cindermond/bento huggingface dataset:
Now after watching The Advent Children twice, the storyline isn't as shallow as majority has criticized it to be in my opinion. If you haven't played FFVII or disliked it for whatever reason, this movie is most likely not for you. Being familiar to the original story is a prerequisite to understanding AC fully, otherwise you will just see the greatest CG animation in your life so far.

Without actually spoiling the storyline, I must admit that after seeing AC we have been putting pieces together with my friends relying on our knowledge of FFVII. Seeing it second time allowed to actually pay attention to the story more and most of the questions we may have had were answered. Some were not. AC is clearly for FFVII players/fans and doesn't honestly try to be anything else. There is little to none realism in it outside FFVII world which serves the purpose. Music is mostly reconstructed FFVII themes with a heavier touch (TBM team according to end credits) and works well with the eye candy without exceptions. I found the music enhancing the experience added to the visual fireworks in all situations.

We all know you can't put a FFVII in 1.5 hours and keeping that in mind the storyline actually offered more to me than I expected. There are two issues at hand in FFVII : AC and both stories were wrapped up very smoothly between the action sequences. And trust me when I say there's a lot of it. Action that is.

I'm changing my vote from 9 to 10 after watching it the second time because I had missed a few explanatory sequences I couldn't put together the first time that provided some answers. As a warning, it's going to be easy to disregard the story and concentrate on graphics, but try not to judge the Adevent Children because of that. If you don't let the story in, it's no wonder it seems sloppy.

I'm not going to praise the graphics because I assume we all know they are awesome, which might be an understatement. Especially characters talk so much more with their facial expressions than ever before. I hope you pay attention to the storyline for it actually makes sense and works well with the whole. Get ready for the ride of your life, there are no breaks.
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If you just watched All Dogs Go To Heaven, and learn that there's a sequel, don't watch it. It's horrible. It's absolutely awful. They rush the characters to develop. Sasha, for example, begins singing about how you can count her out for love. And at the end, this seems more like a dramatic romance flick than a comedy-adventure film. They rip Charlie out of his character and replace him with a gushy, soft, but still rebellious version of himself.

The humor behind Carface's character is just completely lost. He's a totally different dog. He doesn't have a cool voice anymore, he isn't that villain you love to hate anymore, he's just a wimp voiced by none other than Mermaid Man from Spongebob. Speaking of voice actors..

Charlie has a completely different voice. And while it isn't horrible, I don't like it. It's terrible in comparison to the excellent job that Burt Reynolds did for the character in the first film. Dom DeLuise is wonderful as always, as Itchy. That character stays true, and that's why this film gets a 3/10. Purely because Dom DeLuise was still voicing Itchy.

Oh, and my last complaint. I know Ann-Marie's movie was done and gone, she has parents now, etc, but did Charlie completely forget about her, or what? No mention at ALL of her in the second film. I mean, even a small mention from Itchy would have been acceptable. (ex. "Charlie, we have to get back. You can't take care of every kid that needs rescuing.) Or something of the sort. I mean, he died living with her, she deserves some kind of mention.

Don't watch this if you're looking for a wonderful sequel.

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Ridiculous, nauseating doggerel with terrible acting; ineptly, superficially, and condescendingly trawling all the most banal clichés about Tuscany and Italy, divorce and midlife. The main actor nervously grimaces her way through the film, struggling to portray the appropriate level of smug, self-congratulatory self-pity the worthless character and script call for. I'm sure the book was bad, but it can't have been this bad! The camera is permanently fitted with a vomit-yellow "Tuscan" lense filter (perhaps the Tuscan sun wasn't Tuscan enough?), which they forgot to remove when the scene shifts to Rome and (how imaginative!) the Amalfi coast. You've never seen the white marble of Rome's Vittorio Emmanuelle monument looking so yellow... I mean Tuscan. One of the worst movies ever, and therefore quite worth a look.
May I never have to go to this hospital [or hospice, if I want to be politically correct] [which ass coined this asinine phrase, anyway?], for anything other than directions on how to get out of town. George C. did a masterful job playing the burned out, over worked cynic who has come to the conclusion that his life has been a waste, but is helpless to change his environment or conditions even when given a golden opportunity [which probably wasn't so golden anyway]. I got several laughs out of this brutally black comedy, however at the same time was sobered and often chilled to the marrow because I fear this very atmosphere pervades most houses of healing even as I write.

