cindermond/bento huggingface dataset:
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So often these "Lifetime" flicks are one-dimension, with over-the-top characterizations and performances, and with contrived plot lines and climaxes which are intended to trade any semblance of reality for drama.

But most of all, many of these flicks provide characters where it's difficult to feel a trace of sympathy or empathy for even the "good guy/good gal" characters, much less the"bad" ones.

However, here the performance were all good, the characters realistic, and the relationships among the three leads (as well as the ex-husband/father and the two females) rang true throughout.

The mother's boyfriend was portrayed as being about halfway in age between mother and daughter, and the actors were age-appropriate to this in term of their actual ages. None of the characters was portrayed at an extreme - either all-good or all-bad - and all rang true.

Without in any way condoning his allowing the relationship with his prospective stepdaughter to advance to the level which it did - you can still feel some sympathy for him without retracting blame.

Neither mother nor daughter were perfect, neither good nor bad, but simply two individuals whose relationship seemed realistic and not contrived by the script writer.

Lifetime flicks - even those which begin with some semblance of normality - often end with a deranged character brandishing a carving knife or such. Other stories seem to need to provide the "everyone lived happily ever-after" close.

This film presented a realistic premise, story and resolution, from start to finish - a welcomed variation to the norm of this genre/
Please tell me the sentiment of the following review: This film fails on every count. For a start it is pretentious, striving to be "significant" and failing miserably. The script was banal in the extreme, nobody at any time said anything remotely interesting. It was impossible to care about any of the characters. Knightly was a self-regarding waste of time whilst Sienna Miller was just a waste of time. The bit about the soldier who went off to war was a cliché even before the film Atonement used it. The use of the Second World War as a backdrop was in itself a cliché...the bombs, the sheltering in tube stations etc...employed to import a bit of much-needed drama. Why anybody thought for a moment that this film was worth making is quite beyond my comprehension. It was yet another case of "let's get the costumes looking authentic, never mind about the story, the script or the acting!"
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Well, I'll begin with this: I love horror-movies, not even the worst plot or the most insanely terrible acting will ruin the experience as long as there is a certain amount of gore and suspense present. Second; this is the worst movie of all times. It even beats Mean Guns, and the attack of the killer tomatoes. And for that I pay it homage.

However, the involuntary humor was only funny until half the movie had passed, after which point everything was so so sad. To my great surprise, the reviews where somewhat divided; and you guys who rated this piece of C-movie-crap from 7 and up; I KNOW YOU'RE JOKING! GOOD ONE!! HAHAHA! Because if there is any reason in the world, and we have just an tiny bit of the same notion of what quality is; you can't be for real.

Everything worth to be mentioned about the contents has already been summed pretty good up, so I'll leave it. 

MINOR SPOILER ALERT

But the scene where the cloaked rubber mask guy drags the woman back and forth through the dog-kennel for ten minutes, with o so terrible music score and the mind blowing dialog between the two, really does it for me.
I went to see suspecting I would hate it, I did. Everything about it was wrong; it was like they were filming a different book. Granted the locations and houses very lovely (if not a little miscast-yes even the house were wrong for their parts) Keira was too modern, dull and frankly I found it unpleasant to watch her. Were everyone else sees Darcy as a sex god the writer of this saw him as sexually frustrated and inadequate. Bingley was stupid and dippy (he isn't meant to be) and the Bennett's were shown to be destitute and for some unknown reason farmers, this is incorrect and ludicrous. The very idea that Mr Bennett would answer the door in his night gear with the rest of the family dressed in their underwear to in the middle of the night is stupid. They had servants. Mr Collins was not repulsive and greasy merely stupid and obnoxious, Georgina Darcy was ugly and old and Miss Bingley wore a sleeveless dress, what! As if! It is Historically inaccurate and even the ending is unsatisfying. I could go on for days. I hated it so much as not only was it nothing like the book but I fear that for many people it will be their fist experience of this great novel and it will give them the worst possible idea of it. The BBC version is so superior it's not even funny and everything about this version is an insult to its memory. In short if you must see it be sure you have read the book first or seen the BBC version other wise you will be lead done the deluded road that this is what it's like, which its not!

