Sachinkry/imdb-preference-10k huggingface dataset:
This is the best movie I have ever seen.
I've seen the movie on Dutch television sometime in 1988 (?).
That month they were showing a Yugoslavian movie every Sunday night.
The next week there was another great movie (involving a train, rather than a bus) the name of which I don't remember. If you know it, please let me know! In any case, how can I get to see this movie again???? A DVD of this movie, where?? Please tell me at vannoord@let.rug.nl
The next week there was another great movie (involving a train, rather than a bus) the name of which I don't remember. If you know it, please let me know! In any case, how can I get to see this movie again???? A DVD of this movie, where?? Please tell me at vannoord@let.rug.nl

Watching the first 30 minutes of Sands of Oblivion gave me high hopes. It seemed I was in for a cheaper version of the Mummy. The setup was promising, in the 1920's Cecil B. Demille makes his opus of the Ten Commandments. It seems in using real Egyptian artifacts for the movie set they unleashed an ancient and terrible evil (don't they always?). Aware of what had been unleashed DeMille orders the entire set buried instead of the usual practice of tearing it down. Hopefully the evil will be buried with it for all time. Then we switch to present day where a team is attempting to excavate the site (the movie's first mistake, but hey those period costumes are expensive and this is a Sci-Fi channel movie). The first sightings we get of the Anubis monster are well done and it's a costume that they put some effort into and not the usual cheesy CG effect. Then the body counts starts. This is were the movie went south for me. The reactions to the fact that people are dying in gruesome and strange ways gets a strangely subdued reaction. Once they realize that the ancient evil has again been unleashed and is on a killing spree what do the stock issue leading man and lady do? They make the usual stop to the "guy who knows the truth but never told anyone". After getting that vital information do they share it with the comrades at the dig site? No, they stop off at a hotel for a refreshing shower and some pleasant small talk. Really I'm not the most motivated person but if I knew a demon from ancient Egypt was on the loose and killing everyone in sight and would be coming after me I'd put a little hustle in my step to solve the problem. After this overlong and pointless middle section they get around to destroying the Anubis monster in the usual way, by racing around in dune buggies and shooting it with a rocket launcher while it's standing by a pile of phosphorous grenades. For a Sci-Fi movie it was above the usual crap they put out, which isn't saying much at all. What disappoints me is this could have been a lot more if someone had wrote a decent script for it.
If The Man in the White Suit had been done in America, can't you see either Danny Kaye or Jerry Lewis trying on Alec Guinness's Sidney Stratton on for size?
This is one of the best of Alec Guinness's films and certainly one of the best that Ealing Studios in the United Kingdom ever turned out. It's so perfectly fits within the time frame of the new Labour government and the society it was trying to build. It's amazing how in times of crisis capital and labor can agree.
Alec Guinness this meek little schnook of a man is obsessed with the idea that he can invent clothing that will never need cleaning, that in fact repels all kinds of foreign matter the minute it touches the garment.
He's a persistent cuss and he does succeed. Of course the implications haven't really been thought through about the kind of impact clothing like that will have on society. In the end everyone is chasing him down like they would a fugitive, almost like Peter Lorre from M or Orson Welles in The Stranger or even Robert Newton in Oliver Twist.
It's the mark of a great comedy film that a potentially serious situation like that chase as described in some of the serious films I've mentioned can be played for laughs. Poor Guinness's suit is not only white and stain repellent, but it glows like a neon sign.
Other than Guinness the best performances are from Cecil Parker as yet another pompous oaf, Joan Greenwood as his siren daughter and Ernest Thesiger the biggest clothing manufacturer in the UK>
Come to think of it, did Paramount borrow that suit from Ealing and give it to John Travolta for Saturday Night Fever?

