cindermond/bento huggingface dataset:
Director Jay Craven's adaptation of Howard Frank Mosher's 'Where the rivers flow north' is one of the finer transitions from literature to the screen. Craven is an admirer of Mosher's work -- he also directed 'A stranger in the Kingdom'.

The cast is superb -- especially Rip Torn and Tantoo Cardinal. Torn offers what could be the finest role of his career -- Noel Lord, the fiercely independent former lumberjack who is at the center of this story. Tantoo Cardinal's portrayal of Lord's live-in housekeeper/common-law wife is dead-on as well. I'm both amazed and disappointed that neither of them were nominated for Oscars when this film was released. Performances of this calibre should be acknowledged. The only character that's a little hard to swallow for me is the power company executive played by Michael J. Fox. He just looks too much like a kid in this role. I guess there's a curse attached to youthful looks, no matter how much people want them.

Craven has done a nice job here in bringing the character of early 20th century Vermont to the screen -- locations, angles, sets, all combine to transport the viewer to the time and place of the story. Cinematographer Paul Ryan was exceptional. The score by the Horseflies is also first rate -- it fits the mood and scenery perfectly.

And the story itself...? One of the most compelling portrayals of the fiercely independent American pioneer spirit ever -- a trait that is on the wane in this day and age. When it appears in modern times, the person is often looked upon with suspicion and disdain. In Noel Lord, we have a character whom we can admire for his values, and even for his stubbornness.

This is not a stodgy 'period piece', but a vibrant look at an era that is gone, and a type of character that has all but vanished. These are not gold-plated heroes, but real people, with both strengths and weaknesses at play within them. struggling in a harsh environment to live their lives and at the same time be at peace with the world in which they live. Like today, there are those who wield power that would have it otherwise.
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i didn't hate this one. i just couldn't adapt to the story. it didn't really grab me. Michael Mann is a very good director but i have to disagree with his methods in this. i'm also a fan of Daniel Day Lewis. some projects he's been in are pretty rubbish but his acting is brilliant. my favourite Daniel Day Lewis films are There Will Be Blood and Gangs Of New York.

there is one thing i loved about this and that was the musical score, it gave the film a lot of atmosphere. thats about all i liked in it though. this film has a high vote as well which is a bit random. i can see that a fair few people will like this but not enough to make the overall rating 7.8.

i would give this film a miss if i was you but there is a lot of high votes for this so i guess you should watch it and make your own views on what you think. i didn't really like it............. 4/10.............j.d Seaton
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A wealthy young man, raised as a SON OF THE GODS, must confront his Chinese heritage while living in a White world.

Although the premise upon which this film is based is almost certainly a biological impossibility and the secret of the plot when revealed at the movie's conclusion makes all which has preceded it faintly ludicrous, the story still serves up some decent entertainment and good acting.

Richard Barthelmess has the title role as the sweet-natured Oriental whose life is terribly complicated because he looks Caucasian. Barthelmess keeps the tone of his performance serious throughout, gazing intently into the middle distance (a mannerism he developed during Silent Days) whenever his character is indecently misused. He makes no attempt to replicate his classic performance in D. W. Griffith's BROKEN BLOSSOMS (1919) and this is to his credit. Beautiful Constance Bennett is the millionaire's daughter who makes Barthelmess miserable. She is gorgeous as always, but her behavior does not endear her to the viewer and her terrible illness in the final reel is kept mercifully off screen.

Multi-talented Frank Albertson has a small role as Barthelmess' improvident buddy. Serene E. Alyn Warren and blustery Anders Randolf play the leading stars' very different fathers, while Claude King distinguishes his brief appearance as the English author who befriends Barthelmess.

Movie mavens will recognize little Dickie Moore, uncredited, playing Barthelmess as a tiny child.

The original Technicolor of the flashback sequence has faded with time to a ruddy tint. The shot purporting to be the South of France instead looks suspiciously like Avalon on Santa Catalina Island, off the coast of Southern California.
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Diane Lane, Mickey Rourke, Rosario Dawson & Thomas Jane.....Not a bad cast in my opinion however they were totally wasted in this movie.

There was no real direction, there were no unusual turns, in fact the whole movie was very predictable from start to finish. Mickey Rourke had a really annoying sidekick who did nothing but irritate you from the start. Rosario Dawson was totally wasted and there was hardly any point in even having her character in the film.

I really do believe this is one of those straight to DVD movies that everyone will forget about very quickly which is a shame as the movie could have been so much better.
Boring movie. Poor plot. Poor actors. The movie happens in a room supposed to be in Morocco but actually in some American city! The "Arab terrorists" are the patriots the blonde patriot is the "Arab terrorist"...DAMN!

