cindermond/bento huggingface dataset:
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... in search of the cheesiest "so bad it's good" movie, I've repeatedly laughed at the first fifteen minutes of various films, only to be left disappointed and bored at the end. Not this time!!! My eyes teared up, my belly and my cheeks ached from laughing so hard throughout the movie. Sure, Hulk Hogan is a subpar actor and the plot is utterly predictable, but everyone dives into this movie knowing all this - all anyone wants to see when renting this is Hogan breaking out a can of whoopass, with a bunch of "YEAH BROTHER"s and "WHATCHUGONNADO"s flying from his infamously goateed mouth. And while the Hulkster on the screen pales a bit in comparison to the Hulkster in the ring, seekers of the ultimate cheese will certainly not be disappointed by this backhand gem of a flick. A laugh riot.
The brainchild of comic strip pioneer Alex Raymond, "Flash Gordon" was the grand daddy of all sci-fi epics. This serial is the first time Flash was brought to celluloid life. Despite it's low budget, this is a great space opera.

The story begins with Earth doomed to apparent destruction, when the Planet Mongo comes hurtling through space on a collision course. Maverick scientist Dr. Zarkov is headed off for the approaching planet in a self-made rocket ship, convinced he can do something to stop the runaway celestial body. He gets some last minute recruits in the form of resourceful athlete Flash Gordon and beautiful Dale Arden. Once they reach Mongo, their problems really begin. They run afoul of dastardly Emperor Ming the Merciless, conqueror of his world, who has some ambitious plans for Earth.

The rest of the serial revolves around Flash's desperate attempts to save the earth; the assorted alien cultures he encounters; the allies he makes; space ships he flies; the battles he fights, and the monsters he slays.

Brilliantly conceived by Raymond, "Flash Gordon" features classic archetypes from legendary myths and fables of antiquity. Echos of famous tales, like the sagas of Troy and Camelot and Sherwood Forrest are seen here. You have the dashing, handsome hero, on a quest to save the kingdom (Flash); The evil king (Ming); The old wise man (Zarkov); The lovely damsel in distress (Dale); the seductive siren (Aura); loyal allies (Thun, Barin, Vultan); Plus monsters, dragons and assorted beasties.

Flash is a modern Robin Hood, Jason or Beowulf. Ming is Prince John or Aggamemnon. Dale is Helen of Troy or Gwenevere or Maid Marion. Zarkov is Merlin or Odysseus. (Or Gandalf) Thun/Barin/Vultan are the Merry Men or the Knights of the Round Table.

You get the idea.

You can't help but notice how many ideas from "Flash Gordon" would later reappear in STAR WARS. The cloud City; The ice World; The forest moon; The scrolling opening text (From the second serial); There are others, but you get the gist. The whole sci-fi genre owes a great debt to this timeless classic.

Buster Crabb is the perfect action hero, and I personally think he's better at this sort of role than any of the current crop of action stars. He also played Buck Rogers and Tarzan.

Charles Middleton is the embodiment of diabolical nastiness as Ming. Sure, he seems a bit melodramatic today, but that was what audiences expected from their bad guys in the 30's. 

Jean Rogers is our hero's love interest Dale Arden, and I had such a crush on her when I first saw this as a boy. I can readily understand why Flash always rushed to her rescue. She's the quintessential good girl, to counterpoint the seductive manipulations of Aura, the quintessential bad girl.

The supporting cast seemed perfectly chosen to emulated their comic strip counterparts, and despite the now-silly looking FXs, there was a lot of thrilling action in this groundbreaking serial.

An all around fun romp and the beginning of the sci-fi genre in cinema.

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As a child growing up in the Sydney of the 1950s, I can readily identify with the content of this fine film. Each week I visited the Wynyard Newsreel cinema on George Street to watch the Cinesound (and usually 3 Stooges) shorts. Never has there been a better blending of B/W and colour in a film. Faultless production values round off a never to be forgotten movie experience.
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With Al Jolson at the height of his popularity and Warner Brothers's the Jazz Singer having been the highest grossing film of 1927, it was inevitable that the other studios would churn out a few vehicles for their own Jolson-esquire characters. But while the Jazz Singer was a sensation for its being the first part-talkie, the Matinée Idol lacks the singing voice of its star (the now obscure Johnnie Walker), and has to make do with just his visual antics.

The Matinée Idol was an early directorial assignment for the renowned Frank Capra. Capra's first couple of full-length features for Harry Langdon reveal a very showy, excessive style, which made Langdon's already mediocre slapstick almost unwatchable. A couple of pictures later and Capra has learnt to ease off a bit, with some fairly regular and decent camera-work. However he still shows no aptitude for shooting physical comedy. The longest comic routine - the stage performance - seems to have a few good gags, but it's all cut up into lots of different camera angles, and there is no chance for the comedy to flow naturally from the performances. Theoretically, a good portion of the jokes are in the intertitles, but there are far too many of these and none of them is especially funny.

