cindermond/bento huggingface dataset:
i think the title of the movie describes it well. if you are looking for a documentary on louis kahn and his work, you'll have to look somewhere else. although some of that is covered in this film.

of course, i eat up pretty much anything i'm fed, and i don't know much of the family history revolving around this case. so i believed what i was told about nathaniel and his father, etc.

for what this movie was, i thought it was pretty good. a little slow and grabbing for attention at time, i wish that nathaniel would have focused a little more on his father's work than his family drama (although much of the history was interesting, louis was a bit of a player).

this really is a journey through someone's life, and i was happy to tag along for the experience. a learning experience for me, and so it seems, for the filmmaker as well. 

oh, and the footage of some of kahn's work is *stunning*
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There is nothing mean spirited or evil about this movie. It's just terribly dull. Dull is the photography--- the film stock appears old and faded and washed-out. Maybe it was even 16mm blown up to 35mm, dunno. Dull is the script, which is tedious and 'Jules Pfeiffer'-ish. That is, kind of 1960s bossa-nova cocktail party cool. Like our beatnik grandparents might have spoken if they were trying to appear really straight. The 'slice-of-life' characters were mostly annoying. True, they were real to life, but hey, if I wanted to see truly ordinary people doing really mundane and ordinary things, I'd just watch myself. I wouldn't trapse all the way down to a cinema and blow five quid, and an evening, watching someone else do it.

I expected a funny, bright rom-com. What I got was more like what two intelligent and moderately talented 19 or 20 year-olds might have produced on their first day with a new video camera.

I gave this a 4 out 10, because it appears that someone tried, at least.
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In 1968 when, "SYMBIOPSYCHOTAXIPLASM: Take One", was released, it came from out of nowhere, and struck like a psychedelic thunder bolt. Afro-American actor and film maker, William Greaves, aimed to forever alter the 'news-reel' style of documentary film-making, and to this day, there has never been anything quite like it. The movie is a film about 'the making of a film', and intentionally written and directed so as to create as much controversy and contradiction as possible. Set in New York's Central Park, the action and scant dialog concern a couple who fight and bicker about homosexuality and abortion. The woman wants out of the relationship, and the man wants an explanation. Near the end of this interaction, a drunk homeless man interrupts the proceedings and offers his commentary, and personal back-story. Then, after the principle footage has been shot, the film crew add their own views of the film-maker and what they feel is his inept handling of the movie. And during the entire film, multiple cameras are employed to record the action within the scene, and extraneous commentary by cast, crew, and onlookers. I would certainly recommend this film to anyone who has an interest in Avant Garde film makers such as Andy Warhol, John Cassavetes, or Jim Jarmusch. William Greaves attempts to show that a thing cannot be truly observed and understood because the viewing itself would alter the reality. "SYMBIOPSYCHOTAXIPLASM: Take One" can be seen as a cinematic representation or application of The Uncertainty Principle. This is only one possible explanation, and Greave's true intent is certainly open for speculation. Above all else, this film seeks to confound, confront. and stimulate, and without a doubt, succeeds admirably.
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I liked this movie. I wasn't really sure what it was about before I started watching it, but enjoyed it nonetheless. It was about a girl (Meredith Monroe) whose mom didn't want her to turn out like she did. She meets and falls in love with a boy (Riley Smith) who is town for a charity football game. It's a good movie. I just hope it will be on again or comes out on video.
Give me a break. How can anyone say that this is a "good hockey movie"? I know that movies tend to do a pretty p***-poor job of portraying hockey to the general public. And yes, this was made back when the U.S. hadn't embraced our sport to the extent is has today, but really. I have played hockey all my life and have watched even more, and this my friends is sheer lunacy. The scenes on the ice were stupefyingly bizzare... the particular instance to which I am referring is the "sword fight", er I mean the "stick fight" at the end of the film... during which everyone is just standing around and watching, not with fascination that this is actually happening, but in wonder as to who will win the duel between Youngblood and his nemesis Rakkie. Yes the story off the ice is a little better, I do stress LITTLE.

I don't know, maybe there is no point in going on... I mean let's face it: the film is right. Hockey is just one big battle on ice... oh yeah with a little piece of vulcanized rubber bouncing around- occasionally into what is loosely termed a "goal". Youngblood is either appalling or hysterical, I can't figure out which... maybe someone else will have more luck.

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I'm really not too sure why people are being so complimentary about this odd movie. Having said that - I did actually sit through the entire 2 hours and can't say it wasn't entirely un-entertaining.

I think the key problem is that Frank Marshall is not a true director and this is clear in the film - he is an experienced producer, so will have seen a movie made many a time, and will understand what goes into the process. But I think this is quite different to being able to truly direct a movie - the direction was competent, but somehow flat and direction-less. Marshall has more experience as a unit or second director, and this came through, I feel, in the finished product - it appeared to be a group of sets that failed to really have any continuity in its feel or its character.

