Sachinkry/imdb-preference-10k huggingface dataset:
I really like this movie. I can watch it on a regular basis and not tire of it. I suppose that is one of my criteria for a great movie.
The story is very interesting. It introduces us to 6 characters; each has a unique kung fu style that is very secret and very deadly. Each of these characters are trained by the same master but their identities are kept secret from each other. The dying master sends the 6th venom, his last student, to attempt to make right the wrongs that he suspects some of his students have committed.
How will the last pupil find the other venoms? How will he know which of them is bad? The way these questions are answered is part of what makes this movie great.
We also get to see the venoms fight each other in every combination. It is fun to see how their styles match up against each other.
If you want to see if you like kung fu movies, this is a good movie to start with. It doesn't get any better than this.

I've barely just made it through one episode ("Crouch End"). The dialog was stilted and down-right cringe worthy. The acting was tragic. Eion Bailey, despite his best attempts to be dramatic, remains mostly expressionless. His eyebrows hint at a recent botox treatment. Claire Forlani could have just as easily been playing the damsel in distress in a silent movie. The characters were cartoons, each playing their stereotypical cog in the plot mostly random, meandering plot. Cheesy special effects can be excused given the TV miniseries budget. But attempts to create suspense and surprise through distracting cinematography added to the unwatchability. I get the feeling that the ending was supposed to be witty and surprising, but it was lame and had little to do with the rest of the story. If I had to compare it's overall quality to something else, I'd put this episode of "Nightmares and Dreamscapes" on par with the NBC's Hercules.
This is NOT as bad a movie as some reviewers, and as the summary at the IMDB page for this movie, say it is. Why? First is the fact that in 1984 the movie makers were daring enough to confront, as one of the plot elements, the issue of domestic violence -- so reviewers who complain about the plot are sadly missing one of the main points! Second, without the plot element of Prince's movie relationship with his abusive father, the musical climax wouldn't work as well as it does -- so those reviewers who say that only the music is good have, once again, missed one of the points -- specifically, WHY it is so good...because all of the music in this film has a plot element backdrop that makes the music more effective. Third, give this movie a break! For first-time movie producers and director, this is just not that bad! There are far worse movies out there by accomplished movie people!! And last, the reviewers who say that the music is "good" have also missed the point -- check out the range of stylistic musical treatments, the variety, the musicianship, and the stage performance of Prince -- truly one of a kind, going musically where no one else was going during the 1980's, and with a style seen in the work of other artists (clothes and movement: which costuming elements came first, Michael Jackson's or Prince's? Also, see if you can spot the splayed fingers sweeping in front of the eyes that Prince does in this movie, long before Quentin Tarentino's "Pulp Fiction"). As the sum of its parts, not a bad movie at all.

Fairly good movie, but not a true story.
Rubin "Hurricane" Carter was a notorius liar, a murder and was never found not guilty. New Jersey State just didn't go for it a third time as 20 years had gone. Carter got an offer in 1976: "Pass a lie test and go free". He didn't take it. This film should never have been made, but money talks. A lot of people have unjustly spend their lives in prison and undoubtedly more blacks than white. Why choose a fake story?
Jens
This movie is a great mocumentary. It follows the rap group, NWH, made up of Ice Cold, Tasty Taste and Tone Def through their unique path to gangster rap highs, lows and back to highs. Through trouble with women, egos, cops and whitey, this group gets to the top of the gangster rap world, as this movie goes to the top of mocumentaries. I know everybodies favorite mocumentary is This is Spinal Tap, for very good reason, however I think that if in the right mood, this movie is simply better. The laughs never end, even for someone not into the rap culture.
I'm a white guy, that has no interest in rap music, culture or anything else associated with it, however I love this movie. Rusty Cundeif, who wrote the screenplay, songs and starred in it showed great potential and it is a shame that I haven't seen him since Fear of a Black Hat. However, I have seen him one more time than you have, and is that, that I recommend Fear of a Black Hat to you for quick laughs.
Remember, "Don't shoot to you see the whites!....of their eyes? No don't shoot to you see the whites."
FYM and enjoy the movie.

