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This film is really quite odd. Clearly certain *events* portrayed identify the main protagonist as the Dublin criminal known as "The General" but almost everything else is just wrong. We are not talking of a distortion of ancient history...but a complete distortion of irrefutable, documented facts. The question indeed is why? The garda are shown as latter day Keystone Cops, his gang as non-menacing, and the man himself as..well Kevin Spacey. Almost pure fiction anyway, why bother to try to give a semblance of realism? Having said all that, it is a poor exercise *any* way you want to look at it. Not worth a second of anyone's time.
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A wonderful story about the consequences of obsessive love with the beautiful romantic back streets of Paris as its location. We're transported through time and see the plot develop from the perspectives of the three main characters as the mystery unwinds.
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This is the absolutely worst show in the history of Nickelodeon. First of all, no boarding school has a Sushi Bar, Flat screen TVs, and gives every student a laptop. This makes the show so unrealistic, and boring. The plots are pointless, and incredibly boring. The actors are so bad, it makes me want to take my own life. I really hate the fact that in the show, Zoey is the most popular girl in school, and the prettiest, and smartest, and gets the best grades without doing any work. She never has any real problems, and every guy wants to date her. She is so perfect. There isn't anyone like that. Also, I hate that everyone would do anything for her, and everyone picks her for every team, or club. It is so annoying. Quinn is so obnoxious. Her experiments are pathetic, pointless, and fake. Chase is such a wimp. He says he loves Zoey, but if he told her, it would ruin their friendship. How pathetic. Michael tries to be funny, but he never accomplishes anything. Nichole is so perky, and screams a lot. She is never seen doing any work, or studying, but she is a straight A student. Lola thinks she is an actress, but she sucks (Excuse my language). Need I say more? I think no. For your own good, stay away from this show at all costs.
Great Balls of Fire is the movie you show to someone you really, really hate. It is absolute torture of the highest rank and is probably used by minions of a foreign power to extract info from captured intelligence agents. I've enjoyed some of Dennis Quaid's performances in the past, but he goes totally over the top in this film. He doesn't so much cross the line, he pole vaults over it, then comes back to jump over and over again. He struts and mugs as if on some incredibly bad acid trip. It's one of those rare performances where you wish you could enter the film and beat the man within an inch of his life for doing something so truly awful. Was he desperate to win a Golden Raspberry or some other award for bad acting? That's the only conclusion I can come up with. Thank you Dennis, you gave us a bad performance for the ages. Where was the director to reign in this guy?

The opposite end of the extreme is Winona Ryder, she of the plastic features and plastic acting. I came across a review of her acting style that compared her to a wax dummy. That was of course an insult to wax dummies all over the earth, all of whom could have brough more humanity to the role of Jerry's underage cousin/wife. This brings up the film's mixed up message, that being it is 100% okay to marry your own cousin and have a child by the union. I fail to see what is so "okay" about that, but it looks as though Hollywood thinks that underage incest is hunky dory. Talk about "family values."

Another problem is the format. Is it a stright forward re telling of Lewis' life, or is it a musical? I'm not talking about the music, I'm talking about the truly weird scene where Jerry drives up to the school, starts to belt out a tune and everyone starts to dance like it was Broadway musical in search of a Tony. Fantasy and reality are thrown together in a mix that does not work. But who really cares? I don't. And neither should you. You can't get back the minutes of life you would waste on this film. So don't waste your time, it's too precious for something this misguided and poor.
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This movie is all about blaxploitation, there is absolutely no plot at all. A pimp stops some bad guys with his kung fu hoes to try to get his nightclub back. Rated R for Strong Language, and a brief sexual situation.
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Having lived in Michigan's Upper Peninsula (30 miles from Escanaba) in the mid-1990s, I was eager to see this film. It begins promisingly enough, with some superficial understanding of the values and quirks of U.P. life. But Jeff Daniels apparently was not content with a low-key approach that would have been fitting given the place and the people. Instead, he introduces extremely crude humor and some wildly inappropriate mystical/supernatural elements. Although there is a good movie to be made about this practically unknown region of the U.S., this is NOT it.
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All of the great horror movies of the 70's, 80's, and even the early 90's from Psycho, to Texas Chainsaw Masacre (The original not that warmed over WB crap), to Silence of the Lambs. The characters in these movies were based upon the crimes of Ed Gein. The writers and directors tapped into the true story for the inspiration for creating some of the greatest *fictional* movie killers of all time.

The old horror films were great because even though the crimes were loosely based upon the facts of the case of Ed Gein, they were truly fictional and far removed from the true story.

