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"Dr. Cameron, a discredited scientist succeeds with his experiment in creating serum the transforms men into wolf-like creatures. Originally developing this formula to help the world, the scientist decides to use his newly created subject to exact revenge upon the scientists who were responsible for his ouster from the scientific community. The scientist's daughter Lenora grows wary of her father's actions and shares her suspicions with a newspaper reporter. When the scientist loses control of his creature, it falls upon the scientist's daughter and the reporter to stop it," according to the DVD sleeve's synopsis.

Mad scientist George Zucco (as Lorenzo Cameron) creates his formula rather unimaginatively, by mixing human and wolf blood. This brings the beast out in hulking Glenn Strange (as Petro aka Pedro), who is directed to act like Lon Chaney Jr. in "Of Mice and Men". Johnny Downs (as Tom Gregory) and Anna Nagel (as Lenora Cameron) are a likable werewolf hunter and damsel in distress. Certainly, "The Mad Monster" is no substitute for "The Wolf Man"; but, it's a serviceable addendum. The grainy black-and-white photography enhances the foggy, cow-webbed atmosphere. "God" (uncredited) strikes up a well-done ending, too. Like Blaine (Robert Strange) said, "Mingling the blood of man and beast is downright sacrilege!" 

**** The Mad Monster (1942) Sam Newfield ~ George Zucco, Johnny Downs, Anna Nagel
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Greta Garbo stars in 'Anna Christie', a very early 1930 MGM 'talkie', the first time 'Garbo Talks'. 'Anna Christie' is a powerful movie but not for everyone. The movie is filmed like a stage play, short on sets and cinematography, long on dialogue and dramatic characterizations. Eugene O'Neil who wrote the play 'Anna Christie' is known for his dark work and Garbo's character Anna Christie is a bleak figure with a tortured past.

The sound quality on the DVD was mediocre. Not helping matters is that George F. Marion who plays Anna's estranged dad, Chris Christofferson, is verbally hard to understand. Marion gives a good performance as the old drunken seamen who’s teetering on insanity with his fixation of the evil 'devil sea'. But his dialogue is written with a very heavy Swedish accent, this is true to O'Neils original play. Marie Dressler's dialogue as Marthy Owens is equally hard to understand. Dressler believably portrays a broken down old drunken women, a 'wharf rat'. Her dialogue also is true to O'Neils original play as is Charles Bickford as the Irish seamen, Matt Burke who pursues Anna in a troubled relationship. Garbo is actually the easiest to understand.

The films strong point is Greta Garbo. She delivers a gut wrenching performance as the victim of neglect and abuse, leading to a life of prostitution. Garbo was a huge star at the time and considered one of the most beautiful women in Hollywood. Here her look isn't glamorous, it's tortured. Her body posture nearly doubles over in agony. She scrunches her face to become a pathetic creature on the screen. Garbo conveys these angst-ridden feelings to the viewer to convince us of her misery.

This is dark subject matter and Garbo brings it to life. It’s not light fare, not fun, not for everyone. ‘Anna Christie’ is strong emotions dredged up from the depths for examination, this is one helluva ride.
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Sure, it seems like there is only about 17 minutes of actual content in each episode, but it is certainly fun to watch. You might find yourself cringing in your chair as buddy sticks his foot in his mouth and gets shot down, or chuckling and shaking your head when some ridiculous line actually works. The panel of hosts have more of a good-natured, friendly (dare I say Canadian) style of commentary compared with cutthroat US reality programming. I think the people who complain about this show don't get the joke. They are taking the show more seriously than the show takes itself. Keys to the VIP is a great caricature of reality shows, sports TV culture, and the club scene. I hope they do another season, and I'd be interested to see if a US version appears. It's certainly a fun, original premise.
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We all want to fall in love... The experience makes us feel completely alive, where every sense is heightened, every emotion is magnified... It may only last a moment, an hour, an afternoon, but that doesn't reduce its value, because we are left with memories that we treasure for the rest of our lives...

I love watching people fall in love... It must have something to do with the excellent chemistry between the main characters...

Mark Elliott, a charming sensitive American war correspondent, arrives in Hong Kong at the dawn of the Korean war... He finds in Han Suyin an awesome beauty of true grace...

Han Suyin, a lovely Eurasian doctor is captivated by Mark's tenderness and insight...

It was instant attraction when they first met... The two commence a passionate affair, leading them to fall deeply in love...

Their love is so strong, so wonderfully expressed that highlights Elliot's married status, and the difficulties of the troubled time of the Korean War, communism and race relations... 

Holden is an inspired choice for the role... Not only does he have an imposing screen presence, but he brings the perfect mix of enlightenment, compassion and emotion to the part...

