Sachinkry/imdb-preference-10k huggingface dataset:
Yes, it's over the top, yes it's a bit clichéd and yes, Constance Marie is a total babe and worthy of seeing again and again! The jokes and gags might get old and repetitive after a while but the show's still fun to watch. Since it's a family show the humour is toned down and the writers have incorporated family values and ideals in between the gags.
George Lopez is funny. Don't take him seriously and the show's a winner. I'm sure he didn't intend his character to be serious or a paragon of virtue. His outbursts and shouts of glee are hilarious...
I do have to say that the one big, dark, bitter spot is Benny. I hate the character...so much so that anytime she's on for more than 30 seconds I mute the TV just so I don't have to hear her. There is nothing funny about her dialogue or her jokes. As a mother she has to be the worst out there and I am just shocked and surprised that George, as the character, would stand by such a deplorable person for so long.
Even so anytime I get ticked off at seeing Benny I think to myself: seeing her is a lot better than having to watch the Bill Engvall Show. Now there's a bad sitcom...

"This story is dedicated to women," according to the introduction, "who have been fighting for their rights ever since Adam and Eve started the loose-leaf system." When "Politics" was filmed, the Nineteenth Amendment, guaranteeing women the right to vote, was only a decade old. And, the film deals with the wielding of political power by women as a voting group. Advocating prohibition, and shutting down speakeasies, was a main concern for women at the time.
Good-natured Marie Dressler (as Hattie Burns) becomes politically active, after a young woman is shot and killed coming out of a speakeasy. She wants the liquor-selling joints closed; and, is drafted into a Mayoral run, after delivering a powerful speech at a women's rally. Ms. Dressler is supported by her tenants, best friend Polly Moran (as Ivy Higgins) and her stuttering husband Roscoe Ates (as Peter Higgins). Dressler's run for Mayor of Lake City draws opposition from men in town; so, Dressler orders the women to go on strike, denying them, "everything" in the "parlor, bedroom, and bath."
The film sounds much better than it turned out. The humor, frankly, isn't too good; and, it features some unfunny and moderately offensive situations ("You look like Madame Queen" refers to an Amos and Andy character). And, the mixing of shootings and slapstick doesn't mix well, this time. Producers might have considered making the film more dramatic, focusing exclusively on Dressler and the characters played by William Bakewell (as Benny Emerson) and Karen Morley (as Myrtle Burns).
**** Politics (7/25/31) Charles Reisner ~ Marie Dressler, Polly Moran, Roscoe Ates
Von Trier once explained how he created such strong involvement from the viewer with his movies by placing his movie world in about the middle of the real world and the imagined world. So as viewers we think we watch a "true" story while in fact we are thoroughly manipulated, often to the point that the movie works disturbing (Dancer in the Dark) or painful (The Idiots/ Idioterne). Of course the Dogme-films acted only as a vehicle for this theory (besides creating some welcome spotlight on Von Trier).
The story is typical for Von Trier: our hero is idealistic, seems to balance his relations with everybody else, but soon becomes the victim of the problems others have created in the past for themselves. The idealist inevitably has to reject society in order to stay idealistic and becomes the terrorist. Mankind is spoiled and purity only leads to (self-)destruction. (These elements were also very omnipresent in Breaking the Waves and Dancer in the Dark.) The movie is also full of cynical (even humorous) undertones about the role of the Germans and Americans in post-war Germany.
As a technical achievement the movie is wonderfully designed: shifting and fading washed-out colors, screen overlays, action on different overlays (with the shooting of the soon-to-be mayor as the most interesting). In this movie we can see how good Von Trier's handles film as a technical medium. In his later works he seems to step down from this (as if he is not longer interested in technical achievements because they become so easily available).