There is something good about this movie though (that's why the score is 2 out of 10). The director turns the ridiculous stereotype about terrorism the media feeds us every day into the real thing, the terrorists are Americans (or western people if you like).

The movie is divided into two parts. The first part of the movie concerns the Dutchman travel (15 seconds) while the second part is about the staying in the amazing dark brown room (1 hour and something).

The Dutch guy is going to deliver money in Morocco to some "charity organization", gets off the plain, takes the bus and ends up kidnapped in a dark brown room. He is kidnapped with another guy that is shot after telling "They will not shoot at us". The Dutch survivor is forced to play chess with a Morpheus-like Arab guy for so long that you'll learn how to play chess too! At the end the dutch guy reveals his plot not because they cut four of his fingers off but because he is tricked by such a lame game you should watch the movie for!

Good when you are so tired you can't sleep.

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Aunt Cora had always been tactless, and her well-bred family ignored the remark she made after her brother Richard's funeral: "He WAS murdered, wasn't he?". They remembered it the next day, when Cora was found brutally murdered with a hatchet...

For some reason, the POIROT movies this year have been far from faithful to the original book. I was disappointed about the changes made in CARDS ON THE TABLE-- my favourite Poirot book. AFTER THE FUNERAL is my 2nd favourite Poirot book, and I was scared the story would be destroyed. It wasn't! The movie was nearly page-for-page faithful throughout, right down to the killer's motive! All the actors were wonderful, but my favourite has got to be Monica Dolan, who gives a great performance as Miss Gilchrist, the companion to the late Aunt Cora. Without a doubt the best Poirot movie ever!
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I really tried to like this film about a doctor who has the possibility of a new life with a young woman if he can comes to terms with the death of his wife. I suppose this was to play like a quirky light romantic comedy but the theme is a little uncomfortable for me.

But putting that aside, I found the dialog was too much like a stage play despite being based on a novel and also,the mediocre acting was embarrassing to watch especially by the young lead Vincent Spano.

I have been sort of trying to catch up on all the eighties movies I missed during that decade. It has been my pet peeve that eighties nostalgia buffs seem to focus on the same core canon of films usually featuring the brat pack actors and actresses and neglecting the other films like Creator that have fallen through the cracks. But in the case of this feature I have to say I can understand it. Not all of these eighties films were magical and Creator is proof of this.
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I must admit, when I first began watching this film I had no clue what was going on. So the beginning was a bit confusing for me. However, that did not diminish my enjoyment of the movie. The characters reveal themselves to be more complex than they may first appear, and that is what makes this a memorable film. At first I heard this was a real "Hollywood" movie. Although it obviously lacks the stereotypical "guns and fists" element, the convincing performances of talented actors such as Martin Sheen and Sam Neill more than make up for it. I'd rather see a film with more substance than shooting any day.
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I cannot stress how bad this movie is. This director took every cheap little unintelligent shot at making these people look so "distressed". Why are their clothes so dirty? Why on earth would you get the new clark kent to play a crack head? You should be banned from motion pictures for the rest of your life Buddy Giovinazzo.

I take serious offense to this fool wanting to cast real actors as thugs and lowlifes as some kind of clever joke. Why would you ask Clark Kent to play a crackhead? Why are they yelling so much? Why is everyone so mean? Why are those kids so filthy? No one would want to be so filthy? Not even a crackhead child.

You need to grow up and not make any movies ever again.
It has a bit of that indie queer edge that was hip in the 90s and which places an explicit sell-by date on the visual style. Characters are uniformly apathetic and farcically deadpan. Street hoodlums in Greece wear new clothing out of the box without creases or stains. They all appear to visit the same marine hair dresser. All uniformly exhibit the same low IQ when making their dispassionate underground business deals. When things go wrong its all because they aren't real Greeks - they're pastoral sunshine boys caught in a strange night city world. Makes a big whine about disaffected immigrants but never bothers to actually investigate the problems with Russian/Kazakh/Albanian cultures. If Giannaris had the proper perspective on this project it might have made a wonderful Bel Ami production. The fleeting glimpses of toned boy-beef is the only spark in this generic small-time mobster programmer.
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i had been looking for this film for so long before i found it, i had seen it when i was younger and loved it, after my second viewing i still loved it and i still do.

this is a love/hate film, if you like bottom, young ones, the comic strip, then you will find this funny. If you don't like that kind of humour then don't bother. I love this film and have grown up with these comedy programmes, for me this film is simply placing their comic genius on the big screen.. It is not an award winner by any means but if you just want good wholesome slapstick then this is it!

the film lacks the quality of the TV series and this is usually the case with films but it still has enough material to keep you laughing even if a lot of the jokes are pretty similar to their previous work.

yes, the humour is a little childish and not to everyone's taste but sometimes you just need that in a film.
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In the early 19th century, a young woman with a harelip falls foul of her family's ambition and the superstitions of the local community, but she meets a man who may see her differently, and just may, change Pru's life forever.