Fun, watchable, but good? No.
Kevin Spacey again picks a winner with K-PAX, an endearing movie that expresses profound revelations at human existence via the Prot character's naive, yet at the same time unquestionably wise, point of view.

It's enjoyable trying to work out 'if he is or he isn't' as the plot expands and the Robert Porter character gets fleshed out. However some may find the ending a little unsatisfying but in reality it couldn't have been any other way.

My few issues with the film revolve around the rather cartoony and over simplified portrayal of mental patients. I was surprised because the films plot shows a great deal of intelligence and I don't feel it would have lost anything by being more honest regarding how people with mental health problems behave.

That said, I realise this was a movie and not a documentary and the film itself is exquisitly shot and the story unwraps at a pleasing rate. 

Bridges is great and Spacey delivers a languid and relaxed performance, more like a stand-up than an alien.

A good film that will get you talking with your friends.

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One of the worst movies I have ever seen. Seagal has been acting in several entertaining action movies, but this time this movie really sucks. Just stupid killing and really stupid storyline. In addition, Seagul looks fat and old.
Please tell me the sentiment of the following review: This movie was definitely scripted with FF VII fans ONLY in mind. I am someone who has never played the original game and watched it with a friend who was a series fan. From a visual and technical standpoint this movie is just as good as "The Spirits Within", if not better, but from a story standpoint, I was pretty lost. One major plot weakness that stood out to me was the scene where "all" of the children dying of geostigma were brought to the healing "reunion" by the three Jenovites. All told there were about 15 kids in all... Hmmmm... I thought that this Geostigma was an illness of pandemic proportions... I understand why they did it that way (time, budget,CPU), but it just seemed cheesy after all the explanation about how the bad guys needed to collect all of those who had Jenova cells so that Jenova could be reincarnated. The subtitle version that we had (some fan sub from the internet) was a pretty direct translation and therefore probably added to my confusion.

It did prick my interest in FF VII however, and I spent a few hours on the FF VII wiki reading about the main characters and the plot. Once I read the Advent Children wiki, things made a lot more sense. If you are a video game or Sci-Fi fan this movie is a pretty good flick, but like a previous review said, it comes off like a 90 minute fight scene. You never really get to know any of the characters, and the story does just seem to jump from scene to scene without much explanation, even though some explanation just might be required. Thank goodness for wikpedia.
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I am probably a little too old for this movie, 16, and being a guy, the story is a little too girlie, but I really thought it was a cool movie overall. All the girls in this movie are so hot and really great actresses, from Alana, to Adrianne, to Deena, to Kimberly, all the way down to the cute girl that plays Alana's little sister, Rachel. I am not a huge pop-star fan with the lovesick songs, but I thought that Aaron Carter did a really great job in this, and seems like he was really into this movie, and made it seem real. My mom liked all the older farts that she grew up with, so that's cool too. I kept thinking that I liked a lot of the people, and wonder if I will see them again? A sequel would be cool. I rented this, but I might buy it too, since I have a ton of DVD's, and like to go back to see something that I missed. I couldn't buy it at Blockbuster though, so I don't know where I could buy it right now, but I'll look into that. Anyway, I am a 16 year old guy, I already said that, I know, but I would totally take a date to see this. It's really good for all ages, really. I think even my little half sister who is 6 could see this. That's what is so cool about it, that it is something that all ages can see. I'm sure that was done on purpose, but it really works. Girls can dream about being with Aaron Carter, and guys like me can dream about all the hot chicks in this movie. There is something for everyone.
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This film is totally mindblowing. It manages to be thought provoking, funny, tragic, and cinematic yet claustrophobic.

Although the flashbacks are unnecessary, the film maintains a pacy, punchy grip and the performances are all excellent, in particular Alec Baldwin, and the mesmerising Eric Bogosian as the film's anti-hero, Barry Champlain.
I first saw this film about 15 years ago, and I have been enchanted by it ever since. It is such a feel-good experience, that I could happily watch it at any time of the year. However, to me, it is the ultimate Christmas movie.

The fact that it is in B&W is irrelevant - although I often wonder what it would be like in colour. You can just get that warm, glowing feeling watching the Christmas events unfold. 

Stanwyck and Morgan are perfect together, and Greenstreet is the antithesis of his usual character, Sakall is a blustering joy to watch.

It is light relief and certainly does not tax the brain, but leaves you feeling glad that you saw it.

I can't wait for it to become available on DVD in the UK. I shall certainly be at the front of the queue to buy it.

