine that) in yet another highly inessential scene.
Late in the film, it attempts to make a halfway-decent statement on the nature of idolatry and its role in our lives, but by that time, none of the characters exist as real people, and the film had bored me into submission, so it functions as a case of far-too-little, far-too-late. The film is my twenty-fifth Lumet-directed film, making him easily my most-viewed director, but outside of a couple egregious misses (A Stranger Among Us, anyone?), he hasn't plumbed the painfully uninteresting depths of Garbo Talks.
{Grade: 4.5/10 (C/C-) / #21 (of 24) of 1984 / #23 of 25 Lumet films}
Although I generally do not like remakes believing that remakes are waste of time; this film is an exception. I didn't actually know so far until reading the previous comment that this was a remake, so my opinion is purely about the actual film and not a comparison.
The story and the way it is written is no question: it is Capote. There is no need for more words.
The play of Anthony Edwards and Eric Roberts is superb. I have seen some movies with them, each in one or the other. I was certain that they are good actors and in case of Eric I always wondered why his sister is the number 1 famous star and not her brother. This time this certainty is raised to fact, no question. His play, just as well as the play of Mr. Edwards is clearly the top of all their profession.
I recommend this film to be on your top 50 films to see and keep on your DVD shelves.

What ever possessed Martin Scorcese to remake this film? And not only did he remake it, completely ruin it? The nonsensical decision to make the character played by Robert DeNiro (in his most overdone performance, and that's saying a lot) into a religious fanatic is ridiculous, and exemplary of attitudes harbored by Hollywood (and Mr. Scorcese especially)- attitudes that compel writers to think that the best way to make a character insane is to tattoo a crucifix on his back. In any case, this movie is awful.
Warning: contains a spoiler. Corny plot and in many cases terrible acting. Fontaine is great, but some others, particularly Richard Ney, Ivy's husband, are exceedingly wooden. Ney lies in bed, dying of arsenical poisoning, with every hair in place. Yet the movie is so juicy and so suspenseful. More faithful to the book than most movies of its era. Casting Joan Fontaine as a poisoner (and an adulteress, which was just as shocking then - I'm not kidding, kids) was a masterful stroke. She's just her usual Joan Fontainey self. As murderers were supposed to, she dies by falling "feet foremost through the floor into an empty space."

Melissa Sagemiller,Wes Bentley,Eliza Dushku and Casey Affleck play young students at Middleton College in the town of Middleton.The four teenagers form two love triangles.One night during an ominous full moon they drive and argue along a slippery and twisting mountain road.Not looking properly they careen into another car and one or more of them are killed.The ghostly nightmare begins...Pretty lousy and politically correct horror flick without gore and nudity.It's obviously influenced by "Carnival of Souls".The cinematography is decent,unfortunately there is zero suspense.4 out of 10-just another instantly forgettable teeny-bopper trash.
SPOILERS
A buddy of mine said NEXT MOVIE was the best Cheech & Chong flick and went out of his way to have me borrow it and THE BLUES BROTHERS. NEXT MOVIE has no plot, has no pacing, really has no anything of what defines a movie ... but it is funny. And for what it is worth, Cheech and Chong show some heart.
Well, in this little paragraph I put in the plot, but being that four-fifths of the movie, nothing happens that would usually start a story. I will just say that Cheech 's cousin shows up.
Was there no other funnier moment when Chong made Cheech drink the pee twice? What about the rooster? Was that Pee-Wee Herman's first movie appearance? You would have to watch the movie yourself to enjoy it. I don't think NEXT MOVIE has strong enough balls to make it awesome, but the movie has heart and hey, my buddy let me borrow it so it gets a 7.

