cindermond/bento huggingface dataset:
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Dennis Quaid is tryin' hard to prove us that Jerry Lee Lewis was a dumb guy. And he's doing too much to prove it. TV sequences are very good, like a photocopy of old black and white footages. Music is fine too, because Mr. Lewis himself is singing. But the rest is just Hollywood B-Movie style, with the fifties Happy Days complex. I think the only good thing in this movie is to see young Winona Ryder.
This was truly a deeply moving movie in every sense of the word. I myself was a Mormon missionary and I know first hand the wanting to complete my mission but at the same time hiding the fact that I was gay. Like the character Aaron, I was sent home for being found out and excommunicated, but being the only Mormon in a family of Catholics wasn't as big a shame as it was for the lead character. This movie really took me back to those days and helped me to realize, years later, how fortunate I was to have a family that accepted me and understood what I was going through. I found myself applauding the end of a movie when Aaron and Christian find each other again by shear chance at Lila's Restaurant. I was truly moved to tears. I highly recommend this movie to all who read this review and also declare it a must buy.
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When a group of businessmen start dying in the presence of the mysterious Mr. Coulomb, FBI agent Dick Martin is assigned to the case. As the deaths continue to mount, Mr. Martin obviously isn't having much success. By the end of the movie, the strange truth is revealed, which I won't reveal here.

One of the other users commenting on this states "This is a Classic film and should be ENJOYED and not picked apart". I'm sorry but I have to respectfully disagree with this opinion. It is "classic" only in that it is old, not in any sense pertaining to its quality. I've enjoyed a lot of low budget "B" movies from around this time period, but this isn't one of them.

The pacing is unbearably slow, the camera work is pretty bland, most of the acting is fairly wooden (even Lugosi isn't great in this one in my opinion) and the plot, while it has an interesting premise, seems to be thrown together in a very difficult to follow manner.
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A quick resumé: Almost nonexistent, badly chosen musical soundtrack, steady-cam filming done without the steady but with lots of coffee and a hyperactive cameraman, NO plot, and nothing ever really happens. The film goes from one dialog into another, sounding hollow, never achieving depth, never creating the illusion that you really are inside a cobweb of conspiracy, and the everybody-has-an-affair-with-everybody is just a boring excuse to show the main actress in nice underwear. (which, combined with her rusty voice certainly is nice, but nothing to base a movie on) The high point for me is the opening scene, and the film just degraded from there to a point where I just wanted to quit the film about 45 minutes into the story. I regret sitting it out.
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After having seen this show a few times; I am thoroughly offended as a female that there are so many stupid, women out there that fall for this bullshit. Im a little more mature than some of the "players" in this show, but am still appalled that the whole dating game has been boiled down to a gameshow: where goofy dudes can score points on their lame ass attempts to pick up chicks. If young guys are watching this and using it as a learning manual: Don't!!!. Save yourself the effort and hire a prostitute if all you are after is a piece of ass. Maybe there are girls out there with the same mind set;but some how I don't think so.
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"The Mayor Of Hell" has the feel of an early Dead End Kids film, but with a much harder edge and very few light spots, preceding the first appearance of the Dead Enders by four years. James Cagney has a full screen opening credit, even though technically, the 'mayor' of the movie's title is actually portrayed by Frankie Darro, one of several boys sent to reform school during the opening scenes. Darro's character is Jimmy Smith, a young tough who's befriended by 'Patsy' Gargan (Cagney), and is elected to the position when Gargan takes a chance at humanizing conditions at a state reformatory.

Warner Brothers made a lot of these types of films, attempting to provide a conscience of sorts in an era that only too well knew about the effects of crime and poverty. This movie is quite gritty, with no apologies for ethnic stereotyping, as in the submissive posture of a black father in court or the way a Jewish kid gets to run a candy shop in the reform school. The rules at the reformatory are simple enough - work hard and keep your mouth shut; step out of line and you answer personally to Warden Thompson (Dudley Digges).

Cagney's role in the story seems somewhat ambiguous, since even though he makes a serious effort to improve conditions inside the reformatory, on the outside he's still nominally in control of a criminal racket. The film's attempt to juggle this dichotomy falls short in my estimation, the finale attempts to wrap things up in a neat package as Gargan awaits the outcome of a near fatal shooting of one of his henchmen. Not exactly the kind of role modeling one would look for in a film like this.

Warner Brothers would sanitize some of the elements of this story in a 1938 remake titled "Crime School", featuring Humphrey Bogart in the Cagney role, and Billy Halop in the Frankie Darro part. If you're partial to the Dead End Kids you'll probably like the latter film better, since it also offers familiar faces like Leo Gorcey, Huntz Hall, Bobby Jordan and Gabriel Dell. However the ending is somewhat muddied in that one too, with Bogart's warden character involved in a cover up of a prison breakout. Both films offer a romantic interest for the lead characters, in 'Mayor', Madge Evans is a reform minded nurse that falls for Cagney's character.