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How anyone can praise this crude film version after seeing the marvelous WATERLOO BRIDGE with Vivien Leigh and Robert Taylor, is beyond comprehension.

MAE CLARKE's Myra is a far cry from the role as played by VIVIEN LEIGH in the remake. She plays a common American girl with a Brooklyn accent and the "Yeah" responses are a bit jarring when one is expecting a less coarse character. DOUGLASS MONTGOMERY (billed in final credits as KENT DOUGLASS) is wildly improbable as a soldier smitten with her no matter how many times she lets him down. BETTE DAVIS has a nothing role in a bit part.

Their melodramatic confrontations during the last twenty minutes of the film are beyond belief (extravagant bits of overacting)--even given the fact that this is a cruder version of the story when sound was only a few years old and silent acting was still the rage.

Just awful. And it ends abruptly with Clarke losing her life during a bombing on the bridge. The End.

It has none of the beautifully shaded performances in the MGM remake of 1940, including a sterling supporting cast. Instead, this one is mounted with low-budget production values (and I mean a shoe-string budget) with no subtlety at all. And there's no pre-code braveness in the scene where Myra tells the aristocratic lady why she must not marry her son, Roy. She simply says, "I picked him up on Waterloo Bridge." Explanation over. Nothing bold there.

Summing up: For once, the original is not the best version by any means. VIVIEN LEIGH and ROBERT TAYLOR have never been surpassed as Myra and Roy in the tender, exquisitely acted 1940 film classic.
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"Traffik 1989" is an Emmy award winning six part miniseries out of the UK which was the inspiration for the Oscar winning "Traffic 2000". The five hour film breaks down the opium/heroine trade for the viewer from the handcasting of poppy seeds in an Afghanistan field to the "head rush" of a mainlining junkie in a flat in England. Not only does "Traffik" offer entertainment value through interleaved dramatic stories it also provides an overview of the international drug trade at all levels answering the who, where, how, and why questions of the age old and unstoppable narcotic supply/demand machine. Synergistically entertaining and educational, "Traffik" will prove to be time well spent for teens and up. (A)
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"Opera" is a great film with some wonderful,imaginative imagery.An opera singer(Cristina Marsillach)is being stalked by a killer who forces her to watch him murder everyone she knows by tying her up and taping needles under her eyes.This idea of the needles comes from the fact that Argento doesn't like it when people cover their eyes while watching his movies."For years I've been annoyed by people covering their eyes during the gorier moments in my films.I film these images because I want people to see them and not avoid the positive confrontation of their fears by looking away.So I thought to myself 'How would it be possible to achieve this and force someone to watch most gruesome murder and make sure they can't avert their eyes?'The answer I came up with is the core of what "Opera" is about."-says Argento.Plenty of suspense,wonderful cinematography and brutal,gory murders.One guy is stabbed in the throat with a knife causing a gushing wound,Daria Nicolodi gets shot in the eye while looking through the peephole,etc.For anyone who hasn't caught this one yet,give it a try.Highly recommended.
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I think this is Pauly Shore's best stuff, he played the part perfect. I really enjoyed this movie, Patrick Renna is really funny as Zack the annoying little brother. Son In Law is a good comedy worth your time, but the only thing I wish Tiffany Thiessen was the farm chick instead of the one they had.
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I was a sophomore in college when this movie came out and I had never actually seen it until last night. I finally decided to watch it because I like good dancing and because the movie had such cultural impact. After seeing the movie I am completely baffled by how it had any effect other than putting people to sleep.

The story is pretty preposterous when you think about it. Does anyone actually buy the idea that that beer joint full of gnarly old steel-workers and teamsters could keep their clientèle with the high concept dances that those girls were doing? They would have all been over to Zanzibar faster than you can say "performance art". Can you imagine the reaction of the real life versions of that audience to that bizarre TV watching No theater dance thing that she did? Please.

It seems plausible to me that there could be a woman that worked in a steel yard and was also a dancer--after all both are physically demanding jobs. But I didn't buy for a second that THAT girl worked in a steel yard. And I didn't buy for a second that I was looking at a real steel yard. Steel work is dangerous. You don't keep your work area looking like a junk yard and not end up loosing a limb. I love some of the inane shots like when two welders are sitting in the big corrugated tubes welding. What the hell are they doing in there? Or when she is cutting six inches off of a rusty steel bar with a cutting torch. She was obviously board and just started cutting random things up.

But story holes like that can be overlooked if the movie is fun or at least stimulating in some way. Flashdance doesn't offer anything to balance it, however.

The dancing horrible. It is the spastic twitch-and-pose style that ruined American musicals until...well are we really over it yet? The sensuality that the movie tries for is ruined by Jennifer Beal's complete lack of personality. I mean I am a 42 year old male and when she was supposed to be eating lobster my only reaction was to think that she should get a lobster bib.