It happened with Assault on Prescient 13 in 2005, it happened with The Lost Boys in 2008 and now it's happened with another classic from the 80's Wargames... :( Why, oh why, oh why won't Hollywood ever learn? Leave them alone...! They can't be remade...! They suck....! We all hate them....!.
Those of you who haven't seen the original 1983 version with Matthew Broderick & Ally Sheedy, go rent/buy it now....!! The hardware may look dated, the special effects are not new millennium but it still beats this rubbish hands down....
For those of us who lived through the 80's when hacking was sexy, the Internet was something mysterious and your disks came as a 8" floppy variety, well we now possess the wisdom to avoid this film like a Thermonuclear War!
Never before has "a nice game of chess" seemed the better option....
After being sent to prison for no less then 10 nor more then 40 years for being busted with drugs and refusing to give up her accomplishes, Jackie (Erica Gavin of Russ Meyer's "Vixen" and "Beyond the Valley of the Dolls", in her last film role) has to get accustomed to life in the big 'doll' house, or at least try to, in this early film by Jonathan Demme. Due to it's tawdry nature and sheer watchability, I would also rank this as one of his best films, right below "Silence of the Lambs" and "Stop Making Sense", but so far above any of his other movies. This minor classic is just campy, sleazy, and fun enough to be an amazingly good guilty pleasure and thankfully never once goes overboard into all out parody of the Women In Prison genre. It ALMOST washed out the rancid bad taste of the ludicrously preachy "Philidelphia" from my mouth. However, the film is not without it's downfalls (the 'un'talent show is a HUGE chore to sit through and goes on far too long, Barbera Steele is sadly wasted, among other small things) But don't let those gripes stop you from watching an otherwise enjoyable movie.
My Grade: B-
DVD Extras: 5 minute Roger Corman interview; Cast & crew Bios; Original Trailer; and Trailers for "Candy Stripe Nurses" (with nudity), "Big Bad Mama 2", "Big Doll House" (with nudity), & "Crazy Mama"
Eye Candy: Juanita Brown, Cheryl "Rainbeaux" Smith, Erica Gavin, Roberta Collins, Ella Reid, Lynda Gold, and some others all show skin

How the hell did they get this made?! Presenting itself as a caper comedy, the misbegotten "$" is essentially two hours of people mumbling sentence fragments. The usually dependable Warren Beatty looks drunk, and the usually hilarious Goldie Hawn acts like she's on depressants. As for Gert Frobe, his most famous role - Goldfinger - was infinitely more admirable than his character here. Not even the guy with the champagne bottle of LSD can save this litany of worthlessness.
Am I comparing this movie to "Plan 9 from Outer Space"? I wouldn't do such a thing even if someone paid me. "P9FOS" was idiotically made but ended up hilarious; this was idiotically made and causes you to feel like your brain just melted out of your ears. Warren Beatty and Goldie Hawn made up for this when they co-starred in "Shampoo", but then they co-starred in the dreadful "Town & Country". Maybe they just shouldn't co-star in movies. All in all, I would rather have my skin torn off than have to watch this again. Awful.
Maybe they should remake it with Jackie Chan. Then I would pay to see it.
I just have to throw my two cents in. Relax, it's a comedy. Yes for the most part the characters are broadly written and acted. I can't think of many comedies where they aren't. This isn't a new release, it's out on video and airs on cable almost every week. Would I see it in a theater? Sure, I did, when it first came out. It's funny...that should be enough.
Even if I didn't like it at all I'd still watch it on cable for Michael Keaton. He's an underrated and under-appreciated actor. I can't think of another who is so capable in every genre. Nor can I think of one who's as successful. A comedic actor who's also an action star(short lived but still), who's also a romantic lead, who's also a dramatic actor; a villain and a hero. I can't think of any, at least not in Hollywood. Certainly none who have been successful at all those genres. I mean there's Tom Cruise but to me he's better at being Tom Cruise than becoming a character. However this isn't about Michael Keaton vs. Tom Cruise so I'll move on.
Gung Ho is worth renting, heck it's worth buying since you can probably find it for $10.00 or less at stores like Wal-Mart. It's worth watching on cable(if you have cable or satellite). It's one of those fun to watch movies. You can put your brain on pause, and just relax, and chuckle away.
To ask for more, in my honest opinion, is asking too much.

actually, it was pretty funny... in a "god, how the hell did this movie get made" kind of way. if you life making fun of movies... which i kinda do... go ahead and watch it... but if you're actually thinking "is this a good movie?" eff off.
this movie sucked from the very beginning scene with the worst acting i've ever seen in any movie.... usually they get five minutes into it before you realize "this movie might suck".. but no, you know right off the bat. this movie talks about edgar allen poe... never tried to explain it though, to people who haven't memorized poe's life story... so i don't know if any of what was said is fact.
this movie is about a writer "ethan poe" hookin up with his cousin "ann".... they're both descendants of edgar allan poe... or are they?!? apparently, people give a what their ancestors did. this guy ethan poe is actually ethan "usher", who is supposed to be descendants from the story "the house of usher" that was written by edgar allen poe. ann's brother shows up sometimes to try to rape her... ann's also being stalked, at one point in the movie, by three different people on the same street (seriously, three... they're like right behind her glaring at her and she doesn't even realize). the characters that are being murdered throughout, show up at the end to try to save the day.... but they can't. at the end, ann shoots ethan while he's trying to kill her best friend. of course, before she shoots him she has to scream out "nevermore!" this movie should be seen nevermore!
The Waiting Womans Ward of a large lying-in hospital, with all its joys and sorrows, is the place where LIFE BEGINS.
This nearly forgotten drama is a fine little soap opera, replete with comedy and tragedy, all tied into the lives of the maternity staff and their patients. The frankness with which the subject matter is handled points up the movie's pre-Code status.
Marvelous Aline MacMahon, as the sympathetic head nurse, is the calm center of the film, the rock around which all the currents flow. Able to handle any crisis or emergency, she is the mothers' best, sometimes last, friend. Surrounding MacMahon is a bevy of excellent costars: Loretta Young as a convicted murderess released from prison long enough to give birth; Eric Linden as her frightened young husband; brassy Glenda Farrell as a dame who hates children; sweet Clara Blandick as a very mature mother in for her sixth birthing; Preston Foster & Hale Hamilton as thoughtful, compassionate doctors and Frank McHugh as a comically frantic father-to-be.
Movie mavens will recognize Bobs Watson as a wee tyke who wants to see the Stork; Paul Fix as a nervous husband who promises to behave like a `little soldier;' Gilbert Roland as a distraught Italian husband and Elizabeth Patterson as a snooty doctor's wife interested in adopting Farrell's son - all uncredited.
There are a few absurdities in the plot - some of the mothers are obviously much too old; Farrell becomes blatantly drunk in the Ward but none of the staff seem to notice; an obviously psychotic patient is able to wander around at will - but this really only enhances the quirky entertainment value of the film and keeps things from becoming too serious.