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The Reader is an exceptionally well done and very sweet short. Every element of the piece assists in eliciting a pure emotional response to the script. Well acted, directed, shot and written. I was surprised to hear that there was no rehearsal before shooting, not even a read through. The performances stand as testament to some fine instinctual acting in response to a well written script. The actresses work was excellent and there was never an indication that their work would slip into the purely sentimental. Less is much better in this case. This film is a prime example of how these low budget contracts benefit actors as well as film makers.
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A young man, named Danny, has run away from home and meets a drifter, named Bix, who agrees to tag along with Danny and watch out for him... and his money. They end up in a small town where they meet Carrie - a shy, naive girl working in her father's diner. Bix starts seeing Carrie but he plans on leaving soon (because he's a drifter, see? He's no good! Understand?). Meanwhile, the town creep, Jesse (played by a perfectly casted Jack Elam), keeps showing up at the diner and bothering Carrie. Danny keeps inadvertently picking up whores left and right (because he's loaded with money  he has almost a hundred dollars!) whom Bix has to constantly chase away (there are a lot of ambiguously gay overtones between Danny and Bix in this flick). Eventually, Bix and Danny decide to leave town but trouble is a-brewing, due to Jesse the creep.

My review of the movie itself: a terrible, dated "Troubled Youth" flick from the '50s.

My review of the MST3K version of the movie: I've got to say that this is one of the best episodes of MST3K ever. The riffing is dead-on, all the time. Except for the somewhat downbeat ending, this movie is easy material for Joel and the Bots, especially Danny's constant screw-ups that Bix has to rescue him from. The host segments are pretty good too, especially the segment with the `Train Song.' Hopefully, Rhino releases this episode to home video one day.
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Please tell me the sentiment of the following review: Just Before Dawn is one of those really good slashers that send chills down your spine every time you watch it! This movie has great suspense, great acting, very well done camera work (nice job Mr. Lieberman!) which makes a extremely well made slasher! Though low on gore for the 80s, it still has the effect on you after it is over. The opening kill (machete through the crotch) looked so real! And the fist to the mouth death left me stunned! Overall i give this lost classic 10 stars out of 10 stars! if you are looking for a gore-fest, don't look here. but, if you want chills sent down your back, see this one. There are 6 deaths and one of them you don't see but, it leaves you mind to think "how was she killed?" the stranded theme reminded me of 1977's the Hills Have Eyes, which followed kind of the same concept, but in the desert with canninbals. But, still slasher fans, give this forgotten gem, i promise you, you will be staisfied!
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MY Father the hero is sweet, funny and cute. Gerard Depardiu is awesome as Andre, a divorced father who takes his fourteen year old daughter Nicole(Kathrine Heigl) to the Caribbean for vacation.While there, his daughter meets a guy named Ben(Dalton James. To impress him, she tells him that Andre is her lover and that her father is in jail for armed robbery and her mother is a prostitute and that she ran off with her pimp. Everyone on the island is soon under the impression that Andre's a child molester. Andre is between two relationships. One with Isabelle(Emma Thompson, who makes a cameo in the end of the film) and Diana(Faith Prince from Spin City). My father the Hero has many funny moments. Like when he's at a talent show and everyone tells him to play something french. So he plays "Thank Heaven for Little Girls" from Gigi. Everyone gets disgusted and leaves. My Father the Hero doesn't deserve a 5.1. I think it deserves a 9.0.
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It's times like these I truly wish I was a more avid reader of Clive Barker's literary repertoire, since very few things feel worse than not being able to fully comprehend a movie of this stunningly 'visual' caliber. Based on the novella "Cabal", the story of "Nightbreed" involves a behemothic amount of lavish and bizarre creatures and settings in an underground society of demonic ghouls. A normal guy becomes linked to the strange world, called Midian, through his dreams and his psychiatrist coerces him into believing he is responsible for a series of gruesome murders of families in recent months... Thinking this to be true, he retreats to Midian - located under a rural cemetery - where he is reluctantly accepted. The shrink, however, is right on Homeboy's heals with a diabolical scheme to whip out the community of Nightbreeds...

Wanting so much to love this movie, I was very let down in the long run. I have regretfully not read the story so Barker's fantasy world and the purpose of it and all these monsters was horribly confusing and the premise was painfully uneven. I understand how the final cut was diced to hell and even Barker show's moderate dislike for the overall product, but I just didn't "get" it. Even if it is crucial to read the story, I feel like it should at least be translated to film in a way that it is still comprehensible for those unfamiliar with the literature. If "Cabal" is as convoluted as this film than Barker really milked a dead concept. Couldn't help but feel a bit bored after a while, especially when things started getting increasingly ridiculous (somewhere around the jail scene I realized just how bored I was) - like a police department fearlessly going to war with Midian like it happens every week! No one seems to think the idea of immortal monsters is a tad... strange. I DID like the visual effects and all that crazy sh*t that went on in Midian, especially that porcupine lady and that big headed SOB... Definitely an epic flick when you consider the massive quantity of effects and convincingly morbid decor. David Cronenberg fills his position well as the loony shrink with his cool zipper-head potato sack mask, but we ALL wish he had done some behind-the-camera work to help save this heap... 

