cindermond/bento huggingface dataset:
"Edge of the City" is another movie that owes a lot of credit to "On the Waterfront". From it's NYC locations, to its score, to the belief that whatever trouble you may be in, you can somehow right your wrongs.

"Edge" also deals with ideas like loyalty and racism. In my opinion, that is where the movie does not succeed like "Waterfront". At 85 minutes the movie rushes through the establishment of relationships, and ties everything up so quickly that much of it seems forced and unbelievable.

Possible Spoilers****

The relationship between Sidney Poitier and John Cassavettes could have been further developed in the beginning. I don't believe that these two characters, from two very different places would have built such a strong relationship so quickly. 

I think that the whole love sub-plot with Cassavettes could have been eliminated. He is so awkward with a woman that it becomes painful to watch. The only reason why it is in the movie is so that she can motivate him to do the right thing at the end. There are other ways that they could have shown this. I would have also liked to see some scenes of Axel in the army to illustrate why he is the way he is.

The acting is excellent. Poitier is terrific in a role that is beautifully written. His role as Tyler is interesting and multi-layered, and (especially for 1957), a man who is confident, respected, and intelligent. Cassavettes, as Axel North, while very good, does not seem quite right for the part. Warden is terrific as the boss who knows Axel's secret (although his fight scene with Cassavettes at the end is staged horribly. Too many break-away boxes). I thought Ruby Dee was wonderful in role of Poitier's wife.

On the whole, "Edge of the City" is a smart, movie with a very good cast that tries too hard to be an interesting noir style picture, without taking the time to let the drama build.

7 out of 10

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An unintentionally hilarious early talkie melodrama with Kay Francis as the Countess Balakireff chasing everything in pants. At the beginning of the film she "throws back" the stableboy for being too young before setting off for the chauffeur! The high-toned English set she moves in is such a clichéd bunch of harummpf-ers that it's ridiculous. But the topper is Basil Rathbone as an Italian violinist with a Chico Marx accent! "My violeen! How weel I ever play eet again!" "Patreecia, my meelk is cold!" It's campy beyond belief.
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Dryly irreverent, but sadly unfunny satire of detective movies, with stony-faced Michael Caine playing a British author of trashy crime stories traveling to the Mediterraean to assist in writing the memoirs of a would-be gangster; soon, he realizes he's being followed and his life is in danger. Caine narrates the proceedings with considerable sly wit and low-keyed sarcasm, but his actual performance is bereft of energy (Caine's shrill bursts of anger or frustration seem to come out of nowhere, and he connects with nobody on the screen). Other cast members (particularly Mickey Rooney, a silver-haired Lionel Stander, and Lizabeth Scott) do very well in colorfully outré roles, though Al Lettieri has an insulting part as an apparent cross-dressing homosexual (Lettieri gets insulted without being able to defend himself, an unenviable position). Writer-director Mike Hodges has the germ of a good idea (satirize the detective movies of the 1940s without compromising the hard-boiled talk and milieu), but he hasn't a very sharp sense of humor. When a Bogart lookalike--asking a question about a falcon--is the best joke, what follows is anemic indeed. ** from ****
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This is a really dark movie. Noir indeed. The title character is smallpox, brought into New York City unknowingly by Evelyn Keyes.

She is on one mission when she arrives and on a rougher one after she's spoken to her no longer innocent sister. But she herself is not intentionally a killer. This doesn't mean she doesn't kill. It doesn't mean her presence somewhere among eight million other people doesn't throw the city into turmoil.

Keyes is excellent. The supporting cast is very good too. There are several little-known people involved in this -- the director included. Don't be put off. It is a movie to be reckoned with! (And how nice to see a Columbia picture. Columbia and Republic turned out wonderful comedies and noirs; yet we hardly ever see them anymore.)
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Admittedly, I am not a fan of the Monogram Chan films. . The plot, involving radium theft from a bank vault, is a bit far fetched and a long way from the atmospheric mysteries that Fox produced. Mantan Moreland and Benson Fong (as No. 3 Son Tommy) provide some laughs as usual. But otherwise there isn't much here. Great title that is wasted.
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I was permanently scarred by this terrible film.