David Lynch's crude and crudely drawn take on South Park presents us with a nightmare of disturbing clichés about suburban middle class families. The father is a hideous monster with three teeth and a disproportionately large circular mouth-hole from which are uttered the most horrendous guttural noises, the son and mother are permanently horrified, incoherent creatures for whom terror is a way of life. A number of equally absurd characters are introduced throughout the series.
Lynch is not famous for his comedies (i.e. On the Air, aspects of Wild at Heart), and I am not particularly fond of comedies in general. However, there were a couple of scenes in Dumbland which made me laugh out loud. There are some clever bits of animated cinematography - where Lynch conveys wide ranges of reaction in his characters through a syntactical arrangement of shots as opposed to facial expressions (which never really vary in Dumbland).
I believe Lynch was really trying to give his audience a straight-forward, if disturbing, animated comedy here. Interestingly, he chose to follow in the footsteps of the recent wave of ultra-low-brow humor (i.e. most Will Farrell films) while adding elements of vicious social critique and classic cartoon violence and gross-out humor. While the blend doesn't really work very well here, it is nothing if not Lynchian.
Worth seeing by Lynch fans.
This video rocked! Eddie is one of the funniest comics I have ever seen. Not only does he have class, he makes some of the funniest observations on history and culture that I have ever seen. Eddie is the most original and most intelligent comic I've seen in a VERY long time. Tell all those other stand-ups to get off the stage and let this "executive" reign!

Having watched 10 minutes of this movie I was bewildered, having watched 30 minutes my toes were curling - I simply couldn't believe it: The movie is really awful. In fact it is so awful, that I had to watch all of it just to be convinced(!). During this, I came to realize that it reminded me of a bunch of Danish so-called comedies from the 60's and 70's. The pattern is as follows: Take one extremely popular comedian, make a script putting this comedian in as many grotesque situations as possible, add a bunch of jokes (especially one-liners), and spice it up with a couple of beautiful young girls - film that, and you have a success! I wouldn't know if this movie was a success, but unlike the Danish tradition which died quietly (with a few great comedians) it seems that there is a market for this kind of movie in the US.
This happy-go-luck 1939 military swashbuckler, based rather loosely on Rudyard Kipling's memorable poem as well as his novel "Soldiers Three," qualifies as first-rate entertainment about the British Imperial Army in India in the 1880s. Cary Grant delivers more knock-about blows with his knuckled-up fists than he did in all of his movies put together. Set in faraway India, this six-fisted yarn dwells on the exploits of three rugged British sergeants and their native water bearer Gunga Din (Sam Jaffe) who contend with a bloodthirsty cult of murderous Indians called the Thuggee. Sergeant Archibald Cutter (Cary Grant of "The Last Outpost"), Sergeant MacChesney (Oscar-winner Victor McLaglen of "The Informer"), and Sergeant Ballantine (Douglas Fairbanks, Jr. of "The Dawn Patrol"), are a competitive trio of hard-drinking, hard-brawling, and fun-loving Alpha males whose years of frolic are about to become history because Ballantine plans to marry Emmy Stebbins (Joan Fontaine) and enter the tea business. Naturally, Cutter and MacChesney drum up assorted schemes to derail Ballentine's plans. When their superiors order them back into action with Sgt. Bertie Higginbotham (Robert Coote of "The Sheik Steps Out"), Cutter and MacChesney drug Higginbotham so that he cannot accompany them and Ballantine has to replace him. Half of the fun here is watching the principals trying to outwit each other without hating themselves. Director George Stevens celebrates the spirit of adventure in grand style and scope as our heroes tangle with an army of Thuggees. Lenser Joseph H. August received an Oscar nomination for his outstanding black & white cinematography.