Three story lines and not enough tying them together, "Inside Man" was very jumpy and an incomplete attempt to be artistic and realistic. Though having its moments, the movie started off looking like a fast thriller which quickly grounded to a slow crawl, jumped quickly between highs and lows, and only barely picked up steam again near the last 20 minutes. I will give credit to Denzel Washington, he played his part extremely well with a full grasp of his human side and not just the typical "super-detective" with all the answers. Clive Owen also did quite well with his duality part as "evil genius" and "criminal mastermind" (both not the same in retrospect). Overall though, each person individually created a great sub-section. Yet, when the parts finally came together and everything counted, there was no sudden "ah-ha!" or summation of everything. It all ended up with very little of the energy it began with, with a lot of plot-holes, tons of questions, and as I said earlier, no where near Spike Lee's normal level. I have to completely disagree with the so-called "professional critics"... this is not the movie they play it up to be.
Care Bears Movie 2: A New Generation isn't at all a bad movie. In fact, I like it very much. Yes I admit the dialogue is corny and the story is a bit poorly told at times. But Darkheart, while very very dark is a convincing enough shape shifting villain, and Hadley Kay did a superb job voicing him. Speaking of the voice acting, it was great, nothing wrong with it whatsoever. The animation is colourful, and some of the visuals particularly at the beginning were breathtaking. The songs and score are lovely, especially Growing Up and Forever Young, the latter has always been my personal favourite of the two. The care bears, who I do like, are adorable, and the human children are well done too. And the ending is a real tearjerker. All in all, harmless kiddie fun. 8/10 Bethany Cox

Ah WINTER KILLS , based on the novel by Richard Condon which deals with a conspiracy that killed the president of the United States 20 years ago . I knew Condon also wrote THE MANCHURIAN CANDIDATE which dealt with a similar theme and was looking forward to seeing an intelligent thriller
WINTER KILLS left me cold . It's not a thriller - It's a piece of worthless crap , possibly the worst movie I've seen this month and boy have I seen a lot of bad movies in June . The problem lies in both the direction and the script and seeing as William Richert was responsible for both then he should be blamed entirely for this unfunny farce
There's two things wrong with this movie . First off is the way everything is presented in a totally over the top manner . It's not as OTT as say something like that James Bond movie with David Niven and Peter Sellers but everything has a farcial edge to it with actors completely mugging their performances . This might have been justified if there was entertainment value to the movie but there's none . As a satire it's very silly , so silly that it becomes almost unwatchable . Secondly the scenes seem to have been cut so much that they're rendered senseless . Take for example a scene where the hero is confronting a loopy militia leader called Dawson . Dawson tells the hero he has 30 seconds start then it cuts to the hero being on board a plane . The scenes begin and end with no rhyme nor reason
A dire movie that's an ordeal to sit through
My first impression would be this is Beowulf only with all the good bits of fighting Grendel and dragons intact, making it one thrill ride from start to end. Written by Frederic Lanoir and Arthur Qwak, the two of them had created a fantastical landscape that becomes a character in itself within their story, with its ever changing environment made up of small spheres of land floating around, which can either be wastelands, or globes of greenery.
The story's a simple one, which tells of a land which is cowering in the expectation of a mighty dragon's unwanted visit to plunder and destroy, and the resident knights have all but been annihilated. Enter the king's granddaughter Zoe (Marie Drion) who gathers Lian-Chu (Vincent Lindon), a huge brute with immense strength but truly a gentle giant, and his partner-in-arms Gwizdo (Patrick Timsit), who balances the partnership with his cunning brain. Lian-Chu and Gwizdo (together with their pet creature which too proudly spews incipient fires) share a common dream of owning a farm land and spending idyllic days tending to their farm animals in retirement, but in order to do that comes the requirement of being financially free, hence their career in monster-extermination which doesn't exactly pay off.
That's basically the whole gist of it, but what makes this film a spectacle, is its CG graphics, which is solidly rich, detailed, and an eye-popping marvel to behold. It has some wonderfully crafted set action pieces that were painstakingly designed to draw you into the thick of the action,, and during those fight sequences, there's nary a boring moment. Photo-realistic moments of non-existent landscapes make you put aside the fantasy of make-belief, and it's easy to be in awe of the landscape which goes beyond the usual three-suns and a kaleidoscope of flying thingamajigs (here's having at you George!) And I couldn't get enough of the finale battle as well, though the usual brick-bats will find some fault at the indestructibility of the principle characters.
I guess this film had opened my eyes that there are many more computer-animated companies out there around the world that have quality in their product to match that of Pixar's. And this is definitely a movie that the local filmmakers of Zodiac: The Race Begins and Legend of the Sea can learn from  to keep the story effectively simple, and let your moving artwork do all the talking. Definitely highly recommended!