I did not watch the entire movie. I could not watch the entire movie. I stopped the DVD after watching for half an hour and I suggest anyone thinking of watching themselves it stop themselves before taking the disc out of the case.
I like Mafia movies both tragic and comic but Corky Romano can only be described as a tragic attempt at a mafia comedy.
The problem is Corky Romano simply tries too hard to get the audience to laugh, the plot seems to be an excuse for moving Chris Kattan (Corky) from one scene to another. Corky himself is completely overplayed and lacks subtlety or credulity - all his strange mannerisms come across as contrived - Chris Kattan is clearly 'acting' rather than taking a role - it bounces you right out of the story. Each scene is utterly predictable, the 'comedic event' that will occur on the set is obvious as soon as each scene is introduced. In comedies such as Mr. Bean the disasters caused by the title character are funny because you can empathise with the characters motivations and initial event and the situation the character ends up in is not telegraphed. Corky however gives the feeling that he is deliberately screwing up in a desperate attempt to draw a laugh from the audience.
If Chris had not played such an alien character (who never really connects with the other characters in the movie) and whose behaviour is entirely inexplicable (except for trying to draw laughs) and the comedy scenes weren't so predictable and stereotyped - all the jokes seemed far too familiar) this movie could have been watchable. But it isn't. Don't watch it.
I watched this movie once and might watch it again, but although Jamie Foxx is good in the movie, I feel they could have used a 'less funny' character as Alvin Sanders. Foxx's scenes for instance in the jail when he is confronted by Edgar Clenteen (David Morse) are too funny. David Morse again is a wonderful portrayer of a cop. His tough yet mostly quiet features are perfect for his role. Once again Morse meets Doug Hutchinson (Bristol) in the theater. Morse ends up coming down hard on Hutchinson. They are both perfect for this scenario in each film. I personally love that quality in a film, where actors end up in the same situation as a previous film, as these two did in The Green Mile. Overall it was a pretty good movie.

I picked this DVD up at the Dollar Store. The DVD was on the 2 for $1 rack, but since it had Michael Madsen in it, I thought that since I had never seen the movie, I bought it anyway.
I must say that I didn't like the movie. The movie played more like a documentary or an advertisement for religion than anything else. I found that the director's use of flashbacks did not add to the story line for me. I would have preferred to view the story line in chronological order.
I won't throw it away like one of the other commentators, but It may be quite awhile before I would consider watching this movie again.
Who knows, since it was Michael Madsen's film debut, maybe it might have some archival value at some future date.
This film speaks a universal language; one can relate it to the self, community, society or the wider world. It has a way of not only opening up several questions but also setting one in pursuit of discovering and asking the right questions in order to get to that point of self conviction / ownership. The portrayal of the stereotypes within the film addresses the archetypes around us which must be recognised as being the repeating cycle of destruction, the opposing force of innovation, creativity and growth. The factors which disturb the natural flow of things must be made apparent and tackled. The Idea, is definitely a film to be experienced and not just viewed as it taps into one's internal voice / conscience through the looking, it makes one feel as opposed to just watch.