In the case of this movie, they've created a fictional horror film in which they tried to capitalize on the true story in order to sell a cheap, poorly acted, love story between two characters that nobody really cares about. In fact, in a *good* horror film these two characters would have been excellent victims.

End of Lecture...

In short, this film was like wearing clammy underwear on a cold afternoon sipping on a nice cup of chilled vomit.

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A total and utter travesty of a movie.'Dark power'is the kind of film even troma would be embarrassed to release.The script,direction,acting and action sequence's are so dire as to be almost painful to watch and one cant help thinking that it's mere 75 minute running time could have been better spent. The above reviewer must be related to the director as that's the only reason i can see for his/her appraisal of this rubbish,some might call it b-movie fun or 'so bad it's good' just to excuse there enjoyment of it,but when the lead actor ( and most experienced cast member) cant deliver his lines convincingly you know you've got a very,very bad movie.Avoid at all costs.
Please tell me the sentiment of the following review: One would make you believe that this game is about a man obsessed with a number. And sure, it's an interesting subject - can a person become so obsessed by something marginal as a simple number that he completely loses touch with reality and becomes hopelessly delusional and paranoid? 

Well, perhaps someone will make a movie about that sometime. This one unfortunately doesn't have anything to do with the above, never mind what the trailers (or even the movie itself) would like you to believe. I would like to say that this number is just a MacGuffin, but it isn't even that. It's pointless. A gimmick. A hook for unsuspecting audience.

Well what IS the movie about? A dog-catcher (Carrey) who becomes obsessed with a cheesy noir crime book because he feels it somehow reflects his own life. There. Sure, the character in the book - detective Fingerling (sigh) - is (for some reason) obsessed with number 23, and Carrey himself becomes obsessed and starts seeing the number everywhere.. but it's just padding, and totally irrelevant to the story. In fact, you can cut out all the 23 references and have the main character(s) obsess about cheese or something and you'll have the exactly same story. It is painfully obvious that all the "23" stuff was written in waay after the story was already finished, rejected and sent for "rewrites".

Which would be OK.. I guess.. if the movie wasn't dull, dull, dull. Half of the movie is narrated, for chrissakes. You aren't watching the movie, you are listening to Jim Carrey narrating the movie. About a quarter-in Carrey starts reading the book, and from then until the horribly cliché ending we are forced to watch "real-life" scenes from dog-catcher's life (where nothing happens) interspersed with narrated artsy film noir-ish "book" scenes which will either leave you snickering or just plain depressed. It's like a poor man's "Sin City" with all the violence cut out, narrated by Carrey and shown in slow-motion. Ugh.

This is a simple case of a C-movie script somehow being filmed with an A-movie cast.. probably because of the "number 23" hook which I guess sounded intriguing enough on paper to warrant the premium Hollywood treatment. However, since - as I said already - the movie is about number 23 as much as it is about cheese production in Switzerland, one cannot feel anything but cheated.

I give "Fingerling - the movie" 3 out of 10, because I guess it didn't insult my intelligence as much as "Forsaken" did or made me downright suicidal like "Battlefield Earth" did and the bottom of the scale must be reserved for abominations like those. But fear not, this is still a pretty lousy flick.
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I just saw this film in Austin Texas at the Austin Gay and Lesbian Film Festival and it was my festival favorite. The gymnast is a film NOT to be missed. It is an honest "coming to terms" story about relationships, self discovery , growing older and having the courage to change and move forward. Not only is this a good story but the glorious aerialist performances by Dreya Weber and Addie Yungmee will take your breath away! See this film! It will be coming soon to a festival near you. This film deserved to be picked up right away by a major network or studio. I will certainly purchase this when it becomes available on DVD.

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Joe was first released in the US in the summer of 1970. Despite respectable notices, reasonable box office and an Oscar nom, it vanished shortly afterwards and remained forgotten about throughout the 1980's, before being enthusiastically reappraised, somewhat unjustly, in the US in the late 90's. Thanks to this lengthy unavailability, its reputation has gone on to see it placed (inexplicably) alongside the likes of Michael Winner's original Death Wish. Although revenge is a theme, a film about vigilantism this most definitely is not.

The plot isn't worth synopsizing. Its a flabby, hammy and bizarrely stagey ramble about an accidental murder and the unlikely relationship that blossoms out of it. That relationship and the largely class-based quirks of its two leads are exaggerated into ridiculous caricature; these two, and their situation, bear absolutely no relation to reality.