Trust me, this is one let down movie that you want to avoid and this comes from one huge Denzel Washington fan. The frustrating part is that it's 1/3 of a GREAT film. The first part of this movie does an exceptional job of setting up the characters and the new relationship between Creasy and the girl he's paid to protect. The trailers to this movie all mention that she is kidnapped. So, I'm giving nothing away when I say that the film degenerates into an almost unwatchable mess after she's kidnapped. Whatever the director was trying to accomplish, all he succeeds in doing is making the audience literally nauseous. Rapid, frantic and choppy cuts follow for the next half-hour as Creasy tracks down the perpetrators. These cuts are so unnatural and nauseating that all they do is to jolt you out of the story. I'm sure the director thought that this unsettling way to present the story signified a change in Creasy's character and signified that a different movie was to follow. Well, he was right. The movie that followed was complete and unsatisfying crap. The result of which is a depressing ending that ruins even the quality first forty minutes of the movie.
I have been a Hindi movie buff since the age of 4 but never in my life have a watched such a moving and impacting movie, especially as a Hindi film. In the past several years, I had stopped watching contemporary Hindi movies and reverted to watching the classics (Teesri Kasam, Mere Huzoor, Madhumati, Mother India, Sholay, etc.) But this movie changed everything. It is one of the best movies I have ever seen. I found it not only to be moving but also found it to be very educational for someone who is a first generation Indian woman growing up in America. It helped me to understand my own family history, which was always something very abstract to me. But, to "see" it, feel it and understand it helped me to sympathize with the generations before me and the struggle that Indian people endured. The film helped to put many things into perspective for me, especially considering the current world events. I never thought that a movie could change the way I think like this before... it did. The plot is fantastic, the acting superb and the direction is flawless. Two thumbs up!

I'm a nice guy, and I like to think of myself as genre-tolerant. And, I guess by that, I mean I try to consider a movie in the context of the genre that it resides in. If nothing else, that saves me from feeling like I should be saying really nasty things about people or films, which I don't like doing.
The plot in this one was patently obvious, the production values very low and sets, uhm, simplistic. The acting rose into "good for a high school play" territory from time to time. My feeling was this was filmed in a day -- please tell me it was.
Worst of all, the sex , while reasonably plentiful, was fairly mundane, hampered by, at least in my copy, a "sound-over" that was inconsistent with the action (climatic moans and shrieks while lying on a bed undoing a bra???). There was definitely no "edge" to it at all--nothing distinguishing or interesting, and with surprisingly quick cuts.
My vote is a "1" then, with the following summary statement: would have been better if the filler stripper material at the club was expanded, and the rest of the movie condensed.
Sure, he became rapidly uneven after this film, but from "Knife In the Water" up till "The Tenant", Roman Polanski could always be counted on to deliver something fascinating and unique. Despite many running themes (alienation, paranoia), no two of his films are really alike. The story of this is somewhat similar to his own "Repulsion" from ten years earlier, but the tone is completely different. "The Tenant" manages to balance darker than dark absurdity (I'm a bit hesitant on calling it humor, even though the protagonists bizarre behavior and dialog was occasionally funny) with some truly suspenseful paranoia. Polanski was always a master at building unease, and moments in this film are almost unbearably creepy. The overall weirdness of the film is also a plus.
In addition to Polanski's exquisite as usual direction, the rest of the cast and crew offer great contributions. Polanski the actor is often overshadowed by Polanski the director, but his performance here truly captures his characters awkwardness and sense of being an outcast. The themes of social discrimination make this film more than just strangeness for the sake of being strange. The rest of the cast offers strong performances also, especially Isabelle Adjani's sympathetic turn, and Melyvn Douglas and Shelley Winters' appropriately annoying ones. "The Tenant" is often underrated because of how ready people are to heap praise on both "Repulsion" and "Rosemary's Baby", but its just as brilliant as either of those classics. (9/10)

Worst movie on earth. I don't even know where to begin but I hope I can save another person from punishing themselves with this movie. When it comes to acting and lighting, this movie is similar to a bad porno without the sex. The actors are some of the worst I've ever seen, and couldn't have been worse even if they were trying to make a complete mockery of this movie. The movie must have had a record breaking low budget which I'm sure was wasted almost solely on the movie's cover. This movie has now become a running joke with friends of mine and has become the standard for comparing other garbage movies. I would like to point of that no other movie even begins to compare. I feel personally responsible for suggesting a friend and me watch this movie and am surprised she still considers me a friend after the torment I put us through. Don't see this movie!