So, if you have a boner for Clive Barker material and fully grasp what exactly Midian is, why they show the creatures during the opening title sequence (terrible idea!), and why these creatures reside there and how some punk kid shares a telekinetic link to it, you should probably check out "Nightbreed". I'll look for "Cabal" one of these days and hopefully gain some perspective... Or maybe I'll just forget this travesty completely... Until then, this is a poorly constructed and fairly tedious mess of a movie... Watch "Hellraiser" instead.
I really enjoyed watching Hell to Pay. I've been a fan of Westerns for as long as I can remember and this one reminded me of a lot of the Westerns from the 1960s (even though I was too young to have seen them in their first run). The one thing that bothered me about the movie was the constant music. It was distracting at times. One thing I did notice, and I wonder how many other fans of Gunsmoke noticed, was the name of Buck Taylor's character. It was a play on Doc Adams' name from Gunsmoke. Instead of Gaylan Adams, Buck Taylor used Adam Galen. I wonder if that was his choice or Chris McIntyre's? Anyway, I would recommend this movie to fans of Westerns. Don't expect anything too "deep". Just plain old entertainment.

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A confusing, senseless script with plot holes the size of the Eiffell Tower. Terrible acting by all involved - no exception! Laughable and cheesy dialogue. Lame attempts at humor and romance. Extremely cheap special effects. All this makes for a giant mess of a film, you'd best avoid.
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This movie follows in the tracks of The Riddle for an all star British cast in a downright awful movie! Poor cgi effects, poor editing, poor direction, a cast that i hope were well paid as this will be a nail in many a careers coffin.

Nigel Planer should've donned his Neil wig once more & gone out with a laugh at least!

It was like a particularly long & drawn out episode of "Torchwood" but without the camp fake Canadian doctor fella...it had the same overly dramatic music though, perpetually repeated, in a vain attempt to drum up some tension.

Oh the humanity!
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"The Saint Takes Over" stars George Sanders as Simon Templar, aka "The Saint" in this 1940 entry into the series. It also stars Wendy Barrie, Jonathan Hale and Paul Guilfoyle. On board ship en route to the U.S., The Saint meets and tries to make time with a woman (Wendy Barrie) who gives him the brushoff. Simon is coming to New York to help Inspector Fernack, now thoroughly discredited due to a gangster frame-up; $50,000 was found in his home. The gangster, Rocky (Roland Drew), of course, was found not guilty at trial, and he and his fellow mobsters pay the bill for the frame and attorney representation - $90,000 in total. Today you need that to defend yourself against a parking ticket. This was a murder rap.

Rocky sends his bodyguard, Pearly Gates (Guilfoyle) to the lawyer's house to steal the $90,000 from the safe. The attorney catches him red-handed and sends him back to his boss with a message. Seconds later, he's dead. Rocky meets a similar fate. And on and on - who's killing this group of gangsters? The Saint has to get one of them to talk so that Fernack can be cleared - can he get to anyone before they're murdered? The woman he met on board ship reappears and figures prominently in the case.

Few actors have a way with a line like George Sanders, and his dry wit, good looks, smooth voice and depth as an actor suit Simon Templar perfectly. Paul Guilfoyle provides some humor as the nervous, milk drinking Pearly Gates, and Jonathan Hale is great as the sometimes exasperated but worried sick Inspector Fernack. Wendy Barrie, who appeared in many Saint episodes, is very good as the woman who captures Simon's heart.

Very enjoyable.
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Although i don't like cricket at all and i have seen this movie 13 years ago, I still think it is one of the best coming-of-age movies ..i remember the day i returned home from my school and sat down to have my lunch, I saw the opening titles of that movie and then....i was so immersed in it that i felt i was there, it really affected me personally. i still remember how i felt when i first saw it ,i felt that the poor boy was a friend of mine, going through the same adolescent experience we were having in those days. what i really liked about that movie is the main theme of a "shy" boy fantasizing about "kissing" his dream girl, no offense but if that was an American movie, you would certainly see-at a certain point, mainly climax- the "shy" boy "making love" to his girl, and i really can't grasp this contradicting concepts till now...i have a simple request ,if anyone knows how to get this movie on a DVD by mail ,please let me know cause i need a shot of memories..Thanks
I love documentaries. The Andy Goldsworthy doc was great.I looked forward to this one - but was very disappointed. I knew of Kahn and was intrigued by the idea of his lonely death in a Penn Station men's room. There must be a story here, I mistakenly believed.The only story here is of sadly deluded women who had affairs with an ugly little famous married man. In the absence of anything like an explanation for this guy's horrible behavior, we're given endlessly repeated clips of Kahn walking around and painfully long - supposedly contemplative - shots of his soulless buildings.Actually, some of the buildings are interesting but the thrust of the film asks us to think about the guy himself. The overwrought soundtrack references an emotional tug that is entirely absent from the film. Kahn's apparent gifts do not excuse his behavior or martyr his mistresses. This film seems to want to give Kahn the great artiste's free pass and thus make the director and his mother sympathetic figures - I don't buy it.
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Corey Haim plays a kid who teams up with a dog to take out a giant troll and OSA hit-man (Michael Ironside) with a 30/30 and homemade bombs (Which plays plausible considering Haim) Oh and he also protects his mother and girlfriend as well in this watchable yet disappointing adaption of a decent story. Corey Haim is terrible, of course but the movie's sheer momentum as well as Ironside's imposing presence make this at least a modestly effective film. Still the plot is ridiculous and it would've been nicer if we could've seen a monster or at least more gore. At least it's something different. Also it's fairly likely that this film will be the last teen movie for awhile to show a teenager making pipe bombs.