Almost everything about the film is cantankerous and begrudgingly antiquated, which makes the whole thing completely fascinating. Hippies are depicted as snide and exclusive misanthropes, hard drugs either make you sleep or dance around maniacally with lipstick on your face, and most young women are prepared to have sex with strangers in exchange for marijuana at the drop of a fly. Its very much a film of the 60's rather than the 70's, so why some industry luminaries have begun to include it in retrospective conversations about the beginnings of the Hollywood New Wave is a complete mystery. Martin Scorcese of all people even got involved, though probably only to give a nod to the dank, lavatorial hues of the grim urban cinematography, which almost certainly influenced Taxi Driver four years later. But Joe seems very much like a furious tirade against the likes of Easy Rider and Bonnie And Clyde, rather than a continuation of that same insurgent cinematic ethos.

It isn't a film of any real artistic significance - despite Joe's incontinent fury at everything in his world, it remains a story about absolutely nothing - but its value as a cultural museum piece is unprecedented. Shot on and around the streets of New York City during the darkest hours of the Vietnam war, and at a time when America (and, significantly, its cinema) was being revolutionized to the horror of the old guard, the film ends up, in its own completely oblivious and accidental way, saying more about that period of history than numerous infinitely superior movies that directly endeavored to capture it.

But as a film? Despite a really surprising and effective shock ending, this is basically a Michael Winner film, but not as well made. How does that tickle your fancy? ** Incidentally, if you are, like me, a fan of spotting arbitrary background lookalikes, then check out Harold Steptoe at 1:22:11 in the hippy art gallery.

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The Western can be divided into many sub-genres. One of the broadest divisions is that between Town Westerns and Plains Westerns. Most Westerns are a mix of both, but at one end of the spectrum you have pictures like High Noon and Rio Bravo that take place almost entirely in a settlement, seldom venturing out into the real outdoors. At the other end you have ones like Wagon Master, where there is barely a homestead on view amid the wilderness.

Director John Ford normally thrived on the "bit of both" Westerns, shooting the interiors with an emphasis on their being small and confined, and then contrasting this with the wide open exteriors, which appeared both exciting and dangerous. Wagon Master has a typical Frank Nugent script, with some interplay between seasoned oldsters and green youngsters, but still it presents Ford with some fresh challenges. In this picture, the dangers do not come from the harshness of the landscape, they come from within the group in the form of the Cleggses. What's more, the absence of real interior scenes means the outdoors could lose its impact over time.

However, Ford was a real maestro when it came to manipulating space. He shoots scenes of the camp or the wagons so the frame is surrounded and we get that same sense of enclosure as we would in a genuine interior. Also, compared to his other Westerns, he does not in fact open out the space too much, having the wagon trail wend its way through canyons and passes rather than cross the stark and empty plains. One of the few moments where he does throw the landscape wide open is when the Indians are spotted and there is the possibility of a threat from outside.

Wagon Master features some surprisingly effective moments of comic relief, and some great contributions from the quirky cast. Harry Carey Jr. was shaping up into a fine actor like his pa, and this is one of his better early roles. Joanne Dru was disappointing in She Wore a Yellow Ribbon, but she appears more at ease as a character with a bit of sass, and is actually fairly good here. Jane Darwell, who won an Oscar in the John Ford-directed Grapes of Wrath a decade earlier, appears here with sole function of performing a running gag in which she sounds a feeble old horn. Still, with her great timing and movement she makes the piece work. Francis Ford, in one of the many mute drunkard roles he played in his little brother's pictures, is at his cheeky best.

And now we come to lead man Ben Johnson. Although he was by no means a bad actor, he was never going to become a big star like John Wayne. And yet, with his effortless horsemanship and easygoing drawl, he was one of the most authentically "West" players around. And this brings me onto my final point. This was apparently one of Ford's personal favourites, despite it seeming fairly unassuming. Wagon Master has no grand theme or dramatic intensity, it is simply the genre playing itself out. I think this is what Ford loved about it. It's a picture for the Ben Johnsons and the Harry Carey Jrs, not the John Waynes or the Henry Fondas. Small in scope, but worthy in its class.
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This sequel to the above - and the final entry in the "Kharis" series - is slightly more enjoyable on the whole but it's also more contrived (hell, we even get a singing barmaid/hostess!): Peter Coe is easily the least charismatic of the various Egyptian high priests we've seen during the course of these films, and Martin Kosleck as his henchman seems uninterested in the proceedings; Kurt Katch, then, is saddled with a ridiculous accent as the man who discovers the newly reincarnated Princess Ananka: the latter, in the form of Virginia Christine (later a much-used character actress) gets her most substantial 'role' and, indeed, the sequence of her resurrection from the swamps is a highlight not only of this film but the entire series. Unfortunately, here too, Chaney has precious little to do as once again the emphasis is on Ananka, as I've said; his Mummy (to which he returned most often at Universal - apart, naturally, from his signature role of The Wolf Man!) remains, without a doubt, his least memorable monster for the studio.
I am a fan of Jess Franco's bizarre style, and a lover even of his trashier films, and my personal opinion is that he has, besides several very entertaining movies, also created a few masterpieces, such as the brilliant "Paroxismus" aka "Venus In Furs" of 1969, for example. It is, however, an undeniable fact that the 180+ movies this highly prolific filmmaker has directed in his career, also include a bunch of big time stinkers. "Sadomania" of 1981 certainly is one of these stinkers, just an utterly bad and plot less movie with the ability to bore the hell out of you in spite of constant sleaze and nudity.