Of course, Capra would eventually mature into a fine dramatic and romantic director, and you can see him beginning to develop in this respect. He cuts down the line, closing in on Walker and Bessie love in the scene where she first lays eyes on him in his Don Wilson get up, neatly establishing the wordless connection between them. Then there is some beautiful and tender framing of the couple in their scene together at the masquerade, which is all very reminiscent of the love scenes in Capra's early 30s output.

Johnnie Walker, Columbia's answer to Al Jolson, is not an exceptional talent. His comic timing is good but there is nothing to make him stand out. Bessie Love on the other hand is a pretty good actress too, with a very expressive face. Kudos to her for getting involved with the physical comedy and losing her dignity with the boys. There's also a good role for Lionel Belmore, that rotund and jolly character actor who seems to turn up in absolutely everything in the late 20s and early 30s.

The Matinée Idol is one of those pictures that has gained more than its fair share of attention thanks to its director later having made a handful of masterpieces. In and of itself it is a very uninteresting piece, and like most of Capra's work before he met Robert Riskin, a disappointment.
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As a young lass, beautiful Joan Woodbury (as Rita Adams) was orphaned, after her "stool pigeon" father was shot to death. As a young woman, Ms. Woodbury finds herself struggling to keep a job, as her murdered father's ex-convict status makes Woodbury a bad business risk. Woodbury rooms with understanding songstress Linda Ware (as Donna Andrews), who advises Woodbury to get in touch with old orphanage friends John Archer (as Bob Elliott) and Jack La Rue (as Mickey Roman). But, none of her friends can help when Woodbury is the victim of a scam, which lands her in prison. Upon release, Woodbury decides to give the male mobsters a run for their money 

Re-titled "Gangs, Inc.", this is an obviously weak, cheap mobster melodrama. Still, it's a lot of fun to watch Woodbury work wonders with inferior material. She plays the innocent growing more sophisticated "Rita" quite convincingly; and, she tosses in a great bit as a blonde hooker. Woodbury must be added to the list of unfortunately underutilized Hollywood actresses of the past. "Paper Bullets" also features an early Alan Ladd (as Jimmy Kelly aka Bill Dugan). Ms. Ware, who sang the hit "An Apple for the Teacher" with Bing Crosby, sings a couple of fair '40s numbers nicely. But, mainly, it's Woodbury's show.

**** Paper Bullets (1941) Phil Rosen ~ Joan Woodbury, Linda Ware, Alan Ladd
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Jim Varney's first real movie is quite a delight, but don't come in expecting to see Ernest P. Worrel any time soon. I felt the wide array of characters Varney depicted were great, but without being said, the rest of the movie should be put into a mulcher or something. A rather odd beginning for a movie icon.

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There really is only one reason to watch this barely adequate and utterly predictable movie about an uptight chef Kate Armstrong (Catherine Zeta Jones) whose life changes when she inherits her orphaned niece Zoe (Abigail Breslin) after her sister is killed in a car wreck. And that reason is to watch Aaron Eckhart (Nick) who, with his floppy haircut and appealingly laddish attitude, looks good enough to slap between two slices of organic Pannini and eat with an olive oil and balsamic vinaigrette dip and a few finely diced sun dried tomatoes. He reminds me of Sean Bean. The thought that he might take his shirt off really was the only thing that kept me awake until the end. He removed his apron petulantly several times, but to my disappointment, never went further.

I can't be too critical because I was watching it on pay per view at home, so it hadn't cost me the price of two movie tickets at least, and I was brought up to be grateful for small mercies. But really, this is Rom Com at its most formulaic. Zeta Jones gives a very flat, monotonous performance, she seemed utterly lacking in passion, (possibly due to the amount of time she apparently spent in the cold store at the restaurant? Thirty takes in there can't have been fun) and her face barely changed expression throughout the whole movie. Abigail Breslin was pretty good as the niece, she's such an appealing little girl that it's quite impossible to criticize her, and anyway I loved her in Little Miss Sunshine. Patricia Clarkson is always good value and I can't really fault her performance as the restaurant owner, because she seemed very underused, given what a good actor she is and how little she had to do here. But the whole thing is just so clichéd, much of the dialog banal, and the outcome so obvious. This is the cinematic equivalent of paint by numbers, and Zeta Jones and Eckhart generate little heat on screen.