Precious Bane is a British Broadcasting Corporation adaptation of the highly acclaimed novel by Mary Webb. It's a beautifully filmed piece that is acted to an incredibly high standard, the story {screenplay by Maggie Wadey} is excellent, and the period detail and use of dialect is second to none. It's such a shame that this film has yet to get a DVD release, one would have thought that with Clive Owen's {great here as Gideon} rise to stardom, the BBC would get it out there, but sadly no, so the only way of catching it is on the very rare occasions that TCM shows it. The lead performance from Janet McTeer as Pru Sarn is simply brilliant, guts and genuine emotion go hand in hand as McTeer gives it her all. Pru has to not only contend with her facial disfigurement, but also the constant snides and hurt from the ignorant villagers. This is a time when folk believed that if a Hare ran in front of a pregnant woman it spelt doom, a time of Bull Baiting, a time of superstitions and talk of witches. In spite of constant set backs Pru is strong and resourceful, even her own family knock her dreams back without realising it, but this road may well be a terribly bumpy one, but hope is everlasting, and Pru has hope in abundance.

8.5/10
A blackly comic tale of a down-trodden priest, Nazarin showcases the economy that Luis Bunuel was able to achieve in being able to tell a deeply humanist fable with a minimum of fuss. As an output from his Mexican era of film making, it was an invaluable talent to possess, with little money and extremely tight schedules. Nazarin, however, surpasses many of Bunuel's previous Mexican films in terms of the acting (Francisco Rabal is excellent), narrative and theme.

The theme, interestingly, is something that was explored again in Viridiana, made three years later in Spain. It concerns the individual's struggle for humanity and altruism amongst a society that rejects any notion of virtue. Father Nazarin, however, is portrayed more sympathetically than Sister Viridiana. Whereas the latter seems to choose charity because she wishes to atone for her (perceived) sins, Nazarin's whole existence and reason for being seems to be to help others, whether they (or we) like it or not. The film's last scenes, in which he casts doubt on his behaviour and, in a split second, has to choose between the life he has been leading or the conventional life that is expected of a priest, are so emotional because they concern his moral integrity and we are never quite sure whether it remains intact or not.

This is a remarkable film and I would urge anyone interested in classic cinema to seek it out. It is one of Bunuel's most moving films, and encapsulates many of his obsessions: frustrated desire, mad love, religious hypocrisy etc. In my view 'Nazarin' is second only to 'The Exterminating Angel', in terms of his Mexican movies, and is certainly near the top of the list of Bunuel's total filmic output.
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Ho hum. Rich good looking kid gets in trouble, poor girl falls in love with him, jealous ex-boyfriend causes tension.. yadda yadda. I actually laughed out loud in many parts of this movie because the next scene was so predictable and just plain stupid. As one scene moved on to the next, I often found myself wondering just how we got there, like I had skipped a few chapters in a book.

The script was pretty pitiful and didn't have me or my wife caring much about any of the characters, except the jilted boyfriend. Now, if the ex boyfriend had gotten an axe, and hacked apart the girl and rich kid, then.... then we would have a movie, and all the stupid dialog and leaps in plot could be acceptable. But, since this movie attempts to be touching and totally misses the boat (and ends up resorting to the romance equivalent of divine intervention to try and jerk a tear)... it just falls very very flat.

Avoid this movie. Clip your toenails instead, you will have more fun.
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Please tell me the sentiment of the following review: Committed doom and gloomer Peter Watkins goes slummin' across the pond to take on the American justice system circa 1971 with this priceless piece of zeitgeist paranoia that leans so far left it falls over constantly. Watkins is pure tourist as he assembles this our gang tragedy with cliché freaks, hippies and black revolutionaries pitted against trigger happy cops and military and a kangaroo court tribunal made up of disapproving calcified adults making poor fashion statements. Talk about a revolution.

In Punishment Park we have radical youth versus corrupt system as dissenters convicted of crimes are given the choice of imprisonment or a three day trek across Punishment Park (Death Valley) and freedom. Of course the law enforcement officials monitoring their journey aren't about to play fair and combined with the stifling heat the fate of our protagonists looks sealed.