Curiously, a lot of James Cagney's early films aren't commercially available, so you'll have to keep your eyes peeled for a screening on Turner Classics, or source the film from a private collector. Personally, I can't get enough of this kind of stuff, and find intriguing points of interest in the films of all genres from the Thirties and Forties.
Please tell me the sentiment of the following review: What has Rajiv Rai done to himself? Once a hit director of films like Tridev and Vishwatama is now making one bad film after another. I was initially excited at the thought of Rajiv Rai returning to the action genre but that soon fizzled out. As a Rajiv Rai fan I thought I should at least give it a go but I left after an hour. One reason for me leaving the film so early so the amount of Paki- bashing in the film, this was not in Rai's previous venture.

A lot of directors have tried Paki- bashing but I did not expect it from Rajiv Rai Another letdown was the music. Rajiv Rai's have always had good music until now. There is only one good song and that is Tere dekh dekh Ladgayan. The performances are not upto scratch, not even from Rai Loyalist Naseer-Uddin- Shah. Avoidable fare from once my favourite director.
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The quote above just about says it all for "Slipstream". I should have bailed out of this film after the first half hour, but decided I ought to be fair and give it a chance. I won't watch it again, so if anyone with the temerity to do so can get back to me with the number of clichéd lines in the movie, I'm sure it will set a record.

Some otherwise fine and talented actors got mixed up with this clunker; Mark Hamill portrays a futuristic bounty hunter and Bill Paxton is his quarry. Paxton's character has hijacked Hamill's prisoner, an android taking his name from the poet Byron (Bob Peck). Tasker (Hamill) shoots Owens (Paxton) with a dart containing a tracking device so he and his companion Belitski (Kitty Aldridge) can keep tabs on the pair. The real question though is why didn't he just fire the device at Byron thereby cutting out the middleman.

If you enjoy scene after disjointed scene with tedious characterization and artsy fartsy pretense, then I suppose you'll find something of interest here. But you can't convince me that the film makes sense on any level. Scenes of a futuristic Stone Age make way for high society snobbery, but the pinnacle of poor taste is reached when Paxton's character is displayed following a night of revelry with hickeys all over his torso. If anyone thinks there's some hidden meaning here, you're really stretching.

Patiently waiting for the frame proclaiming "The End" to come into view, alas, even that was denied. If beauty is in the eye of the beholder, then so is understanding; this movie had neither. Yet there was a single redeeming feature as the closing credits began their run - an awesome view of a half dozen hot air balloons. Apparently the film was keeping them afloat.

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First, let me say that although I generally appreciate Mike Judge's work, I've been merely tepid in my response to Office Space, King of the Hill, and Beavis and Butthead. I generally prefer more intelligent comedy, and therein lies the irony with respect to Idiocracy.

In a future world where the embodiment of Beavis and Butthead's views, basest instincts, and intellectual capacities are the framework of a chaotic, messy, semi-Mad Max semi-Blade Runner society, where every trailer-trash guy's fantasy becomes reality, a man with even average intelligence is threatening and accused of talking gay, and the mob mentality takes over. And this world is also incredibly funny.

Yes, it's obvious that Carl's Jr., Starbucks, Costco and Fuddruckers executives will be horrified at the twisted values given their products in the year 2505.

There were some missed opportunities with the film, and the relationship between the time travelers - the other being an average intelligence woman who's worried about her boyfriend's (pimp's) retribution - could have been stronger; the chemistry is there. And there don't seem to be too many women in the future.

I did leave with a grin on my face, but the experience is a bit better than the memories. Thus, it's my kind of popcorn film, and it will be fun to revisit on video. Recommended! FYI stay through the credits for an extra scene.
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Barney is just awful. As many of the other reviews on this show say. I'm not one to disagree with them (I won't). Because I hate this show just as much as they do. They use kids that look like they're in sixth grade, cheesy plots, horrid dialog and really crappy special effects. Not to mention that big purple dinosaur himself. He makes every other kid show look like award winners (Sesame Street has won awards, that I know about).

Please, just watch Sesame Street, Thomas the Tank Engine or even the Teletubbies. Avoid both, this and its movie (which I also reviewed). They are both extremely crappy and are inappropriate to anyone (even little babies).
Yeah...I read David Lee Roth's autobiography, "Crazy From the Heat," (which by the way is an amazing read), and DLR says this was his favorite blacksploitation movie as a kid. In fact, he says he always imagined himself as a black guy in Southern Cal. Mr Roth is quoted as saying:

"We saw every Blacksploitation picture, and those movies were a HUGE influence on me. Trouble Man, Superfly, Foxy Brown, Shaft, Cleopatra Jones, Blacula, Rudy Ray Moore doin' his Dolemite vibe-I saw all of those..."