You can't really get behind Alex and her dreams because her character is so stupid and shallow. The dog had more going on than she did.

The love affair is flat. It comes across as nothing more than a boss with the hots for one of his workers. Zero passion.

Even the final scene where she dances for Orville Redenbacher and some other stiffs is unsatisfying because the panels reaction is so unbelievable. What serious dancers wouldn't roll their eyes at Alex's lame cheerleader routine? In short the movie had nothing but leg-warmers and large sweatshirts. Oh, yeah, there is a good chunk of nudity when Alex "rescues" her friend from being a useless erotic dancer (a laughable bit of hypocrisy). Other than that the movie is a waste of time. I wish that the MST3K crew were still in business. This would make good fodder for them.
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A bit too much Mediterrenean machismo for me. The cast was beautiful, lovely to watch in all of the romantic scenes. The locale was beautiful with azure skies and azure water. It just was not convincing to me that such an egomaniac crud bent on nothing but his building, could attract so many beautiful, vulnerable, women. Only in the Mediterranean I guess. Certainly in no world I am familiar with. The macho men were really obnoxious, and I found it difficult to believe that the female characters could have anything to to with them for so long. The screenplay, cinematography, directing, etc. was set up to deliver a Class B film, the central effort being on showing scenes of beautiful exposed female breasts. It was aesthetically nice for a while but it could not sustain a very mediocre film.
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This is a typical Sandra Bullock movie in which she plays a mousy (but profane) woman who is in trouble but finds a way to survive and be the hero. Sound familiar? 

There are plenty of holes in this story. Things just don't add up and some of the suspense is a little corny. But - that suspense is very good. There is a lot of tension in this story which has strong paranoia running through it. The story starts off slow but kicks in pretty soon and stays that way, making it an involving movie for the viewer. That's why I give it a pretty good rating - the movie gets you involved in it. Bullock is more cute than annoying, which she normally is to me, so this is my highest-rated movie with her in it.
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Let's describe Larry as an interviewer: a complete suckhole, in every way possible. He laughs at all his guests jokes, he asks the most boring questions and he would never dare contradict them. He hits me as the type of person who wants to be liked by...everyone. Friendly, boring, ol'predictable Harry. He probably owes his success to being a dream interviewer for celebrities because they don't get bombarded with what we, the people, want to know and have a right to know. Let's put it this way: he interviews as if he's in a red country. 02/10, 2 for the guests that come on the show yet it all seems pointless when Larry starts asking his mind numbing questions such as "What's it like to be a mother?" followed by the usual answer along the lines of "Being a mother is the greatest thing that ever happened to me: it's wonderful, but tiring".
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By the time it opened, "Heaven's Gate" had become, to its detriment, more a cultural phenomenon than a motion picture. At a time when concern about excessive budgets and directorial arrogance were growing, it was a convenient target, as it was a far-over-budget work by the latest "auteur" to hit Hollywood, who had not yet established the track record that would have given him the benefit of the doubt among critics and the industry alike. As someone pointed out at the time, no one was going to jump on Warren Beatty's even-more costly and dark "Reds," because Beatty was "one of us," while Michael Cimino had not achieved that status.

But "Heaven's Gate" was also affected by a cultural change taking place at that time, the political move rightwards and toward a more unquestioning patriotism and enshrinement of the myth of the West (and the Western). A few years earlier, Cimino's demythologizing of the frontier might have seemed timely, fresh, and a necessary corrective. But by 1980, in the wake of the Reagan Revolution, it was thought of as nearly un-American.

Which is a shame, because the film, seen from the vantage point of several decades away, is a fascinating and thought-provoking look at that particular time and place as a world where life was, in Hobbes's words, "nasty, brutish, and short." Kristofferson plays James Averill, an upper-class Easterner who, in search of adventure, becomes a sheriff in Wyoming, where he finds himself having to lead a resistance by the settlers and squatters against an attack by a mercenary death-squad hired by wealthy landowners, including Averill's lifelong best friend. In a more innocent time, Averill and his rag-tag "army" of poor farmers would emerge triumphant; but this is anything but a traditional Western, and when the U.S. Cavalry joins the fight here, it isn't on the side of the "good guys."

Much like "The Deer Hunter," Cimino's previous film, "Heaven's Gate" spends a great deal of time building up the details of the lives of its principals, giving the film an at-times leisurely pace that nevertheless leads to a gripping conclusion. With excellent acting, a fine musical score, and the visual texture that makes one believe one is actually seeing the "Old West" through new eyes, "Heaven's Gate" is a film that rewards repeat viewings. I only wish that MGM would put out a new DVD, with an improved transfer and a commentary by Cimino. Nonetheless, the current version is satisfactory enough to let viewers see what critics in 1980, possibly blinded by the film's cultural subtexts, managed to miss...that "Heaven's Gate" is a great film.
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I've just seen this movie, and it made me cry. It's a beautiful drama about two brothers falling in love, and i think it's a good idea, especially for the closed-minded, to watch this one. I have come to love the short-film genre after just having seen a couple, because they have to make an impression on you so fast, and i have to say that this one definitely sat it's mark. It described some things, that i haven't ever really thought about that way, incest for one.