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I cannot believe this show was okay-ed. First off J.P. Manoux does a horrible job filling in for David Spade and Pacha's voice is too deep compared to John Goodman's. The theme song is so annoying and the plots of the episodes are so stupid!!! The only good thing about this show is that Eartha Kitt and Patrick Warburton remain as the voices of Yzma and Kronk. This show is a waste of money and a waste of your time. Half of the episodes are copied of the movie. In my opinion The Emperor's New Groove was one of the best children's movies in years, but they complety ruined by making Kronk's New Groove and this show. You should watch such shows as Spongebob, Fairly Oddparents, Danny Phantom, or Kim Possible but not this show.
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This was not a good film. Poorly scripted and acted - the concept was not new, the effects poor and not a showcase for Arnold Vosloo who really is a half decent actor. I watched this under some protest and only remembered having seen it before towards the very end - it's that forgettable. The acting seemed to consist of a number of glares & looks devoid of any sincerity. I kept expecting this to actually get going and before long I was just hoping it would finish. As for the medical bits - well I wasn't expecting a true version of ER events but this was just comical - I am a Dr so know what I am taking about - and the operative bits were just plain silly.

Do not waste your valuable time - unless you have absolutely nothing else to do - go out, ring up a long lost friend, watch paint dry, sort out your sock draw, do some household task. AVOID at your peril.

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Everything about "Choose Connor" was top=drawer, especially the script and the very proficient work done by the 21-year-old director, writer, producer Luke Eberl . . . a talented young man from whom to expect great things. All the acting was credible, the dialogue smart, the theme important. Loved it!!!

Saw it at the 2007 Woodstock Film Festival, where it was screened twice and went over tremendously with the audiences. It's more than just a coming of age movie -- this kid learns a hard, heartbreaking lesson about trust, politics and "the system" -- how things really work to suit the personal agendas of those in powerful positions.

I would recommend this movie to anyone with a working brain.
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So much for JUDGE AND JURY, which lives up to its nonsense title. What good is there? The lighting is terribly foggy! Another horror movie you ask? Well, that's perfectly explainable. David Keith actually does pretty good at disguising clowns, chefs, and other shenanigans while being the killer who escaped death row. But overall, despite some new twists, it's reasonably stupid. Unapix has been putting out some ludicrous productions recently, and this one only means so much. We, the jury, find this film guilty for its indecent exposure to many of us sitting around believing it's a total waste of our time!

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I just saw this film and I recommend it. It has a very good plot, it holds your complete attention, the acting is superb, Tom Wilkinson was fantastic and Emily Watson was also very good. A very good film indeed, about great and unconditional love. Tom Wilkinson's character is a man who is not prepared for the ordeal that is about to begin, but he takes the matter in hand as the story progresses, and this great actor gives a performance that makes you feel the character's anguish and suffering. Emily Watson's character is very strong, and she has only to give a quick glance and you understand everything. I won't say more because it is better for you have to enter the story as it unfolds.
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I caught this movie on the Horror Channel and was quite impressed by the film's Gothic atmosphere and tone. As a big fan of all things vampire related, I am always happy to see a new variation of the vampire mythos, in this case, a ghoul-like creature residing in a Lovecraftian other dimension. The director has done a brilliant job of conveying the dark mood of the subject, using the decadent art scene as a backdrop to what is essentially a tale of love spanning time and space- the pure love of friendship opposed to the lust for blood and life by the vampires in the story. The characters in the story are transported to another dimension by the means of a mind-altering substance, where a shape-shifting vampire creature appears to grant them their hearts desires, whilst draining them of their life essence. There are some analogies to drug addiction and loss of control, and how this affects a group of friends in an artistic circle. I enjoyed watching the 2 main male characters in the story, Chris Ivan Cevic and Alex Petrovich, who were very attractive hunks, always a plus point in a vampire story for the female viewers! The special effects make up and creature effects were well done, and the set design of the vampire's dimension was very effective. All in all, an enjoyable take on vampire myths, and recommended for anyone who likes their vampires with some intelligence and not just action. The only thing missing to make it even better would have been a bit more eroticism and nudity, as it would have suited the plot and themes.
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This is a thoroughly enjoyable, well-acted film. It is funny and sometimes hilarious. The finale is a bit disappointing, since it tries to wrap everything up into too neat a package. The film is better remembered for its priceless vignettes: the Jane Austen staging, the camping trip as examples. B & H does not attempt to mirror the predominant attitudes toward homosexuality and bisexuality. Most of the characters are quite accepting of sexual diversity. In that sense it is a joyous vacation from homophobic society. And it is a celebration of a flexibility, a loosening of rigid sexual categories--perhaps a happy harbinger of things to come.
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Hilarious, Sellers at his funniest ... a shame you can't get this on video, or even see it on TV anymore ... I'd love to get a good copy somewhere. Maybe it's tied up in court on some legal issue, but a truly riotous hospital farce with Sellers as crooked administrator.
Peter O'Toole, one of our finest actors, is magnificent as a reserved school master who is dedicated to teaching young boys. He meets a show girl and falls in love. The story is one of love and devotion. Petula Clark adds spirit and sensitivity, not too mention a remarkable voice. You will enjoy this film even though the ending might not be a happy one. I enjoyed it.