Sure, the constant nudity will keep you entertained for 20 minutes, but since it keeps going on and on like that one is pretty likely to get bored after a short time. The only thing that really kept me watching this was the intensity of the sleaze which is, generously spoken, slightly amusing.

After couple of newlyweds get lost in the desert on some island, they are stopped by a bunch of topless women carrying guns, wardens of a local prison camp. While the husband is banished from the island, the wife is taken to the prison camp, a place of torture and sexual humiliation, reigned by the sadistic nymphomaniac Magda and an extremely perverted governor. The prisoners are, of course, entirely hot chicks, most of them blondes, the wardens are entirely topless women carrying rifles.

The plot, if one can call it that, is extremely stupid of course, but who is going to watch this for a good plot anyway. The (only) interesting thing about "Sadomania" is the high level of exploitation, even for a 'Women In Prison' film. There are probably two short scenes in the movie where we see a woman actually wearing a top, the sleaze contains all kinds of sexual perversions from rape to bestiality, and some of the torture scenes are really nasty.

It is amazing that a film with this extreme level of sleaze, however, can still be so boring. The sleaze will keep you watching in the beginning, but after the first 45 minutes I actually had a hard time not to fall asleep. It also makes me wonder why, out of all pornstars, Jess Franco chose Ajita Wilson, who was, according to most sources, a transsexual who had been born a man (well, maybe for exactly that reason). If you really want to watch this, make sure you have enough beer at home to sit through it and watch it for the sleaze and exploitation only (and maybe for the slight unintentional fun factor). Don't expect to be highly entertained, however, it is almost unbelievable how a movie with such a high sleaze level can be so boring. I am a Jess Franco fan and I always will be, but "Sadomania" is just bad. 2/10
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this is a teen movie and while u watch it expect some nonsensical stuff added here and there but overall the movie is effective very effective it makes you question and leaves you thinking the story is kinda far fetched but is believable and makes you feel good in sequences, its not like its the usual done and tried path. the characters are pretty well defined and are convincing. Justin long stands out among all the others and watch out for his speech in the end he will convince anyone with that speech he is simply brilliant in that speech. he needs to take on some more serious roles, he is worth more than just teen movies. etch this movie and get liberated

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Working girl Kitty (Sothern) is engaged to Bill (Kelly), who neglects her by working long hours at his garage in order to save money for their marriage. After being stood up on her birthday, Kitty goes on a double-date/blind date, where she meets department store heir Bob Hartwell (Hamilton). She falls in love, but leaves him when his protestations of love appear to cover a desire for her to be his mistress, rather than his wife. Faithful Bill rallies 'round to comfort her, and at last she gives in to his repeated requests to reinstate their engagement, pressured in part by Bill's support of her family after she loses her job. When Bob returns, however, convinced that he wants marriage after all, will Kitty follow her heart or her conscience? 

This film was a lot better than I'd expected it to be. The character of Bill at first comes off as the sort of loud comic Irishman type that Jack Carson played so often. But Kelly (and the script) infuse the character with real compassion and love, and Bill turns out to be the best person in the entire group. Viewers may find themselves rooting for him against the feckless Hartwell! The tone of the film wavers, however, between light-hearted romance and a much darker side, especially in the depiction of a dance marathon and a rather horrific accident at Bill's garage.

The cast is rounded out by the dependable Jane Darwell as Kitty's mother, an impish but not yet thoroughly obnoxious Mickey Rooney as Kitty's younger brother, and Spencer Charters as Kitty's ne'er-do-well father.
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Back in the 60's, this grim study of Joy, a young proletarian wife, was the introduction to the career of Ken Loach, who became one of the most distinguished and respected British filmmakers of all time. By then I knew very little about Brecht, politics or the reality of the under-privileged, and I was quite impressed by the aesthetic of the film, its free style, its austere color cinematography, and Joy's monologues in front of the camera. I was also much surprised to find that Terence Stamp (who had become a celebrity, thanks to "Billy Budd", "The Collector" and "Modesty Blaise") had so little screen time. Although 20th Century Fox distributed "Poor Cow" in Panama, Loach did not stay in mainstream cinema (which this film hardly is) and I lost contact with his films. I just heard of his successes, "Kes", "Family Life", "Black Jack". until I caught up in the 80's. The beautiful title song by Donovan, by the way, is available in his anthology "Troubadour".
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Just got into viewing program for the first time recently - the 2-hour "kidnapping" program. Don't know why I didn't sooner?? James Caan is outstanding and wholly-believable in the role as the chief honcho at the featured 5* Vegas complex.