Opposite him Oscar Winner Jennifer Jones, perfect in her oriental look, radiantly beautiful in that traditional and modern Asian-inspired Cheongsam... Jones floods her role with personal emotion giving her character a charismatic life of its own... She delivers a heartfelt performance turning her character into a woman who undergoes a spiritual and emotional awakening...

Her scene in that verdant hill where she takes refuge is exquisitely touching specially when we heard Mark's voice whispering: "We have not missed you and I... that many-splendored thing."

Henry King - who has established himself as a masterful director of romances - spreads the theme tune (by Alfred Newman) in the air above the cosmopolitan harbor... His film is colorful, elegant, with excellent cinematography and set design...

Nominated for eight Academy Awards, this beautiful and sensitive motion picture won three: Best Costume Design; Best Music and Best Score...
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William Faulkner was one of the American writers to win the Nobel Prize in literature. Faulkner mostly wrote about life in the South particularly during the depression years. Many of his stories have been adapted to screen. Short stories like Two Soldiers is an endearing tale of two brothers in December 1941 after the attack on Pearl Harbor. The older brother, Pete Greer, goes to Memphis, Tennessee to enlist like hundreds of thousands of young men, some who would never come home. His younger brother doesn't take his departure well. He manages to get a bus ticket to Memphis without any money to find his brother. He surprisingly becomes a soldier of another kind since he wants to enlist also at 10 years old. Ron Perlman does a surprising performance as the military leader who manages to take care and bond with the boy. This short film won an Oscar for Best Short-Live Action film which is well-deserved. If it was longer, it could compete with the longer films. Everything else like costumes, art direction, and recreating the era of America in 1941 is perfect. The film also shows the heartbreaking war at home as most Americans were surviving the great depression. The actors and actresses are not known but they do a first rate performances. If Hollywood would make more quality films, I would probably go to the cinema more. If Broadway had more quality shows, I would go to the theater more.
This is the greatest movie if you want inspiration on following your heart and never giving up on your dream. Elizabeth Taylor is Velvet and in her prime (of her childhood, at least), Mickey Rooney is a cynical friend who eventually becomes her trainer and they go off to the Grand National steeplechase with her beloved horse "the Pi"--short for "Pirate"--only to have Velvet become the jockey and have a chance at victory. To those of you who have not seen it yet, I won't give away the ending but you should see it and once you do you'll love it. Notice a very young Angela Lansbury as Velvet's eldest sister.

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This series is formulaic and boring. The episodes are the same thing every week, simply with slightly varied settings. Some purely evil character does some dastardly deed, Walker goes after him, and it ends in a Karate match. The villains are super-cliché super-stereotypical evil villains, the good guys are all pure, honest and saintly, and the story lines are simplistic and unrealistic. After about 2 episodes, the show becomes totally unwatchable by all but the least discerning fans. Certainly not Norris's best work. His other work may be cliché but it usually does not drag on for weeks. If you enjoy formulaic,boring, repetitive clichéd snooze-fests, then this is for you.
Please tell me the sentiment of the following review: Robert Montgomery-Myrna Loy farce about Loy (Irene) and her fiancé, played by Reginald Owen, stranded in Labrador when their plane crashes. (That's really what should have happened to this highly predictable film.) Montgomery lives there while he is waiting for his fiancé.

Surprise! Montgomery and Loy are soon attracted to each other. The scene with the bear is so contrived. We knew it was a tamed bear all along.

Complications ensue when Clara shows up. Loy wants Montgomery to tell Clara that they should part ways, when he refuses, she wants to leave at once.

You don't have to be a rocket scientist to figure out how this will end. Out with all that snow, it's just too cold for anyone!
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Please tell me the sentiment of the following review: ONE DARK NIGHT is a highly overlooked and little known film from the early 80's that deserves an audience that I fear it will never get, and that's a damn shame. I have seen this film compared to others that have gotten a bigger name over the years, most notably PHANTASM, HELL NIGHT and MAUSOLEUM. This is a much different film than those and I don't see the comparisons other than the mausoleum, which is a bit similar to the one in PHANTASM, but not enough to make any real comparisons. I'm not sure how this one slipped through without a broader acceptance. Maybe it's all in the marketing, I don't know. Perhaps a remake would breathe new life into it, unless Raymar drained all the life out of it that is. I'm not too big on all the remakes that are abundant these days, but I think they do work well with lesser known films (except for the awful GHOST SHIP remake, which other than the opening scene and Mudvayne's Not Falling blaring, was utter crap). So if a remake of ONE DARK NIGHT would happen to fall into the right hands, I think it would make a lot of people go and watch the original. I know that's what I do if there's a remake of a film I haven't seen before. So anything short of a remake, I fear, would not bring this film back to life. Unless, of course, Raymar got his eyes on it.