The main action of the movie is nothing special. It seems there's a tribe of snake-worshipping people in a remote mountain region of Northern China, where women rather than men are the leaders and decision makers. I suppose among some men, this is enough to make "Succubare" a horror movie... Anyway, occasionally Chinese men would wander into the village, take a fancy to the local girls, seduce them and then abandon them. Unfortunately for the men, the women had put them under a spell, derived from snake venom, which would make them die horribly in 100 days -- their bellies swollen like a pregnant woman's with live worms and snakes -- if they did not return.

Forget the cover of the US video. This has nothing to do with vampires, though there is one inept blood-drinking scene. The title itself is only marginally appropriate: "Succubare" is the Latin verb meaning "to lie beneath", and it's the root of the word Succubus, a female demon who would seduce men in their sleep. Actually, it's the MEN who are the seducers here.

But it's not the main action of this ludicrous film that's so objectionable. It's the little side-incidents. I'll overlook the slaughter and butchery of an ox that's performed on-screen. The participants seem very experienced, as though this is an unpleasant duty they actually do in real life; and I'm sure they really ate the animal afterwards... though I resent having the act thrust in my face as "entertainment".

What I WISH I could overlook (or HAD overlooked) are the numerous, totally extraneous shots of an unidentified man, who from time to time interrupts the story by eating living animals. He starts the movie by tearing apart a live snake with his teeth. In the course of the movie, he devours a bug, a lizard, a toad (I had to leave the room after this), and a whole mouse (I stopped watching at this point, and lost my appetite for days). Let me stress that this was totally unexpected, and had nothing to do with the movie... unless it's a cynical reference to love as it's portrayed in the film: a blind, selfish, predatory survival mechanism that tears apart the helpless... but then again, I'm probably just rationalizing to get the vileness out of my head...
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absolutely nothing about this movie is funny, interesting, or relevant. besides two characters getting together at the end, nothing is ever resolved, and there is no plot. and by the way, what is the deal with the cover of the dvd? it has a female ass in daisy duke shorts... where was that scene in the movie? no one ever wore daisy dukes in this film! surprisingly enough, almost all of the acting in this film is good, and jack black plays a full song (could be a tenacious d track... don't know though)... those are the only redeeming values, though. overall, it's just a waste of time.
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Las Vegas is very funny and focuses on the substance.....

The sets are amazing and the scenes outside are breathtaking; the characters are all very fun and cool.

The women are a plus....

Holly Sims is lovable as the daughter of James Caan who heads the security of the casino. While Josh Duhamel is very funny and lets face it, he looks like he can take down anyone.

Vanessa Marcil and Nikki Cox add that special touch.

The story lines are very fun and weird at times.

You can easily just relax into this show and doesn't bring the heavy story lines like the other shows that rule the ratings...
Please tell me the sentiment of the following review: It's very true that this film defies convention by not spelling out the plot for the viewer. While some may have a problem with having to figure it out for themselves, I embrace "Uzumaki" for its irreverence. There is a PLOT, it's just that it may not be immediately accessible to a lazy viewer. This is a film that invites numerous interpretations, as all great art does - however, this film is also very entertaining, making it a rare film experience. It's simultaneously provocative and fun.
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Now I remember what the 'indie' filmmakers were ripping off before Pulp Fiction. It was David Lynch, right?

I hunted this thing down to see Kyle Secor. What a waste of a perfectly good Bayliss. It was so painful to watch him, sort of like when someone you love is horribly sick and there's nothing you can do.

Nearly every cliche in the book: the desert, the psycho, the quirky mob boss, the biker, Tracy Walker (who fortunately was only in one scene, but I kept expecting him to reappear and say something strange and profound like "If a man wants to know where he's going, he's got to look at where he's been," or some contrived garbage like that). I have a theory as to why so many indies are short on location in the desert. I think it's because they can save money on lighting.

If you like to be in pain, find this movie and give it a viewing. If you're a fan of Kyle Secor, watch reruns of Homicide on Court TV. If you want a good, quirky road thriller, check out Wild At Heart.

There is a reason that no one has heard of Delusion! My god, what a waste of a good title.

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Please tell me the sentiment of the following review: I've watched this movie, after having seen the original "Spoorloos" a few times, in anticipation of the chilling ending.

I can't even begin to explain the anger and disappointment that I experienced when the ending came, and went, and the movie continued to have a happy ending. What a waste of time it was watching this US remake...