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I've rented this gem several times! It's a small, yet somehow sprawling masterpiece taking the viewer from Manhattan glitz to the beauty of the Greek islands. John Cassavetes on-screen marriage to his real-life wife Gena Rowlands is on the rocks. He finds meaning in a fling with footloose Susan Sarandon whom he finds in Greece while their daughter, played in her earliest film role by the pubescent Molly Ringwald, falls for the son of the Greek shipping tycoon who is courting her mother on a yacht sailing in neighboring waters. Meanwhile, the immensely talented Raul Julia plays a goatherd living in a cave with his Sony Trinitron. He has the "hots" for Molly Ringwald's character until confronted by John Cassavetes. All comes together at the end in a classic closing scene where all is reconciled. Raul Julia, the goatherd, is seen dancing with his goat. This film is full of mysticism, beauty, young and old love, humor, sexiness, and more. See it!
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Biographical tale of the life of Charles Lindbergh, the first man to fly solo non-stop across the Atlantic in 1927, aboard his plane the Spirit of St Louis.

While not amongst Director Billy Wilder's best films it does boast some very impressive production values especially for a film made 50 years ago. The story is well told and the performances are also good though not outstanding.

One definite limiting factor upon the storytelling is that Lindbergh flew alone and without a radio, which meant he has no one to speak with. This necessitated a few different story telling techniques such as internal monologues, speaking with a housefly, and the occasional bouts of talking to himself especially once the exhaustion sets in. Also in order to avoid an extended sequence of the famous flight, it is interspersed with flashbacks from his life and the methodical preparations for the flight.

Charles Lindbergh was a huge hero of his era but his controversial beliefs would taint his legacy somewhat. Despite this he would continue to contribute to the aviation field and assisted as a civilian aircraft consultant to the US effort in WWII.

Jimmy Stewart certainly had the flying background to back his portrayal of Lindbergh. He rose to the rank of Colonel in US Air Force during WWII and while in the reserves following the War would reach the rank of Brigadier General.

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The only reason I rented this movie was that Val Kilmer rarely stars in a bad movie. There is of course a first time for everything. In many ways, this movie proves that oaters aren't as easy to make as we think, especially by foreign directors. The only one who got by with it was probably Sergio Leone, but even his movies lacked that something indefinably innate to our American psyche and panache. American actors in Clint Eastwood and Henry Fonda did help . I can see now why they changed the original title from "Summer Love" to " Dead Man's Bounty". That itself tells me the producers and director didn't have any core understanding about a western other than those standard shoot'em up scenes and violent themes. I suppose we can say the same about American directors attempting to make a Polish movie while failing miserably in the process.
As I'm listening to my parents watch this (after I gave up 10 minutes into the film), they have absolutely no idea what is going on. When "Charles Dickens" stared into the camera, I half expected him to turn into a demon (yes, he looked like one). Unfortunately, that didn't happen.

This movie had various reasons I did not finish it: one, it was unbearably slow. I mean, seriously, it was SLOWW. You can only understand 10% of what is said, and the characters were poorly introduced.

If you have an English accent and you like a LOTTT of talking, no action, terrible acting, cheesy laughs, and the same music/sound effects played over and over and over, then this is THE movie for you...

1/10 - completely horrible.

Avoid at all costs.
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This show lasted for most of the 1980s, and had its moments, but plots were usually dishwater thin and often painfully unfunny.

Terry Scott and June Whitfield were wasted in this sitcom, they both deserved better, but it does provide some fond memories and I have found myself smiling at some repeated scenes. June Whitfield's talent for comedy is allowed to shine through on occasion (when she is not being a foil to Terry) and she really is clever.

The 1980s is the last decade where you will find this kind of middle class, middle aged comedy, and many people remember it fondly, but I prefer to remember the decade for alternative comedy and the biting satire of Spitting Image.
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This movie was suspenseful and fun to view. As I am a fan of these type of movies, I did enjoy this. The premise is kind of scary but the fact that I didn't rate this a 10 was because the movie was a little over the top in some areas.

SPOILERS:

Cmon:NOBODY could identify this girl? I understand the concept of isolating oneself but I find it hard to believe that SOMEBODY-ANYBODY wouldn't have been able to ID this girl as Angela Bennet. That was over the top and so was the scene where she WALKED over to somebody's desk and started typing. This was overall a really good movie, suspenseful and keeps your interest. Dennis Miller was great as Allen, REALLY believable, Bullock was good as the lonely reserved computer worker the bad guys all underestimated.

I think the PREMISE of the movie was really different-and scary. In today's times who knows what could happen? But some of the over the top scenes prevented this movie from being a 10. 8 of 10.
Just watched it then. It is pretty damn awesome. The fights are fantastic and the magic is really cool! It's totally like a video-game in parts, with some amazing hand-to-hand combat in there.

