Sachinkry/imdb-preference-10k huggingface dataset:
"The Kennel Murder Case" starts off at a run and doesn't stop until the very end. Everybody had reason to kill the victim, and several people tried. William Powell is terrific as Philo Vance, gentleman detective. Mary Astor is refreshing as the put-upon niece who only wants to marry her Scottish gentleman and enjoy her inheritance. This movie comes paired with "Nancy Drew, Reporter" on DVD, which is also fun. If you have to rent the disc (or check it out from your local library), do it. It's pure entertainment!

On the face of it, Ruiz has set out to make a psychological thriller. Although it's not as satisfying as a classic piece in that genre, there are compensations. The tensions generated between Huppert and Balibar as women calmly but calculatingly at war over a boy they both claim are compelling; however, in a true European art-house style, Ruiz doesn't give us release of this tension as the women alternately also try to behave compassionately towards each other. The only raised voice is that of Huppert's waking from a nightmare (an uncontested irrational event in the film).
In fact, if we follow the title, the film is as little about its thriller skeleton as Jane Campion's In The Cut. Instead it is an intergender psychological study focusing on men. The boy, Camille (Nils Hugon), decides on a practical joke, playing his mother off against an emotionally vulnerable other woman. Both women seem to pander to him rather than scold and this compounds the problem. In the background is an intemperate psychologist (Charles Berling), swift to confront the women in his life - his sister Huppert, the nanny or his pa - and so acting as a symbolic adult counterbalance to the, calm and (we learn) manipulative Camille. It is particularly interesting that, like the father in Henry James' The Turn of The Screw, Denis Podalydes' law-enforcer Father is absent for the duration of the film. Ruiz fashions an Oedipal moment out of Huppert's reaction to his return at the film's close.
Read either as a thriller or as a psychiatric essay, this film is ultimately rather disappointing. I'm officially rather fed up with Mme Huppert's screen method, which is too buried and so I'll be looking to see her on stage before I come back to her (European - enjoyed Heaven's Gate) films again. The support is good. Ruiz does the cast no favours though. Quite apart from some poor lighting and some wilfully odd shots, its as if his direction has left characterisation quite out of reach - I'm thinking particularly of Edith Scob's Shamanic neighbour to Isabelle, who acts knowing but communicates bafflement. The set pieces do not link up to a forward driving plot - the tension I have already referred to is not only weakly dissipated but wasted in its directional potential.
Want to see a good contemporary French thriller? Go and see L'Appartement instead. 4/10
Beyond the excellent direction,production,acting & the predictable drama lies an essential message in the script:
"Listening leads all the way" In order for the voice to flourish,listen.To harmonise with other in voice,listen. In order to approach yourself,listen.To discover the needs of any situation or others,listen. It appears that the script writers are conveying a "life's secret".Listening leads to an awareness of one's Self. It awakens the other senses, especially vision & expands the horizon.One's soul too can be discovered. The artistry of this movie "As it is in Heaven" magnificently displayed the unfolding of life,not only its joy & sadness,but ultimately the hope of life. All this by the leading character's first instruction to the choir;
"Just Listen,it leads all the way"

While this outing certainly doesn't live up to its predecessor, it does have more than its share of memorable moments. My personal favorite, just after laying waste to a city block with his "Videodisc Cannon," we see a close up of Nimoy's face. As a single tear sheds from his left eye, we know at that point that Nimoy is more than just a killing machine. The viewer can't help but be pulled into his emotional turmoil and we understand that his previously flat affect was only a facade. Absolute brilliance!!! The sex scenes display a nice balance, carnal, but not pornographic. Afterwards, I felt I had a pretty good understanding of how to work the Magnavision Videodisc Player. Too bad they haven't produced them in over 25 years.
Another powerful chick flick. This time, it revolves around Diana Gusman who is always getting into fights at school. Instead of getting expelled, she takes her anger elsewhere, to the boxing ring. She trains to be a boxer and there she meets featherweight Adrian and begins to fall in love with him. This movie has a powerful message of taking your dreams and going with them even if someone doesn't believe in you (in this case, her dad doesn't believe in her). That alone makes the movie worth the price. Enjoy