If you have a choice, please skip "The Vanishing" and watch the Dutch original "Spoorloos". The suspense is very well built-up. You feel the frustration of Rex, in search of any trace of what might have happened to his girlfriend Saskia, after she entered a gas-station and never returned to his car. The search takes him three years, and when he finally gets in touch with the person who knows the truth about what happened to Saskia, he must agree to undergo the same thing that Saskia has undergone. The ending leaves you speechless in your chair....
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I should have known better..the clues were all over IMDB.com. This flick was written and directed by the same guy who has no track record. The cast is a bunch of unknowns with the possible exception of Joe Estevez who seems to specialize in bad movies. Etc. Suffice it to say, I can't see any reason why anyone would want to see this awful, amateurish attempt at film making. Turn on any broadcast channel at 3am and you'll see better movies. Nuff said.
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Please tell me the sentiment of the following review: I have just recently seen Heaven's Gate. After i watched this 3 hr 40 min epic western that's not a western, i read the book by Steven Bach. After considering all events and the movie itself, i still think this movie is a complete waste of time. I believe that when someone tells you to watch it, they are, in fact, trying to bore you to death. If for some reason you can enjoy this self indulgent over thought truely bad movie, i have to ask why. Though this isn't a reason to hate it, it is historically way off. It pretends to be about a situation that happened in Wyoming called the Johnson County War. Simply, the cattle barrons of the time wanted to kill all cattle thieves and claimed they were all immagrants. You find that you simply do not care about these people and hope they all get killed because at least then, something would happen. Everybody in the movie talks about things that happen, and it is never shown. After you sit though this giant waste of time you wonder how someone could actually make a 4 hr epic in which nothing happens. Oh and by the way the Johnson County war was not a war, it never happened. The Johnson County war, in fact, was called that because it almost happened, in actual fact, 2 people died. I can't warn you enough off this movie. However, if you're like me the, the idea of watching a movie that ruined careers and put United Artists on the "for sale" lot, sounds like an interesting case to study, then by all means, watch this terrible, narsisistic, movie with no sub-text, and a lot of photography.(which is lovely sometimes)
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Superb silent version of the story of Francois Villon. Although remade in the thirties as IF I WERE KING, with Frank Lloyd directing, Preston Sturges scripting and Ronald Colman starring, this version is even better. Barrymore, with a cohort of comedians, plays the comic fool and the wine-depressed Villon with a verve that Colman could not match. The photography is startling in its beauty and innovation and the supporting cast, particularly Conrad Veidt in his American premiere, the incredibly beautiful Marceline Day, and the supporting comics, Slim Summerville and Hank Mann, steal every scene they are in.

It is a shame that Barrymore did so few first-rate comedies. Among his sound films, only his lead in TWENTIETH CENTURY and his supporting role in MIDNIGHT can compare to this, and those stand up only because of his superb voice. In this silent movie, Barrymore must tell his tale without benefit of words, and he does so, alternately hilariously unrecognizable as the King of the Fools and tenderly as Villon in love. He even gets to leap around in the swashbuckling style of Fairbanks, most convincingly. He also lets his supporting cast have their share of glory, capering in this ensemble work like any talented comic of the era.

Finally, a brief word about Alan Crosland, a director known today only for directing the first talking feature, THE JAZZ SINGER in the same year this was released. Crosland was a careful, innovative, delightfully original director, and it is a shame that more of his works are not known. Perhaps this movie, far more interesting as a movie than his best-known work, will be your introduction to his other talents. If so, you could do far worse.
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What can be said about a movie that makes two hours seem like three weeks? The hero starts out in ninjaville, Japan, goes through an identity crisis (saving a shinobi), makes a voyage to America (saving a slave named Sam) engages in a little wild west action (saving a French/japanese native american named Julie), goes hunting pirate's gold, and then heads back to Japan to fight a war. The film obviously has no clue where it's going at any point in time; I think the director modeled each scene after the last movie he'd watched. If you're going to watch this film, I suggest renting the subtitled so you and your peers can openly discuss how dumb the movie is without speaking over the movie, potentially missing another dumb plot twist.

Movies the director was watching during the making of this movie - An American Tail, Fievel Goes West, Star Wars, Indiana Jones, The Goonies, Teenage Mutant Ninja Turtles, Kung Fu, Vampire Hunter D, The Ten Commandments.