the costumes, the dialog, historical accuracy are terrible. For instance, - Stacey Dash and the hanging scene. The noose was accurate ( as for as I could tell), but that type of noose broke the person's neck. Ms. Dash is left hanging at the end of the rope with no ill effects until the rope was shot. This type of not did not strangle the person, it killed them at the end of the drop.
And right before they go in to rob a bank (in a flashback), they pause on the street for a group hug - with their bandannas hiding their faces - that would have been obvious to people on the street.
The poor editing - that is a battery pack under that shirt and it is obvious, the clip of the "long ride" shows them riding along, then reverses the film.
I did like the fact that they kept the scene with the horse taking a crap - it seemed symbolic. The entire movie was crap.
A 14 year old girl develops her first serious crush on the 17 year old boy that lives near by, while simultaneously trying to overcome her feelings of inadequacy in comparison to her older sister. That is the simple premise of this beautiful, poetic coming of age film from Director Robert Mulligan. Mulligan is famous for previously directing Summer of '42 in 1971 and To Kill A Mockingbird in 1962, two giants of the coming of age genre. Here he directs newcomers in the principal roles: Reese Witherspoon, in her film debut, as the 14 year old girl; Emily Warfield, as the older sister; Jason London, as Court, the 17 year old boy. Reese Witherspoon is astonishingly good in her film debut, displaying every emotion that a 14 year old girl feels in experiencing young love and hurt, never striking a false note. Warfield and London are both equally good as well. The film accurately depicts each adolescent's thoughts or feelings in regard to love with heartfelt sensitivity, never crossing over into maudlin excess even once. Kudos to the autobiographical screenplay from Jenny Wingfield; this is one of the very few films about young love that is honest and consistent in tone without being emotionally dishonest or sensationalist. The music is wonderfully simple, accentuating the tone and mood from scene to scene, but never becoming intrusive. The beautiful cinematography is by famed horror director Freddie Francis, who was in his 70's when this was shot. Tess Harper and Sam Waterston play the girls' parents with dead aim accuracy for 1957, caring, strict, and emotionally simple. Gail Strickland is good also as the boy's mother. There are feelings to sort out, lessons to learn, and truths to face in this sweet-natured film that packs an emotional wallop. To date, this is Robert Mulligan's last film. This is one of the very best films of 1991. **** of 4 stars.

Normally I'm quite disposed to like low budget gonzo films, but Darkman III is so appallingly unengaging that I feel nothing but contempt for it.
It looks and feels like a TV show, and a particularly shoddy one at that. The sets are sparse, the lighting flat, the score and effects disjointed, and the camerawork is film school 101. There's no plot to speak of, the characters are one dimensional, and the actors are sleepwalking. Most of the cast look like they should be doing soft core porn..... In fact, the only reward that I got from this mess was spotting the startling squint faced Roxann Biggs-Dawson (B'Elanna from Star Trek: Voyager) without her Klingon bumpy head makeup on. Her skin tone is about two shades lighter than it is in Voyager; either she's been bleached down for this role, or blacked up for Voyager. Very strange either way.
I have seen my fair share of comedy and standup movies but this one is so original, so fresh, it will make you wonder why you always walked right pass it in the video store. Murphy has some pretty raunchy jokes but this is just too funny to pass. If only every movie could be this funny. it should be called "107 minutes of the most incredible comedy" Murphy is a comic genius in this film and will make you say "this is the guy that did dr. doulittle!" He talkes about the ice cream man, shoe throwing mothers, his aunt with a mustache, racism, and everything else you could possibly think of and the ones you couldnt. Please if you ever see one comedy in your life this is it, if only all movies could be Delirious.

This film is so unbelievable; - the whole premise is bunkum; the fact that a serial killer (vampire or otherwise) could fly around untraced and kill as many people as the film implies is laughable. The vampire himself would not look out of place in a Bela Lugosi film. Most of the acting is so wooden the actors should be treated for dry rot. I await the day when someone makes a decent film from a Steven King novel (with the exception, possibly, of Stand by Me). This film suffers from what most Stephen King films do - lack of money used for the "special" effects, poor actors, appalling characterisation and dialogue. This film is cheap, tacky and fails in everything it tries to do.
Hey now, I can't claim to have seen all of the films of Jesse (Jesus) Franco, and there sure seem to be a lot of them, but this is one of the better (and weirder) of the lot that I have seen. I'd say most likely he was in his prime back in the late sixties/early seventies and anything lately has been a bit TOO strange for me, and it takes a lot for me to declare that. Anyway, this is like one big bad dream where parts of it seem to come true at various points. This woman is an actress or something, performs in some theater in Berlin where acts of "fake" torture are performed for an appreciative audience (?!) and she seems to have this problem with dreaming. The catch to what's real and what's not in this movie is apparently the real stuff is in sharp focus and the dream stuff isn't. She seems to exist in a state of deja vu. I won't say this makes a whole lot of sense but it is pretty wild and weird and entertaining. Shots of Berlin make it seem like a lonely and creepy place, so that adds to the atmosphere. The ending is extremely abrupt though, the film just ends and the tape went black, I guess no need to let you know it was over at that point. My copy was from the Anchor Bay Euro-Trash collection, and I say, give me more Euro-Trash, I can't get enough of that crap. But it's GOOD crap.