So often, programs like this have one or more in the ensemble who are either outright annoying, or seem to have been picked because they must be related to the producer or director.

That is certainly not the case with this program. Along with Caan, all of the primary and supporting cast are engaging attractive, and believable. The guest actors are well-chosen. 

The stories I've seen are interesting, and the show presents a good view of the city as well.

This is an entertaining program, and one I hope will remain. I don't know how I managed to miss it for so long, but plan to TIVO it from now on.
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Chen Kaige gives us magnificent depth of atmosphere. Yes, it's a 'period piece', but Chen's artistic use of imagery makes it something more. The actors often behave like players using the stylized diction, postures and facial expressions of Peking Opera. All the actors in a scene play to the 'back wall' even when addressing each other. They are like spirits of the past enunciating with powerful clarity a story with urgent meaning for those in the present. Combined with close attention to scale and masterful cinematography indoors and out, "Jing ke ci qin wang" is a stunning tale told with great reverence in its own idiom that captivates completely.
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I may be a good old boy from Virginia in the Confederate States of America, but this man does it for me. That mustache gets me riled up. I remember when I first saw a video of his. That girl he beat was amazing. The depth of his acting when they cut to his weathered facade was a new level of masculinity. It reminds me of the granite sculptures of our Mt. Rushmore. If I could ask him one question, it would be,"If you were a hot-dog, would you eat yourself?" Will Orhan be doing a reunion tour? Take note from the greats like Gordon Lightfoot, true music from the heart never fades away. Vive La John Denver. Gracias my friend, O.F.F.L. (Orhan Fan For Life)

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Please tell me the sentiment of the following review: Do people rate this movie highly because it's a foreign war movie???

To me it's nothing more than a bad Hollywood war movie in German.

This movie is so bad on so many levels. To even mention it along with Platoon or Full Metal Jacket is absurd. The battle sequences are pathetic, the dialog and acting atrocious.

This so called group of "storm troopers" are regulars in the Wermacht. Not SS troops. There is so much wrong with this movie it's sad. Bad editing, bad acting. It's got it all.

The movie goes on and on and on as though the audience should be made to suffer as much as the soldiers did.

I read in a review that the this film had a $20 million budget.

For real? Where was it spent? In the fake train car sequences? In the pathetic "special effects"? Ugh.

As a WWII history buff, and WWII movie fan, I found this movie to be a serious disappointment.

For an excellent alternative war movie check out "The Beast". (Not a WWII movie, but still outstanding)

Don't bother with this one.
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This movie is about pathetic, spoiled, ego-driven winers who think they have something interesting to say, performed by pathetic, spoiled, ego-driven winers who think they are interesting. Straight from the coke-filled gutters of New York's arty farty incestuous drama scene.

How so many viewers get tricked into making them think this carries any substance remains a mystery to me. Maybe they secretly long to belong too to this overpaid and overestimated 'actor guild' or maybe they have never seen a decent movie?

Get out, put your hands in the dirty earth and get a real job. Otherwise, kill your self with a real gun.
Please tell me the sentiment of the following review: Satisfying fantasy with ships sailing thru clouds with cannons, evil plotters, strange landscapes, manipulations of time, great sets, void of reality, maybe like Never Ending Story or some Merlin stuff. If you like that, you'll love it. Christine Taylor is beautiful. Sword fighting is phoney. Music is delightful. Good wins out, they kiss, all is well, and the cook is pleased.
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Please tell me the sentiment of the following review: I've read the positive comments on this movie. I assume people who were in this movie must've come to this site to give it some good press because this was one of the worst movies I have ever seen. I always watch the whole film despite the quality or lack there of which explains why I watched this whole movie, but I don't think I laughed even once during the duration of this film. The jokes were mostly very bad, but when the jokes had some promise, the delivery was off. If you liked it, maybe you should lay off the buds because you need to preserve the 5 or 6 brain cells you have left. This movie had a poor script, bad acting, poor directing, weak plot... nothing of virtue and was not entertaining. If you haven't seen this movie, don't.
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Martin Ritt's first film offers an exceptional existentialist answer (three years later) to Elia Kazan's more conservative "On The Waterfront." While "Waterfront" benefited immensely from an electrifying Marlon Brando, who inadvertently disguised Kazan's offensive theme of trying to justify naming names (as Kazan did eagerly before the House Un-American Activities Committee), "Edge of the City" boasts a young John Cassavetes and an upstart Sidney Poitier daring to confront issues that "Waterfront" failed to acknowledge, namely, workers' rights and race relations.