Notes of Interests - Most fear inspiring line of all time. About 90 minutes (or 19 days) into the movie, the lead character has just bested an American villain, and just as one heads to the vcr to end the pain the hero proclaims "Let's go back to Japan", and the agony continues for another week.
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A man is wrongfully accused of killing his friend in an aircraft plant fire, and must travel cross-country to avoid the police and discover the true sinister nature of the situation at hand. A plot line that was later used to fuel Hitchcock's classic North by Northwest, Saboteur benefits from some very good performances as well as some masterful suspense sequences from the Master himself.

For any Hitchcock fan, the plot is a bit too familiar, but he was always able to infuse the story with its own memorable supporting characters and charades. Here, the likable and charming Robert Cummings is the lead and soon finds himself visiting many strange and quirky characters, not withstanding a troupe of circus performers, a rich businessman with hidden motives, and a blind loner who shows him the best way to judge someone.

In terms of sheer originality and quality, this does lack in some areas, particularly the motive of the antagonists. However, there is some nice chemistry between Cummings and his lead lady, the much under-appreciated Priscilla Lane as well as a truly moving performance as the blind man by Vaughn Glaser. The best part is the final sequence, which perfectly mirrors what Hitchcock would use later in North by Northwest, only this time the climax is atop a statue in New York. Certainly not his best, but the Master of Suspense gives us some great moments to wait for.
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Please tell me the sentiment of the following review: The best of everything. Just what is the best of everything? It is different for everyone but for most of us it is love. But alas not everyone knows where or who to look to for real love. This story goes the whole gambit of looking for love. Sometimes in all the wrong places and for all the wrong reasons. But as the saying goes,"we are the captains of our own ships", and so it goes for our lives. We are responsible for the choices that we make in our lives. Once we make those choices then we must live with them. As we watch this story and as we see these women making choices that most likely change their lives forever, we wonder, would we make the same choices as these women or would we be wiser? Who knows?
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Inexplicably, I watched this movie for the very first time just a couple of days ago, and understood from the very beginning what all the fuss is about. This movie held my attention from beginning to end, and ran me through the whole range of emotions (and might have helped me discover a few I never knew about.)

Dustin Hoffman absolutely shines as Ted Kramer. He is absolutely convincing as a man having to juggle at least three different challenges in life: jilted husband, workaholic ad executive and loving father. Meryl Streep as Joanna Kramer was less central to the movie simply because Joanna was absent for a good part of it, but when she was on screen she gave Hoffman a run for his money. The true standout, though, (in my opinion) had to be young Justin Henry as Billy Kramer. Children are always the innocent victim in a marital breakdown, and Justin seemed absolutely natural and completely believable in this role as he deals with the conflicting emotions around his mother and his adjustment to life with Dad, only then to have the confusion around why he should have to leave his Dad when it was his Mom who walked out on him. Young Justin didn't seem to miss a beat in this very difficult role.

All in all, this is an excellent, Oscar-worthy movie whose only weak point was what I thought to be a truly disappointing decision to go for the sappy and happy ending, which was totally unrealistic considering the destructive custody battle Ted and Joanna had gone through. But there's not much else to complain about here.

9/10
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I cannot believe it has been 25 yrs since I first watched this story on TV. I remembered to have been very much touched by it and was lucky to get the VHS tape several years ago. I did not watch it again until just recently. I have been watched it over and over ever since. I must have watched it 10 times in the past 2 wks.

The acting is superb, the story is compelling, and I am embarrassed to say that I did not appreciate actor Bryan Brown's talent until now. The playful facial expressions shown in the first half - when he gave Jean the stolen medicine in Malaya is such a contrast to his very reserved and nervous body languages shown in the second half: in their first drink together in Caines and the touring of the homestead. We have to wait until the wedding reception, especially the final dance scene to see his open display of affection for Jean. The same dancing eyes that first revealed his admiration in Malaya. Who wouldn't want to be his Mrs. Boong ? 

While Joe changed from a cocky, almost bigger than life figure in the Malaya jungle to a somewhat self-conscious average Joe in his own backyard, Jean took the opposite road; her wartime experience seems to have given her new confidence. She wasted no time and went after what she wanted. She took steps to take what she could get - exactly as Joe had told her to once upon a time.

For me, all these transformations helps to show this is more than just a love story - this is a story about growth, courage and fragility in life. The solicitor -Noel is both a sweet and sad figure. He too gave much to Jean - he gave his last hope for love. At the end, he did what true love requires -- he put her happiness ahead of his own.

I happened to like the fight between Joe & Jean that was not in the book. I thought it's an appropriate and necessary addition for it helped to surface the inner struggles they both had to deal with in order to make their life together possible.