I may have seen worse films than this, but I if I have, I don't remember. Or possibly blocked them out. Who knows,if I was to undergo hypnotherapy, I may remember them, along, maybe, with been abducted by aliens as a child, or other traumas. If so, I would happily exchange those memories for the ones I have of watching this film.
I should give the film some credit: It did produce an emotional response. I actually started to become angry at scenes that spoofed other films and TV programs, that this travesty was dirtying them by association. I am terrified that I may be unable to watch films like Dr Strangelove again without this film flitting across my minds eye.
A shift in outlook is neccesary to enjoy modern British films, one that somehow allows them to be seen in their own right and for their own qualities rather than by the criteria that American films are judged. Britfilm has to try hard to be gritty and finds it hard to make it, but at warmth British films can lord it over their otherwise overwhelming competitor.
This film fails not in its content but only in attaching itself to the predeccesor, so allowing it to be all to easily seen as the work of star and director somewhere near the end of their tethers. It's a couple of decades later, Gregory teaching and this time with two girls on his mind. He teaches at his school railing against human rights abuses. When students he's fired up find abuses in their midst he must face whether he's just all talk.
This is a subversive film in that there's not the usual worldly character of any American movie that you expect to do whatever he does, but a naive man boy who may still put everything on the line for principles. Maybe. It's certainly no protest-by-numbers though, being too warm. Where U.S. film may seem realistic because they're urban and gritty, this and other British films of recent years - those that don't try to match America for visceral thrills - are real because British humour reveals truths.

the only value in this movie is basically to laugh at how bad it really is. with a plot that makes your average middle-school writer look good, and acting which is almost as good, it gets my bottom score. one of tom hanks very early films where he obviously didn't have the pleasure to be real picky. the best special effect of the movie consists of a guy dressed up in an incredibly fake rubber monster consume.
In my opinion, October Sky is one of the best movies of 1999...It totally has everything an emotional drama movie would need, like, wonderful story and good character interactions. October Sky will remain in heart for as long as I can remember, and I just have to say a very special thanks to those who have created this film.

I read that "There's a Girl in My Soup" came out during Peter Sellers's low period. Watching the movie, I'm not surprised. Almost nothing happens in the movie. Seemingly, the very presence of Sellers and Goldie Hawn should help the movie; it doesn't. The whole movie seems like they just randomly filmed whatever happened without scripting anything. Maybe I haven't seen every movie about middle-aged to elderly people trying to be hippies, but this one gives such movies a pretty bad name.
All in all, both Sellers and Hawn have starred in much better movies than this, so don't waste your time on this. Pretty worthless.
I was forced to see this because a) I have an 11 year-old girl and b) we had shown her the Bonita Granville Nacy Drew movies from the 1930s, which she thoroughly enjoyed. Personally, I didn't think it was as humorous as the 1930s flicks, but on the other hand, it wasn't the nauseating piece of intelligence-insulting fluff I feared it would be. It was an inoffensive, mildly entertaining movie. Although I'm pleased that they didn't try to "upgrade" Nancy to 21st Century "hipness" (Veronica Mars holds the title as the Modern Nancy Drew), I do think that they made her a little too bland, that they didn't do enough to develop Nancy Drew - the movie could have been titled "Jane Doe, Girl Detective". I have to blame the script: I think each actor did a good job with what they had to work with. I liked Emma Roberts in this role, but they gave her a made-for-TV, not theatrical release, script...