He goes on to say:

"Dolemite - Rudy Ray Moore - was one of the originals. He was a blue comic, doing blue humor. Like Redd Foxx did on early party records. So he was the most perfect to play a new secret agent. His answer was not "Bonds. James Bond." His answer was "Dolemite, motherf*****!" We would wait for that line in all of his movies. "Get Whitey" would show up in every single movie at least once, and we would wait for that, too. They had the cars. They had the shoes. They had the guns. The Haircuts. The Slang. And the scams. And we all knew that all those beatific resolves at the end of the movie were white bull****. He's trying to feed hungry children but he's actually a pimp...bull****. That was designed to make it palatable to our moms and dads so they'd let us go see the picture."

Spoken like a true genius. So upon reading about Dolemite in Mr. Roth's book I immediately bought in on DVD and I really like it. Yeah, it's super low-budget, and yeah...I hate rap...but as a fan of Tarantino movies, I can see many similarities, especially some of the 70's fusion/funk ala-jaco pastorius music throughout the film. I also love the scene where the two cops 'bust' him for coke and then one of them snorts a whole bunch of it like he'd done it a thousand times before, and says something like, "Aww yeah....that's the real mccoy!"...and then he continues to talk and has a little bit of coke still on his lip. CLASSIC! Some of the violence is a little over the edge, but shocking, which I would consider to be a positive quality. Not as predictable as I assumed it would be. Definitely going to pick up "The Human Tornado" very soon. 10 out of 10.
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How could anyone who liked the previous JP movies even stand to sit through this 1 hour of drivel? There are so many stupid things about this film it's mind boggling!! I remember when i went to see JP as a kid it was my favorite movie and franchise, the acting, the SFX the Music, the direction! all fantastic, JP2 in my opinion was OK pretty much the same apart from some really stupid moments (like the gymnast girl kicking a raptor..please!) but on a whole a watchable and reasonable cinematic experience.

But the the third one has no point!! It's supposed to be a sequel that Carry's on from JP2 and yet it magically includes brand new things to the franchise that would have been impossible to miss on the previous 2 films! for example: 1) The "new" mega Spinosaurus - Seriously, what the hell!! This thing follows them everywhere they go, they cannot escape it's presence and yet in The lost world (the same island) do you see it once? do you hear it? does anyone even MENTION it? NO! Its ridiculous!. The star character in the previous 2 movies was, and always will be the T-Rex so what does the d(urr)irector "Joe Johnston" go and do? Kill it off! as soon as you see the huge T-Rex in all its awesome roaring glory it gets killed and you never see it again - a new Dino on the town is the excuse.. where did it come from!!?? not a single explanation! and don't get me started on the whole satellite-phone-in-the-Dino-belly thing! 2)Just when you start to get over how stupid the Spinosaurus is you see the Raptors, Aside from their new "Punk" Haircuts they seem pretty credible! *Phew* they will make this movie watchable right?... WRONG! now they speak to each other!! and the excuse for them speaking in this film and not in the First and second are...wait for it... Evolution! - yes the process of millions of years in just a few months from when the second movie ended, amazing! surly they should have grown opposable thumbs and created tools by now!! OK i am not going to say anymore about the plot because it's getting up my nose, so i will close on this: Jurassic Park is a classic, JP3 is a lousy sucker punch to any of the original fans of the series, my favorite franchise was well and truly dead after watching this Monstrosity (no pun intended) Avoid this movie like the plague
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When I went to see this movie it was already a forced choice, as my original intent was sold out. what ensuited then was sheer terror, this movie is so bad i could hardly bear it. the story is not worth mention, a gay goalkeeper forms a gay soccer team to play against his old straight team who - on discovering his sexual orientation - gave him a hard time. loaded with unbearably old and overused clichés of gays, the thin plot matches perfectly the inane dialogues... it is absolutely astonishing that actors as dietmar bär or charly hübner waste their talent and time on such nonsense. 1/10
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Saw the movie last night w/o knowing anything about it (nothing else out seemed interesting and I had a Buffalo connection to this movie - UB grad). It was a very enjoyable movie. Liked the pace (it picks up after a slow beginning) and story. Well written plot and good character development and relationships. Highly recommend it to anyone who likes to see movies that have interesting stories. Found myself talking about this movie afterwards over a few beers - most discussions don't last more than a few minutes.
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Getting Eaten By A Bunch Of Snakes Is More Entertaining Than This Film Getting Eaten By A Bunch Of Snakes Is More Entertaining Than This Film Getting Eaten By A Bunch Of Snakes Is More Entertaining Than This Film Getting Eaten By A Bunch Of Snakes Is More Entertaining Than This Film Getting Eaten By A Bunch Of Snakes Is More Entertaining Than This Film Getting Eaten By A Bunch Of Snakes Is More Entertaining Than This Film Getting Eaten By A Bunch Of Snakes Is More Entertaining Than This Film Getting Eaten By A Bunch Of Snakes Is More Entertaining Than This Film Getting Eaten By A Bunch Of Snakes Is More Entertaining Than This Film Getting Eaten By A Bunch Of Snakes Is More Entertaining Than This Film