I have to admit that i did not care too much for the ending. Just once i would like to watch a gay-themed movie without wanting to kill myself after wards. They seem to pretty much always end in tragedy. It was 'cute' though, how that they had to be together, even if it was in death.

I gave it eight stars, and i recommend it too everyone, cause i think it gives an 'inside-look' in the world, that this movie make you enter.

Thanks for listening, enjoy.
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This film is a good start for novices that have never watched a 'Silent Film' and for those who believe that quality Cinema started with their generations efforts. They are doing a disservice to themselves by not expanding their horizons. The 'Silent Film' is a art-form of acting in pantomime that is different from the sound film and the stage, it can stands on it's own merits.

THE BELOVED ROGUE (1927) United Artists is a fictionalized history of the relationship of French Poet 'Francois Villon' and 'King Louis XI'. Through 'Villons' prodding 'King Louis' will defeat his nemesis 'Duke of Burgandy' minimize the Feudal System and establish the KING as head of the State and the beginnings of modern France.

The cast is exceptional, lead by JOHN BARRYMORE (yes, Drew's GrandFather). For those who only remember him for the decaying actor 'Larry Renault' in DINNER AT EIGHT (1933) or the ham in THE INVISABLE WOMEN (1940) this will be a revelation. Fit, trim with the 'Great Profile' still in evidence he commands the screen. Co-Starring in his first American film is CONRAD VEIDT with his 'cadaverous spider' interpretation of 'Louis XI'. This is a duel of acting titans, each not giving the other a inch. On a trivia note is Character Actor and Dwarf ANGELO ROSSITTO in his first film, his last, MAD MAX BEYOND THUNDERDOME (1985). There are other character actors who would continue in sound that are easily picked up on. 

United Artists spared no expense in this handsome production supervised by WILLIAM CAMERON MENZIES. Costumes, Props and Sets are well done and not exaggerated like in a DOUGLAS FAIRBANKS productions. There is a touch of reality here. The copy on DVD that we watched from 'Delta Entertainment' came from a good master. Though not 'restored' its musical soundtrack was clear and the print only suffered from nuisance black-spots (dirt) and drop-outs. The only major damage at the end of the last reel from water. 'Kino' also has a edition which may be of a better quality since they do major restorations on their prints. Best check with them. In our opinion this is a 'must have' particularly if you have no 'silents' in your collection. This is a good place to start.

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A film of high intelligence and activity. As well as being a strong capsule of the time and persona that was the 60's, the film is also TRULY a surprise in its forward-thinking themes and the unique presentation of the system of power in a group. William Greaves appoints himself to the authoritative role in the group. He asks his crew members to film and film and keep filming. First the two actors, then the crew filming the actors, then the entire set including bystanders, policemen, and finally a homeless man whose been living in bushes in Central Park for 9 weeks.

Greaves edits the film (thousands of feet) together and surprisingly makes a strong narrative with an interesting arc and motivations. Don't expect to be bored by this film. Each of crew make for engaging conversationalists and often times are voicing the thoughts that the observer has watching this film. Greaves does well at integrating the multiple camera takes using synchronized three-in-one pictures and other attention shifting methods.

In the end, the film will really only be effective if it's what YOU'RE looking for: if you're looking for some abstract arty film that feeds your own self-indulgent ego while never having a point, look elsewhere. If you're looking for a film that will have you talking and thinking long afterward about the desire for honesty and sincerity in documented "reality" and the inevitable transparency that comes of it, then this is the perfect film.

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This movie was the biggest piece of garbage I've seen in a long time.

It's marketed as as Sci-Fi when in fact it's nothing more than a Christian recruiting tool.

It tells you quite a bit about the state of the Christian church, when they have to resort to deception just to get you to listen to their sales pitch. But then again what do you expect from an organization that would go through such great lengths to help protect such an enormous amount of child molesters in their organization.

Religion is full of nothing but sexual deviants, hypocrites, and war mongers. Let's not forget, our bumbling former President actually came out and said that "God told him" to invade Iraq. And nobody questioned if he was hearing voices, or seeing things? 