Now, I am older, maybe I understand life, love and loss a little better. This story touches me even deeper. 

I am, however, surprised to see B. Brown has blue eyes in the promo photo shown on this site. He most definitely did not in "A Town like Alice." Well, 25 yrs is a long time !
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Am I the only one to think that this is a bad movie?

I admit that horror movies often lack things like a big story or good acting or even good special effects. But the way these deficiencies come together in this movie is surprisingly pitiful.

Miserable story: The idea of a raped vagina that takes revenge by turning into a man eater sounds quite funny, but what the writer made out of it is stupid.

Bad acting: The actors move like marionettes. They play and look like people, who really try hard but completely fail to act.

Bad FX: Especially the explosion of the Van looks unspeakably cheap.

It is surprising that a director who made some nice movies during his carrier changes over to such messy stuff.
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John Landis truly outdid himself when he directed Michael Jackson's THRILLER as a short film. Of course, it's corny, the dialogue is terrible and it all seems way too cheesy, but it's perfect none-the-less.

Michael and his date are out at the cinema to view the latest horror flick. When it all gets a little too graphic for the date, she leaves. Michael follows. On the way home, they decide to take a shortcut through the local graveyard. There, it begins.

The actual thriller dance is amazing. It's full of those trademark Jackson moves, as well as some memorable zombie moves, too. It doesn't appear rushed at all, nor too long. The whole thing seems movie-like and it really is actually rather scary. Of course, it's one of the most famous music videos of all time, and is probably the greatest music video ever made as well.

Overall: Watch it, seriously. Those 13 minutes will be some of the best ever spent staring at a screen. (5/5)
It gives the ordinary guy/girl the chance to be on television singing as their favourite stars.

For the majority of the time, they sound like the singer they are meant to be portraying.

Another twist to it - A team of make up people and costumers dress the contestant up like that singer. They might not look like them but the likelihood of getting someone that sounds like a person looking exactly the same as them are very slim.

It's a load of fun for your Saturday night - and the contestants aren't raging wannabes like they are on another TV singing show. The fact that there are no prizes involved and it is for fun means that it will attract a different type of person.

The only gripe i have is with the Kids version - it looks like they have done the round of stage schools- what happened to the normal kids?
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I'm very surprised that so many people don't like this movie. I think it's a lot better than most of the teen films that have come out recently - Ten Things I Hate About You ( can we say teeny bopper film and what was with the principle writing those porno novels ? ), Cruel Intentions ( where a character gives up their virginity because of a fun car ride ), and She's All That ( mediocre ). If your looking for something that's just fun - I say go with Never Been Kissed. My mom loved it and she hates movies ( one of her favorites is BEACHES ). This is a great fantasy about what you would do different if you could go back to high school. People who were outcasts in high school will probably like this movie better. It reminds me of 'Romy and Michele's High School Reunion'. And the ending puts me in the best mood. Sure the plot has been done, but how many recent movies can you honestly say haven't been done in one form or another. The cast is also charming. And for those who think Drew can't be geeky - she pulls it off just great. Another good teen comedy that I recommend which was made recently is ELECTION but it's more of a satire on school and politics.
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I managed to obtain an original BBC broadcast of this film on video and loved it so much I had to try and locate the original video in its original box; thanks go to Ebay.

Deleted on any format since 1990, this exceptional wildlife film is finely constructed and well acted. Directed by Stewart Raffil (MAC & Me), the scenes of leaping Tigers running through the Alaskan wilderness is nothing short of stunning and its timeless tale of a trapper trying to survive on his own in the frozen wastes with two young tiger cubs is moving on each viewing.

Why no major company has picked up this movie to distribute on DVD is a big wonder; but makes it that extra special to know its also hard to locate.

If you find this film by chance or eventually track it down to add to your collection, make sure never to let it vanish out of your grasp. Films of this calibre, as shown, don't come often.

A true masterpiece in every sense of the word, and highly worthy of its praised comments, "WHEN THE NORTH WIND BLOWS" will sink deep into your heart as soon as you see it.
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This looks so good on paper - Matt Damon, Lawrence Fishbourne, Jean Reno, nice right? And a heist with $42 million - sounds like a kick-ass crime movie.

Big disappointment - I reckon the stars got all the money because the production values on this are lousy.