Antonioni's movies have aged not well. What always surprised me about them is that, besides an unquestionable plastic beauty, there is a dull and didactic "psychology" of the characters and situations. Remember, for instance, the conversations between Mastroianni and the "wicked capitalistic" that wants sing up him in "La notte", or Monica Vitti laughing at the peasants flirting in the train in "La aventura", or Ferzetti dropping the glass of ink at the end of the same film.
I have reviewed yesterday "Zabriskie Point". In this film there are a lot of nice and elaborate shots of the Rod Taylor office, the streets and highways of L.A., the publicity advertisements, the deserts,etc., that show the fascination of the author in his American journey, in the same way than Wim Wenders years later. Unfortunately, there are too a lot of hippie-leftist clichés that spoil the movie: - The boy leaves the meeting, steals an aeroplane and flies over the desert in order to liberate himself and find "something different". - The executives in grey suites speak all the time about speculation. - The girl looks at the "object women" in the swimming pool and leaves because she wants not to be like them. - The couple of fat middle-class in the caravan speak, in front of the beauty of the nature, of building a hotel and earning a lot of money. - Last but not the least, a lot of couples making love in the desert. What a hippie platitude!
Sorry, today, half a century after the "revolution" of "La Aventura" we can see that the king is naked, and his films (except "Le amiche" and perhaps "Il grido") are only a handful of aestheticism and commonplaces.
Charming in every way, this film is perfect if you're in the mood to feel good. If you love jazz music, it is a must see. If you enjoy seeing loveable characters that make you smile, can bring a tear to your eye and swing like there's no tomorrow this film is for you. If you are looking for an intense, deep, heavy piece of art to be dissected and analyzed perhaps you best stick with something by Darren Aronofsky (in other words - reviewer djjohn lighten up, don't you know a good time when you see one!) My only complaint is that the movie was just too darn short. I guess I'll just have to watch it several more times to get my fill.

Can fake scenery ruin a picture? You wouldn't think so, but it actually for me in here. Listen, I have a lot of classic-era movies and I know pretty much what to except, such as the drivers steering immobile cars in front of a screen, etc. But a lot of that hokey business has to do with action scenes. To have fake scenery, fake mountains and flowers shot after shot as seen in "Brigadoon" gets insulting after awhile.
As far as the music entertainment went, this is always subjective. What songs one person likes, another may not so that shouldn't be a big part of judging a film (whether someone likes the songs). I could blast this movie for its corny 1950 songs, dances, romances and characters but that was the '50s and a lot of people liked this sort of things. Musicals did very well in the '50s. Me, I liked the '30s and '40s with the great taps. By the '50s, tap was out and this new stuff - which I can stand - was it. Does that make this a lousy movie? No. It just makes one I didn't care for very much
Despite the good cast, good director and high expectations, this film bombed at the box office, and with me. I should have liked it more, being a dreamer myself and that's a nice part of this story. I am not the cynical type and a nice town and nice people making me feel good sounds awful appeal. Then why couldn't I connect with this film? Part of it also was the dancing. I don't care for the stuff that replaced tap dancing on screen. But - no - the thing really turned me off what that staging. There was no Scotland, no highlands, just a hokey- looking background to make it look that way and it turned me almost from the start. Score one point for today's realism where they "go on location" most of the time.
A great idea: 11 stories about 11 September. 11 directors from different countries with different results. Ken Loach talking about an immigrant (as usual) is just brilliant (as usual). The Frenchman does a very good job also, while the Burkina Faso film was a nice surprise. However, the Israel film was a bit boring, and the Mexican guy, well, he should quit directing and work in a Mexican restaurant. 8/10

I'm not looking for quality; I'm just trying to get through the 74 famous video nasties that were banned in Britain. This one was initially banned and re-released in 2001 with a whole 10 seconds cut.
Some college kids spend their Christmas vacation preparing a dorm for renovation. There are some creepy characters lurking about along with the four kids. Which of them is the slasher? The actual killings are not very gory, so this video nastie is not really nasty. There is the requisite flashing of the boobies, but it has nothing to do with the college kids.
I had a suspect very quickly and I turned out to be right. Maybe I've seen too many of these. The end twist was clever; I have to give the writers credit for that bit of originality.
We, as a family, were so delighted with 'The Last of the Blonde Bombshells' we purchased a copy for our home video library.
The acting is A1 and the cast contains many favorite actors and singers. The theme is unusual and the script well written. The music/songs are timeless and takes us back to our young days when we sang the songs at the top of our voices. To outline the story here would spoil the 'plot' as it is really nice to sit back and enjoy the story as it unfolds.
Full marks to this most enjoyable and uplifting production and we heartily recommend it to anyone who is looking for a belly-laugh and lots of music.

OH MY GOD.. THE WORST SH*T I'VE EVER SEEN -this is the main thought which came into my mind right after watching the movie. And I really do not understand anybody with opposite myth. Though, maybe the idea was good but the effect miserable. I especially mean the role of H. Graham. What was that??? In my opinion it has destroyed all positive intentions of producers. The character was played in affected and annoying way. Every time she appears it reminds that you' re watching a movie and is destroying a spirit of the moment, then whole movie because the most time what you can see there are her stupid faces with more stupid attempts to create the emotion. TERRIBLE, don't waste your time.