"Edge of the City" boldly dives into this (then) unknown territory, and although the quite appealing black protagonist (Poitier) may seem a bit Hollywood simplistic, the courageous struggle against thinly-veiled bigotry and violence has hardly aged at all. One wonders how shocked initial 1957 moviegoers were at such a bold presentation of white-black relations (if some of the bigoted didn't leave the theater early, they must of left dumbfounded, if not offended). 

The last reel of the film will still surprise audiences, as it refuses to sink into expected clichés, including those that tainted "Waterfront." Only the most jaded viewers will not realize what a radical and entertaining film "Edge of the City" ends up being.

What's most disturbing about this lost classic: how it sadly remains unavailable on any format, for reasons that remain quite cloudy. This film should be required viewing in high school or college history classes across the country, yet one can only find it on obscure late-night TV, if ever at all.
One of the worst movies I've ever seen!!! Absolutely awful. Poor acting, poor story, there isn't one redeeming quality about this movie to recommend. Amistad is much better. Avoid this movie like the plague!

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Anyone who has seen the piece of steaming smelly poo called Congo understands my title. And I feel for you. This movie wasn't just bad. It was painful. The book was stupid, the script was even dumber and the cast was terrible. Dylan Walsh? Rumor has it Julia Roberts dumped your ass cause this movie blew so bad. Huge diamonds? Killer gorillas? Talking gorillas? Hmmm. Sounds like a hit! OH! Tim Curry's accent is so bad in this movie I would prefer being deaf! I recommend this movie to bulimics looking to purge after a heavy meal or Kavorkian patients who just need that one more reason to die. If this is faithful to the book, I would say lets have us a good old fashion Footloose book burning and destroy every copy. If future generations look back and find this garbage, how would we explain ourselves? Listen to the others who hated this movie! Don't watch it! Run away! DO NOT WATCH this movie! If you think it is full of action or suspense or cool effects, YOU ARE WRONG! If you think it blows more cock than Nicole Ritchie, you'd be right. So if you still are going to watch Crapo..,.I Mean Congo, I say do it after you just took 50 Tylenol PM.
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My family (two 40-somethings, an 8 year old and my 71 yr old mother) saw this at a sneak preview on April 29th. We all enjoyed the movie very much. The story was a good one, and knowing it was based on real-life events made it that much more enjoyable. Luke Wilson was a hoot (pun intended) to watch as was Tim Blake Nelson. And seeing Neil Flynn play something other than "the mean janitor from Scrubs" was nice. The kids in movie did well and I'm sure they will all appeal to a certain demographic on the heartthrob level. The visuals were just lovely and the Jimmy Buffet music added to the "Florida feel". OK, maybe the story was a little too neat and well packaged for some adults, but hey, who cares? I can't compare it to the book, I honestly hadn't heard of it until the movie came out. 

It was just a NICE movie and it had a good message. Plain and simple.
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-may contain spoilers-

Clearly, who ever made this film must have had a lot of connections. I just can't see it any other way. What really surprises me is no one used the name Allen Smithee, and more surprising, everyone involved didn't use this name.

Anyhow, where to begin. The bad dialogue, the crummy costumes, the sorry looking film stock, the unintentional comedy, the over-the-top characters, and more inconsistencies than George W. Bush's college career. I don't know what was funnier, the guy losing his arm because of a snowball, or the slow motion scene where all the baby Jack Frosts' were getting killed. Also, one of the great lines of all time was uttered in this film. "How do we know it's him?" Like there's another mutant snowman who can talk and kill people with snowballs! A great camp film, but a very bad film overall.
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This story documenting the rise of China's first emperor and his efforts to unify the empire was the most expensive movie production in Chinese history.

It's worth every penny. Visually dazzling cinematography, a sweeping score and outstanding characters make this one of the finest epics ever put on film (foreign or otherwise.) Please do not miss the opportunity to see this on the big screen.
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"Alexander Nevsky" marked director Sergei Eisenstein's return to film-making after a period of exile, and what he produced is a bald-faced propaganda film proclaiming Russia's superiority over Germany.