This film is for the fans: "To those who loved this world once before and spent time with its friends, gather again and devote your time..." Besides this ominous opening, the story was not very hard to follow, and Ihave never played a Final Fantasy game. I think it pays to be familiar with Role Playing Games in general; knowledge of the genre kinda helps you grasp some of it better. I think though that if you pay attention, and accept what the film throws at you, it's quite easy to understand. There is a lot that isn't explicitly explained, and if you demand that it should be then you will probably be confused and irritated.

Watching the film is like being dropped into the middle of some grand saga, and having to put as much of the puzzle together as possible. I like that approach; you get caught up in the mystery and confusion that all the characters are going through. But like I said, just be accepting. If a weird red lion thing that talks, turns up and starts kicking ass and taking names, and the other characters just say he's an old friend, accept it and move on; you don't need a biopic flashback, or a tell-all sit-me-down. You are an observer here, of something beyond your experience and undestanding.

So: fantastic graphics and animation, great voice acting, cool video game styled music, involving story and characters, and maybe some of the coolest fights you'll see in a while. It's worth seeing, and while it IS for the fans, it is perfectly accessible for people like me that have never played the games.
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Sharky's Machine finds Burt Reynolds as a narcotics cop who after a failed buy and bust that wasn't his fault, but that got a few people killed in it, he finds himself demoted to the vice squad in Atlanta.

The prestige is hardly as good as the narcotics beat, but it does have its fringe benefits. One night after a roundup of working girls where one of their books falls into their hands, the guys ask for surveillance on Rachel Ward's place. She's an expensive item, servicing both notorious mobster Vittorio Gassman and law and order gubernatorial candidate Earl Holliman.

Their surveillance however records a murder and the rest of the film is Sharky and his new colleagues from vice trying to solve this prestige case.

Though it's a Burt Reynolds film and those usually have some humor to them, the comedy is kept in check as the film turns as deadly serious as Dirty Harry. It was reported in fact that Clint Eastwood was offered this film.

Look for some good performances by fellow vice cops Bernie Casey and Brian Keith and by Henry Silva the coked up brother of Gassman who does the dirty work of the organization and loves his job.

It's not a bad film, a mixture of Dirty Harry and Laura. Why Laura? You'll have to see Sharky's Machine for that answer.
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Oh, I'm mostly not the kind of person to give a movie less than 5 points. Mostly, just because of the effort from actors and directors.

3/10 for Keyman from me. If anyone thinks the main character (or whoever) deserves an Oscar, I deserve the Nobelprize for peace.

Seriously. I can't believe this movie made it to Europe. The acting was horrible, the plot was awful and what about the '70's horror-music. Give me a break.

"Popeye" eg. What about him? Why is he there, he has nothing to do with the movie.

And what about the Keyman's talking. One time he can't say a decent word, the next time he's getting all talky-talk. He also nearly dies when he wakes up and some sunlight shines thru his bunker. But when he's walking down the street, the sunlight doesn't seem to do anything.

Watch this movie only of you're on the edge of dying of boredom. I regret myself for not watching my roses grow, which are in anyway more entertaining than this piece of...
The tagline on the box hails, "100 TRAPPED PASSENGERS... 3,000 VENOMOUS VIPERS!" You almost have to admire that degree of "no chance in hell we're ever going to deliver on this promise" bullshit. I could admire The Asylum's hucksterism more so if they made movies that, well, you know, were good or, at the very least, worth a damn. Haha, and it's what I like about theses movies. They are garbage. You put them in a toilet and then you flush. It worth the price if you are a fan of cheesy movies. It may become a cult classic among many fans. The gore scenes are effectives, there's not much I can say, it's a Z flick that parody the new movie with Samuel L. Jackson, hell, it may be better so who knows!
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Only watched this to see Joe Morton in an early role and honestly wished I hadn't bothered, he can and has since, done much better than this crap. Cannot understand why anyone finds this kind of stupidity funny but each to his own; it is an absolute mess and not funny in the least. No wait, ONE line only was funny, where Mr Kent (Joe) and his family are having dinner with this nut job as he's been invited for dinner (Lord alone knows why). Pest to Mr Kent: You know what it's like dog, you've been there Mrs Kent: Not lately, Joe's expression was funny but that's it one line does not make a great comedy and this tat is so far away from being funny it should be consigned to the nearest trash cart, it's only good enough for that. Joe Morton - glad to see you don't appear in rubbish like this anymore; you are far superior and a great great actor.
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Before the WWF became cartoon with Hulk Hoagan leading the way, the events of WWF TV broadcasts of the very early 1980s resembled the wild, wild west with all kinds of grudges and vicious acts of violence performed by some of the wrestlers that are known today to be the WWF's most beloved stars. Some of these seemingly very real moments stand out. A maniacal Sgt. Slaughter whipped then champion Bob Backlund with a riding crop after Backlund showed him up in a fitness test. Welts were all over Backlund! Sarge made the Iron Shiek look like a daycare provider! Slaughter also issued a challenge to anyone who could break his dreaded cobra clutch hold. This led a legendary and bloody alley match with commentator Pat Patterson. Hall of Fame member Blackjack Mulligan with Freddie Blassie came into the WWF with a claw hold that was censored on television. He claimed he was the true giant at 6'7" and challenged Andre long before Big John Studd in 1984. Adrian Adonis used his ominously named "Good Night, Irene" sleeper to take out the competition. A New Yorker clad in black leather, he was an ominous figure. George "the Animal" Steele was far from a crowd pleaser, as well. Even Jimmy Snuka was a fearsome sight as he set out maim opponents until Ray "the Crippler" Stevens delivered a piledriver onto the cement floor leaving Snuka a bloody mess. All these encounters took place a decade before hardcore wrestling was ever spoken of.
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Continuing with the exclusive film programme about complicated relationships in some European courts, last night in the Schloss theatre was shown "Anna Boleyn", a film directed by the great Teutonic film director Herr Ernst Lubitsch. The film depicts the terrible story of the Queen consort of the British King Henry VIII. She was executed by her husband ( well, not exactly, the King ordered the executioners to do his dirty work) not to mention that this marriage caused an important political and religious historical event, the English Reformation.