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In following Dylan Moran's star from the charming misanthrope bookstore owner in the surrealist sitcom Black Books, I could see his comic potential begging to be utilised in theater or larger cinematic avenues. This first big screen outing in a starring role (he had a cameo as Rufus the thief in Notting Hill) had oodles of promise, but like the strained Steve Coogan vehicle, The Parole Officer, has too many creases which should have been ironed out in preproduction.

The plot is so convoluted that I shan't bother repeating the finer details (the script has every character do that for us), and the laughs are sourced from show business in-jokes. Michael Caine is a pompous has-been running a production of Richard III - updated to Nazi occupation (one of the few genuine laughs, a satirical jab at Ian McKellen), in which everyone is forever doing the Hitler salute every time they take the stage. Convincing Dylan that acting should be a conceptual act unto itself, the two plot to steal money from some fairly harmless gangsters by way of their acting prowess. Confusion ensues (both on screen and in the audience), there's a romantic sub-plot between Dylan and the daughter of one of the gangsters blah blah blah and Dylan gets to dress in odd clothes and do funny accents. Michael Caine delivers some choice lines, and Dylan's comic timing is on the money, so why isn't it any good? It does have a certain charm that you would expect from Film 4, but it also has a precocious little girl acting as compass in a muddled and irrelevant plot - a no-no in screen writing 101. Exposition overshadows everything else. You just want to see Moran and Caine acting as comic foil to each other the way the were at the beginning, but when they're together toward the end, the the pairing has lost its charisma.

The Actors is an amusing, albeit underwhelming effort. Should it come on telly during a rainy Tuesday afternoon, then have at you. Otherwise you would be better off watching your old Black Books videos, or renting Withnail & I.
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I can't believe this movie is getting the rating that it is here on IMDb. Of course, I've come to conclude that IMDb is somewhat worthless for actually finding out if a movie is good or not as 99% of films are rated from 6 to 7. It's the conclusion and failure of crowd-sourcing on the internet. For this purpose an average is taken of most people, and unfortunately, most people are simple minded easily entertained fast food lifestyle morons. But I digress. The movie. I really don't want to waste my time writing about it. Let's just say I found it to be tailor made for seemingly two groups of people, young teens, at the age where violent action movies of any sort just hit the spot, and goth types that just love to choke down whatever Gothic vampire fantasy they can get their hands on. If you aren't in one of those categories, you will find this movie absurd. I did enjoy the first Underworld. It was fresh at the time and held a sort of edgy quality. The second was a bit trying in plot, but I did enjoy the direction and cinematography at times. But this whole movie felt like a sci-fi channel production or even a TV series. I found the actors to be over-directed. Their body language stiffened into un-natural idealistic poses that seemed contrived. Lines were spit out like young actors would spit out lines of Shakespeare, reveling in their own egoistic glory at being in such a role, but in doing so, crudely bludgeoning the role. The plot was dry and predictable right from the start. I found myself wishing things to just "move along" as it was so easy to tell what was going to happen. I tried to care at first, but my brain was forced to shut off. By the end climax, I actually caught myself falling asleep. There were so many parts that were inconsistent and didn't make sense that it's not even worth listing them all. If you're a pimple faced teen or a chronic goth, sure, have at it. For the rest of us, forget it, like I'm about to do right now.
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I've seen worse, which is a backhanded way of saying how crummy this film was. The plot is ridiculous: a student shoots a police officer and five more take him hostage? In a dimly-lit, smoky New York school -- and somehow this clichéd hostage situation takes 24 hours to resolve? Are you serious? A day-long hostage situation -- with a wounded NYPD officer no less, takes all day? I realize this film was made pre-9/11, but still. I looked at the clock and wondered how they could possibly drag this overdone plot on for another hour and 10 minutes.

The acting was mediocre at best all-around, and the characters were seemingly thought up by 7th graders. The child-abuse kid, the pregnant scared girl, the violent gang wannabe, a confused unfortunate victim, the wise-cracking white guy. Please.

Trying to make this hostage situation into a mission for "more textbooks" and better school conditions? Please -- this is a weak attempt to justify writing a movie about a kid who shoots a cop. They're confused, ignorant idiots who get involved in a dumb -- far-fetched -- situation. Don't try and paint them, suddenly, as noble, The most laughable is Ziggy, who lives in the school's attic and admires Michaelangelo so much so that he paints these striking scenes on the walls. You've got to be kidding me.