Matt Bronson 2/5
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The fact that reviewers feel very intensely negative towards the show is an interesting fact all its own. If you dislike it so much, don't watch it.

Certain reviewers assert that you have to be dumb, dim-witted, or plain old primitive to enjoy this show. Au contraire, my friends. I am not claiming that all the contestants are smart. There are smart ones, and there are dumb ones. But I WOULD argue that they probably have a higher average IQ than the average reviewer on this website. Thats right, I said it. There is a lot to be said for the science of seducing girls. I'm sorry, but please withdraw all sticks out of your asses, and realize the reason you hate these guys is that they threaten you.

Those oblivious to social sciences, and more specifically, the science behind mating are clearly going to miss the boat completely.

One thing is clear: The clubs aren't the only places to meet girls. I personally think that the worthwhile women don't even go to clubs, so that they won't fall prey to men like the ones we see on the show. But what are men like these???? Apart from the ones whose games stink, they are the epitome of men. They are men who meet women in the most difficult situations. These are men who take ownership of their own sexuality. These men don't beg for their girlfriends to not break up with them, and these men don't say "OK" to the phrase "let's just be friends". 

Sound familiar???? In fact, these are the very guys you're afraid of when you take your special long term girlfriend to the club. We all are. These guys know what women like. (again, only the ones who have "game")

And even the ones who are bad...they are worth a laugh! 

If you have gone out to a club, and actually interacted with the people around you, you should find this show entertaining. 

Look, I am at a loss for why there is so much hate for this show. My best guess is that it aggravates the insecurity in men who have had bad experiences in clubs, or threatens men who believe women are beautiful self-less creatures who just want a nice guy to buy their attention.

I personally love this show. It is pure entertainment, and best of all, its REAL. It is a very perceptive take on the most recent state of sexual psychology. Sex roles have never been so different from before, and this show provides a very real view of that,

I think it actually takes some intelligence to take away something positive from this show. 

This show appeals to a certain target market, and if you're outside of that, then I guess you shouldn't tune in to the show. We could say this about any other shows though, couldn't we?

Grow Up,

ApolloHelios
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Before hitting international acclaim with The Silence of the Lambs, director Jonathan Demme cut his teeth making quirky comedies. This was one of them and like quite a few Oscar winning American comedies I could mention, it has a fine concept, is well paced, has great performances, a complicated romance. but it just simply isn't very funny. Pfeiffer is mob widow who moves to the city backwaters after her husband (Baldwin) is murdered. The crime boss who killed him (Stockwell) takes a fancy to Pfeiffer, his wife (Reuhl) is furious and to complicate matters Pfeiffer also falls for the cop who is trailing her. All of this should have been a laugh a minute. Pfeiffer, sporting a hefty wig is excellent as the widow, as is the hyperactive Ruehl and Modine is good too as the nice cop. But the script is simply devoid of one-liners, wit, humour or punch lines of the verbal or physical kind that this kind of film demands. The result is it raises smiles at best rather than guffaws. It oozes charm, but is tediously short on humour.
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It just so happens that IVAN THE TERRIBLE, PARTS I and II both had entries in the 50 Worst Movies book by Harry Medved. Now, I do think that declaring they are among the worst movies ever is an overstatement, though they are still both pretty poor films--particularly the first one, as it featured more eye rolling and "googly eyed looks" than I have ever seen before!! Director Eisenstein and an awful lot of other people out there thought this made the film "artsy and profound"--and since I am legally sane, I must say that I hated this first film!! The second, while still very incomplete-looking, is a vast improvement, as eye rolling is minimal, though overacting and long boring scenes are present in this film just like in part 1! While part 2 looks pretty incomplete and needed at least another hour (especially since it never gets to Ivan's insane behavior later in life--like killing his son and heir while in a fit of anger). Since both parts 1 and 2 were commissioned by Stalin to both excuse his own murderous reign and glorify him, it's no surprise that Ivan's life story is left very incomplete. Even without all the truly awful behaviors of Ivan, apparently the supremely evil Stalin STILL didn't like the film and wouldn't allow its release during his lifetime. Maybe he didn't allow this because he was more worried people would see what a HUGE waste of money and resources the film was instead of seeing Stalin as a crazy guy just like Ivan! 