Punishment Park has elements of Kafka in setting as well as theme. Trials are held under a large canvas tent where shackled prisoners shout defiance at a hardcore love it or leave it group of inquisitors (such as members of Silent Majority for a Peaceful America) who snarl back. Neither group spends much time listening to the other and the proceedings sometime takes on a teen parent battle over the keys to the car look. Mostly its just one side saying what's wrong with America the other saying what's right with no one offering solutions for change. Meanwhile the Punishment Park martyrs stumble endlessly about the dessert while cops with guns act like twelve year olds. It kind of has the look and feel of some of my 70's college film making class when we were younger and knew more then than we do now.

Peter Watkins has always been on the side of the underdog and the common man against what he perceives as a corrupt powerful few. Culledon was a strong indictment of military atrocity in 18th century Scotland that still resonates. War Game is a raw sobering look at nuclear aftermath that should be required viewing for all. Punishment Park has its value as well but for other than intended reason. Watkins vision today is a textbook example of the left in full tilt counter culture 70s paranoia and given the times ( Vietnam, Kent State, The Chicago 7) such strident hysteria seemed not that great a distance from the truth. But 35 years later the fever has subsided and Punishment Park with it's unrestrained narrow viewpoint is a pretty silly ride.
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First of all, it is interesting to note that one of the users here who commented on this film (from Belgium) had to add that Lumumba was "communist." If this user indeed watched the film, the message was that he was not communist but pigeonholed (by none other than Belgium, the U.S., the UN, etc.) as a "communist" leader for other individuals', corporations', and country's political and economic gains. Even if one decides to accept that the film partakes in "revisionist history" it would be naive to assume that Lumumba was communist, especially coming from the country which "granted" the Congo independence, and since Lumumba was elected DEMOCRATICALLY to his seat as Prime Minister.

Onto the film...

This is one of the most important and powerful films I have seen in quite some time. Depicting the struggles of the African freedom fighter, and ELECTED Prime Minister's struggles as its first leader, Mr. Peck, does a quite commendable job of putting together all of the pieces into one work. And this must have been quite some task. Due to the fact that most people outside of the Congo and Belgium likely do not know the history of Lumumba and the Congo, outside of some light coverage of African Imperialism (hopefully) in one of their high school/secondary school (or maybe university/college level) history classes, he had his work cut out for him.

And to to think that Oliver Stone's "JFK" took over 3 hours, "Lumumba" runs under 2 hours. And a most engaging 115 minutes it was, as we find that his desire to not compromise with Western powers (whom he holds responsible for the atrocities to his people, particularly Belgium), while trying to deal with power struggles within his own borders, apparently even with some of his friends, it is amazing that the man lived as long as he did.

This is a MUST see for anyone interested in equality, justice, humanity, history, politics, and true freedom. You will not be disappointed.
this one is about a homicide detective who battles a couple of young rich kids who have nothing better to do than plan an intricate murder and cover it up, they seem to outwit the police force seemingly at will. they taunt the detective by planting clues and leading them off on a wild goose chase. this one has a decent plot with a few good twists at the end of the movie, Sandra Bullock does a fine job in this one as a woman on the edge, not sure of herself and battling her inner demons, she can't seem to keep a man in her life, especially partners, they seem to keep leaving her for some reason. Altogether this isn't a bad film, it keeps you guessing all the way the very shocking ending.
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This movie is just crap, I cant put it differently. Since the very beginning one knows is going to be crap. 

The story, dialogue, acting, special effects, make-up, pretty much EVERYTHING sucks. I like vampire movies and I know they will never be Oscar winning movies but this one is not even worth seeing, I can't believe how somebody produced this thing.

It's not even about vampires, it's more about a dream/reality experience. The development of the movie is incoherent, the motivation of the characters is... Doesn't exist, everything seems like a big joke. Maybe that's what they tried to do, but I sincerely doubt it. I wish I knew what they tried to pull but it just backfired, it's definitely one of the worst movies I've ever seen in my life (and I've seen many bad movies, but nothing compared to this) Please, make yourselves a favor and do NOT watch this. 

P.S. It's also full of clichés! P.S. 2 Bad Script, Bad directing, Bad cinematography. P.S. 3 I bothered commenting on this as a favor to everyone.

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Carlos wants to make fun of affirmative action, racial stereotypes and related topics on his show which makes him a lot like Supreme Court Justice Thomas. He's there BECAUSE of his race and then denigrates it. He can supposedly make fun of Mexicans to no end because he is himself Mexican, and I would also contend he can get away with making fun of the mentally challenged because any lay person can tell he's not the sharpest tool....though he is definitely a tool of some sort. 