The film stars Dame Henny Porten, Germany's first screen superstar during those early years and Herr Emil Jannings, Germany's fattest actor in that silent era. Both play their characters in a suitable way; Dame Porten as an innocent aristocrat who becomes progressively interested in the power that the court offers her and Herr Jannings as the unscrupulous, whimsical and womanizing British monarch, a character very suitable for this German actor who overacts appropriately, given the extravagance and excessive personality of the character himself.

In the early film period Herr Lubitsch was known for his outstanding costume films, colossal productions with big budgets ( "Anna Boleyn" cost about 8 million marks, a fortune even for this German count ) taking great care in magnificent decors as can be seen during the coronation procession in Westminster Abbey scene which employed 4.000 extras ( idle Germans of that time were used, causing revolutionary workers to create a fuss when German President Friedrich Ebert visited the set during filming).

Besides the spectacle, one of the most important aspect of this and every film of Herr Lubitsch, even during his epic period, is the complex relationship between the main characters. We experience a game of different interests, double meanings, and the complicated art of flirting but what is treated lightly at first ends in tragedy. The importance of those historical facts is brought to bear in an effective way but Lubitsch is really more interested in the changing relationship between Henry VIII and Anna Boleyn.

And now, if you'll allow me, I must temporarily take my leave because this German Count must take care that one of his fat and rich heiress doesn't lose her head for this Teutonic aristocrat.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/
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Please tell me the sentiment of the following review: *MINOR SPOILERS*

Need any further proof that Tsai Ming-liang ranks among the most original and provocative filmmakers working anywhere today? See this film.

Working from slight variations of a theme running through most of his work, THE HOLE represents a study in alienation and loneliness - in this case between a man and woman who are upstairs/downstairs neighbors - and how varied structures (real or psychological) of modernity wall people off from one another. Here, the woman (the downstairs neighbor) attempts to endure as her apartment is flooded by a prodigious leak from upstairs. A plumber attempts to locate the source of the problem, then disappears after creating a large hole in the floor. Already isolated and desperate (both characters are among the few residents of a housing project who haven't fled in advance of a mysterious, near-apocalyptic epidemic). The hole linking the two apartments functions first as yet another in a long line of indignities, but soon begins to take on a significance of near-mythic proportions.

Tsai's sense of humor, and sense of cinematic history is displayed with a bit more overtness than usual - as the woman's occasional daydreams revolving around her upstairs neighbor are visualized as musical numbers (set to the music of Grace Chang) which explode from the screen in brief bits of sensualistic, surreal romance and humor - quite reminiscent of the big-screen PENNIES FROM HEAVEN. And for all of the ennui and alienation on display here, Tsai's skewering of late 90s pre-millennial tensions is funny, absurd, and gives this film a very appealing strageness. The final scene is extraordinary.