By the way, there was one segment of this tedious film that was just so cool that the film merits a 4 (without it, a 2)--and that's the scene with Prince Vladimir at the banquet! It is well-done and pretty funny in a dark way. And, the scene was done in a Russian version of 2-color Technicolor. This is VERY odd, by the way, because by the mid-1930s, a vastly improved true color process was developed by Technicolor that no longer made everything look all orangy-red and greenish-blue. So, this film during the color sequences looks a lot like a silent or early sound color film. Very odd indeed for the 1940s.
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Rented this tonite from my local video store. It was titled "Black Horizon." I guess someone felt this was good enough for a 2004 re-release...

Micheal Dudikoff is unfortunetly not a ninja in this movie, one of the major flaws of this film right off the bat. Another major flaw would be that Ice-t's action scenes are stolen from other movies, particularly the first scene of his rescue, which is directly from the Wesley Snipes movie "The Art of War," with Ice-T edited in. I hope they paid for that footage.

The plot is awful, the special effects had little effort put into them (love those wires holding them in space), the acting is wooden (also love those New York/Russian accents). Ice-T being in the movie is pointless. These guys also forgot the fact that there is no gravity in space, but I guess they weren't worried about it.

Micheal Dudikoff should go back to doing what he's "good" at and make American Ninja 6.

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This film had me spellbound this evening. Thanks to Fox Movie Classics for showing it uninterrupted. John Voight, this cast of little known black actresses and most of all, the children, made this a worthy way to spend a Sunday evening. How wonderful to see the early work of this seasoned actor, as well as Paul Winfield's excellent portrayal of Mad Billy. I can't see why anyone would say that Hume Cronyn is miscast in the role as superintendent. Who would they have chosen? The shrill character actor, Charles Lane? Although his career is laudable, an actor such as Lane would have cheapened the role. Cronyn was an excellent choice for the part. I will count this film as a true treasure to hold in memory.

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"MirrorMask" was a terribly disappointing film for me. I had expected much from a Jim Henson production and had found favourable reviews comparing it to "The Labyrinth" and "Alice In Wonderland". Unfortunately, the film ended up in one of those "style over substance" pile of movies.

Whereas most kids dream about running away from home to join a circus, Helena is a kid who has grown up in a circus (child labour, anyone?) who wishes to run away to join Real Life. Helena wishes that her mother drop dead, which is a bad move for a spoiled brat with a princess complex in a kid's fantasy movie. Next thing you know, Helena's mother flops over, and for some reason, she is suddenly transported to another world.

Meanwhile, I felt as if I was transported to the Museum of Contemporary Art with a pair of foggy sepia-tinted glasses.

The showcase of CGI-generated creatures and backdrop was interesting at first, and I liked the Orbiting Giants. It got a little too tiresome after a few minutes though, and I felt my mind wandering ...

With no sense of narrative and MTV-style clips and soundtrack (the sphinxes reminded me of Basement Jaxx's "Where's Your Head At"), I did not feel involved in the plight of the protagonist and also frustrated, as we waited for the film to lead us wherever it wanted, hopefully towards the "Exit" signs of the theatre ...
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This is my all time favorite Looney Tunes cartoon. It's a common plot: Daffy Duck tries to convince Elmer Fudd that it is really rabbit season and shoot Bugs. But your can never outsmart that rabbit! In addition to usual cartoon comedy, this cartoon is supported by great word play that will keep you rolling on the floor.
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I was recommended this film as one of the best love stories ever told. And as I am huge fan of love, I bought the tickets and sat myself in the theatre. After 90 minutes I left the theatre with nothing but disappointment and the theme song as the only positive thing of the film. I was appalled at the story itself, that two people can love each other but be so afraid as to never act it. I just couldn't go passed the language barrier and the cultural barrier. The second time I ran into it... I was in a different mood, no longer had any expectation ... and had more patience, more relaxed mind to "see" the film... and as soon as I opened my eyes, I discovered the love... the beauty of the film. I went beyond the language and the love story and saw the acting (not even for a moment did I ever felt like they were acting!) and the cinematography. The first time I heard a definition of what a film is, I was told that it should be a chain of perfectly balanced photographs (shots) and this is the film to match the description. Almost every shot has an idea behind it, and combined with the music... and the light effects... the result is just a masterpiece! And a masterpiece is just something that you must have in your collection of films.
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This is a pretty simplistic romance. Girl finds boy, girl loves boy, girl loses boy, girl finds boy. Colleen Moore is the outstanding ingredient in this recipe, delivering a wonderfully varied dramatic/romantic performance, well deserving of an Oscar nom. Equally fine are the aerial combat special effects.