He is a hack comedian who, even with a staff of writers, can't put together 3 minutes of genuinely funny material in a 30 minute show. I can't think of a single comedian who is regularly on TV that Carlos can hold a candle to except maybe Larry the Cable Guy (not too surprisingly, he also has a show on Comedy Central to cater to the exact same audience no doubt.

If you ever see the greats, Jerry Seinfeld, Chris Rock, Jon Stewart etc. talk about comedy you really get a feeling for the amount of work and thought that goes into developing a funny interesting comedic voice. All that work was completely skipped by Mencia; his comedic voice is, in part, stolen from other better comics and in part hidden by his propensity for yelling his unfunny rehashed racist tripe. Mencia's show is beloved by some of the "at least I don't suck that badly crowd" who I firmly believe watch it to feel better from his rants about the dumbing down of society; unfortunately Carlos and his fans are part of the problem not the solution on that topic.

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Please tell me the sentiment of the following review: A brief history of time. The cosmological content of this documentary is fascinating, the thoughts provoking and the man... brilliant. Yet I had a hard time enjoying this documentary. 

The way the family members and professors are interviewed feels so unnatural. These members were interviewed on specifically built sets and were directed uncomfortably. Mostly, their accounts came across as very acted and forcefully directed. The (deliberate) non-inclusion of asked questions manipulates the given information into a very harsh and impersonal format. 

I do not know who are responsibly for the interviewing but they did a dreadful job and with that took away from the viewing experience.

Overall still a fascinating documentary well worth seeing, if only for the interesting concepts presented.
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This is a truly terrible sci-fi/horror film from 1957. In fact, despite Ed Wood, Jr.and his dreadful films getting a lot of publicity, this turkey is every bit as bad as the worst of Wood. Now the acting is a bit better than you'd find in the Wood epics (such as PLAN 9 and BRIDE OF THE MONSTER), but the special effects managed to be significantly worse than Wood's! However, bad movie aficionados will be happy to hear that it's so bad that it's still excellent viewing. Like a Wood film, it's great to watch this crap-fest and laugh along with your friends.

The film begins with a scientist flying about doing some testing in his jet. However, out of nowhere, a UFO streaks by and his report of this over the radio triggers a panic by the Air Force. However, later, they realized that the UFO didn't appear on the radio and they think the scientist is a nut! But, when soon after this planes start disappearing all over, they realize there must be something to his sighting.

So far, the film isn't great but it's watchable. However, by the time the horrible flying monster appears, you know you're watching a turkey. First, through horrid use of stock film and crappy models, airplanes keep changing mid-flight. Some may not be bothered by this, but with airplane lovers like me, seeing an F-80 turning into an F-86 to an F-102 fighter plane made me crazy--especially since the planes look nothing like each other. Second, through "clever" cinematography, all you really see of the monster is a ball of fuzz for half the film! This is frustrating and you hope that when you finally do see it clearly, it will be worth the wait. Well, no such luck!! The "monster" looks less realistic or scary than the duck from Groucho's "You Bet Your Life" TV show!! In fact, it's significantly less realistic than any of the Japanese giant monsters!! In fact, Big Bird from "Sesame Street" is even a bit scarier and realistic!!! It's just god-awful in every way and might just be the dumbest movie monster in history--about as bad (or worse) as the monsters in ROBOT MONSTER or TEENAGERS FROM OUTER SPACE!!! The bottom line is that this is an absolutely dreadful film that sane people won't like. Bad film fans like me (who are a crazy bunch) will probably love it! All others...be afraid,....be VERY afraid!!

FYI--You might notice that some clips in this film are from other sci-fi movies!! I am positive the crashing Washington Monument scene was stolen from EARTH VS. THE FLYING SAUCERS but I also saw a couple other scenes that I swear are from other films. What a hack job!
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Between sweeping, extraordinary scenes within a plethora of Indian locations and a plot which is Bollywood inspired yet grounded in reality, this highly moving film is a must-see for those who love a good romance/adventure. And by this, I mean "good", not a Hollywood or Bollywood easy and contrived happy ending. East meets West in a different take on the buddy film. The performances are inspired and brilliant, the cinematography epic and the plot entertaining, engaging and poignant without a trace of schmaltz or cheap tugging at heartstrings. HARI OM is a sweet film that won't rot your teeth. See it!

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Sean Bean returns as Napoleonic hero Richard Sharpe in Sharpe's Honour, the fifth movie in the series and as always Patrick Harper and the rest of Sharpes chosen men are all along for the ride, but this time Major Sharpe is in serious trouble.

Under the influence of Sharpe's sworn enemy Major Ducos, a mysterious lady by the name of La Marquesa has accused Sharpe of rape. Her husband arrives at Sharpe's camp to challenge his wife's attacker to a dual.