But more than that it the pseudo reservoir Dogs atmosphere when the easy crime goes wrong. It's very much made for TV stuff.

All in all hugely disappointing - it score points for being what it is - but loses them massively for being, bluntly, not very interesting at all...
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It's been said that some directors make small budget pictures look like blockbusters. Albert Pyun makes small budget pictures look like high school A/V project films. This film was pretty much lacking in all departments. Practically every scene drags on excessively, the "experimental" lighting and camera work is terrible, Rob Lowe apparently equated being scruffy with acting, and the poor drab Euro-pop numbers stop the movie to a dead halt. On the plus side, Burt Reynolds does a pretty good job with what he's given (which isn't much), Mario Van Peebles is surprisingly decent and Ice-T puts in another of a long recent string of B-movie gangsters. Not Pyun's worst work (Urban Menace), but certainly not his best (Mean Guns).
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Let me first start with the obvious: antisemitism has been a serious problem throughout history, present in many societies and causing the deaths of million of Jews. That said, the problem with this movie is that it views the United States - probably the most welcoming society ever to Jews outside of Israel - as a not very different place from Nazi Germany. Set in 1943, the movie is about a man (William H. Macy) who gets confused with a Jew after he starts wearing glasses!. A number of very nasty things happen to him after that (he loses his job and he is unable to find a new one, his neighbors shunned him, all ending up in a violent confrontation). From one of Arthur Miller's self pitying, patronizing novels, the sort that gave liberalism a bad name.
Welcome to the Plan 9 From Outer Space of Star Trek movies. Come on, trekkers, admit it. This movie is so bad, so staggeringly inept in every department, it's become something of a classic.

The Shat gives the worst performance ever committed to celluloid. "BOONES! Hi, Bones" Brilliant! This isn't just Ham - it's several large pig farms in Kentucky! 

The "Special" Effects. Should be done under the trade descriptions act for using such a term. The Enterprise is a moving piece of cardboard in this film. Really! Even the Star Trek TV show had better.

Bones, Spock and The Shat sing! Yeah, Spock sings Row Row Row Your Boat. After struggling over the meaning of the words!!!! "Capt. Life is Not A Dream" Poor Leonard Nimoy, he must really want to strangle Shatner for this. Could The Shat not have given us his rendition of Mr. Tambourine Man, or harmonised with Nimoy on Ballad of Bilbo Baggins? Sorely disappointed.

A Sean Connery look-a-like plays Spock's half-brother. Only cos they couldn't get Sean Connery! Uhura does a fan dance! That would have been sexy in 1966. In 1989 it's like watching your drunk granny embarrass herself at a Christmas Party.

Cat Woman Jumps on Shatner's back! Shat twirls her around a few times like a WWF Wrestler, and chucks her off. Yayy The Shat! Seems Connery 2.0 was a bit of a Vulcan rebel. Which explains why Spock hasn't previously mentioned him in 79 t.v episodes and 4 movies. McCoy apparently mercy-killed his Dad, BUT AFTERWARDS THEY FOUND A CURE. Tell me this isn't hysterically funny.

The 11 deck Enterprise suddenly grows another 400 decks for an escape sequence in an elevator shaft. Spock's antigrav boots amazingly support Bones and The Shat as well. Should also have used em on the humped-back whales in Star Trek IV! Shatner meets God! Or what purports to be God, but I assume is really some kind of alien being. God looks a bit like Charlton Heston in The 10 Commandments. Sean Connery the 2nd calls on God to share his pain, and promptly dies. Or something. God punishes the Shat for questioning his identity. So Spock kills God with a photon torpedo. I'd love to know what Jehovah's Witnesses made of this scene.

The Shat, having killed God, promptly goes back to his sing-song with Spock and Bones. Altogether now, Row Row Row Your Boat.....
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This movie stinks majorly. The only reason I gave it a 3 was because the graphics were semi charming. It's total disregard for a plot and the lack of even insubstantial surface character development made it seem like just a bunch of nice drawings. This is by far THE worse anime that came out of Japan. I can't believe they actually put their names on this garbage. What a rip off selling this thing for $20. If you haven't seen this don't bother. If you have, I pity you.
It seems that Dee Snyder ran out of ideas halfway through the script. The second half of the movie is basically just a rehash of the first, which makes the film very boring. To sum up: Cop's daughter is suckered into party via chatroom where she is sexually molested/tortured by psychopath (played by Snider). Cop rescues her, psychopath is put in therapy/jail. Psychopath is released four years later and the whole thing is played out AGAIN. Within all this are many unexplained plot elements: Why was "Captain Howdy" psycho in the first place? What's with the one-time personality detour to bible-thumper? How does he kidnap all the adults and manage to sew their mouths shut without a struggle? And perhaps the biggest unsolved mystery of all... how does a 6'2" man with pink hair hide himself completely behind a 5'6" average build woman? These are just some of the questions I had watching this film.