There's very little plot: Russians unite to battle Germans; Russia wins. The film is really an extended montage of mostly battle scenes, mixed in with some moments of German brutality (like a rather shocking scene that shows German soldiers throwing Russian children onto a raging fire). This was Eisenstein's first sound film, and it's clear that he had no idea what to do with the medium. Indeed, this film really looks more like a silent film with some sound added. There are some dialogue scenes, but they sit rather lifelessly on the screen, and the pacing is all off, as if the actors weren't actually on the set together at the same time when they were filming them. Eisenstein mostly uses sound as an excuse to overlay a rousing Prokofiev score over the proceedings, and indeed, that's one of the film's biggest assets.

Say what you will about Eisenstein's ability (or lack of) to direct actors or tell his film in a more narrative format, he certainly knows how to edit images and music together for maximum effect, and "Alexander Nevsky" over all shines through its deficiencies.

Grade: A
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This must be the first movie I've rented and not seen to the end. Complete garbage! The acting, the plot, set and wardrobe looked like it came from a porno movie with a plot. Not even a B move.
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A low-rent, cheaply made police thriller that's kept bearable by some fair humorous bits, the nice chemistry between the two leads and, especially, by James Remar's satisfying turn as a narcissistic, psychopathic (and, naturally, indestructible) villain. Obviously a low-quality picture, both visually and dramatically, with a rather resigned Burt, but not unwatchable. (**)
The TV show was slow moving and the 'offbeat' characters were sometimes irritating. Only through the miracle of fast forward was I able to make it through the first 2 hours. 

The write-up indicates that it's some kind of comedy/mystery but I didn't see much of either. 

If it really picks up after the first 2 hours, please let me know, because I doubt that I will watch the rest without a recommendation.

This review is supposed to be without spoilers so I will continue in a vague, non-spoiler, fashion. I found the two main characters uninteresting and unsympathetic. I found myself asking 'Would a normal adult do that?' The man with the hedge trimmer looking out the window was irritating and when the male lead interacted with him, he looked pathetic. Would a normal adult put up with someone as irritating as him?

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Victor Sjöström was quite the master in this film, having starred in it, directed it and even wrote the screenplay! That's pretty amazing. While today few have any idea who Sjöström was, he might be familiar to Ingmar Bergman fans as the star one of Bergman's most acclaimed films, WILD STRAWBERRIES.

As far as this film goes, it's a very mixed bag. On one hand, you have to respect it because for 1921, it's a very good film. The idea of the Grim Reaper sitting down with a dead man to discuss his wasted life is pretty imaginative. Plus, the special effect of the Phantom Carriage is pretty convincing and technically speaking this is a well-crafted film. On the other hand, it's an amazingly dated and preachy film--more like something you'd expect to be shown in Sunday School instead of in an honest to goodness theater. Plus, some of the story elements just don't make sense. Instead of coming off as dedicated or good, the dying Salvation Army worker seems like a sap--a very sad and confusing sap. Why is she "in love" with this man? Am I missing something?

So, my recommendation is that if you are insanely in love with silents (like me), then by all means watch it. But, if you aren't a silent fan, this film might do nothing to convince you that this style film is brilliant because the story is so overly melodramatic and dated.

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Wow. When I went to this film at the Toronto film festival I had no idea what I was in for. This movie takes you on an emotional roller-coaster in the best sense of the term. Sigourney Weaver was better than I've seen from her in years; Emile Hirsch was great and Jeff Daniels broke my heart. I can see how this won't be every person's cup of tea, as at times it deals with some pretty harsh things that can happen to a family. Don't get me wrong -- it's really funny too -- at my screening the audience burst out in applause after laughing over and over again. I just think if you're open to examining your own life, Imaginary Heroes will sincerely touch you. I can't wait until it comes out in theaters.
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Yeah, there's a "sleeper" watching Sleeper Cell and it was me. After reading comparisons to "24" (like on the cover of the DVD), I expected a fast-paced action romp. But nope... this series just putts along. In my groggy half-awake state I would think, "He's gonna... " and, poof, it would happen... "Guess that van is gonna roll off the... " and there she goes.

And so on.

And why would Darwyn, in extra-deep cover, pursue a babe? Could it be, perhaps, to provide a little T&A? Hey, that works for me, hence four stars rather than three.

This show is no "24". I've watched "24". Sleeper Cell, you're no "24".