The dual is discovered and stopped by the authorities, and as a result Sharpe becomes the prime suspect when his opponent is murdered in the middle of the night.

As no-one in the British Army other than Wellington and Major Nairn consider Sharpe anything but a rough commoner with little or no honour, he his given a shambolic trial and is sentenced to death by hanging, and Harper and the chosen men have no choice but to look on as their beloved commander walks slowly to the gallows.

However, convinced of his innocence Wellington and Nairn hang another convicted prisoner in Sharpe's stead and release him and his chosen men to find the real killer and La Marquesa herself, to not only prove his innocence but to find out her reasons for framing him in the first place.

Daragh O'Malley, Micheal Byrne and Hugh Fraser co-star with brilliant performances by Alice Krige as La Marquesa and Féodor Atkine as the villainous Major Ducos, in what is another exciting, swashbuckling instalment through Sharpe's eventful journey through the Napoleonic Wars.
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Crimson begins with some cool jazzy music so I liked it immediately, but as the film wore on I began to wonder if the music wasn't the best part. We have some thieves pulling a jewel heist and when one does something wrong the alarm is triggered and the cops chase them and when the car turns around at a road block one of the thieves (Paul Nash, Jacinto Molina, whoever he is here) gets shot. Now, it seems like he might die but with the help of a drunken doctor and his mad-scientist friend (and wife) he is saved, with a part of the brain of some nightclub owner called "The Sadist". The Sadist is unfortunate in that the gentlemen that kidnapped him lost their knife to remove is head, so to add insult to injury (or, in this case, death), they remove his head using a train, leaving the body for the authorities to find, oops. Once the brain transplant is complete Naschy wants to ravage any woman that comes near him, because he now has the mindset of his donor. Well, of course this is all pretty improbable and features medical equipment that looks to have been purchased at Radio Shack, and overall it's pretty cheesy and sleazy. But, it has a good early 70's look and feel to it and the music is cool. This isn't so much a horror movie but more a thriller with lots of thugs battling it out over turf and babes and other thug-type things, but it's strangely entertaining in ways I can't begin to describe. 7 out of 10.
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Never has the words "hidden gem" been so accurate. Bad movie lovers might search all over for the next hidden obscurity, sometimes coming up short with stuff like Weasels rip my flesh, but other times, luck will prevail and you might end up with something like Death Bed, then hopefully realizing it's not a bad movie at all, it just has a bad title, and not even a bad title, but a humorous one that might throw you off, but Somehow Death Bed still fits into the "bad" category. With a vibe that's somber and empty, Death Bed is a true masterpiece of low-budget horror, reserved only for those fortunate enough to appreciate such a dark shadow of a vision.

Death Bed involves an incoherent, yet intriguing relationship between a demon in the bed and the sympathetic ghost trapped in the portrait, who only wishes he could spare someone from the awful fate of being devoured by the yellow suds. Although not all that scary, considering it's about a killer bed, Death Bed possesses the qualities that make for successful horror. A dark, desolate vibe, confusion, an eerie, subtle score and that dream quality that this masterpiece almost flaunts. Such a quality, or vibe usually seems unintentional. Not only is it intentional, but from what I've read, Death Bed is based on an actual dream, George Barry, the director, successfully transferred dream to film, only a genius could accomplish such a task.

Old mansions make for good quality horror, as do portraits, not sure what to make of the killer bed with its killer yellow liquid, quite a bizarre dream, indeed. Also, this isn't quite the brand of B-horror I was expecting, considering the title and all. Before viewing this Gothic gem I expected something more like Class Reunion Massacre, now thats a bad movie, if you've seen it, you know what I'm saying. After considering all of the above, I feel like Death Bed deserves only eight stars, but since it stayed so obscure for so long We'll say the bed that eats deserves nine.
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Please tell me the sentiment of the following review: Robert Altman, Nicolas Roeg, John-Luc Goddard--you were expecting a fun film the entire family could enjoy? These and other directors were obviously chosen because they have not followed the mainstream, but created it. For those that complain that they did not adhere to the original story of the opera--How often does the music in a film directly relate to what is going on in the film? It is the mood that counts. This is what I believe the directors of these movies were doing: creating a contemporary mood for old operas. For the most part they succeed wonderfully. With all these operas, who is going to like them all. We could have used more Beverly Sills.

Finally, what is art (even opera) without a few naked women?
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STAR RATING: ***** Unmissable **** Very Good *** Okay ** You Could Go Out For A Meal Instead * Avoid At All Costs 

The tale of the titular Adam (Mark O' Halloran) and Paul (Tom Murphy), two heroin addicts in the slums of Dublin and their daily amblings about in their meaningless lives searching for the next fix that will make their day. Along the way they try and reconcile with close family and friends who they've managed to let down and destroy over the years.