Anyways, ONE DARK NIGHT is a must see for horror fans, especially 80's horror fans ('cause we all know that's when the best horror movies were made). Creepy setting. Fairly good acting. Very good story. Campy. What more could you want from an early 80's horror film? What's that... nudity and gore? Well, sorry. No nudity or gore in this film, but it's still great nonetheless! A solid 8 out of 10. Enjoy.
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You get a good portion of Steven Seagal environmental anxieties, and some breathless mountain views along with cow-boy scenes (or alternatively use parts of any remains of the HORSE WHISPERER). You then add a large piece of OUTBREAK virus or similar (attention it must be more lethal and at least Biohazard Level 4) wrapped around a fat Militia group leader. You add one teaspoon of martial arts, and a zip of explosions and gunfire for the taste. Add the classic red Indian herbs for the extra taste. Serve immediately.

What is the name of the film you get ?: The Patriot. Perhaps the worst film of Steven Seagal. I am sure that Seagal tried to say something in this film except the usual I-am-a-cook (but-also-an-ex-seal) but his recipe was confusing and the taste was awful.
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Canadian film-maker Ron Switzer delivers a solid, non-stop thrill ride of relentless horror with the superb 1991 sci-fi film "Science Crazed". A hideous monster takes revenge on his mother, a police officer and tenants of an apartment building. Brilliant practical make-up and special effects designs create a truly terrifying monster, especially when lurking through the atmospheric shadows and smoke of the gloomy apartment settings. The characters are developed beautifully with outstanding and surprisingly touching performances from an ensemble cast. Produced by Donna Switzer, newcomer Ron Switzer also penned the film's face-paced script, weaving together an engaging roller-coaster ride of twists, turns, and terror that keeps you guessing until the last frame. Science Crazed will no doubt leave you haunted long after the shocking conclusion. Highly recommended!
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Maybe it is unfair for me to review this movie because I walked out well before the end. That's odd, because I usually like Shakespeare on the screen and I enjoyed Midsummers Night's Dream once, many years ago, when I saw it on the stage.

 I think that two things did me in: that squeaky twerp with the Shakespearian name, Calista Flockhart, and Michelle Feiffer sitting in a giant clamshell. Well, I suppose you could say it supposed to be a comedy -- but when the scenery is funny and the actors aren't, I'd say we have a bad movie on our hands....
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Once the slow beginning gets underway, the film kicks off and really becomes quite a lot of fun in many unexpected ways. The ensemble cast is really good, with Heather Graham perhaps being the weakest of them. Casey Affleck as her brother is really good and extremely likeable , if you catch my drift.

I highly recommend the film if you just want to have to good hours. Teenagers should really enjoy this film - it says a lot about relationships.
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I had heard interesting critics on this movie. I believed it was a love story but I wasn't sure what was the plot about. So, when I finally saw it, I found myself in the middle of a love relationship between the ex-con Isabel (Isabel Ampudia) and the junkie Rufo (Sebastián Haro). So, a love story but not probably what I was expecting.

The movie is focused on Isabel, as she struggles to get back into society. She doesn't want to return back to her neighborhood and she finds herself without a home or anywhere to go. So, while she just experiences those first hours of freedom after being released from jail she came across Rufo, an old acquittance of her which while she was in had become a junkie and lives on the streets. Not having where to go, and without money or feasible source of income, she decides to join Rufo on his residence: a covered area on a lonely street.

The story by itself is moving. It explains how the, impossible, relationship between Isabel and Rufo gets deeper until the the almost final twist of the movie.

Definitely, the movie is worth watching. Sebastián Haro is splendid in his role of the junkie. A person being able of both being an innocent and tender giving person and a ruthless street scum. Just depending whom deals him with. I believe his role.

On the other hand, I don't quite believe the role of Isabel Ampudia. Although the movie tries to show the bitterness inside her through several scenes, she is not capable to make me believe it. She is in a way too sweet and too honest for which might be expected of somebody on the same situation.

The movie tries to show a love on a desperate situation. It is a enjoyable movie. But the feeling I get when the movie ends is that Isabel, with the way of thinking and acting she has, would never have arrived to that situation. Her role, partly because of the script, partly because of the acting is difficult to believe.

I specially like the ending, and because of it I have raised my rating one or two points. I liked its bittersweetness and the fact of showing that sometimes, survival instinct is above other more spiritual considerations as love.