Nick likes Italian food (doubtless indicating his burning inner passion) and cooks to the sound of Puccini. His appearance in Kate's kitchen at 22 Bleecker (the restaurant's name) predictably ruffles her feathers but his uncanny ability to bond with her niece by cooking pizza and building a Bedouin tent in the living room, brings Kate around and, despite a few stumbles along the way, she ends up giving him her prized possession. No, not her honour. But her recipe for saffron sauce.

I'm being very unfair here, aren't I? I mean Rom Com is Rom Com, and we all know what we are letting ourselves in for when we sign up. But does it always have to be so mind numbingly dull?
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This is a fun movie with subtle intention. Its off-beat comedy is hilarious to me, unfunny to my friends. The soundtrack is perfect.

I own this on VHS and I have watched it many, many times, because it's simply a fun and funny love story with great performances by all the principals (though using Joan Cusack solely as a perch for big hair was a waste of her talent. I know, I know, she was still young...).

On a sad note, I decided to check out the DVD last night (instead of watching my VHS tape), and was SHOCKED to find many crucial scenes cut. And on the copy I watched, there was no special feature of deleted scenes: it was as if the deleted scenes never existed!! I am so glad I bought the used VHS at a flea market.

It is clear there was a great deal of choreography in this, which is another reason I love it so much. It takes great skill, talent, and genius to move around the scenes like Mercedes Ruehl, Dean Stockwell, and Matthew Modine do from scene to scene (Note the scene when the grocery carts converge, the rolling on the floor during the shoot-out in Miami, the Chicken Lickin' debacle, the foot massage, the salon hair-washing.) There is a very "theatrical" feel to this film, which may be the turn-off for so many whose poor reviews follow: I know some viewers who don't quite understand this style mistake the exaggerations and over-the-top performances for poor acting and worse direction. Not so. Jonathan Demme does a great job bringing to life the entire company and their respective roles.

The opening credits and first scene rank among my all-time favorites, as well (another favorite opening credits/first scene: Fly Away Home).

Too bad Matthew Modine so ardently skipped out of the public eye; I really like him, and found his casting PERFECT in the role of Mike Smith. Actually, this film is well-cast from soup to nuts: everyone is believable and true to his role. As for the question of expecting audience to accept Pfeiffer and Stockwell as Italians - why not? I thought they pulled it off perfectly well.

Charming, fun, exciting... what is there not to like? If you want a little fun, watch this quirky, colorful adventure-mob-love story. If you are looking to learn more about organized crime and families, tune to HBO's The Sopranos.
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Time has not been kind to this film from the transition days of sound from silent. The plot has a gangster falling for a socialite who wants to help the down on his luck violinist she loves. There are of course complications. The problem with the film for me is that it hasn't aged well. Performances are all over the place with some emotional scenes seeming so over the top as to be laughable. One late exchange where Carol Lombard throws someone out of her room had me howling with its sing song delivery. There are other times when the film becomes static, a sign of the limitations of the microphones. Its not a bad film, its just that the technical limitations of the film get in the way of real enjoyment. Normally I'm forgiving, but this time out I just couldn't go with the flow (Then again the copy I saw was absolutely horrible). Worth a shot in a forgiving mood (and to be reminded that Robert Armstrong actually did more than play Carl Denham in King Kong)
Excellent story-telling and cinematography. Poignant, biting social commentary.

Superb effects. Well-filmed and acted.

However, the parallel action between the present and the travel adventures (though very well done) at times drags on a little too much (about 3 hrs), and over-interrupts the flow of the story.

I first read the book as a child, and enjoyed the parts about the giants and the tiny people -- but the book lost me when it got to the floating island and the land of the "yahoos"! Well, although the adventure plot may sound like a children's story, it's in fact a very adult story, full of symbolism about the moral decay in England at the time of Jonathan Swift, the author of the novel that the film is based upon.

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Every movie Quentin Tarantino has made has become progressively worse. I'd like to believe that most people would agree with that statement, but seeing as "Inglourious(sic) Basterds(sic)" has an 8.5/10 from over 100,000 ratings, it doesn't seem like the general movie-going public has any sense. Even his best work, Reservoir Dogs, wasn't a 'masterpiece.' The trouble is that claiming that you like Tarantino's work has become trendy. As soon as that happens, you get boatloads of people ready and willing to hop on another bandwagon. They will ignore laughably terrible acting, and utterly self-indulgent writing just so they can be part of the exclusive club called "everyone." This movie is so terrible, that I swear it must be some sort of twisted joke by Tarantino to see how much torture his fans will tolerate and still praise him. Like another reviewer has already said: "Previous Tarantino movies were from a guy in love with other movies. This one is from a guy in love with his own writing." I couldn't agree more. This movie is nothing more than self-indulgent and in-joke riddled writing paired with acting ability taken right out of a high school play. But, thanks to the general movie going public, I'm sure it will still go down as one of the best movies ever made. Bravo, Tarantino. You've pulled-off one of the best practical jokes of all time.
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Please tell me the sentiment of the following review: Everything about this film is simply incredible. You truly take this journey through the eyes and soul of a child.