Anyway, going of the subject here. No this movie has nothing to do with UFOs whatsoever, it's nothing more than a religious production.
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Loved today's show!!! It was a variety and not solely cooking (which would have been great too). Very stimulating and captivating, always keeping the viewer peeking around the corner to see what was coming up next. She is as down to earth and as personable as you get, like one of us which made the show all the more enjoyable. Special guests, who are friends as well made for a nice surprise too. Loved the 'first' theme and that the audience was invited to play along too. I must admit I was shocked to see her come in under her time limits on a few things, but she did it and by golly I'll be writing those recipes down. Saving time in the kitchen means more time with family. Those who haven't tuned in yet, find out what channel and the time, I assure you that you won't be disappointed.
I enjoyed, appreciated, will view this movie again because I am sure There are subtleties that I missed. Wonderfully cast, no over acting or Cliché performance or plot. Uses a tragic event to reflect multiple Relationships, how those involved in each relationship are connected (Or disconnected) and perceptions of life, what position each one Occupies in the relationship, in life and how they cope with the Confusion, joy, hurt and disappointment of discovering that things are not what they perceived them to be. At first I thought there were "Observers" and "the observed", but that is not the case, we are all connected somehow and our perceived separation is only in small degrees. I recommend the movie to everyone especially those in teaching, social work, religious counseling and every other person that breaths.
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This movie sucked on so many levels! Ever seen the Dentist? This movie made The Dentist look like a masterpiece. I do not recommend this movie to anyone, unless of course you are really really really really really bored, then maybe. It was SO corny. The killer reminds you of the grandpa from the monsters, except he has goggles on. When Jessica said "I want you to meet someone, my inner bitch, I thought she was going to kick his butt, however all she did was throw a frig-gen trash can at him. I was very disappointed. And when the ranger had the crying scene about his wife, I SO felt the pain behind his tears.........NOT!!!!! So before watching this movie, grab a blanket and a pillow, get comfortable because it is very relaxing.
I'm not a Disney fan at all, but I happen to be in Orlando for a friend's wedding. So my traveling partner and I went to Disney for a few days. I haven't seen a good 3-D effect in, well..ever. So I usually try to stay away from these presentations. The 3-D effect in this was so good. I'm a grown man of 38, and even I wanted to try and reach out and touch. It's THAT good! Word of advice. At the end, look to the back of the theater on the wall. Put it like this...the first time I saw it, the effect wasn't working. So I told my friend..."It would have been nice if...." My friend said, "That's exactly what happens. It's not working for some reason." It's an awesome show. You will NOT be disappointed!!!
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A sick man Carleton Hendricks (Dee Snider), cruises the Teen Chat lines as Captain Howdy. He poses as a teenage boy and invites other teens over his house to party. He instead knocks them out, strips them, sews their mouth closed and tortures them (mostly with needles). He captures the daughter of cop Mike Gage (Kevin Gage). He finds him, arrests him and he's institutionalized. Four years later he's released...totally cured. But a lynch mop (led, amusingly, by Robert Englund) attack him and hang him. He doesn't die but he snaps and Captain Howdy is back...

A very sick, disturbing, twisted horror film. Captain Howdy enjoys pain and torture and is trying to show the kids he kidnaps how to enjoy it also. The torture scenes aren't that explicit (you hear more than you see), but what you do see is very very sick. There's no humor and the (muted) screams of his victims sound way too real. I was cringing away from the TV during most of the scenes. 

The acting varies. Kevin Gage isn't that good as the cop--he's not terrible but he could have been better. Dee Snider is very scary as Captain Howdy--his attack scenes are not pleasant.

All in all, not your typical horror film. I'll probably never see it again (this film really gets under your skin) but I recommend it to all horror fans--at least those with strong stomaches. I give it a 7.
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Please tell me the sentiment of the following review: Sonny Chiba, as everyone knows, is the man. In this film, he portrays Mas Oyama (1923-1994), a real martial artist who fought over 50 bulls with his bare handsand won (interesting guylook him up). Anyway, Chiba only kills one bull in the film but it's a memorable scene and as the liner notes say, right up there with the zombie vs. shark scene in Zombi! The film also offers up loads of hand-to-hand combat and a decent plot to boot, though I don't believe all of it is true. This film is the first of the Oyama trilogy Chiba made and is recommended for fans of martial arts action. Finally, three neat little tidbits; part of the opening theme was used in Kill Bill Volume 1, Oyama himself appears in the opening sequences, and that is because he trained Chiba in real life for five years!
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The main portion of this lightweight musical story is located at fictional Midwick College, which Peter Kendricks (Peter Lind Hayes) attends due to the largesse of stage actress Grace Hayes, his real-life mother who fills the same role here, and who manages to supply his love interest through her secretary Mary (Healy) who is his real-life wife. Drably directed from a weak script, and additionally hampered by excessive cutting and poor editing, this film does provide some treasures among its eight songs, including the title number, and has nice turns by soprano Healy, Benny Rubin as a snack shop proprietor, and the dynamic tap dancing Roland Dupree.