I know a lot of Irish people like to drink, but it seems some of them have problems with heroin, too by the looks of this movie. I know there is a bit of a drug problem over there, like there is in many parts of the world, so another humorous take on the subject matter is not an entirely unexpected thing.

I don't recall the last Irish movie I saw (the film is shot in a style that makes it stand out from any film I've seen lately!) And, judging from that, obviously I'm not as enlightened on their humour as I could be. The film is rather funny in certain parts, but it's obviously another comedy that isn't afraid to raise near-the-knuckle laughs. The scene in which the mentally disabled boy is robbed down the back of an alley is certainly true of what a pair of junkies might do to feed their habit but is nonetheless utterly despicable and I'm not sure if it was meant as dark humour in any way but it certainly didn't put a smile on my face! It's also in stark contrast to their previous actions where they're seen showing their soft side rocking a baby to-and-fro. In light of this, some may find the ending sad, others may see it as just desserts.

Overall, I just failed to see the point to the film. I didn't see any motivation in the 'story' it was telling. It just seems to amble along without really involving the audience in any way. Unlike Trainspotting (which dealt with similar themes!) it's an unsuccessful effort for the most part that had me on the verge of nodding off despite it's very short 83 minute running time. Really no more enjoyable than following two real life junkies around for a day. **
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Imagine if you will an alternative universe where someone has made SEVEN where instead of a talented cast and crew they've cast a politically conscious environmentalist and a stand up comedian as the leads . If your imagination can't stretch that far just watch THE GLIMMER MAN as it's the next worse thing 

!!!! MILD SPOILERS !!!!

Jack Cole is a cop with a hidden past and it's very ironic that he's played by Steven Seagal since he's also someone witrh a hidden past , but don't tell anyone because it's top secret . Perhaps the biggest secret is how someone like Seagal became a movie star in the first place since THE GLIMMER MAN continues in the vein of all of Seagal's other movies in that it's utter , utter crap . Look at the way he's introduced as his partner walks into his office " Yoi love beads man . In you're in the wrong office " Steven replies with something that is side splittingly witty , or he would if anyone was able to understand a bloody word he said because for much of the movie he just mumbles away . In fact the only time I could make out his dialogue was the scene at the school where he bursts in on the gunman holding the class hostage 

" Don't make me kill you " 

Is this what a cop would say to a suicidal gunman ? I'm just thinking that in another movie where Steven isn't the hero ( ie A good movie ) the cop would say something along the lines of " Don't kill me , I've got a wife and a couple of kids waiting at home " . So anyway suicidal gunman goes to blow his head off but Steven saves his life by hurtling them both through two sets of windows . It goes without saying that you shouldn't try this at home

As the story progresses Steven ( I've given up on calling him Jack though credit to the screen writer for giving Steven a sensible name ) becomes involved in a case a plagiarism where someone has been stealing bits out of other superior movies featuring serial killers . As Steven finds more victims you can see him thinking " What was that movie that starred Morgan Freeman as a cop ? " as he inspects the bodies , oh and the action keeps switching back to the hero's domestic life just so we know that this guy's good as a family man , this guy's very good as a family man such a pity he's so bad as a movie star
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I usually give horror films around 6/10, but this one caught my eye. House of Wax was by far the best horror film I have seen... Even better than the Amityville Horror.

Paris Hilton was quite good in this and I must say, has a good future ahead. Her death scene was probably the coolest. I'll just say how she dies...

She gets a giant pole right between her eyes and they close-ups on and everything. Gory, eh? Brian Van Holt was very good as both the killers, Bo and Vincent (Vincent had the long hair). Usually he plays a mean cop or soldier, but he did very well in this.

Eliza Cuthbert and Chad Michael Murray also acted very well as Carly and Nick Jones. Nick took the spotlight in the first half of the movie, then Eliza stole it back by enduring a lot of pain in the second half like getting the finger clipped off, ripping her lips apart after they got glued together, and getting a straight forward punch in the face by Bo.

Overall, I give this movie an 8/10. Fans of horror films MUST see this.
Set in Venice mainly on the Lido, Visconti's "Death in Venice" is a triumph of filmmaking combining the excellence of Dirk Bogarde's characterisation and expert photography of the resort area in all its various daily moods. For those who love Venice, this is a film to cherish.

Mahler's music frequently heard throughout the film heightens the drama. The mood it creates is not always happy. But then what else would you expect with a title like that?