I do feel it is important to note this tale is about child abuse. Don't rent it for your kids thinking it is a fun, disney-esque film.
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This is a bizarre oddity, directed by the guy who edited "The Texas Chainsaw Massacre." Chuck Conners gives a hilariously over-the-top performance as the owner of a roadside "wax" museum which our doomed teenagers happen to break down near. The wax figures look "so real," one of the teen's points out. Heh, heh, heh...Not so much a slasher film as a weird mix of psychological horror and old fashioned "House of Wax"-style terror. I can think of many, many horror films that are worse than this one.
Please tell me the sentiment of the following review: This movie is based on the true story of Christopher Boyce and his friend Daunton Lee. This fascinating story takes place around the time of the Whitlam Dismissal, in which during his time as a clerk for TRW, Christopher was privy to classified correspondence which admitted the CIA's involvement in Australian political and union circles. The movie shows several scenes involving Gough Whitlam (transmitted over US TV), where events take place which confirm the classified documents that Christopher had read previously. The removal of Gough Whitlam was an organized CIA coup. Elsewhere in the film, it was mentioned that most people have no idea about the level of deception that goes on, ultimately to ensure that the US is used as a vehicle to promote certain policies at the behest of everyone else. In the current age, nothing has changed.

Christopher's life was profoundly affected, read shocked, by his knowledge of what and how the CIA shapes foreign democracies, including the democracies of allied nations to the United States. Christopher reacted, probably not in the best way at the time, by selling top secret information to the Soviet Union with Daunton Lee acting as his exchange. Eventually Christopher and Daunton were captured and convicted of treason.

On 23rd May 1982, whilst serving time in US prison, Christopher Boyce agreed to a one and only interview with Ray Martin of 60 Minutes Australia because it was the Australian connection that profoundly affected him. It caused a furore in the Australian media for about a week, then it went hushed.

I liked the movie's symbolism of the falcon, and in it Chris was called the Falcon, and Daunton the Snowman (drug connection), but in reality the title "Falcon" was not something that was used by Chris.

Christopher Boyce: Criminal or Man of Conscience? You decide.

Resources: http://www.playitforwardoz.com/boyce.html
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This is really a terrible film by any of the regular yardsticks. Plot, storyline, acting, effects, direction - I could go on. Suffice to say it's poor. However, it has a certain appeal. Many totally out of context sex scenes appear, it's fun looking for the Batman references. Umm - that's it. Poor really, don't bother.

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Well someone who enjoys traveling down the highway at 120kmph, eating McDonalds, and running the air conditioner twenty four seven, and watching Fox News non-stop, I found this documentary interesting. One thing I picked up, when they being they talk about North America, I assume this documentary was Fabrique Au Canadie. For the Canadian bashing I will leave that to Bill O'Reilly.

The consequence of the depletion of oil will affect everyone, especially those who live in big countries of Australia, Canada and the United States. I am sure that Green Peace are cheering no more gas, means no more SUVs, without realizing people who live in the sub zero temperatures could starve to death. 

As someone who has studied economics, I know for a fact we are living in a world of finite resources. I will give the documentary props for trying to present a balanced point of view about the depletion of oil. However I am studying a degree in journalism, this documentary is full of loaded messages - Republican as warmongers. What the Democrats didn't send troops to Vietnam? 

If you are going to present a documentary about economics and resources, it is best to leave the political bashing to one side, because it could cause a potential audience member to totally shut down. Concentrate on the issue of finite resources. At the end of the day, it is best to open the minds of the mainstream, as it is no good preaching to the minuscule choir. 

I really do enjoy watching documentaries such as Fahrenheit 911, and End of Suburbia not for their political bias, because they do remind us the world isn't so safe. Sure I like to shop, and consumer junk food like there is no tomorrow, but if the world is going to end tomorrow I would rather die rich and consume the living beep out of it. 

For the potential documentary makers out there, just give the people facts, and let the viewers make up their own minds. If you are trying package your political views as a balanced documentary the people are going to smell a rat a mile away.