Meanwhile Tsai - in typical fashion - subverts most of the usual expectations or preconceptions Westerners bring to Asian cinema with a nonchalant, casually-revealed directness, focusing on both the absurdist tendencies of the human mind, and the most absolute of mundanities. There's an utter, nonchalant demystification of almost everything about his characters, sidestepping backstory or most cultural signifiers (which does amplify the isolation of the characters), making THE HOLE - and his other films - rather disorienting, but also always fascinating and insightful.
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I never expected such an old film to be as impressive as this 1930 western turned out to be. The scenes of the pioneers heading west in their covered wagons, encountering storms and mud, river crossings, Indian attacks and every manner of trial and danger, are astonishing in their rugged believability. Much of the film was shot outdoors, and the movie has a truly epic feel about it. The actors must have experienced much the same conditions as the original pioneers did, and the results are astounding. The wagons, the clothing, every single detail looks and feels right. The characters are simple but believable, with a straightforward story ,that travels like the wagon train to its destination.

John Wayne is slim and youthful in one of his first roles, as the scout leading the wagons, and he does a fine job as the idealistic young frontiersman. He's up against a marvelously scurvy trio of villains, including Ian Keith as a slick gambler, Charles Stevens as a Mexican sidekick and Tyrone Power, Senior, as the growly, bear-like trapper. Power's bearded, snarling, larger than life portrayal is both comic and menacing. I keep picturing him with a bandanna, gold hoop earring and black eye patch, with a parrot on his shoulder, as he grunts and growls various threats and insults. His character could easily be transferred to a pirate ship with no difficulty at all. He nearly steals the whole picture.

Tully Marshall is delightful as a wily old frontiersman who is Wayne's best friend. The lovely Marguerite Churchill makes a spirited heroine, whose initial meeting with Wayne is a hilarious mix-up, resulting in a long running courtship consisting of insults and feigned indifference on her part, to aw shucks persistence on his. The results are quite humorous and one is glad to see them finally get together at the end.

The scenery is amazing, with the wagons crossing real prairies and having to be lowered by ropes down cliffs. Indians who are clearly the genuine article, and not white actors in makeup, appear as both friends and foes, and are treated with dignity. Wayne's character tells an admiring group of young boys that the Indians are his friends, who taught him everything he knows about survival in the wilderness.

The Big Trail is an uncomplicated tale told well by a talented cast and crew. It will probably appear naive to many modern viewers, but there is a quiet dignity about it that never lets it become corny. There is a great deal of intentional humor, including a rowdy rascal of a pioneer, who makes loud animal sounds from hiding , every time the smooth gambler Ian Keith tries to con the beautiful heroine into marrying him. His flowery speeches about the plantation he allegedly owns are interrupted by very realistic imitations of yowling cats and quacking ducks, causing the would be seducer to look around in annoyance for the unseen creatures.

Highly recommended, both for western fans and lovers of old movies in general. This is truly a classic film for the ages.
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Please tell me the sentiment of the following review: This is a horrific re-make of the French movie Ma Vie en Rose (http://imdb.com/title/tt0119590/). The only scenario that I can imagine in which anyone (Sinise?! Bates?! Butler?! What WERE they thinking!?!) agreed to be associated with it is MacLaine seeing the original, being rightly impressed, and enlisting a friend (with no writing credits -- or talent! -- to his name) to translate the themes for American audiences -- whom they both agreed are stupid, stupid, stupid. Then she enlisted other friends to sign up, and they did so as friends -- certainly not on the merits of this pathetically contrived, everything-but-the-kitchen-sink script.

I'm not a knee-jerk fan of French film, but Ma Vie en Rose is a subtle, thoughtful, and thought provoking treatment of sensitive cultural issues. I would love to see it get wider exposure among English-speaking audiences -- and if that means an American re-make, so be it. But puh-leeze! a little respect for the issues AND the intelligence of the audience -- and better direction for the actors, who couldn't seem to decide if they were working for Tennessee Williams or Jerry Lewis!
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Ever since they first came to the Outer Banks and filmed the movie (I have lived here my whole life), I have waited for this movie to come out. And I mean waited and waited and waited over a year and a half for this movie and to me, it was worth it.

The movie is different from the book but in my eyes, it's still a beautiful piece of work as is the book. In both I cried, there were moments that tore me up. I laughed and I smiled just as much. It's a great movie with a great story line.

It's about never giving up on finding that one, the one that will change you forever. The one that will shape your soul and awaken you to a whole new view of life.

I have to say that it is possible to meet someone and have them change your life forever, which is what Gere's character did to Lane's. I met the love of my life and at once was completely captivated that I never forgot him or how smitten I was with him until I 'met' him again a year later. For me I could relate to this movie with my whole heart. I think that if you listen and watch the movie with your heart and your hopes you'll see what I'm talking about. It's never too late to find your true love, great work Ms. Lane and Mr. Gere!
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If you read Errol Flynn's autobiography, My Wicked, Wicked Ways, you will see that this film is full of poetic licence. Not that that makes much of a difference, because Errol Flynn was pretty generous with poetic licence in the autobiography anyway. No need to worry about spoilers, since there is nothing there to spoil.