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The female cast of this movie is terrific: you've got Linda Blair (maturing nicely), Julie Strain (who doesn't get too many speaking lines - that's a good thing), Rochelle Swanson (equally convincing as a sweet innocent girl or as an evil possessed girl), Toni Naples, and the most beautiful of them all IMO, the simply stunning Kristina Ducati (how the goofy male lead, Larry Poindexter, deserved to get sexually involved with any of these women remains a mystery). However, beyond the chance to watch these beautiful and in some cases talented women, the movie has little to offer. The plot is disjointed and doesn't really get going until the last 15 minutes or so; and when Wynorski finally manages to create some suspense, a ludicrous "twist" ending comes and ruins everything. (*1/2)
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The idea is not original... If you have seen such kind of story before, you would know what the ending would come out after watching for the first twenty minutes... the script, the positioning of the actors and the screening is too obvious... If you haven't seen such story before, it is definitely a good experience, you will enjoy the twist at the end...don't forget to watch it again after you know the "truth", you will even more enjoy the plots... Even though I have a right guess at the very beginning, I still couldn't help stick on my seat till the end...

Conclusion: A must see!! This one from Korea is better than any recent movies of the genre from Japan...forget Hollywood!

Don't miss it!!
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Inspired casting, charming and witty throughout. Much like the currency in the opening moments of the film, the story floats along magically until you are emotionally "invested" in its outcome. The city of Buffalo has never looked better! Kudos to the Burton Sisters and the entire cast for a job well done.
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This was very good, except for two things which I'll mention at the end. The animation is great, highlighted by Nick Park and company's trademark of exaggerated teeth and mouths of the characters, which make you laugh almost every time you see someone. The color was magnificent, too.

The best part of the film, however, is the clever comedy woven throughout. This is another of these animated films in which there is so much to see and hear each frame that it would require many viewings to catch all the gags. It's just a funny exaggerated look at the oddball "Wallace" and his silent-and-smart dog "Gromit." Along the way, it pokes fun people who get carried away with their vegetable gardens, something akin to how the obsessive dog lovers were pictured in "Best Of Show."

My only complaints were two typical traits of today's films, animated or not: 1 - let's make the cleric in the film look like a total idiot; 2 - let's overdo the final action scene with the predictable result but way overdone. Those aside, this is still a very amusing film that should provide a lot of laughs to many people and a movie to enjoy multiple times.
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This is halfway to being a top movie. The opening section, which spoofs Hollywood "social message" films is absolutely brilliant. It is a riot from start to finish.

The second section, which introduces us to the main characters of the story is really great too. We get a lot of great comic setups, top notch performances, and the dialog is really dynamic.

(Spoiler warning!)

The one think that really annoyed me about this film though is the ending, which I think contradicts everything that went before. My interpretation was that this film was taking the mickey out all the silly prejudices and innuendo of small town gossip and national tabloid sensationalism. I loved that the film was championing the cause that a person's sexuality is NOT determined by their hobbies, idiosyncrasies, fashion sense or whatever. And then the ending goes and re-enforces all the gossip and stereotypes that the movie successfully lampooned in the first place. It turns out everyone was 100% right!!! (godamit!) This was very disappointing to what was actually a great story.
First off, I'm an American -- I haven't seen any comments on IMDb about this series yet from a U.S. viewer. Secondly, I work in the television business in development. So I wallow in much of the sludge that comes out of American broadcast programming. "Unit One" is an example of television that's a throwback to what I would attribute as '70s-style scripting, feature-wise. Namely, those films made by young autueurs who had free rein to make the dramas feel more realistic and to allow for organic character development. It tacks more along the lines of stellar British dramas like "Cracker" and "Prime Suspect" as well as Australia's brilliant "Underbelly." "Unit One" features stand-alone cases that are committed, then solved, each week. The mysteries aren't extraordinary or particularly byzantine. They usually center around one single twist, clocking in generally at the 40 minute mark, and resolution is neatly wrapped up in the 15 minutes thereafter. What makes this series a breath of fresh air is that it features main characters that you are hooked on and find relatable by episode 2. These are real, breathing, alive characters that have personal baggage, yet it's not a talky, batty type of baggage that American flotsam such as "Grey's Anatomy" or "Desperate Housewives" spoons out. These are realistic individuals whose backstories unfold leisurely over the course of the series, as if you work with them on a daily basis. After the mindless decade of "CSI's," "NCIS's," and "Criminal Minds," along with their subsequent spawns, it's refreshing to actually sit down to watch friends you want to spend time with, as is the case with "Unit One." The quippy banter, the unemotional wooden dialogue, and the over-the-top jeopardy that those American series I mentioned bludgeon us with each week are absurd compared to the nuance and the quiet resonance you get with this remarkable Danish series. I'm on episode 7 of the first season, but I've already bought all four seasons and am in for the long haul. If you need explosions and farcically-hopped up testosterone, along with music by The Who and fast-cutting, neon-lit, jittery palsy-cam action with cipher-like main characters as your main diet of television drama viewing, I suggest you stay away from this series. If you are an adult with a hunger for subtle, poignant, thoughtful and, yes, sometimes straight-forward procedural crime dramas, I urge you to check this show out.
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The movie was actually not THAT bad, especially plot-wise, but the doughy (and hairy!) actor they chose for the leading role was a little chintzy in the acting department. I would have chosen someone else. The idea of "going to America" was very ingenious, and the main character questioning everything that he'd ever known made him somewhat likable, but not very much so when there's a pasty blob for a leading actor.