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There's a thin line between being theatrical and being just plain forced. Forced acting. Forced takes. Forced plot. Even forced photography. There's people who say "the movie develops that way because it's from Asia" but I don't see any kind of forced elements on Seven Samurai or Sonatine. There's a thin line between being fiction (and every work of art it is, in it's way, fiction) and being just unlikely.In a more personal way, I just don't feel anything with the movie, it doesn't take me anywhere, and I just can't believe in the fictional world it is proposed. It just doesn't feel right, there's something in it or through that just doesn't click.
Please tell me the sentiment of the following review: So it's a little dated now, it's almost 30 yrs old. Amazingly enough I have this on BETA tape and it still plays just fine. If it came to DVD I'd snap it up in a heartbeat.

The drug humor is not appreciated nowadays as it was back then. Then it wasn't as 'harmful'. Much like driving without airbags, seat belts and child seats. I can remember my father crying he was laughing so hard watching this. I had coworkers in the 90's who'd seen it and I could bust them up by getting on the intercom and saying "Iiiiiiiivvvvyyyyyyyyyyyyyyyy".

Great lines, great spoof of the original, and funny to me anyway even three decades later!
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I would watch this movie every time it was on cable and it never got old. Who can forget some of the best lines in film history? --- JOHNNY'S FAT BOY BURGERS!! JOHNNY'S FAT BOY BURGERS!! and LOOK BETWEEN THE GIANT MELONS! I used to wish I could run all over the city in a treasure hunt as fun as this. It's an all-time fave and I'm happy to hear that it's out on video! I'm positive that this is where MTV got its original premise for the Road Rules series.
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The beautifully engaging song with the same name as the film won the best song Oscar in 1955.

Love is a many splendored thing.

It's the April rose that only grows in the early spring.

Love is nature's way of giving a reason to be living.

That golden crown that makes a man a king.

Once on a high and windy hill

In the morning mist two lovers kissed and the world stood still.

Then your fingers touched my silent heart and taught it how to sing.

Yes, true love a many-splendored thing.

How can we forget such a beautiful song. Henry King, the director, had the privilege to work with Jennifer Jones twice that year for this film and the greatly under-rated film "Good Morning, Miss Dove." Jones was nominated for "Splendored Thing" but she could have been easily nominated for Miss Dove as well.

William Holden is just great as the war correspondent sent to report on the Communist revolution in 1949 China. His love for Jones, an oriental doctor, was endearing and so memorable to watch.

While the ending is not pleasing, this is still one of the greatest romances ever put on the screen.
Please tell me the sentiment of the following review: Not for those adrenaline maniacs etc It's a good movie, looking at after war, psychical problem, from the other point of view. 

Emilio Estevez is great as a young man, haunted by the demons of Vietnam war, causing problem in family. 

Marin Sheen is also good as a conservative father.

It all comes down to the problem how to deal with the past, with whom

Emilion Estevez's character can't seem to deal, and Martin Sheen's character don't want do deal with.

Protective mother looks at this problem with warm , and open heart but with her mind closed for the obvious reasons.
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My girlfriend and I are really into cheesy horror flicks. Especially ones with lots of unnecessary nudity. When we saw the box cover for this movie at blockbuster we thought it would be a perfect movie for the night. We began watching it, already not expecting it to be GREAT, but thought it would at least catch our interest. 20 minutes into the movie we realized that the pace would not eventually pick up and that it was an incredibly boring movie. We tried to get into it, but the plot made very little sense even after reading the back of the DVD box over and over again. The film was shot very dark and it was pretty annoying to try to figure out what was going on in each shot. Each violent scenes were very hard to make out, and you never get to actually watch the violence you're expecting. This is definitely a film without motive that was shot poorly and very drawn out. Each scene was about 20 minute of the same thing and I felt I got the point after the first 5. Skip this film and re-watch another Freddy or Jason flick and you'll be way more content.
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Great party movie, following the adventures of Bill & Tom, two high school buddies at opposite ends of the spectrum. Bill (Eric Stolz) prefers to live life straight-laced, while his friend Tom (Chris Penn) takes nothing seriously except partying all the time. When Bill moves out of his mother's house to live on his own he faces many issues, from his girlfriend, to his brother, to his landlord. Meanwhile, his friend Tom moves in to keep the rent down but proceeds to turn Bill's life upside down. This movie is non-stop comedy from start to finish and is a personal favorite of mine. Soundtrack features guitar virtioso Edward Van Halen throughout the movie, also features cameos by rockers Lee Ving and Ron Wood. 70s Pornstar legend Kitten Navidad also makes an appearance! Classic 80s movie is worth multiple looks. Now all that needs to be done is a much anticipated DVD release! If you enjoyed this movie, take a look at "The Last American Virgin" which is similar to "Wild Life". I rate both highly.
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I don't mind the odd artsy film. But when they are larded with arcane symbolism and murky dialogue and when it's obvious they were done for the filmmaker's ego rather than the viewer's benefit, I get upset. I'm not a stupid person yet I simply didn't understand what this film was trying to say. Or do. Film is a magnificent form of human communication. Why do some filmmakers use it instead for obfuscation?
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The story told by The Cranes are Flying is not, admittedly, all that original. Young lovers are separated by war; bad things happen to both. We've seen it many times before.