This complete mess of a movie was directed by Bill Rebane, the man partly responsible for the truly infamous anti-classic Monster a-Go Go. As I was nearing the end of The Cold I came to the unbelievable conclusion that this film was in fact even worse than that 60's shocker. The story  such as it is  is about three eccentric millionaires who invite a group of people to their remote mansion to play a series of macabre games. Whoever manages to last the pace and survive to the end will win $1,000,000. It's a very simple plot but Rebane still somehow manages to make proceedings verge on incomprehensible. Things happen. Characters are completely forgotten about. Nothing makes too much sense. And then it ends. Weirdly. I mean what the hell was that ending all about exactly? I guess you are left to draw your own conclusions. Production values and acting are without question of a pornographic movie standard. In truth Pamela Rohleder (Shelly) isn't even that good. She is so unbelievably terrible she's compelling. Sadly the same thing cannot be said about this crap-fest as a whole, it's just a bargain basement rotter.
Cat Soup at first seems to be a very random animated film. The best way I've been able to explain it is that it's quite acidic. Though it's not totally random. The story is about Nyatta, a young cat boy and his sister Nyaako. Nyaako is very ill and dies, however, Nyatta sees her soul being taken away by death and is able to retrieve half of it. The story is about their quest to bring Nyaako fully back to life.
Though a lot of the content in this movie seems completely random, it is not. Most of it is symbolism for life, death and rebirth. You can also see references from other tales, such as Hansel and Gretal. This strangely cute short film has an interesting story, packed with a deeper meaning than what you see on the surface of the screen.

The novelty of hearing clean-cut Jay Leno spout four-letter words is the only memorable aspect of this formulaic mismatched-police-partners caper. In COLLISION COURSE, the pelican-faced comedian teams up with the late Pat Morita to track down a stolen prototype turbocharger (think car lover Leno played a hand in the plot?). The two leads try hard, they really do, but Leno is no actor and Morita's fish-out-of-water routine gets old in a hurry. The film carries a bit of cheesy '80s appeal, but its worthy moments become increasingly scarce as it fills out its overlong 100-minute running time. Fans of Leno's considerable comedic talents will feel let down; everyone else will just be bored.
Artistically speaking, this is a beautiful movie--the cinematography, music and costumes are gorgeous. In fact, this movie is prettier than those directed by Akira Kurasawa himself. In this case, he only wrote the movie as it was made several years after his death.
So, as far as the writing goes, the dialog was well-written and the story, at times, was interesting. However, the story was also rather depressing yet uninvolving in some ways--after all, it's the story of a group of women who work in a brothel. It's interesting that although prostitution has been seen as a much more acceptable business in Japan, the women STILL long for a better life. This reminds me a lot of the movie Streets Of Shame, though Streets Of Shame's characters are a lot less likable and more one-dimensional.
So, overall it gets a 7--mostly due to everything BUT the writing. It's too bad that the weakest link in this movie is the story by the great Kurasawa.

I'll tell you what happened, some people with money thought it would be nice to ruin one of the best shows that was on TV. Did we really need a big screen re-make? Did they ask the fans? I wonder how all the fans would feel if they did a remake of "Rocky Horror Picture Show" with actors like Ashton Krutcher, Steve Martin, Britney Spears, and Kiefer Southerland, took out all the music, and made it a drama. Do you think they would like that! This movie does not have the same feel to it that the original had. Sure the original was a bit corny at times, but Bo and Luke were always nice, they got into trouble because they were always set up to get into trouble, and their main objective was to help people that passed through town. None of that mattered to the people that made this film, they might have never even seen the original show all the way through. My big question is, what will they ruin next?
What an awesome movie! It was very scary, great acting, well-written, nice plot twists, interesting characters, very good direction, and a surprise ending that will leave you with a smile on your face. This is one popcorn horror flick that may not be appealing to non-horror fans, but is still (nonetheless) one of the best thrillers out there today! I highly recommend it to ONLY fans of:
1) The horror genre
OR
2) An actor or actress featured in it.
*** out of **** stars!
PS- I am sick and tired of people comparing this, and other modern horror movies, with SCREAM. Ya know what, they didn't WANT to be like SCREAM. Everyone's like "Oh, they copied SCREAM!". Well, if I am not mistaking, SCREAM also copied other movies too! In fact, just about EVERY horror movie copied an earlier one. SCREAM, however, was a good film. But, still... stop comparing and enjoy it for what it is!
GO AND RENT THIS ONE!