The storyline was interesting. It brings about the question of how the subject of cloning will be handled in the future. Certainly cloning wouldn't be allowed for the purposes in the movie, but it's still a valid argument even for today. Clones ARE still people... right?

The movie wasn't particularly special, but it still is a lot better than some of the cheese released during the 70s. Let us not forget the "Giant Spider Invasion." I give it a 4, since it didn't TOTALLY stink, but the MST3K version makes this movie a 10. (I still like Dr. Super Mario!) You'll like this movie, but it won't be your favorite.

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The movie was slow, the dialogue between actors/actresses felt "flat" and basically there was no development of the characters in the story.

Omar Epps skulks around with a mad look on his face the entire time, pouting and basically looking annoyed with everybody. Danes has no on-screen magic, and Ribisi's character is a goober that nobody would want to hang out with even if they were paid to do so.

Throw in the weird scene where Epps has to dance with an old man, and you have what quite possibly COULD BE the worst movie in cinema history.

I watched it on satellite (thank goodness I didn't pay for it), and wished I hadn't.

Do yourself a favor and go sort your underwear and socks drawer if you need something to do but are tempted to watch this movie when/if it comes on your TV. Awful movie if you ask me, and I generally have something good to say about just about any movie out there.

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This is really bad, the characters were bland, the story was boring, and there is no sex scene. Furthermore, it lacks drama, the conflict is minimal causing it to be extremely slow paced. Nothing happens in this film, you would expect a sex scene, but they just have a kiss. The plot revolves around three characters, a man, his wife, and a stranger that they pick up from the high way. The couple invite the stranger to stay with them, because he is homeless. At this point you would expect the stranger to have sex with the wife right? No they just kiss and thats it. Also, this film contains no action, no comedy, no drama, and not even suspense. Makes you think that maybe the studio did not even read this script!!!!

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Attend the tale of Sweeney Todd...The strangest, most off-putting, but most wonderful Broadway musical. It is chilling, funny, and moving all at once through Sondheim's most memorable and incredible score and sharp performances. George Hearn is incomparable in the title role, bringing a strong voice and dead on (no pun intended) impersonation of the legendary demon barber, while Angela Lansbury provides the comic relief as she cheerfully grinds up his victims into meat pies. If you just allow yourself to enjoy it, "Sweeney Todd" is a real treat.
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I just watched "return from lonesome dove" and it was very good! I've seen a lot of negative comments about it and I don't think the Viewers are being real about it! In the television/ movie business it is hard to get all the actors back for a 2nd sequel or 3rd part. WE ARE LUCKY TO HAVE ANOTHER MINISERIES THAT TIES INTO LONE D. FAITHFULLY!! This production was top notch with the original music score, and the actors put their hearts into it(you can tell). If you want to watch lonesome d. with Robert Duvall and tommy L. J. then watch the original. Return to L.D. didn't have as much wit and takes on a more serious tone but is totally captivating none the less. From the touching moments to the villains, this one is a winner! "Wonderful!!!"
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Harmony Korrine - hate him or hate him? On this evidence, loathe might be a better word. Not him of course, just everything he does. But it could've been so different because the first ten minutes of this film promises so much including a fantastic idea of a Michael Jackson impersonator falling in love with a Marilyn Monroe impersonator. Fantastic. And set in Paris! This could be great. But unfortunately, Korrine may spark the odd decent idea but because he is an awful writer, the story fails on every level and the audience walkout I witnessed about an hour in is proof positive that he is the most boring and pretentious film-making out there. Apparently the walk-out rate at its premiere in last years Cannes festival was quite shocking. Instead of focusing on the two protagonists, he switches the story stupidly to the confines of a château to introduce a bunch of other impersonators making the whole experience tedious and narratively barren. When will the independent cinema stop funding this upstart?