Nonetheless, we haven't seen it filmed this well, with bold shots that take liberties to emphasize separation, or destruction, or hopelessness. All the more remarkable coming from the Soviet Union, and reason to conclude that Tarkovsky is not the last word in modern-era Soviet cinema.

I was reading Chekhov's "Three Sisters" the other day, and chanced upon what may be the meaning of the title of this film. In Act 2, Masha objects to the notion that we must live our lives without meaning or understanding:

"MASHA: Surely mankind must believe in something, or at least seek for the truth, otherwise life is just emptiness, emptiness. To live and not to know why the cranes are flying, why children are born, why there are stars in the sky. Either you must know why it is you live, or everything is trivial - mere pointless nonsense."

Likewise, Veronika has a hard time believing that the war, and her and others' sufferings, have been pointless. Better to assign a meaning, to live as if one's life is significant, and not to give in to despair. It is perhaps this thinking that prompts her to her final act in the film.

BTW as a minor correction to one other comment here--there may be a pattern of V's in the film, though I hadn't noticed them myself. But the first letter of Veronika's name is not a further instance of this; in the Cyrillic alphabet, her name begins with a letter which looks like an English "B".
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This is, without doubt, one of my favourite horror films ever! I really cannot believe that it didn't gain much more popularity when it was released, especially when the main contenders at the time were the usual Wes Craven sequels and copycat horrors, Mute Witness has all the style, suspense and quickfire plot twists of a Hitchcock/DePalma movie, coupled with some very sharp black comedy and a great plot. It never promises to be any more than a good popcorn-and-hot-dog movie, but it is difficult not to just enjoy the film for what it is.

The plot centres on Billie Hughes - a mute girl working on the set of a horror film being made in a Russian factory. By a series of events, she finds herself accidentally locked in, and stumbles on the filming of a snuff movie.

One of the best things about the film is the lack of screaming that seems to invade every horror film ever made. As the main character is mute, she cannot make a noise - something which is a blessing at some stages of the movie, and a curse in others.

The director seems to have studied his Hitchcock very well, Even the opening scene is a tongue-in-cheek nod to both Hitchcock's "Psycho" as well as fairly generic slasher movie scenes.

While the acting can be hammy at times, the whole film does hold it together, not only throwing in a couple of excellent scenes that put you right on the edge of your seat, but a few neat little questions about how the film is going to end.

All in all, a hugely overlooked, well-paced and action packed psycho-thriller which I would recommend for any jaded viewer looking for something a little different from the usual Freddy/Jason/Scream/Michael Myers/Damien regurgitation's at hallowe'en.
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Please tell me the sentiment of the following review: Kennan Ivory Wayans was so funny in Low Down Dirty Shame that I had to see this one and it was one of the worst he has done and Steven Seagal didn't help much. It starts off with some odd religious killings that don't make much sense to Jim Campbell (Keenan). He is surprised to see a new partner waiting for him to work by his side to crack the case but Jack Cole doesn't seem to be who everyone thinks he is until Jack's ex wife is killed in one of those ritual killings that end up making him the suspect as well. It's the same thing as all of his other movies: Smoke past, CIA involvement and now trying to be a normal cop. Why does Steven dress up like he is from a Western movie? And the prayer beeds on top of that make things a little confusing.
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This movie made me want to bang my head against the wall. It is hard to compare such badness as this to anything, but some say that watching this movie is similar to bleeding from under your fingernails. And that comment comes from the writer's cousin. This movie was so flipping bad, it made "Hulk" (The second worst movie ever) look like "The Departed" (One of the greatest movies in cinematic history). If you like boring family movies with predictable plot lines, then you will absolutely love this movie. If you have a brain, then you definitely will not. When I rented this movie, I actually fell asleep while watching it. The next day, I finished it from where I left off, and it was the worst decision of my life.
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Why bother, ITV? Admittedly, Mansfield Park is the most difficult of the novels to "get," and Fanny is certainly the hardest to like, but... If one is going to take it on, then have the courage to risk being true to the book and its rather complicated spirit. And for heaven's sake, have the guts to cast Fanny as she was written: A prissy, good-hearted, sweetish, whiner! Mrs. Norris wasn't nearly as awful as she should have been. And what the heck happened to Portsmouth? The contrast between Fanny's rather dubious family and family home and the splendors of Mansfield is key to, well, so many aspects of Fanny's refusal of Henry, her uncle's rejection, Henry's near transformation to a good person, etc., etc. Again, given the complexity and challenges of the novel, why did they bother? It's beyond me...