A truly frightening film. Feels as if it were made in the early '90s by a straight person who wanted to show that gays are good, normal, mainstream-aspiring people. Retrograde to the point of being offensive, LTR suggests that monogamy and marriage are the preferred path to salvation for sad, lonely, sex-crazed gays. Wow! Who knew? The supporting characters are caricatures of gay stereotypes (the effeminate buffoon, the bitter, lonely queen, the fag hag, etc.) and the main characters are milquetoast, middle-class, middlebrow clones, of little interest.
As far as the romantic & ideological struggles of the main couple are concerned, there's not much to say: we've seen it all before, and done much better.
This movie is simply awesome.It was a very sensitive issue and movie was superb.This movie did not create any controversy in India (as far as i know) and its publicity was also kept low.Initially i thought that this movie would simply be a waste of time since most of the Indian directors and producers used to change the theme even though its very sensitive and adds a love story in original story and spoils the whole thing...most of the Indian viewers would agree on this topic if they remember Ashoka, Mangal Pandey,LOC etc..
There have been so many movies in India which would have become milestone or mega hits if the love story part would not be unnecessarily added.
But its treatment is pretty similar to Pinjar movie (also a must watch).
If it counts then i would like to thank Anil Kapoor ( producer ) and Firoz Abbas Khan ( the director) for making such a great movie..

I know that in this episode there's other stuff apart from what I am going to discuss, and in fact I think it has some virtues; for example, the fact, after we had been given a very negative opinion of Jin from seeing Sun's flashbacks in "House of the Rising Sun", we get to see Jin's side of things and get a new, more balanced understanding of his life.
But there is an element in this story that made me so deeply uncomfortable that it greatly dampened my enjoyment of the whole episode. Before now, in the scene where Jin appeared with blood on his hands and shirt, it had been hinted that Sun's father was someone who was getting rich through shady, illegal methods. I thought maybe he was a mob boss, even; mobs operate in Korea, just like in almost every other country in the world, so it was a reasonable possibility. However, in this episode we learn that Sun's father is in fact the boss (or a top executive) of a Korean automotive company, and that what Jin had been doing was physically attacking a government official (who was actually going to be murdered) on his behalf.
I may be especially touchy about this because I happen to work in the automotive industry, but I would say it is SPECTACULARLY offensive and racist to even suggest that this kind of thing goes on in Korea; that huge, serious companies like Hyundai or Kia (which must be the model for this fictitious car company, as they are the only ones that actually exist in reality) operate with these mafia-like methods, instead of like any normal automotive company of the West. it is just unbelievable to me that the writers would have the gall to write something like that into the story, and that there hasn't been an uproar in Korea over it. It feels like extraneous "Buy American!" propaganda, portraying foreign car companies as criminal, untrustworthy, third-world outfits.
Of the elements that make this the best at this point, I have to say #1 is Christine McIntire. Shemp's scene when poisoned and her reaction are truly magnificent. I imagine that, as one poster suggested, Christine was trying to hold back laughter during that scene, but it actually made her seem even more deliciously evil, to be smiling at Shemp's possibly dying.
Another character who helps this stand out is the Goon. His look was a great cross between horrific and comedic goof-ball. Hardly a character I would choose to meet in a dark alley or, for that matter anywhere. I would have preferred a bit of true whodunit mystery in this, but hey, when a short is this good, who's going to complain. Not I.