There is not a lot of dialogue in the film. Rather sparse in fact. It's mainly background noises and chatter and laughter among the hotel guests. The intriguing part is to interpret the exchange of glances between Gustav von Aschenbach a composer of some renown and a slim teenage youth Tadzio who see each other from time to time across the tables of the hotel dining room, on the beach and at odd unexpected places around Venice. They seem to acknowledge each other's presence shyly at first with little more than the suggestion of a smile but later with a strong and riveting and urgent gaze.

Each viewer will have his own interpretation. The composer has lost a child of his own. Is this behaviour an expression of yearning for the child he loved? Is it perhaps a sexual attraction towards this fragile young man with his dazed somewhat girlish stare? Could he be discovering some new inspiration for a yet unwritten musical masterpiece? Who knows?

From beginning to end this film captures the true spirit of 19th Century Venice. The elegance of the ladies, the deck chairs on the sand, the children frolicking in their neck-to-knee bathing costumes, the glow of sunsets and a general feeling of satisfaction with the world. While some may think the pace is rather slow at times, the film has an overall gentle quality, but with a simmering indecision between two repressed human beings. Be prepared for a sad and beautiful ending.
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"STEP BY STEP," is my opinion, is a pure ABC hit! I can't recall every episode, but I still enjoyed it. It's hard to say which episode was my favorite. However, I think it was always funny when a mishap occurred at school. I always laugh at that. As a matter of fact, I think just about every single one of J.T. (Brandon Call) and Cody's (Sasha Mitchell) lines were funny. It would have been nice if Penny (Patrika Darbo) had stayed on the show throughout its entire run. Everyone always gave a good performance, the production design was spectacular, the costumes were well-designed, and the writing was always very strong. In conclusion, I hope it never stops airing in syndication.
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As an avid fan of Christian film, and a person trying to maintain a keen eye for improvements in the realm of Christian film-making, I was excited to get a chance to see this film. I was ready to see something that would make a new mark in quality movies. I was left disappointed.

The beginning scene is excellent, though a slight rip-off of Leon - The Professional on the angle, it showcases some great cinematography in the early goings... everything after that was pretty much downhill.

I was barely able to sit through this one, I was tempted multiple times just to shut it off.

The acting, while quite possibly sincere, was incredibly awful. But then again, the heart of the problem was the screenplay itself. The dialog was worse than anything I have ever seen, and even my amateurish screenplay "The Awakening" (soon to be an independent film) looked like a Hitchcock-thriller next to this. (Which isn't saying much.) The bright side of this film is that it was filmed on Sony's brand new High-Definition 900 cameras shooting in 24P. This film and Star Wars: Attack of the Clones were the first movies ever to use these new technology cameras that year. Unfortunately, the camera's performance seemed to be wasted with bad lighting, poor angles, and awkward handling.

The only good feeling I got coming out of watching this movie was how good my rookie indie film is going to look next to it. ; ) 4/10
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I watched "Fuckland" a long time ago. I lied if I'd tell that I remember it in detail; what I remember most vividly is the irritation it provoked me and the feeling of a total waste of precious money and time, not only my time and money invested in watching the movie but also the director's.

Supposedly, "Fuckland" is a critic of Argentinians, presenting us (I'm an Argentinian too) as little people who take credit for and even boast about petty, ridiculous victories, and think we're the best thing that God (who is also an Argentinian) created. I'm not going to argue that. It's probably a true statement about a quite big part of the population (the part I despise, by the way). And even if this weren't true, that's not my point. The worst sin "Fuckland" committed was to express such a statement about its own director.

The continuous impression I received was that the director was too busy trying to impress us for sneaking a camera inside the islands to worry about making a good (even a mediocre) movie. Many of the takes made with a hidden camera are pointless. The director chooses to show off with a silly edition of old war takes and his own ones. And there's no plot at all.

Moreover, this movie proudly presents a Dogme certificate before the opening titles, only to disrespect its principles afterwards (for example, by including the director in the credits - another sign of his pride?).

I found the movie offensive, not as an Argentinian, but as a watcher. I felt underestimated. "Fuckland" is simply one of the worst movies I've ever seen.
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There really is very little positive that can be said about this film. Walter Pidgeon is a truly unconvincing hero and even moreso when he tries to go "undercover" as a villain who, we're meant to believe, drinks too much and knocks his wife about a bit. Margaret Leighton, as the wife/undercover sergeant is a little more convincing but it's still difficult to believe that any hood worth their salt would not have seen through their charade in less than a minute. The plot, about a bullion heist, is silly, and the action drags rather than grips. David Tomlinson, who plays Algy in the same way that David Tomlinson seems to play all his roles, is the only glimmer of light in a wholly dull affair.