The "no racism" signs in the protesting crowd? A black kid shoots a black cop and a black negotiator tries to patch it all up. This is a random message.

I understand the overall message, which was poorly portrayed, albeit by some actors who have gone on to respectable careers.

This was a joke though the red sniper lasers on the roof? The worst scene was the kid, fake snow falling, dying in the arms of his buddy on the roof, "promise me" etc. How original.

The epilogue of "I went to prison but now I'm pre-law at XYZ University" ... a fitting way to end a joke of a movie.
Please tell me the sentiment of the following review: Surrender Cinema has been known for their extremely erotic, almost explicit sci-fi films. While they generally do very well at these (Femalien 1 & 2, Virtual Encounters), this particular entry seems to be just a rehash of old tape. Any number of girls -- some recognizable and others not -- are in this film in all stages of nudity. There are also several clips from other films which are outstanding, unless you've seen those other films. There are a number of solo nude scenes doing a number of things -- some playing basketball, others talking, still others playing with themselves. The only thing of value in this tape is the very last scene -- a short but erotic girl-girl scene with a very enthusiastic and enjoyable Sandy Wasko and a more subdued Tammie Hainum. Not highly recommended.
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Easily one of my three or four favorite films. Definitely one for the desert island. There is nothing `brilliant' about this film. Rather, it glows warm and welcoming. The audience is invited to a party and, like any good party, the joy comes in the interaction of the guests, and what you learn as you progress from one to the next. With apologies to Joyce, the film's title conjures up a number of ideas that keep audiences away. The film is not horrifying. It is not depressing. It is a beautiful look into a time that has past, within which people are growing up, and others are winding down. Some are frustrated, and others are serene. And all around, ever present throughout the evening, are the people, and the parts of people, that have been laid to rest. The words these exquisite actors are given to speak are perfection and, set to the music of the Irish brogue, are an auditory feast, particularly to us flat-toned Americans. About the lack of brilliance I referred to above, I take it back. There is no other word to describe the final scene between Anjelica Huston and Donal McCann. It speaks quiet volumes about  well, everything. Some lovely snowy evening, rent this film and just let it happen before you. No gunfights, no car chases, no dinosaurs  just film at its most sublime.
This (allegedly) based-on-a-true story TV movie concerns a woman on the run from the FBI and a *seriously* stupid guy.

First, we have Roger Paulson (Tim Matheson), a "regular guy" type with a mind-numbing job, an ex-wife, a kid he hardly ever gets to see and some cats.

Next, there is "Elaine-Lisa-you name it" (Tracy Pollan), a smart, sexy, good looking woman whose tongue would burst into flame if she ever told the truth.

Roger and Lisa meet when she answers a lonely-hearts ad. Roger is one of these poor saps who can't seem to handle living alone, so after his wife dumped him, he places his ad.

It doesn't take long for Roger to figure out that Lisa is *not* a good person, but he has no idea how to get rid of her. He doesn't even have enough sense to change the locks on his apartment door after he throws her out.

Go ahead and watch this if you don't have anything else to do.


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Please tell me the sentiment of the following review: I saw this on the Accent Underground release with the short films. I found the film at first boring and old fashioned and switched it off after the first hour - I was a little drunk and tired.

I went to bed, and no kidding I had a nightmare about this film within half and hour of falling asleep. I couldn't stop thinking about why, so I got up, switched the TV back on, loaded the DVD and saw the rest of the movie.

Well done Alex Frayne sir, you've managed to implant your film into this old, cynical movie goers head, and that takes doing. So 10 out of 10 to you.

I can't say I 'love' this film of yours, but it has made a lasting impact despite its flaws and low budget etc.
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Director: Tay Garnett, Ford Beebe, Cast: Mike Mazurki, Vic Christy, Fritz Ford, Tay Garnett.

Based on the number of comments I see on IMDb, this seems to be a forgotten movie. This seems rather ironic to me because it is actually one of the first movies that I remember. My mom took me and my little brother to see this film at The Garland theater in Spokane when it first came out in the mid 1970's and I still remember it.

I am going by memory here but I believe this move is about a trapper who was accused of a crime which he did not commit and the law goes after him. I believe it to be set in 1800's Alaska. A narrator tells the story of the trapper played by Mike Mazurki. Really, this is a very good film with a great setting. It could be compared to the 1981 film Death Hunt with Charles Bronson. The two films have a very similar story line. The main difference between the two is Death Hunt is an adult orientated film whereas Challenge is a family friendly film. 

Mike Mazurki and Tay Garnett were both rather old when this movie was made which I find rather impressive when one considers that this movie was filmed on location in the wilds of Alaska. This was the last film made by Tay Garnett before he died which was just a few years later. They both had been around since the silent era.
Please tell me the sentiment of the following review: Hair is one of my favorite movies of all times. Even not being part of my generation, I already watched this movie 9 times and I can't get enough with the beautiful message of understanding,passion,beauty and love. This movie is against the Vietnam war and shows how people should be united independent of the color,origins, religions and classes. I love the characters Berger and Woof and I think Central Park of the 70's one of the most beautiful places I already saw in my life.