Summarizing, an interesting movie, but it lacked some punch to be a total "must see".
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This movie may superficially appear to be flaky and for teenie-boppers. It seems to be the stereotypical high school movie. But in fact, it takes an honest and touching look at the high school experience. It doesn't propose some unrealistic ending where the geeks and the popular kids reconcile. It doesn't change what happened in adolescence; it just attempts to reckon with it. This is a really great, fun, heart-warming movie, good for teens and for those who can still remember being one...
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Once again, we are fortunate to see a gorgeous opening scene where the artists' work has been fully restored and we see this old-time grocery store on a street corner with the snow gently falling. Inside are the rich colors of all the merchandise, from produce to canned and boxed goods to medicine to candy, etc.

In essence, this is a story of those goods "coming to life," such as the animals on the labels of items, or a pie, or even a pack of cigarettes.

The whole "show" is narrated by "Jack Bunny," a Jack Benny impersonator, with music from conductor Leopold Stokowski, who was in so many Looney Tunes animated shorts I have lost count. A lot of the humor is topical, so it pays to know who "Little Egypt" and other characters. The Busby Berkeley-type "aqua" number with bathing suited-sardines coming out of the can, and the tomato can-can dance were both clever! 

All of the above, and more, was in the first half of this slightly longer-than-normal length cartoon. The second half was about a King Kong-type which escapes from the "Animal Crackers" box and terrorizes everyone. That part was not much, and ended on a somewhat stupid note. So..... an "A" for the first half, a "D" for the second, making it about a C-plus or B-minus overall.
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Dire beyond belief. Obviously set on the Isle of Man masquerading as the US - very badly - and full of cut-rate British actors who can't do American accents. A monster that looks like an unarticulated promotional cut-out for Alien from a movie store, with the most inflexible feet ever seen. Girls in the shower, undressing, catfighting, blah, blah, blah. You get the idea. Don't watch it, run away, hide, AVOID.

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I`ve seen this movie twice, both times on Cinemax. The first time in it`s unrated version which is soft-core porn at it`s best and the second time in a trimmed down (cut all the sex and most of the nudity out) version which was entertaining in a typical beach movie sort of way. The unrated version has a tremendous sex scene with Nikki Fritz, a dude and a bottle of oil which is out of this world (no pun intended). Unfortunately, in the trimmed version that scene is almost completely chopped out, as are all the other sex scenes. Rated or unrated it is still fun to watch all the siblings of bigger stars (Stallone, Sheen, Travolta, etc;) trying to act. We also get appearances by B-queen Linnea Quigley and Burt Ward (Robin from the old Batman series).
Kar Wai Wong's incredibly impressive romance that is to me, perfect. Set in 1960's Hong Kong. As we are shown, this is set in a turbulent time. Tony Leung and Maggie Cheung play Chow Mo-wan and Su Li-zhen Chan. A man and a woman who meet each other in a Hong Kong apartment, in which they both move in. Chow Mo-wan works for a newspaper company. Su Li-zhen Chan is a secretary. Two very different people. Chow Mo-wan and Su Li-zhen Chan create a special bond after they both find out their spouses, constantly away are committing extra-marital trysts. With each other.

The characters of Chow Mo-wan and Su Li-zhen Chan are nothing short of amazing. Both Leung and Cheung manage to strike such amazing chemistry with one another, it's better than any Hollywood romance that is put out today. Combined. The film is all about the focus of the two leads and their feelings after the infidelities of their partners. Kar Wai Wong manages to create such strong character development between these two characters, you really start to feel for them. Leung and Cheung are both wildly amazing, are better than any Hollywood pairing shown on the screen today. Combined.

There's nothing much else to describe Fa yeung nin wa other than beautiful, energetic romance that also features a moody, atmospheric piece with gorgeous cinematography. So much elements of this movie help create it to be flawless. As well as Kar Wai Wong and the acting, the cinematography from both Christopher Doyle and Pin Bing Lee is haunting. Beautifully understated. The shots from Kar Wai Wong help makes your mind create a world of it's own. A world that creates these characters. Original, melancholic and nostalgic. This film is incredibly unforgettable.

The costumes created by Kar Wai Wong regular William Chang are absolutely beautiful. Cheung, who wears an elegant, ankle-deep, beautifully patterned dress in every scene. She's a scene-stealer. Her costumes say a lot about her character and an emotion is fitted in all of her dresses colours which are vividly and smartly used. Highly original. Chang, also the production designer creates a brilliant setting for the movies moody piece. Especially with the help of the marvellous music used in scenes and masterful film editing, again by Chang. William Chang seems to be incredibly versatile and is an unsung hero for this movie.