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Dirty Dancing - I think everyone has seen this movie at one time or another. I can remember as a kid I loved this movie and watched it over and over again without tiring of it.

Now that I'm a little older, I bought the DVD recently and STILL wasn't disappointed with the performance.

Swayze and Grey create the atmosphere for this movie, even though it's claimed they don't get along, the chemistry in the movie is unbelievable! As the movie proceeds, we are sucked into their relationship, and believe every single one of their actions. 

The soundtrack is amazing, the music only adds to the romantic mood of the movie and adds to the relationship between Baby & Patrick.

The last scene makes this movie, who can ever forget the famous line "Noboby puts Baby in the corner." The song is perfect and the dancing is amazing! 

I would recommend this movie to anyone, at any age, it's just a fun movie anyone can enjoy 8/10.
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Although many audio recordings of great musicians like Jascha Heifetz survive, the cinematic or televised record is limited indeed. This is why musical offerings like "They Shall Have Music" are such rare gems. While, with modern eyes and ears, one can quibble about the plot, the perceptive viewer should put this film's unique delights in their proper perspective. The plot was designed to appeal to both young and old audiences of the era, but it remains enjoyable to this day. A important aspect of the experience of watching classic films is to see them through the eyes of the moviegoer of that era.

I must take issue with reviewer who complains about a film that is in black and white, or who feel obliged to report that their students express such reservations. These are juvenile complaints which reflect a limited historical perspective. For the teacher, this should offer up an educational opportunity to explain the unique qualities of black and white photography and its place in cinematic history. Color can, in fact, get in the way of a good storyline, or the music. For example, the black and white photography of John Ford's "Stagecoach," is, like the still photographs of Ansel Adams, an artistic masterpiece.

As for Heifetz being wooden, I could not disagree more. If you want blatant emotional posturing, go to a rock concert. The role of a classical musician like Heifetz is to move the audience, not him or herself. Heifetz's emotion is conveyed through his playing, not through his body language. He had a rare ability to extract every emotional nuance out of the music and transfer it to his listeners. It is the listener who should be moved, not the artist.

Incidentally, one reviewer asked about seeing Heifetz on YouTube playing the 1st movement of the Tchaikovsky Violin Concerto, with Frank McHugh in the audience. This is from the 1947 film "Carnegie Hall," not "They Shall Have Music" "Carnegie Hall" is an even greater treasure of many great classical artists in their prime. We are blessed that there were film producers who, at least in these limited instances, chose to showcase these artists. In was still an era not totally overwhelmed by the lowest common denominator tripe we get today.
At 2:37pm in a bathroom at an Adelaide highschool a student takes their own life and the different worlds of six teenagers are changed forever.

2:37 is a brutal, honest and breathtaking film centered on the pain of being a teenager. The film follows one day in the lives of six teenagers, all intertwined, all dealing with their own personal dramas. While there are a couple of stereotypes in the mix  the beautiful would-be popular girl dealing with body issues, the over-achiever obsessed with his grades, there are several horrors that are as far from main-stream as you can get, including a social outcast dealing with a brutal illness and a young girl trying to make sense of a devastating event in her past.

The movie is mixed with documentary-style interviews from the characters, which some viewers may find a little out of place in the otherwise seamless narrative. The pace is also a little slow, but it fits with the feel of the movie. The young Australian actors are all stars in their own right, in particular Theresa Palmer who's heartbreaking performance earned her an AFI nomination.

The film is very well shot, with terrific direction. Some scenes are a little hard to watch  in particular the five-minute-long suicide scene, but overall it is a film that leaves a big impact on its' viewers. It draws you in right from it's shocking opening scene and keeps you guessing as to which of the six main characters is going to be the one to end up in the bathroom. Ultimately, it's a beautiful made, but slightly disturbing look at teenage life.
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action packed,with my favorite type of creature.I won't give any of it away if you have'nt seen it,cause it's worth taking the time to sit down and unravel in the mystery of things as presented in this film.It did gets slow at times and those were the moments my mind wondered which does easily anyways but moist of it kept me quietly thrilled,where you keep it in your head instead of letting it out,probably the mood I was in at the time.Special effects and action sequences you could feel made up for the occasional lulls.Of course there'es a duschload of movies out there exactly like this,the film still has it's own style and flavor,which I respect from underground independent horror movies anyways.
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Farley and Spade's best work ever. It's one of the all-around funniest movies I've ever seen. Watch it once and you'll be hooked and soon have all the lines memorized. No sleepy for Tommy Boy!
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This film is an eery, but interesting film. I will tell you why it is eery later in this review.