By the way,I still have this music in my mind:

When the moon is in the Seventh House And Jupiter aligns with Mars Then peace will guide the planets And love will steer the stars

This is the dawning of the age of Aquarius The age of Aquarius Aquarius! Aquarius!

Harmony and understanding Sympathy and trust abounding No more falsehoods or decisions Golden living dreams of visions Mystic crystal revelation And the mind's true liberation Aquarius! Aquarius!

ps: I am surprised to see that the director of this movie is the same director of AMADEUS. I just love both movies!
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First off, I refuse to even consider this piece of work a Music video... I consider it a short film that uses excerpts of the song "Thriller" in its soundtrack. To me a music video must be no longer than the song itself, and the song must play the entire length of the video. Calling this a music video is like calling The Great Gatsby a poem. On top of this... let's face it... "thriller" is a boring 14 minutes, including the extremely dated werewolf transformation, the mindless Vincent Price poem (just because VP recites it doesn't mean it's not lame), and the least threatening zombies I have ever seen. Sure, this was certainly a cultural phenomenon, but don't forget, this also happened at the same time the A-Team was the #1 show on TV, so lets not give the culture too much credit on that one... One last point on this film's impact on the media on music videos... what exactly did this add to the equation that "Billie Jean" and "Beat It" didn't already add? From what I can tell, it only added the practice of stopping the song for some dialog, or a superfluous dance scene... so you could say that all this video really did was give Puffy the inspiration to make more annoying music videos... Not quite my definition of great
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You have to be awfully patient to sit through a film with one-liners so flat and unfunny that you wonder what all the fuss was about when WHISTLING IN THE DARK opened to such an enthusiastic greeting from audiences in the 1940s.

On top of some weak one-liners and ordinary sight gags, the plot is as far-fetched as the tales The Fox (Red Skelton) tells his radio audience. You have to wonder why anyone would think he could come up with a real-life solution on how to commit the perfect crime and get away with it. But then, that's how unrealistic the comedy is.

But--if you're a true Red Skelton fan and enjoy a look back at how comedies were made in the '40s--you can at least enjoy the amiable cast supporting him. Ann Rutherford and Virginia Grey do nicely as his love interest and Conrad Veidt, as always, makes an interesting villain. One of his more amusing moments is his reaction to Skelton explaining the mysteries of wearing turbans. "I never knew that," he muses, impressed by a minor point that is cleverly introduced.

All in all, typical nonsense that requires you to accept the lack of credibility and just accept the gags as they are. Not always easy for a discriminating viewer as many of them simply fall flat, the way many comedies of this era do because the novelty of the sight gags and one-liners has simply worn off.

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I have an affection for these twists on British social norms and it is rare that one loses me. But Our Betters did lose me a bit. It's a tale of social climbers and their joy at breaking the rules but personally I found it a little dull. 

I liked the duchess though she whines a little too much and Constance Bennett amiably fills the role of Lady Greyston, a role that Bette Davis could have played backwards.

But the movie comes the life in the third act when Ernest joins the party. He is so lively and fun (and in truth probably wears more makeup then Lady Greyston). He gets the last line of the film and it's a gas!
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From the beginning of the film I found myself laughing trying to keep quiet so I did not wake anyone in the house, this didn't continue so much throughout the rest of the film, I didn't find everything completely "laugh out loud" funny, but still I found certain things quite funny. At the beginning I had to hold in laughter when he drops the very crafty looking Hand Grenade down his sleeve. Then there are scenes where you will just smile, like when the Barber falls through a roof into someones apartment, I can see that being quite funny but in todays days and time that has been done quite a lot it didn't feel original, though at the time, I'm sure it was. I loved Hynkels (Hitlers) bursts of raging German with the nice subtle English translation.

The final scene is wildly discussed because, well it's absolutely true, and so very intelligently constructed. Though the film is sixty eight years old the final scene is still relevant today, if this doesn't show how great a writer Chaplin is, then I don't know what will. The acting in this scene in particular was quite good, the Barber transcended the message perfectly and makes you realise the serious nature of the film, at the same time enjoying the humorous side.

Another element about this film is the fact that this was such a brave film, that almost feels ahead of it's time. Of course, Chaplin did not know what was going to happen after 1940, he was not aware of the Holocaust (obviously), he's also gone on record as to saying if he had of known he would not of made this film. The fact this film is so anti-Hitler is interesting, it's more interesting that it wasn't anti-Germany which would be very easy to have done back in those times, Chaplin could of easily made this a propaganda film, but instead did something more, he made an honest film.