Overall, this movie is one of the best from this millennium. Incredibly compelling and filled with nostalgia. The shots are mesmerising and haunting. Kar Wai Wong somewhat proves to be a master at the top of his game. The acting; music; cinematography; editing; production; costume and direction all help create ONE small, little perfect film. A masterpiece in romance film-making. Visually spectacular. Overall, a masterpiece to film-making. A film that reminds me of old classic Hollywood, was the one that never was. Never forget Fa yeung nin wa. I know I won't.
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Please tell me the sentiment of the following review: Despite the fact that the plot follows the well-known recipe of "who did it", which has characterised all the Perry Mason movies so far, the characters of the present film are not so well-developed and the selected cast fails to give them flesh and blood. Of course, in general, the Perry Mason movies are not significant, but, even for their low standards, this one is weak.
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Human Traffic is without a doubt the most original and compelling film that I have seen for a long time. It documents 2 days in the lives of a group of young people, bored with their everyday existence and dead end jobs and taking ecstasy at raves on the weekend. It is hilariously funny and extremely poignant, and at times very sad. In the same genre as 'Trainspotting' it has a great soundtrack and features hot young rising British stars. The movie was made on a miniscule budget and I look forward to future offerings of Writer/Director Justin Kerrigan when his talent is discovered by the major movie makers.
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positive
I first saw Heimat 2 on BBC2 in the 90's when I was at art college living and moving among artists and musicians, hoping for future success. So 'The Second Home' - of friendships made after leaving the familial home, of striving for a professional excellence - strongly resonated with my living reality. I was captivated by the characters, the storytelling, the lyrical camera-work and above all by the music. In it I could divine the beginnings of German Electronic music, of 50's Stockhausen, Kraftwerk, Can, Neue, Faust of the 70's, the sound experiments of John Cage, Walter Carlos and the British electronic psychedelia of The White Noise. The soundtrack composer Nikos Mamangakis studied with Carl Orff of Carmina Burana-fame so I found its tastes contemporary to the Electronic Pop/ Sound Effects world.

I hadnt seen Heimat or Heimat 3 so I watched it as a whole in itself without a before or after. As someone else has commented, it is both epic and lyrical - historical and artistic. Many favourite moments including the wonderful voice of Gisela Muller (Evelyn), the Bach marimba of Daniel Smith (Juan), the piano-playing of Henry Arnold (Hermann) and the cello-playing of Salome Kammer (Clarissa).

I could write more but it's already been said here. Why can't British or US TV PRODUCE SUCH MASTERPIECES ? The Wire had the realism and politics and epic sweep of a city, David Lynch and Dennis Potter had imaginative tropes to their serialised TV work too but this is art-house and soap at its most cinematic and narrative sublime. It's never included in critics' choices of Best Films but it should be. Still as poetic and powerful as when I first saw it over 17 years ago. I watch the 3 boxed sets every autumn for their 'mellow fruitfulness'. Inspired and inspiring.

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Great book, poorly done movie. Cheesy performances and contrived situations make this movie a sentimental bore-fest. Flat and uninspired work from most of the actors leaves this film in the After School Special category. No doubt there is a lot of talent to be tapped in this cast and crew but something went horribly wrong The very talented Gretchen Mol attempts to pull this film out of the mire but even she can't seem to rise above the silly dialogue. Feels like everyone just phoned it in. Even the makeup (Mulrooney ages 20 years over the course of the film) looks amateurish and crude. Don't waste your time on this clunker.... go read the book.
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I have not figured out what the chosen title has to do with the movie. This is another gathering of monsters just like the HOUSE OF FRANKENSTEIN. Not exactly a masterful plot, but Universal needed to capitalize again.

Dr. Edelman (Onslow Stevens) is either very ambitious or over the top in the ego department. He is working on the cure to keep Larry Talbot from turning into the Wolf Man. Somehow Count Dracula happens to drop by to get a fix on his vampirism. And rounding out the good doctor's experiments is the restoring of the Frankenstein monster's energy. Along the way, the kind hearted doctor's blood is tainted with that of Dracula.

John Carradine plays Dracula again. This time he is more convincing. Lon Chaney Jr. as usual is the soulful Wolf Man. Glenn Strange is the Frankenstein monster, who has very little to do this outing. Also with mentionable roles are Lionel Atwill and Martha O'Driscoll.

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I am completely into this type of story line but once the movie fired up, I honestly said out loud, " I just rented a two dollar budget Christian POS". The only thing I could find to like about this film was it has a descent story but it was awfully executed. Horrible actors, horrible direction and producing.

The director and producer need to go watch the cube before trying to pull off a movie in a single room. There was absolutely nothing that kept you intrigued to the point that you didn't notice you were in the same room the entire movie. Horrible! The two main actresses were very easy on the eyes and you could tell that was the director counting on to hold your attention. But these two and their bios can speak to this, are horrible in front of the camera.