This movie should not be viewed unless you are trying to kill yourself. I think this movie could actually cause severe brain damage. The main characters are the whiny non-hero Kevin, Amy, his bratty, ungodly conservative girlfriend, Kyle, a dork in red shorts who enjoys phone sex, Daphne, a scrawny, horny girl who is supposed to be "cool" and has no sense of how to dress, and her oversexed boyfriend Nick, an army recruit who can make an innuendo out of anything. No, I'm not a pervert, that's REALLY how the movie goes. The movie itself is an over-sexed rip-off of 1986's Gremlins, only you'll never find a trace of Gizmo anywhere. No, these Hobgoblins, unleashed by Wimpy Man (I'm sorry, Kevin), make someone's wildest dreams come true, and then kill the victims. Yes, you guessed it-Eventually, they wind up in a strip club, where the nerdy Amy's greatest dream is revealed-She wants to be a stripper! Look, I watched this flick via MST3K, and even with Mike Nelson, Tom Servo, and Crow T. Robot making a laughing-stock out of this cinematic trainwreck and it still made me bleed from both eyes. Not really, but I wish I had. I'm not giving you anymore plot, because reliving it gives me this great urge to drive a pitchfork through my brain. Besides, it's not like there's a plot worth mentioning. They should put a Surgeon's General Warning on this film.
Simon's carefully written dialogues are truly electrified by Matthau and Burns. You can literally hear the script crackle. There are few movies out there that can develop such a relationship between the actors and the script. For example, the famed reunion scene could have been a lot duller with less-quality actors involved. Matthau seems to had been born to play Willie Clark (of course, Oscar moreso in the Odd Couple), and with all of the little idiosyncracies and mannerisms that Matthau crams into the character (the line where he is arguing that he is with it since he lives in the city whereas Lewis lives in the country that Lewis is "out of touch" is the quintessential example of this) make this one of the best performances I've ever seen of any actor in any role, be it comedic or drama or whatever else. Period. Matthau and Burns work excellently together; the contrast they portray accentuates Simon's superb knack at creating comedic conflict. This movie is simply one of the ultimate "must-sees" and does demand a rightful prestigious place in the pages of film history.

In a recent biography of Alec Guinness I couldn't find too much about To Paris With Love. I'm sure Guinness did the film to get a free trip to Paris out of it. The film has no other reason for existence.
Paris of course is nicely photographed with that wonderful opening of Guinness and his son driving down the Champs Elysee with the Arc De Triomphe in the background. Unfortunately it goes downhill from there.
There is just no chemistry at all between Guinness and the young girl who he has a brief fling with in Paris. According to the recent biography of Guinness by Piers Paul Read, Guinness positively disliked the girl, found her conduct unprofessional. As to what Odile Vernois thought of her co-star, no record is available. They have as much chemistry as two neutered cats.
Guinness does have a good moment in the film which was straight from one of his Ealing comedies as he climbs a tree trying to retrieve a badminton shuttlecock. But I wouldn't wait through the film for it.
At least Alec got a trip to Paris out of the deal.
This film is one of the few quality films of 2000 and definitely one of my best. The scenario is based on the novel by Vladimir Nabokov and the transfer to the big screen is absolutely brilliant.
The photography of the film is excellent as is the acting of both Turturro and Watson. Turturro definitely gives his best performance to date proving he's worth much more than what we thought. Watson also performs brilliantly.
The story is about a phenomenal chess player (Turturro) which is also extremely eccentric in his everyday life. The film is presented in a non linear time, with multiple flashbacks of Luzhin's childhood. Through those, the complex character of Luzhin is described.
I have nothing more to say, but to suggest this film to anyone.

The original was a good movie. I bought it on tape and have watched it several times. And though I know that sequels are not usually as good as the original I certainly wasn't expecting such a bomb. The romance was flat, the sight gags old, the spoken humor just wasn't. This may not have been the worst movie I've ever seen but it comes close.
Shirley MacLaine in another tailor-made role. As the aunt to a single mom in a 1962 working-class Chicago neighborhood, the veteran character actress gets another work-out as a gutsy woman who won't let any set-backs defeat her spirit of success. The children, a pre-teen boy and girl, are drawn to their spirited Aunt Zoe, although the many magic tricks and practical jokes learned from her, and applied at all the wrong opportunities eventually get them expelled from school.
The plot is cleverly enveloped in the Cuban Missile Crisis, with all of the social implications. Men building bomb shelters, people watching news programs on what seemed to be the only TV set, at a diner, and a general mist of uneasiness and fear in the air. When a "harmless" miracle is blown out of proportions, the climactic conclusion nonetheless makes the viewer feel good. Yes, Virginia, the sun will come up tomorrow! Clearly a small-budget production, this is still a sweet little film, filled with the magic that Sunday Matinees were made of. With a few choice "Oldies" thrown into an effective Sound Track, the whole family is sure to enjoy this one.****

Sure, we all like bad movies at one time or another, and we in fact enjoy them, This however, wasn't even a guilty pleasure, it was just crap. Some guy, vince offer, who is conceited enough to make himself the main character while probably got drunk/high--probably both--and thought it was a great idea to make a movie. He then proceeded to show his script to equally high/drunk individuals. Overall, this movie was so bad, predictable, and unoriginal I couldn't get through 20 minutes of it before I turned it off. It makes You Got Served look like Citizen Kane. Bat Man? WTF...Some guy that walks around with a bat, real original. Almost as good as calling him Fat Man, and having a fat guy walk around in a superhero outfit.
BORN TO BOOGIE is a real 'find'--though a rock fan for nearly thirty years, I only first saw the film a few days ago, and rank it among the top rock films of all time; the music's terrific (the cream of T. Rex) and the visuals consistently exciting and unusual, leaving this viewer craving any more past directorial efforts of Ringo Starr, who did a fine job here. If you love the music, you'll be in T. Rextasy throughout, as Marc Bolan really is the star of the piece, front and center. Even the fact that some songs are repeated doesn't matter a bit: different venues, costuming, musical arrangements, and bizarre visual concepts are all used to lend different textures and a great deal of upbeat humor to what could have ended up as 'only' a concert film in other hands. As rich and full packed as BORN TO BOOGIE is, the film's only about an hour long, but what is there is totally satisfying. Therein lies my only criticism--the video package states something like 71 minutes, and at least one online source claims the film to be 67 minutes, but apparently it's more like 61 minutes of rocking fun.