The beginning of the 90s brought many "quirky" and "off-beat" independent films, a particular sub-genre of which is the semi-spiritual desert crime movie. Others of note are "Wild at Heart", "From Dusk Til Dawn", and to a certain extent "Natural Born Killers". Good films like those spawned junk like "Highway 666", "Destiny Turns on the Radio" and this ineptly surreal anti-masterpiece "Under The Hula Moon". It's a comedy that aims for a certain emotional tone, attains it, but keeps going to the point of irritation. While the pursuit across the spirit-world of the desert and the casting of Chris Penn are good ideas, the film is not dirty enough or hard enough to be a good crime movie, and isn't focused enough on laughs to really be a comedy. I won't blow the ending, but let's just say it's bad. The film is basically a bad side effect of genre-cancer. This is the dregs of indie-mania.
The director and two stars of LAURA (1944) were reteamed for this solid policier: Dana Andrews is the son of a criminal who becomes a cop to cut all ties with the past but cannot keep his inherited violent ways in check while interrogating suspects and, one night, he goes too far; Gene Tierney is the estranged wife of his victim, a decorated war hero who has become involved with the town's leading racketeer and Andrews' No. 1 nemesis, Gary Merrill (who had himself been the protégé of Andrews Snr.)! As usual with Preminger, this is a well-crafted movie with a notable opening credits sequence and enlivened by a good cast that also includes Karl Malden (as Andrews' incumbent superior), Tom Tully (as Tierney's motor-mouth taxi driver dad) and Neville Brand (as Merrill's chief thug), with notable support also coming from Craig Stevens (as the slimy, wife-beating victim), Bert Freed (as Andrews' sympathetic partner) and Robert F. Nolan (as Andrews' stern outgoing superior). Having already been warned by the latter to mend his ways or else, Andrews panics and impersonates Stevens for a couple of hours following his murder to put the police on the (in this case) wrong tracks of Merrill; however, after Tully becomes the prime suspect (by which time Andrews and Tierney are romantically involved), the cop goes by himself in Merrill's lair fully intending to get bumped off and 'frame' the racketeer for his own murder! Clearly, the protagonist is a complex character and Andrews rises to the challenge with a first-rate characterization that is typically complemented by the in-house Fox noir style.

Usually when a movie receives a vote of one it is because someone simply dislikes it and is annoyed it doesn't have a lower rating, and so decides to drag it down as much as they can instead of just giving it a low rating. This is not the case here.
Bonesetter is a perfect example of a 0/10 film. It does nothing right and it doesn't have the chance to because it doesn't really attempt to do anything. There are strands of a bad D&D novel kind of plot which doesn't hold together and a complete lack of any kind of acting throughout. It is clear that nobody involved in this project gave it any kind of serious effort, because even a completely patently untalented persons' hard work would amount to more. A truly awful film.
I thought this movie was very well done. Taking place in the mid 1950's, everything looked accurate to me. It was well cast and believable. I don't usually care much for this type of movie, because they just don't have any depth, but I felt this movie delved in to the characters and you could feel how they felt, you got to really know them and care about them. It did take me back to my youth and let me reminiscent about a more innocent time. This movie could be enjoyed by both male and female and by all age groups. After the movie was over I wished there was a part two. I wanted to know what happened to Dani and her family. This movie is bound to be a classic. If you haven't seen it you should try to catch it when it is on TV or rent it...

I never much liked the Myra movie, tho I appreciate how it pushed the Hollywood envelope at the time. Certainly Miss Welch's costume became an iconic image, though I have to wonder if many people who recognize the image really saw the film and know what it was all about -
I rewatched Myra on FMC a couple of years ago and didn't think it had aged any better thru the years. There's a segment about it in the Sexploitation Cinema Cartoon History comic books, where it's given proper credit for putting such big stars in what was then an outrageous production. However, IMHO, the movie is too bitter to be charming, too silly to be a turn-on, and so busy trying to shock that it fails to inform, engage, OR entertain ---