It seems that Snyder was trying to make some kind of commentary on a) the "dangers" of online chatrooms, b) the hypocrisy of Christian sexual mores, and c) the effect our twisted puritanical society has on us as individuals. If that is so, he failed. The movie is just too poorly done to entertain, never mind convey social messages. The torture scenes are stupid and boring, bordering on silly (especially when Snyder goes into one of his "pain and death" monologues), and everything else is just plain dumb. The "call tracing" scene is really lame... when are the cops gonna get caller ID and *69? The young partner of the main cop character is particularly awful... he shouldn't be working as an actor, basically. And the audio in the final showdown scene is really poor. I guess they couldn't afford two boom mikes?

The rest of the acting is not awful but it's not good either. The cop is pretty one note, and his detached quality is not quite believable. Dee Snyder is actually not too bad, but he snarls and sneers way too much. Robert Englund (who deserves way better) puts in a somewhat amusing performance of a hypocritical redneck. If you're a big Robert Englund fan the movie is probably worth seeing just for him. Everyone else is forgettable.

In conclusion, we've seen all these plot elements done before and done better, in films like SILENCE OF THE LAMBS, HELLRAISER, and TEXAS CHAINSAW MASSACRE. I suggest you rent one of those instead of watching this turkey. 3/10.



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Very interesting to find another reviewer who had the exact same reaction to this movie as I did: It was a heck of a lot better when I was 10 or 11 years old.

Seeing it more than 30 years later, it's still okay, but it only mildly held my interest. What seemed hugely funny back then was only mildly amusing.

Also, things that were astonishing to me as a 10-year-old came across as just silly. For example, in one scene Trinity is walking along and fires his revolver behind him and kills two men without even looking. In fact, he doesn't even bother to look and see if they're dead, because he knows he hit the mark. Um, yeah, right.

In addition, a lot of the dialogue sounds quite wooden. Sorry, but 35 years later, it hasn't really aged that well.

Although it's been a long time since I've seen that one as well, probably a better Terrence Hill film than this one would be My Name Is Nobody.
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With all due respect to Joel Fabiani and Rosemary Nicolls and their characters, Department S will be forever associated with Peter Wyngarde's Jason King.

Most people remember him as this camp, flamboyant and debonair womaniser cum detective in the mould of Austin Powers but that will do a disservice to the character: He's far more nuanced than that.

Jason King is lazy (he often lets Stewart fight all the bad guys and only chips in at the end), he is egotistical (his appreciation of people is based on whether they've read his novels or not), a lot of his detective work is speculation without facts to back them up and he sulks whenever Annabelle is right...and she often is. He's clearly a man having a mid-life crisis and drink drives but.......Jason King is brilliant. If Wyngarde had played him purely as a dashing hero, it wouldn't have worked but he shows King often as a paper tiger, led by his libido, love of finery and prone to grandstanding (and it gets in the way of his detective work at times) but he has some of the best lines and put downs in TV history. And by not playing him as whiter-than-white, the chemistry and interactions between the three lead characters is all the better for it.

Watching it again on DVD recently, you get to see just how much depth Wyngarde put into Jason King.

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I will keep it to bullet points so here goes: 1. Very badly scripted. 2. Tries to be like Resident Evil. 3. Zombies slow and docile one minute the next minute Raging lunatics. 4. Never saw blood clean up so easily! 5. Special effects not as good as the original "day of the living dead". 6. Acting not as good as the "Bold and the beautiful". 7. It looks like it was written in 1 week and made the next week.

Basicaly Med team plus Special Forces go into a Zombie infested university to find the first Zombie and extract a serum to cure the plague. All die except the 2 main stars so predictable even though unarmed and swarmed with 100s of zombies they survived. However special forces (who were trained at kindergarten school scouts) only took 1 zombie to kill them even though they had weapons. Also the obligatory jerk on hand to fill any gaps. Overall load of rubbish.