Oh boy, where do I go with this one? Herendous acting, weak plot, stupid deaths, pointless nudity...
This isn't entertainment...this is hell.
Hell.
Don't waste your money, time, or life on this pit of evil.
It's just...god damn is this movie awful! Tom Savini, WHY?! Why would you waste your life on this crap? This movie not worth it. I'd rather snort crack and smash my head up against a wall than watch THIS...this sinful act again!
Please take my advice and stay the f#@k away from this elephant turd of a film. No, you know what? I shouldn't even have to call this thing a film! Just stay AWAY!
The simple hand camera both gives some almost documentary feeling to this film, and also relates to the dogma films.
Did you ever get bored of those hollywood-style cop flicks with brawny guys who get assignments james bond would be envious of? Fed up with the married-living-single cop, the divorced-but-family-man, the personified doughnut and the tough hunter? Ever wondered how the real police work is like?
Well, for germany, this film shows you. Set in the north between west germany and east germany, former DDR, an laid off post office clerk starts her job, fresh from policeschool. She quickly finds her way around the usual customers, and becomes accustomed to life as a policewoman... but this is not much fun.
Other german crime films like Derrick, Der Alte et cetera have dignified officers talking calmly with suspects. These cops here have to deal with the lowest on the social ladder. Good dialogue and realism makes this an interesting view, even more if you know that part of germany a bit.

This is a classic example of an increasing problem with films. Why is the background noise and the soundtrack dramatically louder than the dialogue? What sense does that make? This film isn't alone. Most films seem to do this now. For 2 years, I wondered if it was just something wrong with my TV, but then I got a new TV & there it is again. BACKGROUND noise that could be taking place a city block behind the actors drowns out the dialogue.
It was even more distracting in this film because, in the English version anyway, the woman mumbles constantly. I kept hoping Jean Reno would say "Excuse me, would you speak up or get the marbles out of your mouth." If you watch it on DVD & you have even high-school French, I recommend the French version with subtitles.
I give it 4 because Reno was so good in Leon. People rave about the scenery, but I saw it on a TV & I lived in the Rockies for a few years, so "Enh".
I'll keep it short and brief, the people who wrote the story lines for this show are genius, the actors are just perfect for the roles they play (CJ's character is legendary) and they have so much chemistry on screen which makes it what it is, a very successful comedy.
When i saw first saw the new episodes which is probably going back just over 6/7 months, i wondered what had happened to Paul. I was gutted to find out that he had died when i browsed Google. He was so funny and played his character to perfection, an over-protective dad, who likes to keep his daughters out of the limelight and away from boys.
The comedy, i think, has gone from strength to strength, even without Paul in it.
Plus, i think most people would enjoy this watching it.

The prerequisite for making such a film is a complete ignorance of Nietzche's work and personality, psychoanalytical techniques and Vienna's history. Take a well-know genius you have not read, describe him as demented, include crazy physicians to cure him, a couple of somewhat good looking women, have his role played by an actor with an enormous mustache, have every character speak with the strongest accent, show ridiculous dreams, include another prestigious figure who has nothing to do with the first one (Freud), mention a few words used in the genius' works, overdo everything you can, particularly music, and you are done. Audience, please stay away.
Anne Brontes epic novel THE TENANT OF WILDFELL HALL should be studied and read throughout schools and libraries and peoples living rooms. Its a fantastic story and tells the "real" truth on alcoholism and ruined marriages and a mothers fight to keep her son away from her brutal husband. Its so alike todays stories that we see and hear and I believe people can learn a lot from reading this book. Based on possible true experiences that the author had back in the 1840s.
Do watch this film, its a great version of the book and very moving indeed. I'm sure Anne herself would have been happy with the way it was produced.
Excellent acting and great locations.