The film is interesting because it was the first film to ever contain sound. No, it may not be a one hour and forty two minute film, no it may not contain great action scenes, but it is still a wonderful film to me. It sparked a whole knew revolution if you will, of sound movies. This can be a little eery to watch, knowing that everyone in that film are now dead, I can hear the voice of a man in the beginning who no longer walks the Earth visible, and that the sound is cracky and broken.

I recommend this video for everyone to watch. This created movies as we know it today!
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Please tell me the sentiment of the following review: I really enjoyed this movie. During the movie, I felt that I wanted Pelagia and Captain Corelli to get together. I heard myself screaming: Come on, kiss her! The movie has a happy ending. Good movie to watch in the evening when you want to chill.
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This movie was total cheese. It stank. The only thing good about it was the acting. Other then that, nothing noteworthy at all.

Big Time Spoilers Coming up! Don't Read Anymore If You Have Not Seen It!

This movie is centered around a family whose happy and wonderful lives have been shattered as a result of their younger son and later as they find out older son have been molested by their daycare providers. Although, they are called liars in court and the defense attorney is a real prick the jury finds them guilty and convicts them.

In the end all I can say to the director is: "The next time you wanna make a movie like this, do it differently".
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Lackawanna Blues is and excellent movie. The casting was perfect. Every actor and actress was perfectly suited for the role they played. Their chemistry together was amazing. The acting was superb. I felt as if i knew the characters. I could almost 'feel' them. They reminded me of people that I knew as a child growing up in the 50's and 60's. Oh, the memories!! My personal belief is that this movie should have been on the big screen for all to see. I have watched this movie so many times, that I can almost recite the lines as the characters are saying them. I can't even list my favorite part, because I have SO MANY favorite parts. Thank you for bringing back a part of my youth that I never see in this day and age...and that is Black people loving each other, looking out for each other, respecting each other, caring about each other, and doing all we can to help each other. Gotta go now. I have to go watch it again.
As a young teen when this came out, I completely related to it. As an adult in the present sex- obsessed American culture, it doesn't have enough nudity to be called tame. 

If you are looking for American Pie-type lewdness, vulgarity or fart and feces jokes, Meatballs will disappoint with impunity and a guarantee. 

If you like Bill Murray, and you like good clean fun, you will probably like and enjoy this film very much. Similarly with Stripes, Ghostbusters, Caddy Shack, etc. 

Enough said, just go watch it, and stop intellectualizing it. It's Meatballs, for crying out loud! Why read a review? Just enjoy it and have fun. And ignore the trash talk by others. Films, like so many other things in life, are subjective. To each his own. 

Always beware the 'expert' who diminishes others' taste.

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This review took longer to write than I took to watch this film. It's just plain bad. The plot is terrible in comparison to the TV shows. It is flat, unfunny and boring.

It is clear that the LoG ran out of ideas long before this film was green lit. Viewers should read this as an example of not knowing when to stop.

Bad editing, bad music, bad acting. Zero dynamism, zilch chemistry.

A film that doesn't know what it is, made without any love to some mysterious end that leaves you depressed and feeling kind of angry that so much money was wasted.

The LoG obviously were made an offer they couldn't refuse, or perhaps their egos have simply got the better of them. It's a bleak marketing push that perhaps would have been better when the LoG were fresher and more inspired.

I however, did know when to stop, and did.

Please! Someone try to convince me of this film's finer points!

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2005 will go down in 'Dr.Who' history as its most incredible year. Everything seemed to click; a first-rate new Doctor and companion, big audiences ( 10 million for the first episode and Christmas special ), major awards, critical acclaim and those idiots who spent years giggling at the Daleks' seeming inability to negotiate stairs were well and truly silenced. But then Christopher Eccleston dropped a bombshell, quitting after just one series. It looked like the honeymoon was over. Luckily, the public appears to have embraced his successor, the excellent David Tennant. On top of this the show boasts fine S.F.X., like the spaceship crashing into 'Big Ben' in 'Aliens Of London' and superb story lines such as 'Tooth & Claw', 'Army Of Ghosts/Doomsday'. The new 'Dr.Who' is basically the same as the old, only updated for the 21st century. Some fans have accused Russell T.Davies of 'ruining' the show. They need to remember that there was no show for sixteen years until he came along.