Don't rent this. Unless you are blind, because it might go up a few stars if you only listen to it.
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I hadn't heard of Soap Girl but I saw a poster with a five star review from Film Threat outside the theater so I figured, how bad could it be? Well, I soon found out. My god this film was awful. The most wooden acting I have ever seen outside of a porn flick. Absolutely agonizing dialogue. I just can't understand how this was made and why anyone agreed to be a part of it. And I find it completely unfathomable that this was actually being shown in a theater and money was being charged to see it. How did this happen????? And most importantly WHAT THE WAS THE GUY FROM FILM THREAT THINKING?!?!?!?!
OK, most of us agree that this is a weak attempt at a remake, but at the same time it's also a different movie in its own right. Don't get me wrong, 'American Werewolf In London' is a superior film, but 'American Remake In Paris' is a decent movie as well.

First off, the only real similarities are the TITLE, 2 American BACKPACKERS, and WEREWOLVES. Other than those 3 things, 'American Remake In Paris' stands apart fairly well on its own with its special blend of humor, action/adventure, and horror. Most of the people who say this film is better than the original are the youth of today's generation that think any movie made before 1990 is total crap. While those of us who grew up in the 80's can appreciate older films and what they have added to the horror films of today. What a lot of people fail to realize is that without the old classic films, including the B&W ones, horror wouldn't be what it is today. Now I'm getting a little off the beaten path...

An American Werewolf In Paris is a good attempt at re-creating a classic, but it will never surpass the original, ever. With that said, this is still a very entertaining film to watch and I do recommend it. I'm giving it a 7 out of 10. Maybe that's being a little generous, but I've seen much worse attempts at trying to re-create a classic.

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You might suspect that the plot of this movie was written in the process of filming. It begins as a "punks versus vigilante" movie, but in the middle of the film, the plot changes abruptly when the vigilante turns to be an honest man with his honest girl and his honest gym and has to fight the corrupt "businessmen" who want to turn the gym down at any cost to build a mall or something. Then, the plot changes again, and we forget about the corrupt guys. The villain now is the friend of the leading man, who thinks he is a Ninja. The guy becomes "crazy evil" and wants at any cost to win a Martial Arts Contest. Seeing this movie is like having a nightmare with the television on.
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Blackwater Valley Exorcism is a movie about a possessed young girl. Do I need to describe any more of the plot to you? The Exorcist and The Exorcism of Emily Rose are two terrific terrifying movies. Classics (IMO). Blackwater Valley Exorcism (BVE) is not. Not by a long shot. It's certainly not as terrible as a low budget copy of The Exorcist could have been. From start to finish it has the feel of a "made for Sci-Fi channel" production. It's one of those movies that will probably be spoofed and ridiculed on Mystery Science Theater 3000 (or a similar show).

The make up and effects were absolutely laughable. The acting was horrendously bad. There was not a single performance that didn't lead to me rolling my eyes or giggling. Oh, except maybe for Jeffery (Re-Animator) Combs as the sheriff. The script wasn't THAT terrible but it certainly wasn't anything special.

It seems like through most of the movie everyone is more focused on who is sleeping with who than they are with the demon possessed girl in the other room. Oh, there was something I learned from this movie. Apparently if your teenage daughter is possessed by a demon then all you have to do is lock them in the room. C'mon. And if your daughter is possessed don't worry too much because all it does it make them talk in funny voices, eat rabbits, try to stare you down, and put fog machines in their bed. Other than that there is nothing to worry about. Apparently she was possessed with a low budget D-List demon.

There was none of the ghastly deeds done by A-List demons like crucifix intercourse, painful body distortions, or even projectile vomiting.

Totally laughable movie. Not worth even a discount rental.

2 out of 10.
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This movie states through its protagonist that the world is essentially sadness and pain and those that ignore this have blinders on. One can argue whether this is true or not. But even if you accept this as true, the movie's ending either A) disputes this by saying there can be some good in tragic situations or B) forgets this and uses a cliched montage in order to leave the audience feeling uplifted.

That the movie metaphorically acquits its protagonist by presenting him as a sympathetic character despite any evidence for that sympathy shows contempt for the supporting characters who were the most compelling in the film.