6/10 Acting, not great but some good acting.
4/10 Director, makes some stupid decisions for this film.
2/10 Writer, story makes no sense at all and has huge amount of flaws.
4/10 Overall score for this movie.
Don't waste your time with this film, it's not worth it. I gave 4 for this movie and it may be too much. Characters are so over exaggerated than they can ever be in real life and some pretty unexplainable stuff happens "storywise", not in good way. Because of the style this film has been filmed you get bored after 30 minutes (too many special effects: slow motions and camera shakes and fast forwards). It's always good that movie uses music to make the story go smooth but there's too many tracks in this one. In the first hour there is almost 50/50 dialogs and musics
An entertaining and substantive film, Non-Stop has drawn deserving comparisons with "Run Lola Run". The film quickly develops into a chase sequence, during which the viewers learn about the three main characters through flashbacks and daydream sequences. The chase serves not as as a fast-paced climax, but as a journey that makes up the majority of the film. During the "run" we see the characters grow and momentarily forget about their dreary lives, about the "macho" roles they've bought into, and eventually forgetting about why they started running in the first place. Much like fighting provided a "clarity" for the characters in "Fight Club," running provides this film's characters with a means to step away from the false values that we all allow society to create for us. Their running serves as way to truly taste life from an unclouded perspective, and all three find some level of clarity and joy in the process.
My appreciation and enjoyment only wavered slightly in the ending of the film, where instead of learning from their experience, the characters seem to revert to acting out those false macho roles I thought they had escaped from through their journey.
Still, the only true problem with this film is that it wasn't distributed outside Japan sooner.

I checked this movie out based on a favorable review on this page. It is slow moving and the payoff is a four star dud..The only mystery here is how Oscar® winner F. Murray Abraham got involved with such a lousy script!
Anyone find it interesting that the Ood look strangely similar to the 'Great Cthulhu' of H P Lovecraft vintage? hmmm?
Great pair of episodes (not referring to Billie Piper as most seem to do!) in The impossible Planet and The Satan Pit.
Also the link to 'Legion' I think also used in Who before and also referring to Satan in various novels post Exorcist era...
Great suspense episodes utilising fear and faith elements. The new team for these 'who's are working great magic for TV.
This certainly creates new fears and 'hide behind the sofa' feelings not seen for many, many years in this continuation of a superb BBC series (pity it is confirmed by the BBC that Billie Piper is quitting - perhaps not permanently - after end of series 2) :O(((

Visually cluttered, plot less, incredibly mind-numbing rubbish. Not even close to Greenaway's better work. Avoid at all costs!
The overlapping 'split screen' effects do nothing more than confuse, the film is very dark for a lot of the time and the 'artistic' composing of images is pretentious in the extreme.
There is absolutely nothing to recommend about this film; even the nudity is incredibly unerotic, which seeing it fills a large part of the film soon gets very boring.
Plus, how anyone can say that the acting of Ewen MacGregor is brilliant is beyond me. He showed more ability in the Star Wars series, and that's saying something.
I've not been so unimpressed with a film since I saw 'Darby O'Gill and the Little People'!
I've joined IMDb so people know what a great film this is! It's not often you come across a film that's moving and visually cinematic yet humble. You've read the plot so all I want to say is don't watch it because you want to see a clash of cultural religious identity babble ,because that's the typical misconception people read in to,instead just appreciate and realise it's about a father and son on a voyage growing to know each other through their struggles. Buy it and pass it on before film4 get round to it. This was one of the very few films to be nominated for a BAFTA being independent and foreign. The beauty of it is that it manages to appeal to anyone even if you never watch anything subtitled or just used to the Hollywood formula, just a great story that will keep you engaged. The only thing I wish is for it to be longer and see what happens

It had all the clichés of movies of this type and no substance. The plot went nowhere and at the end of the movie I felt like a sucker for watching it. The production was good; however, the script and acting were B-movie quality. The casting was poor because there were good actors mixed in with crumby actors. The good actors didn't hold their own nor did they lift up the others.
This movie is not worthy of more words, but I will say more to meet the minimum requirement of ten lines. James Wood and Cuba Gooding, Jr. play caricatures of themselves in other movies.
If you are looking for mindless entertainment, I still wouldn't recommend this movie.