I recommend anyone remotely interested in this film to see it, as well those who has studied or is studying Hitler and WWII to watch this film. It's entertaining to say the least, it doesn't have an annoying out-dated feel that some films of the time did. Unlike most "comedies" this film actually has a message it tries to bring to you, watch this film, you will be better off for having seen it.

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I am surprised people, after such lousy movies getting to be in the top 250 or just being in the 7.0's, I thought more people would get a kick out of "Throw Momma from the Train". This was a great comedy by two terrific comedic actors, Billy Crystal and Danny DeVito. Together they made a great duo of insanity and obsession. Billy is a man who just lost his million dollar story to his ex wife and repeatedly wishes her dead, Danny has an insane and senile old mother who just abuses him. When Billy gives some "misunderstood" advice to Danny, Danny offers a proposition to Billy, if he kills his ex wife, Billy has to kill his mother. This is a crazy and funny story that can always get a good laugh. Please, sit back and enjoy this movie, people! It's a good one!

7/10
Probably not the same version as most of the other reviewers because there`s no real hard core sex . What do people mean by hard core sex ? The sort of explicit hard core sex seen in films starring Traci Lords and " Big " John Holmes ? Well anyway this is really poor film , I doubt if I`ve ever seen so many big name actors wasted in a film . The script is really poor and plotless , the directing and cinematography is awful and the editing is non existant . It truly is an absolutely awful film. You could watch this ten times and still not understand what the hell it`s about . The only memorable scene is the one where people are buried up to their necks and a giant lawnmower comes along and decapitates them . Yes you read that right , a film set in Roman times has a scene with a head chopping giant lawnmower !

Trivia point. Many years ago a pirate copy of THE THING ( 1982 version ) was doing the rental rounds on my Island and it been copied onto a rental tape of CALIGULA meaning the pirate version of THE THING starts with the first few seconds of CALIGULA of the man and woman walking through the forest then the title sequence of THE THING starts . This led people who`d seen the pirate tape to believe the forest scene was the opening of John Carpenter`s 1982 film and were very confused as to what it meant. Well that`s what you get for renting pirate videos . But having seen the whole of CALIGULA I don`t know what it meant either

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After watching the first movie in BCI's new Aztec Mummy Collection, it's difficult to believe how excited I was about the set and how upset I was when the release date was pushed back. I've watched a lot of Mexican horror in recent months. Some great  The Curse of the Crying Woman. Some entertaining despite obvious flaws  Night of the Bloody Apes. And some Cheesy  Pick any Santo movie. One thing that all these movies have in common is that none can be called "dull". Well, that's not the case with The Aztec Mummy. It's been awhile since I last watched something so sleep inducing. I wasn't hoping for or expecting a great movie, but at least entertain me! The Aztec Mummy takes every situation that could be interesting and sucks the life out of it through repeated scenes of people doing nothing and then extending those scenes for what fells like an eternity. I guess that's what happens when you make an 80 minute movie with only 30 minutes of material. Padding extraordinaire! For example, for anyone who has seen the movie, what purpose does The Bat have other than to bring a masked wrestler type to the screen and to extend the runtime by 15 or so pointless minutes? 

I can only hope that the other two movies in The Collection are more entertaining than this one.

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Well, if you set aside the fact that this movie features abysmal acting; and, if you set aside the fact that the story is muddled and wanders off in about five different directions without ever deciding which way it really wants to go; and, if you set aside the fact that I didn't find a single scene in this movie that was remotely interesting; well, if you set all that aside, this is still a REALLY terrible movie!

I take it that this is supposed to be a love story about rich guy/poor girl. I never really understood for a moment how this romance between Kelley (Chris Klein) and Samantha (Leelee Sobieski) ever got started. The inexplicable romance is made worse by a complete lack of chemistry between Klein and Sobieski. The screenplay (by Michael Seitzman) is dull to the point of stupefying. How Seitzman managed to write the thing without falling asleep is a miracle; that he would think anyone would want to pay to see this is unbelievable.

Did I mention that this is a REALLY, REALLY terrible movie?

I'd give it a ZERO, but the IMDb doesn't provide for votes of ZERO. So I give it a one while holding my nose.
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Please tell me the sentiment of the following review: The worse film i have every seen. Like the other honest reviewers, it is just an excuse for getting naked birds with their juggs out. Don't get wrong, naked women isn't a bad thing but there is another film genre for that. 

Boyfriends beware. I sold this to my girlfriend as a classic bike gang fest (due to reviews) to be greeted with every other scene full of naked women gyrating about the place. Slap in the chops for me.

What makes me laugh the most is all the dogey bike dives they went to in the film were full of models with the works cosmetically - what biker bars have these? They are usually slightly haggard with tattoos and far saggier juggs! Completely unrealistic.The acting is terrible, loads of pointless swearing and a complete waste of time storyline.