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Please tell me the sentiment of the following review: Here's why this movie fell very short of its potential(I don't read much, so I don't care WHAT the novel was like). 1. I think Brendan Frasier copied his Encino man from Lambert's Tarzan. It was stiff, and while his Tarzan call was a little more realistic, he had no humanity. 2. They screwed with the story. Maybe that's how the book goes, but for as long as I can remember the first utterances of Tarzan were "Me tarzan, you Jane". Jane is the first human tarzan encounters. I did like the natives a bit more than the shoepolished midget pigmys in Weismuller's version, but those bows and arrows were a bit cheesy. 3. Tarzan is primarily a love story. I'm sorry, but the love interest enters over an hour into the picture. That qualifies her for a supporting role at best. Supporting roles and leads don't fall for each other, not enough screen time, sorry. Not only was Andie McDowell's vioce over pathetic(most likely because her strong southern accent couldn't be masked) the chemistry scale between Tarzan and Jane was a whopping 0. I never believed they loved each other, which made the Belgian dudes closing voice over, quite frankly, silly. When Tarzan sees Jane for the first time in the jungle, he feels an urge, if you will, a feeling he's never felt before. Jane brings out the humanity in him, and he brings out the untamed side of her. Its this chemistry that compells the story of Tarzan. Not that Lord Greystoke's dying wish is to keep his land whole and that johnny boy is going to do it for him. Even a good face lift couldn't help this movie. It needs massive internal reconstruction. Oh, and could we possibly shoot more in the jungle, or at least use camera angles that don't show off the sound stage like qualities of the place. Final judgement, 4 out of 10. Sorry Tin-man, and by the way, if you want to see real acting, drop Lambert and check out Leonardo Dicaprio.
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Nicely done evil little comedy pitting the FBI against organized crime with a nice lady caught in the middle. The actress who played the jealous wife of the mob boss 'Tony the Tiger' almost stole the show with her raging tantrums. 3 stars

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Upon completing this infernal piece of trash, a friend and I swore a solemn vow never to again speak of how we had just trashed away the last 90 minutes of our lives. This film is completely pointless, a two dimensional hero and heroin who we can't give a hoot whether or not they survive and some of the lamest villains to ever darken the screen of horror (or any other) genre. To further prove just how absolutely pointless this film was, I would have liked to add a plot synopsis, but I can't write fiction. All and all, the only reason I can think of that anyone would ever want to view this film is if they had just murdered their entire community and is looking for some self afflicted punishment that will haunt you for all following years to come!
The best thing about the movie is the name, as it both describes the plot and the acting. At least they cannot say they didn't warn you... Kind of like the button labeled, "Don't push this".

Segal must have run out of things that move like planes, trains, and ships but the plot remains the same. Under cover guy who fights slowly, but still beats like 40 mercenary types and doesn't even blink when doing so. What amazes me is that Segal is now as big as a barn and the bad guys still cannot hit him in a hallway with a machine gun and 50 clips of ammo. Where do all these bullets actually go to? The only redeeming feature of this movie is watching Nia Peeples pound Ja Rule (real name Jeffrey Atkins doesn't quite sound so punk) into the floor. I could spend days watching that woman kick her foot over her shoulder like that... especially wearing an outfit like that! It was just a bonus watching Jeffy get is *ss kicked, and fun hoping one of those kicks actually landed. Sorry, it's just time we get stupid wannabe tough guy can't act rappers out of the movies. PLEEEEEASE! Who came up with idea anyway? I'd lay odds it was the person who decided that Cameron Diaz and Drew Barrymore would pass as witty athletic Angels.

The only surprising twist in this movie is that they don't do the politically correct thing and have Jeffy come in and save the day. No doubt if Snoop (otherwise known by his momma as Calvin Broadus which again doesn't sound so cool when you refer to him as Cal) had been in the movie, he'd throw some signs down on her and probably saved Segal's life or something.

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Very typical Almodóvar of the time and, in its own way, no less funny than many of his later works. And why is that? There is nothing to be provoked or shocked about, and I guess any such effect is more coincidental than intentional. No, the great humor stems from an underlying, almost surreal, absurdity that is woven into the scenery: The characters' nearly complete lack of taboo. It's the same kind of 'comic suspense' you find in his later works, though you'll find it in a more rough version here. He's building up for masterpieces to come, but is not yet there.

The sole reviewer who commented on this movie before I did, claimed that it had to be a "very select" group of people who'd find this movie hilarious. I do.
This movie has some of the worst production values and editing I've ever seen. There are several instances of actors pausing while trying to remember their lines, actors walking in front of actors who are talking, and one point where the film skips about seven frames. Not to mention the heroine getting shot in the chest, yet she starts limping! Oh, and what about the secret passageway that is well lit and right out in the open. Awful.

The plot is non-existant, something to do with a primitive nuclear bomb and going to the ends of the Earth and some kind of caveman war. Ator pulls out a hang-glider at one point in the film's dumbest moment. The dialogue is stupid, containing such gems as "It is everything and nothing." and "I can feel it, here."

The movie is a mess, a confusing, insipid mess. Ator is a bland hero, the sword fights are absurd, and the plot plods along slowly. All in all, this is a movie to avoid.
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