So what you have in this film is a script that is not consistent in its theme and direction that does not bring the ending into sync with the rest of the film. There are excellent performances given by every member of the cast especially Spacey, Olin, Martin Donovan, and Ann Magnuson. It's a shame that they weren't supported by a better writer/director.
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Corny and some really bad acting but for a Golan-Globus film about right on par. Saw this movie back in 1985 mostly because I liked sword and sorcery films(what was i thinking?). Arnold is in it playing a high lord trying to make sure an ancient talisman is destroyed before it blows up the world.Brigitte Nielsen is the title character who at the time was Sly's girl and a pretty bad actress.Movie producers like to cast Playboy type women who cant act in low budget B movies. Brigitte cheeses it up as Sonya and Arnold acts wooden as Lord Kalidor.There is also Sandahl Bergman(who was in the original Conan movie as Valeria)here she plays the evil Queen Gedren,an obvious camp to her Conan role. And then one of the most irritating child actors onscreen(ernie reyes)as Prince Tarn who should have been slapped hard and sent to bed.What a little irritating scut. Some of the swordfights arent too bad but the music really sucks. Special effects are cheap and look very 70's ,like the explosion of the evil queen's castle at the climax of the movie. 

Overall a very low par film but b movie film buffs might like it for its campiness.
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Jumpin' Butterballs, this movie stinks! It's a dull and listless drag that never lets up. It's a wonder anyone even bothered to make Groucho up in his bizarre trademark eyebrows and mustache, as he has nothing witty or outrageous to do or say throughout this bore. Chico must have been so disinterested that he forgot to use his Italian accent.

Only Harpo provides a grin or two, and there's precious little of that to go around here anyway. Figure in a loudmouthed hotel manager and another obnoxious co-comic in Frank Albertson, and the road gets even bumpier. 

A real misfire.
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Jack Frost 2 is out of the question, I'm actually surprised people are allowed to make these sort of movies.

As Sam and his wife take to the Tropicana for a relaxing Christmas, Jack returns to kill off the fun and take on a revenge with inbreeding...

Don't take a swip at this film at all, most people say its a laugh with your mates, but frankily its a waste of time. If the people who made this film can get a job by doing what they do, they can at least take the time and effort to write up a better story, especially the cheesy character names.
This movie is one of the best and moving I have ever seen, because of the terrible good performance of the main actress Jennifer Rubin as Jamie Harris, who really makes you feel with her. Also the music by Mark Snow is wonderful.

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Two redeeming qualities of this film were the cinemaphotography and a storyline that was hard to resist. However, the script, the direction, and some scenes, were just awful. I kept asking myself why such a good cast would have produced such a bad movie. My only conclusion was that these actors must believe in the charity which underlies the plot of the movie, but knew the movie was filled with flaws.

This film could have been so much better, and reached a larger audience accordingly. What makes me think this is that with all of the problems of the film, some scenes being painfully bad to watch, I still wanted to see how the obvious conclusion would resolve itself.
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I rented this movie for two reasons. The first was all of the good things that I read about it. I definately was impressed, and couldn't agree more with all of the reviews I read. The second reason is because I know these guys. I don't know Mark as well as I do Mike. He hasn't changed much from the years we knew each other. I know him as "the reaper" from a local Milwaukee radio station (WMSE). The way he is in this film is genuinely Mike 100%. He once gave me a table that he made. It was a little one, about 15" high, that said Metallica on it. The odd thing about it was it only had two legs. Sometimes it's the thought that counts, and Mike always has thought about others first.
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Have wanted to see this for a while: I never thought I'd be watching it in a damp Trafalgar Square, London with 15,000 other people and all to a new score by the Pet Shop Boys.

Quickly, that experience specifically. A new departure from PSB, it seemed to suffer from the same problem the miniaturist Hugo Wolf had when he wrote his opera Der Corregidor: the long structure was a chain of short ones, i.e. songs. PSB produced a more fluid, integrated score although it was quite static on its own terms. Neither could they resist song: a setting of the subtitled text worked in this respect a free standing meditation on the action of the Odessa steps massacre during the action of that sequence itself was, I'd go so far to say, counterproductive. Overall it was very exciting though, which is surely what Eisenstein was trying to achieve.

It is a very exciting film with choppier editing taking the place of acceleration of tension or action. In fact the film, though beautifully shot and passionately acted (it has a silent film melodrama, but not in the excess of the Hollywood comic style) breathes through its careful editing pacing specific shots with a sense of the rate at which the audience will take them in. And there's a huge range of perspective too; either he had a lot of cameras or the sequences on the harbor and steps took a great deal of time.

Super film, which can be assessed irrespective of sound, as that's how the finished product would have been conceived. 8/10
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Someone asked why it was canceled I tell you why Because "reality" makes money. the show surface was canceled so that they could replace it with a "reality" show, this will haunt NBC, I and about half of my high school, about 1000 people total have vowed to boycott NBC, until they bring this show back. in my area (I don't know about other places) but they had a great thing going with the Sci-Fi channel where the Sci-Fi channel would show last weeks episode at 7:00 and then NBC would show the week's new episode at 8:00 this was great because it gave you a little refresher as to what happened in the last episode. I was so angry when I learned that the show was canceled and they were going to just leave them on top of the church like that!
Pretty lame and awful slasher about someone killing the members of a high school track team after their star runner dies during a meet.