Moore plays a French girl whose mother has turned over their field to a British aerial squadron during WWI. She is the "daughter of the regiment", loved as a little sister. Into this mix comes a fill-in for a downed flyer, Gary Cooper. At first they hate each other, then they love each other, then the entire squadron is sent out on a suicide mission. Cooper returns but crashes in the village and a red cross unit removes him. Moore searches for him, is told at a hospital he is dead, then wanders the streets until he calls from a hospital window and they are reunited.

It's a nice little romance, but hardly more than that. Recommended for fans of Ms. Moore and Mr. Cooper
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As a South African, living in South Africa again after a 32 year stay in the UK, I am sorry to say that this movie is a huge disappointment. The three main problems I had with the movie was a) why Swank and Ejiofor - an American and a Nigerian - to play the leads. This country is bursting with talent and has no need of imports... b) Gillian Slovo has been trading off her Struggle credentials for years now. She's a very mediocre writer and even her novel doesn't stand up the flaccid direction of Mr Hooper... and c) Hilary Swank again, such a great actor, as proved in Million Dollar Baby (but that's Eastwood too), here dressed in the contemporary New York style whilst roaming freely around the poverty of the Karoo. Where was the consideration and sensitivity needed by the costumer and director? Yes, the film is ultimately moving - how could it not be? - but the overall mood at the conclusion is one of tremendous letdown. Heart's in the right place but needs a pace maker.
1930's comedy mystery about "The Crooked Circle" a band of hooded crooks who set about plotting the murder of some one who swore to oppose them. Enjoyable but really unremarkable little film, the movie works simply because the cast headed by Zazu Pitts and James Gleason (both of whom would later appear together in a couple of Hildegarde Withers films after Edna Mae Oliver dropped out of that series) and supported by a great cast of actors and actresses you know but may not know the name of (I don't hence the lack naming). A breezy hour long romp, the movie doesn't make a great deal of sense with mistaken identity, secret passages, ghostly music and people not being who they seem. Its the perfect thing for a dark and stormy night or a late night viewing when one is nostalgic for the late late show.

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His music, especially what we hear of it here, is very slow. From around the time of Bach's death composers had been working out ways of making music progress at a slower and slower pace: over a century later, Wagner and then Mahler wrote pieces that are about as slow as it is possible for music to get. -Of course, one can cheat by writing a 4/4 march and then specifying a tempo of, say, semiquaver = 1, but that tempo wouldn't be the correct tempo. Wagner and Mahler wrote music that is PROPERLY played at a snail's pace. Given that the slowness in no sense sounds too slow "snail's pace" is the wrong expression. A critic wrote of a famous Wagner conductor, "He doesn't beat time, he beats eternity." For all I know this was meant as a compliment.

I get the feeling that around the early 1970s directors worked out how to make the slowest possible films: there's "Death in Venice", and there's "Solyaris". I much prefer the former. For one thing, "Solyaris" steps over the line, or some line, and becomes soporific; "Death in Venice" is gripping from beginning to end. Not much happens, but it all happens in the right sequence, at the right pace, with photography you can get lost in

Another way of cheating with music, by the way, is to write something that doesn't really have a tempo at all. Such music sounds slow, but is really just unmusical, just as many films feel slow because they lack rhythm and form. "Death in Venice" isn't one of them. Beautiful in every respect, it will remind you of the timelessness and contextlessness of quality. You need no theoretical knowledge to respond to Visconti's mastery, as you do to respond to a lesser director's incompetence. It's a great work.
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I know a lot of people like this show and i apologise to people who think this show is awesome but it is the worst show ever created. Sure i'm sure I would be a big fan of this show if Jeremy Clarkson wasn't on it. I mean I think that testing out cars and doing things like seeing whether a car can beat a aeroplane is awesome! But Jeremy Clarkson is just pathetic. Here are the reasons I hate this man: . He thinks it's cool to trick speed cameras that measure your average speed by taking measuring your distance and time by driving 200mph down the road and then resting for two hours. . He clearly thinks that he is better than Richard Hammond and James May. . He's got my best friend saying pathetic things. . He screams at kids just for taking a picture of him. I'm sorry top gear but Jeremy Clarkson is a freak.

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Please tell me the sentiment of the following review: This has to be the ultimate chick flick ever. We taped it off the T.V. years ago and I've watched it about 30 times over the years. I hadn't seen it for about 12 years and just recently watched this movie. I'm not lying, I cried from the opening credits to the ending credits. This movie truly tears your heart out, even if you don't have children.
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positive
Please tell me the sentiment of the following review: I picked this film up from the local Family Video on sale for $1.50, which was probably the first sign it wasn't going to be good. Watching it with 2 friends, neither of them even wanted to finish it because of how awful this movie is. I, strangely, couldn't stop watching it. But this film is definitely a textbook case of how not to make a movie.