To me it would seem more sensible to use the story about a fictitious Hollywood actor; then you could go out and find a better actor than Duncan Regehr to play him, and you wouldn't have to worry about the audience saying things like: "But he didn't have a moustaches in Captain Blood." Another failing of this film is that it shows Flynn as a two-dimensional character. Flynn was an intelligent man, well educated, well read. This film only concentrates on his funster image.

Regehr is a disaster. The rest of the cast struggle with their scripts. Hal Linden is OK as Warner, and Barbara Hershey makes a believable Damita, although Lili Damita herself did not think so.

The best thing to do with this film is to forget about it and let it gently slip away to oblivion. So what I am writing this for, I can't imagine.

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Well, where do I start...

As one of the other reviewers said, you know you're in for a real treat when you see the opening shot - minutes and minutes of film time spent on a guy standing on a travelator.

I won't repeat Rubin's excellent summary of the story. What I would like to say, though, is that this film gripped me more than any film I can remember. I sat open-mouthed, and on the edge of my seat all the way through. The camera work, sound track and *fantastic* performances (particularly that of Tony Servillo) draw you to the screen and won't let you look away.

It's Italian, so of course everyone looks fantastic, but it is by no means merely an exercise in cool style. This is a film with lots to say about luck, loss and love.

Go and see it.
this movie sucks. did anyone notice that the entire movie was shot in like 2 rooms. there are NEVER any outside shots and if there are its obviously film taken from somewhere else. this movie blows hard, painful to sit through too. stay far away.
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This film reminds me very much of the later Rock Hudson film MAN'S FAVORITE SPORT--about a fishing writer who has NEVER fished and is forced into entering a fishing tournament. In this case, Barbara Stanwyck is a Martha Stewart-like writer who can't cook and doesn't really have the perfect family she describes in her articles--in fact, she has no family at all. Well, like Rock, she is maneuvered into performing--in this case, creating a huge holiday dinner while vacationing in the countryside. Since there is no family, she takes home a veteran and a few friends and tried desperately NOT to "let the cat out of the bag" that she can't do any of the things she is known for doing. A cute little comedy and a welcome film to the annual holiday film lineup.
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Hilarious, clean, light-hearted, and quote-worthy. What else can you ask for in a film? This is my all-time, number one favorite movie. Ever since I was a little girl, I've dreamed of owning a blue van with flames and an observation bubble.

The cliché characters in ridiculous situations are what make this film such great fun. The wonderful comedic chemistry between Stephen Furst (Harold) and Andy Tennant (Melio) make up most of my favorite parts of the movie. And who didn't love the hopeless awkwardness of Flynch? Don't forget the airport antics of Leon's cronies, dressed up as Hari Krishnas: dancing, chanting and playing the tambourine--unbeatable! The clues are genius, the locations are classic, and the plot is timeless.

A word to the wise, if you didn't watch this film when you were little, it probably won't win a place in your heart today. But nevertheless give it a chance, you may find that "It doesn't matter what you say, it doesn't matter what you do, you've gotta play."
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There seems to be a whole sub genre of cheap, tired old sex "comedies" out there, that say the same old things about middle class couples. Sort of like Friends, but with more soft porn and no wit. This film is no exception- it had situations so familiar I died from deja vu. People sat on couches, spinning out clichés about sex and relationships? Check. Monogamy versus cheating with some woman/man who would never look twice in reality at some other woman/man? Check. PORN The BADDIES!!!!111? Check. Some guy/girl in it who happens to be the only reason you're watching this rubbish? Check. The lesson seems to be- when it doubt, make a tired old sex "comedy" about people no one cares anything about, in order to make some statement that everybody has already heard three thousand times before. That'll get your film made. It'll even attract some sitcom nobody in a bad wig!
I caught this movie late one night and never knew what hit me. This was one of the most disturbing movies I have ever seen, yet had me on the edge of my seat waiting to see what would happen next. Alan Rickman is an excellent "bad guy" but this character beats all others. I've never been so affected by a movie! It's been 6 years and I still can't forget "Closet Land."

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This movie is an all-time favorite of mine. I'm sorry that IMDb is not more positive about it. I hope that doesn't keep those who have not experienced it from watching it.

I've always loved this movie. I watch it about once a year and am always pleased anew with the film and especially the stellar performances by entire cast.

I've always wondered whether Jean Stapleton actually did the ending dance with Travolta???? If anyone knows this piece of trivia, please leave a comment.

Thanks and ENJOY!
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When I first saw this on tape, about 10 years after it had been released, I thought it was one of the better James Bond movies. However, after seeing it again around the turn of the century, I was disappointed.