Christopher George gives a hilariously over-the-top performance as the track team's coach. I don't think ANYONE has ever taken track and field as seriously as Chris does here - not even in the Olympics. It's a typically divine CG performance, and if you are a fan of the man/the legend, you should run right out and grab a copy.

But we watch slashers for the murders (you know it's true), not the performances, and Graduation Day fails to deliver on most counts (there is one really good kill). True horror only comes during a performance by the band "Felony". Never heard of 'em? Watch Graduation Day and find out why.

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Please tell me the sentiment of the following review: It's really just terrible. Quaid overacts more than Shatner. The part where Elvis walks in and says "You can have it all" just kills anything that might have been good in this movie that's bad enough as it is. Drug use was completely snow coated, the only thing that had anything to do with his life was the bit about him wedding his cousin. Quaid also looks nothing like Lewis and has dark roots and eyebrows. I wish this could be re-made in the future with someone who doesn't try so hard. A bigger budget wouldn't hurt and maybe more about his actual life. I was very, very disappointed in Quaid. Don't watch this movie or you will be too.
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I remember watching this as a child as part of the Children;s Film Foundations Friday Film Specials on CBBC and have recently happened upon a copy.

In the twenty or so years since my last viewing this film has lost nothing.

It is an atmospheric tale which entices with Cornish folklore and adds elements of truly creepy imagery of the ghost of the young miner Billy.

Shot in the wonderfully scenic Port Loe area of Cornwall the film utilises the mixture of rugged coastline and abandoned tin mines to make the setting truly believable.

There is much packed into this CFF drama, something long since lost from Children's television today and well worth a look if you can track down a copy.
Obviously, the comments above that fawn over the movie were made by someone who's on the crew. I don't recall ever seeing a movie that's more insulting to the talented actors or the audience watching. In my 30 years of watching movies, this is the only one I have ever walked out of. Bad humor, bad jokes, bad gags, bad editing, bad plot, etc. 

Note to producer: It's never funny to hunt humans based on race. Great that you tried to be politically correct by incorporating all races, but you're still hunting humans based on race, and that's sickening.
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Hmmm, not a patch on the original from Shaw Brothers. The fighting is average and looks very clunky. The story line is as to be expected from a 70's Kung Fu film, confusing and daft. Stupid voices for women,dubbed in posh English accents for men. i turned this off early and i love martial arts flicks. Get the original, its so much better than this average movie, don't be fooled, i bought the wrong flick what i wanted was the Shaw brothers movie. i have just started commenting, I'm only doing foreign and martial arts films this is just the beginning of my movie collection, i personally own most modern martial arts flicks. Hope you don't waste time watching this one, its for die hard fans of 70's Kung Fu only.
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If anything, William Girdler was an opportunist who wanted a piece of the action in regards to whatever was popular during the time. I mean, a blaxploitation flick in Louisville, Kentucky..who would of thunk it?!?! I can just imagine the enthusiasm he must've had getting Pam Grier, quite a hot item, to star in his picture. If you are pretty familiar with the genre, Girdler's Sheba, Baby doesn't necessarily stray too far from formula. Despite a change of venue, the film still deals with a ruthless businessman nicknamed Shark who muscles in on loan companies, using stooges to threaten them in order to get their signatures. 

Grier is Sheba Shayne, a former Louisville cop working in Chicago who returns home at the request of her father's partner, Brick(Austin Stoker, Assault on Precinct 13). Sheba's father, despite Shark's bullying tactics(..his man in town is Pilot, a wannabe gangster, equipped with stooges who aren't that menacing, rather buffoonish in nature, so thin-skinned they hire hit men outside of town to shoot up the Shayne Loan building), won't give up his company, and this eventually costs him his life when a warning through the use of brute force, leads to his being killed. Sheba will get her revenge on all those responsible for his father's death. In other words, Shark's ass is grass..can you dig it? 

Seeing Grier with a magnum is enough to sell this particular film, the novelty of the setting being in Louisville is part of the package. You even get to see a speedboat chase, Grier in shootouts with gangsters(..not necessarily the most polished kind one might be accustomed to seeing in a Chicago or New York during this period in blaxploitation), lots of blood spurting from bullet-riddled bodies torn apart by gun-fire, and colorful characters(..such as a wimpy loan shark in pimp-dress named Walker and Pilot who is one of the least scary mobsters you are likely to see)who show up during the film, most having the misfortune of coming in contact with a very angry Sheba. The plot itself is nothing special, but Grier is always worth watching, and Girdler orchestrates plenty of action sequences to keep his target audience entertained. A modest success for Girdler, and one of his more accomplished films.
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