The plot is simple enough and sounds great: Chuck Norris has nightmares about a serial killer he put behind bars. The serial killer escapes and his nightmares begin to become reality once more. Serial murder, Norris, roundhouse kicks... this sounds like a great film.

And some of it is pretty good. The flashback scene where a man breaks a ladder with his teeth is intense, a scene where a van cascades off a cliff and gets crushed is amazing -- and I learned how to break out of prison using nothing more than Chapstick, gun powder and dental floss. But there is plenty wrong with this movie.

One: the editor is a moron. When making an action or suspense film, you have to keep the energy moving. There are far too many scenes that are not crucial to the plot left in this movie, slowing it down and distracting from the overall story. At least 10 minutes could have been cut and the pacing would have improved and the film would be slightly better. Two: The sound guy is a moron. Apparently somebody tried to film most of this movie in an area where you can't get decent sound, so most of the dialog is voiced over, killing the stereo and not lining up with mouths. Also, the music is far too dramatic in some scenes. Three: The casting director is a moron. They cast Billy Drago as a psychiatrist. Billy Drago is a great cult actor (from Brisco County, the Hills Have Eyes, and others) and would have made the proper serial killer or some sort of villain. His character is so vanilla that Drago's skills are wasted. Four: The writer is a moron. Two plots are in this film - the hunting of a serial killer and the romance between Norris and his pregnant girlfriend. Every time I saw that woman on screen, I wanted to claw my eyes out. And sure enough, she never figured into the other plot, making her story completely pointless.

Will I ever watch this again? Maybe. But unless they remaster this film at least a dozen times, you never should. Not recommended.
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I usually enjoy watching Laurel and Hardy, but this is obviously one of the films they made while they were on their way to becoming a successful comedy team.

The plot is all too simple, and is mainly based on one joke; how strange kilts and Scotsmen are. And that's all. Okay, there are some other jokes, but I didn't find them very funny at all; they are outdated and (I guess) were not very entertaining when the movie was first released.

Still, the movie has got two of the most charming faces in history, and they make the best out of the awkward story (which I expect was filmed without a proper script) and the scenery is nice to look at. 

In my opinion, watching this is only worthwhile for Laurel and Hardy fans, other people should stay away from it.
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Please tell me the sentiment of the following review: I have to admit I was deceived by the title and the summary on the back of the box. So I popped it in the vcr and kept waiting... and waiting... and waiting for something good to happen. But of course, it never does. The makers of this film should be tied to a chair and made to watch "Saving Private Ryan". Maybe they would learn something.
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One of the movies i just DIDN'T want to see. I got it in the sneak-preview, but damn, the acting was very bad! At the end of the movie (i still am surprised i watched the whole movie..) i wondered why i watched the movie.

Also here in the netherlands, the writer of this movie (it's filmed from a book of Giphart) thought it was very bad, and was disappointed that his movie came out like this. Next time he wants a role in choosing people for the cast.
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How do two great actors foist off a piece of junk like this on film-goers. My only conclusion is that they and their director believe that ANY film in which they star just MUST be seen and applauded,

Now to the film - probably the worst "thriller" I have ever seen. The actors showed minimal emotion; the plot was reasonable for a 1/2 hour time slot (not 91 minutes). The FBI agent was almost a silly parody - his partner was apparently struck dumb and spoke not one word. To paraphrase Robert Redford, the villain was a meaningless piece of crap! The film was drawn out and meaningless - the only question was whether the hero would die or not. One truly bizarre part of the story - The waiting family seemed to go on for at least several days; the hero and antihero seemed to only take one day.

All in all - waste of time
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I suffered the watching of this movie at Sitges Festival last month. If there would be a possibility of "unfilm" a movie to avoid its existence, this should be the first in the list. María Lidón isn't a director, she is just a dumb woman that pretends that holding a camera with the hand and shout "action" makes her a professional film maker. What a mistake! The movie itself is pointless and a total waste of good actors that could be doing something better in another project. Val Kilmer does nothing but place his face in front of the camera. His character don't have specific weight in the movie. The same thing can tell about Joss Ackland, Vincent Gallo or Joaquim De Almeida. It's a shame the way Rade Serbedzija's character has been written. WARNING SPOILERS

He spends most of the time alone in the tunnels talking with himself in the way (now I'm doing this, now I'm low of bats, I'll search in my bag, now I'm turning left, now I'm turning right...) only to bring the audience a clear idea about his actions. It's simply nonsense and proves the lack of talent of the director. END OF SPOILERS

The usual joke about this piece of garbage among the audience was that the title of the movie itself brought the clue about the rating everyone should give it: ZERO
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Please tell me the sentiment of the following review: Tomorrow Is Another Day is NOT the sequel to Gone with the Wind but a lovers-on-the-lam story, and a surprisingly alert and moving one as well. For a supposed hack relegated to B-minus features like The Devil Thumbs A Ride, Felix Feist proves adept at filling his work with unexpected, inventive details. Steve Cochran leaves prison after 18 years for killing his brutal father when he was only 13, and now he's still a tentative, gawky pubescent operating inside a man's hulky frame. Lonesome, he visits a 10-cents-a-dance palace and falls for brassy, grasping Ruth Roman. But the sudden shooting of her police-bigwig boyfriend causes the ill-matched couple to hit the road, ending, like the Joads, in a California migrant-worker camp. 