I think it's a bit overrated only because critics were so happy to see Sean Connery end his 12-year hiatus from playing Bond that they didn't dare criticize the film. I guess what disappointed me was the ending. After investing two hours into the film, you expect a less-hokey, more satisfying ending. And, it may be nitpicking, but I was disappointed in not seeing the regular actors in the supporting roles such as Miss Moneypenny, Q, Felix Leiter, etc.

On the positive side, there was plenty of unique action scenes, particularly early on, and the two villains were interesting. I thought Klaus Maria Brandauer was the more intriguing of the two because he was so low-key and looked the "nice guy next door." He wasn't your normal Bond villain.

This had plenty of "skin," for a PG movie, especially with Kim Basinger starring, never being an actress known for hiding her figure. The language was very tame, but most Bond movies are pretty good in that department.

All in all, it's a "fair" Bond and nothing else. Just because Connery is in it, it doesn't mean it's automatically good. Roger Moore and Pierce Brosnan have proved they could play the role well, too.

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This film was pure trash. Not the worse film ever. If it were to be broken down, the acting was good enough to get the job done but the script was SO out there and so stupid that one was left thinking, "Where did my life go?" Even Vanessa Redgrave~ whom I love (and is the reason I watched this) was wasted. Utterly wasted. She didn't even leave an impression. The directing was so distant that non of the characters left me much of anything, but to see Redgrave leave nothing. Her part was nothing. She was good as a mean boss but that was it. Do depth and she's given depth to small roles~ see Venus and Atonement. I would not waste my time and was upset to have spent the $5 on this movie...I wanted it back. No returns. Skip the film. It'll only bring you grief...and boredom.
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This version of the Gulliver stories is definitely bizarre. The production adds a frame story (that's what it's becoming famous for) of Gulliver returning to his wife and son. In one vieweing, incredibly overlong and sometimes fails to hold attention throughout, but the odd images and diverse cast will keep you looking. Mary Steenburgen does the best job of the cast. Danson seems a bit out of place with his American accent. The whole asylum thing is awfully disturbing often, but is nonetheless interesting and holds the journeys of Gulliver together well. Danson's character really does seem insane, however... he should have worked on being a little more believeable to everyone, in my opinion. Also confusing is going from present to past. Anyone else think the Yahoos are the ugliest things ever to grace a television screen (or in line for it)? Confusing, sometimes boring, but still highlighted by some good acting, overall wonderful visual effects, and a few enjoyable parts. NBC's first of many event films from Robert Halmi, Sr. See it for yourself to decide how it goes for you, however I give it * * * 1/2 (out of 5 stars).

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Here we've got an intelligent mixture of typical hongkongmovieshootouts, worlddestructionthemes and intelligent filmmaking. Not that the script has not its big holes and a few specialeffects are a bit cheaplooking. But the cinematography is a optical treat and the soundtrack is first rate. The blend of fast actionsequences and colorful slow, sometimes nearly poetic parts, has no comparison in its kind of movie, so a classification is rather hard. The closest genre is a disaster or terroristmovie with deeper human and political notes than usual. Well worth to be seen worldwide in cinemas. But i am hoping this for so many other (mostly asian) movies before and nobody seems to believe me. Unfortunately.

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When the long running 'Happy Ever After' came to an end, its characters- 'Terry & June Fletcher' were revived for the longer running and more popular sequel- 'Terry & June', although their surnames were changed from Fletcher to Medford.

Terry has received a new job and as a result, he and June move to Purley where they end up in all manner of scrapes- unwanted guests dropping by to visit at an inconvenient moment, the boss inviting himself to dinner and Terry trying to chance his arm at D.I.Y but cocking it up each time. A fellow IMDb user branded this show as 'not clever' and 'never well written'. Fair enough, it wasn't clever, but that was the whole point. As for 'never well written'- some of the episodes were pretty substandard, I will admit, but overall I found it to be extremely well written, highly amusing and very well acted.

It was warm hearted slapstick, not dissimilar to the later B.B.C sitcom 'Keeping Up Appearances'. Eight different writers contributed to the nine series, giving the show plenty of scope. Terry Scott was a comic genius, as he well proved in productions such as 'Hugh & I', the 'Carry On' films and of course, here! June Whitfield likewise was a comedy legend in her own right.

I enjoy some modern shows- i.e 'Still Game', 'The Catherine Tate Show', 'Legit' and 'Empty'. I even enjoyed the 'alternative comedy'- 'Naked Video', 'The Young Ones' and 'The Comic Strip Presents' but I am more inclined to enjoy vintage comedy, such as this. Humour that you don't need to think about is excellent for when you are feeling down and want to lift yourself up. For the record, 'Terry & June' was wonderful stuff. Special note should be made of the catchy theme tune which caught the mood of the show tremendously well!
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