Did anyone check out Vinnie Jones's attempt at an American accent? Its as embarrassing as his football skills.

Avoid like the plague. The only reason you would watch this film is if you are a young lad who cant access p@rn and have nicked it from their parents movie collection for a few pervy kicks!
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Another of those flimsy stories coupled with most forgettable musical numbers. Powell and O'Keefe as battling publicists are quite forgettable. However, there are two shining moments. Hubert Castle is the most incredible tightrope walker you will ever see - his "drunken walk" on the wire has to be the most spectacular piece of balancing ever recorded on film. He has to be seen to be believed. The other is Sophie Tucker doing a turn near the end of the film. Her magnetism, her professionalism, her sheer talent at being herself - well, charisma is not learned - you have it or you don't. A great lesson for all would-be cabaret artists. A sad note: W.C. Fields in his last film cameo is completely forgettable.
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The working title was: "Don't Spank Baby". 

Wayne Crawford went on to become a successful producer, films like Valley Girl, Night of the Comet and others, even though he wasn't too terrific in this little Gem. And little known Abe Zwick should have gotten tons of work from this film but didn't. Filmed at Moberly Studios in Hollywood Florida, on the same lot the early Tarzan movies were filmed. This film is definitely for those who appreciate the abstract. The movie was originally shot with some nudity and much more graphic slasher scenes. For reasons only known to Tom Casey the Director, the bloody slasher scenes were given a tab of LSD, and the nudity was removed. Even though this version is worthy of a look for those so inclined, in my opinion, the original version would have packed the punch needed to make this a full on Slasher 70's Cult Classic.

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This isn't a bad TV movie. Shtrafbat is short for Shtrafnoy Batallion, which means Penal Batallion. Such battallions were formed due to the increasing demand for soldiers as the Soviet Union was taking heavy casualties all through out the war. These battalions consisted of convicts and dishonored soldiers who were given the chance to clear their names by proving themselves in combat. They were looked down upon as scum and were expended easily during combat without much regret, or much honor, on the part of military. They were often sent on suicide missions and suffered extreme casualties. The ones who refused to fight were executed on sight. Needless to say, their lives sucked.

There were some very nice performances by the cast, especially by Yuri Stepanov who played Antip, Aleksandr Bashirov who played Stirah, and Roman Madyanov who played Major Kharchenko. However the series isn't really that addictive, in part because it's too long, it could've a lot shorter and as effective.

Although it's about war, Shtrafbat has very mild violence and pretty much no gore. It relies solely on the actors to make it work, and after all, it's a TV series, so the producers didn't want to scare off the viewers and the sponsors.

Shtrafbat explores the cruelty of the Soviet regime, and explaines why so many men chose to fight the Nazis instead of joining them. Personally I'd rather be a Fascist then a Communist given the circumstances presented in the film. One character explains that the Soviets stripped his farm clean and his family died of starvation. Out of anger he burned it down which got him arrested for destroying Kolhoz property and he ended up in the penal battalion as a criminal. Antip reminisced on how his mother killed her youngest son to feed the rest of the family. Both men explained that they fought for their motherland, rather than the for the Soviets.

The penal battalion had one Marine(Naval Infantry) who raped a girl, killing his comrade in the prosess, threatened his other comrade to keep his mouth shut about both ordeals, and then feigned injury when it came to fighting. On top of all that the girl committed suicide due to shame. I imagine if enough Marines watched this movie they'd pick up banners and riot on the streets calling for a boycott or an official apology from the producers.

To say the least, I'd recommend it to anyone with the slightest interest in the former Soviet Union or World War II. I don't think I wasted 500+ minutes of my life.
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An example of all of the worst gay stereotypes all in one movie.

And Charles, why do you speak in that weird pseudo British/high-brow accent, and insist that the kid speak that way too? Did anyone else notice that all of the soundtrack music is exactly the same? You should stick with the good old Hollywood camp drag stuff that you are so good at! Die Mommy Die II, the Sequel!! I don't see the value of spending time and money on a project like this; there are so many REAL life gay youth stories to be told and we should be seeing those, not this garbage. Sheesh, what a waste of time. Embarrassing example of gay cinema.
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Ugly women-of-the-cellblock flick rakes the bottom of the midnight-movie barrel, combining pulpy sleaze with the hoariest of girls-in-the-shower clichés. Linda Blair plays an innocent sent to jail (we learn offhandedly she was involved in running over some guy with her car), facing hard time in the Big House with some of the nastiest characters this side of a Russ Meyer pic. Blair is continually pawed at, punched, raped, humiliated and harassed. The dialogue is four-letter-word disgusting throughout, and the flick offers no let-up from its barrage of violence and stupidity. Still, some viewers see this as a camp classic, though perhaps its tongue isn't far enough in cheek. * from ****
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