Roman's the revelation; in her best-known role, as Farley Granger's fiancee in Hitchcock's Strangers on a Train, she was ill- and under-used. Here she modulates persuasively from bottle-blonde taxi dancer to sacrificing wife and mother-to-be (and a brunette, to boot). Cochran's almost as good, waffling between the suspicion of a wounded child and the explosive reactions of an under-socialized male. And the ending, while unconvincing, is nonetheless welcome. Along with They Live By Night and Gun Crazy, Tomorrow Is Another Day displays a redeeming sweetness and warmth that belie its film-noir pedigree.
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I was 19 in 1970 when it came out and having heard how funny it was when it came out and reading the reviews here, I finally rented it and watched it. I didn't laugh once - a very unfunny flick - and I usually love Reiner. I cannot for the life of me figure why this is seen as funny. I had not one chuckle. And I love comedies! Oh well, at least now I know what all the shouting was about. Not my idea of a comedy. Go rent The Navigator or The Love Nest by Buster Keaton - now THOSE are comedy classics! If you rent this one - have a back-up rental so your whole evening isn't a loss. Score 3 out of 10
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Well to start off I was like, wow this is new, so when is the film starting, and out of this in between stuff. But it never ended. The film is just one big in between! And after 10 minutes of waiting for something to actually happen, apart from water splashing around, I just started getting angry! There is nothing in this documentry and nothing will be learned. Completely BORING and RUBBISH!
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This film is so lovingly made you want to be part of it forever. The flics are straight but not without malice, the goods are transparent and evildoers are hardly there. Even the "cabaret" are so naive they'll make you daydream with nostalgia in comparison to anything available on TV. Blier is fine, if a bit one sided. Louis Jouvet is perfect, you just can't have a better copper. He has the best line: "My dad cleaned other people's dirt, and I do the same". Susy Delair is unbearable, but I guess in part it's the songs, wardrobe and hairdo. Simone Renant, on the contrary, makes a great femme fatale, if a bit silent. I didn't realize she may be a lesbian as IMDb user dbdumonteil and others rightly suggest.
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This is a pretty run of the mill family move that I am sure most children will enjoy but with really no that much to please any adults viewing the movie. The premise of the film is that Belushi's cop character takes his retirement but gets drawn into a case which results in him becoming a private investigator. The movie's plot is so obvious most of the kids will surely pick the ending before it happens. But additionally to that there seem to be story arcs and sub plots that are forgotten about as the movie progresses. This coupled with a sub plot where the titular K-9 gets pimped out by Belushi. One to be avoided I am afraid.
I was about 14 years old as I saw the musical version of Lost Horizon. I loved the film so much as well as the songs that I went several times to the cinema to see it again and again. My mother bought the LP and I learnt the songs off by heart, just as I did with "The sound of Music" (which people hardly know in Austria). I think the problem with some of these self-appointed critics who's comments get published is that they don't have a romantic soul and didn't see the film through the eyes of a young teenager. Maybe he is an Ingrid Bergman fan but I was happy with Liv Ullman. Could Ingrid Bergman sing and dance? What was so great about her? Perhaps the critic did n't appreciate it because he needed new glasses or contact lenses since he sees a close resemblance between Liv Ullman and Bill Clinton. It was the idea and story behind the film, the philosophy, which was the most important and interesting factor and a musical in colour just made it more entertaining and enjoyable without damaging the intellectually appealing aspects. It's a shame that many other films with so called great actors and actresses with unimportant themes / stories are utterly boring in comparison.
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positive
Caught this movie on DD while flipping channels...And thank heavens, that too when it just started.. Having studied in Pune, this film touched off many happy memories of the city...that apart, one wonders why more movies like this aren't made...Every character is so well etched-the grandpa, the kid, the doc...except for the social worker who grates a tad, the rest of the movie hardly has a flaw...a deserving entry for the Oscars, even if it wasn't nominated...definitely leaves a lump in the throat...who sez u need mush to tickle ur lacrimals ? And to think that this movie needed Sachin Tendulkar to propagate it. Inspite of being in Marathi, there was hardly a moment where I wasn't able to follow the movie...the subtitles were good.. A must watch for any fan of good cinema.

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positive