When I ordered this from Blockbuster's website I had no idea that it would be as terrible as it was. Who knows? Maybe I'd forgotten to take my ADD meds that day. I do know that from the moment the cast drove up in their station wagon, donned in their late 70's-style wide collars, bell-bottoms and feathered hair, I knew that this misplaced gem of the disco era was glory bound for the dumpster.
The first foretelling of just how bad things were to be was the narration at the beginning, trying to explain what cosmic forces were at play to wreak havoc upon the universe, forcing polyester and porno-quality music on the would-be viewer. From the opening scene with the poorly-done effects to the "monsters" from another world and then the house which jumps from universe to universe was as achingly painful as watching an elementary school production of 'The Vagina Monologues'.
Throughout the film, the sure sign something was about to happen was when a small ship would appear. The "ship" was comprised suspiciously of what looked like old VCR and camcorder parts and would attack anyone in its path. Of course if moved slower than Bob Barker's impacted bowels, but it had menacing pencil-thin armatures and the ability to cast a ominous green glow that could stop bullets and equipped with a laser capable of cutting through mere balsa wood in an hour or two (with some assistance).
Moving on... As the weirdness and bell bottoms continue... We found out that they're caught in a "Space Time Warp". How do we garner this little nugget of scientific information? Because the oldest male lead tells his son that, in a more or less off-the-cuff fashion, like reminiscing about 'how you won the big game' over a cup of joe or an ice-cold bottle of refreshing Coca-Cola. Was pops a scientist? Nope, but he knew about horses and has apparently meddled as an amateur in string theory and Einstein's theories.
The recording I watched on DVD was almost bootleg quality. The sound was muddy and the transfer looked like it had been shot off a theater screen with the video recorder on a cell phone, other than that, it was really, really, really bad. (There's not enough 'really's' to describe it, really).
I know some out there love this movie and compare it to other cult classics. I never saw this film on its original release, but even back then I think I would've come to the same conclusion: bury this one quick.
Of all the versions of the Odyssey (or of any Greek mythological story for that matter), this in my opinion is the best of them all. Almost true to the original storyline - with some minor deviations and omissions, e.g. the absence of Scylla & Charybdis and the fact that Eumaeus the swineherd recognizes Odysseus in disguise in his hut - realistic acting and authentic scenery and costumes all contribute to make this a truly memorable masterpiece,not some Hollywoodish sword-and-sandal B-flick. Notwithstanding the fact that the dialogue and subtitles are completely in Italian, if one is familiar with the storyline, he can still make heads and tails of what is going on and what the actors are saying (provided you have a good handy text of the Odyssey at hand). At least I did, and so much so that it has inspired me to study the Italian language to better appreciate the movie even more.

The explosion of TV channels must be eternally grateful to the Randolph Scott Western production line, because any any moment there must be one of what seems like a hundred Randolph Scott movies playing on at least one no-budget station.
"Man Behind The Gun" is a typical early 1950's period melodrama with pre-WWII production values that relies on a historically-topical murder mystery plot peppered with action scenes to disguise the script's complete absence of character development, and thus lack of suspense. In years to come the role of these films would be taken over by TV shows like 'Gunsmoke', 'Bonanza', etc - and these actually did the job better. Randolph Scott, looking particularly grizzled in this, is the good guy, struggling against the bad guys against whom he will eventually prevail. There's no more interest in what he goes through emotionally than in what his horse is feeling, unless you count wondering whether he'll sort out the initial misunderstanding with the female lead by the end. The music is a stronger indication of the emotional state of the 'characters' than the acting is. But it's fine if that floats your boat; and I wouldn't berate you for enjoying 'Diagnosis, Murder', either.
Workmanlike, pedestrian, and ageing rapidly. 3 stars for being competently put together; 0 for artistic endeavour.