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"Tenchi Muyo In Love 2" is the third Tenchi movie. It seemed that its creators took elements from the first two to make this one. At the risk of giving out spoilers, Tenchi is kidnapped and the team has to get him back. Nothing new there. A past love of Yosho's is the bad guy. That was done in the second movie. The battle between Aeka and Ryoko and is starting to get boring. The movie has almost no action scenes in it and very little comedy. I personally don't know what AIC, it's makers, were thinking. I gave this movie a vote of 4.
Please tell me the sentiment of the following review: I couldn't even sit through the whole thing! This movie was a piece of crap! I had more fun watching "Dont' Tell Mom The Babysitter's Dead"! It was just too painful to watch. Say, besides "Austin Powers", has Tom Arnold ever been in a hit movie?
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The subject of children being terminally ill is difficult and saddening but 'The Cure' successfully portrays the idea that it doesn't have to be all doom and gloom and, if anything, children need to have hope and delight in their lives if they are to find peace before the end. It is also a film of remarkable bonds of friendship and the innocence of childhood.

The film sees Erik, a dysfunctional adolescent boy with a distant mother, moving into a new area where their next-door neighbour is eleven-year-old Dexter, who contracted AIDS through a blood transfusion. After his initial fears and ignorance over AIDS are allayed, Erik befriends Dexter and their almost fraternal friendship sees them embark on a journey down the Mississippi to where they have heard about a New Orleans doctor who claims to have found a cure for the disease.

The talent from the two young leads of Brad Renfro and Joseph Mazzello, who play Erik and Dexter respectively, is exceptional. Brad was able to portray Erik's harder edge without comprising the subtle childish innocence inherent to the character while Joseph depicts the sense of vulnerability to Dexter's character but injects the right amount of boyish enthusiasm and zeal to highlight that his illness doesn't mean he still isn't a child who wants to run and play like any other eleven-year-old boy. The pair's interactions create a feel in the audience that these are two boys who are genuinely close and they carry the film well. Annabella Sciorra also delivers a touching performance as Dexter's mother Linda, who adores her son and delights in seeing him thrive with this new friendship to Erik and eventually becomes a surrogate mother-figure to the other boy.

Set against an excellent soundtrack, 'The Cure' is a very bittersweet film that manages to flawlessly weave the story of boyhood friendship that survives unflinchingly in the midst of prejudice and terminal illness without resorting to sappiness or unnecessary saccharine sweet scenes. A very interesting reflection in the film is that is it the adults who have the problem with Dexter's AIDS status whereas the children, even the 'bullies', come to accept him as they would any other. What is also very touching is how, despite Erik's streetwise nature, he is the more naive one in his determination to cure Dexter while the younger boy has this haunting sense that he knows his fate but is swept away by his best friend's enthusiasm for a cure.

I highly recommend 'The Cure' for it is rare to find a film that is simultaneously sad and uplifting.
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This thing, directed by french sensation Patrick Sebastien,is worst than all the turkeys that you may have seen. Forget Independence Day, Kazaam, The patriot, etc... you get the picture, this one's the pits. Sebastien is a TV celebrity in france, (if you need an equivalent, let's say he's Jerry Springer with an I.Q of 13), this is his first movie let's hope it's the last. I hope Troma or someone would distribute this film in the States, so that you guys out there can excperience the French stench at it's worst. Let's cut this short, this is the Masterpiece of S**t.
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Well, to each his own, but I thought Gibson's Hamlet was the most god-awful rendition I had ever witnessed... as subtly nuanced as a paper bag, and as inspired as a telemarketing call. The only reason I watched the movie through to the end was that I held out hope that either it would get better or become unintentionally funny. No luck.

No disrespect for the supporting cast or for Zefferelli's staging, but nothing can make up for the bungling of the main character. I have seen Hamlet well-portrayed as an African prince, as an animated lion, as a rough-and-tumble warrior, as a romantic poet, etc. etc. etc. . But IMHO this portrayal was just a plentiful lack of wit together with most weak hams.
Episode No. thirteen of the fanciful (excuse the incredibly gay terminology) "Supernatural" TV series relocates Sam and Dean Winchester to Missouri where they have been called upon by an old flame of Dean's to investigate a string of mysterious murders occurring in their small town. As it turns out, a large pick-up truck with an unseen driver is running down African Americans on a desolate stretch of road... While Dean attempts to rekindle his past love affair, more towns people turn up as roadkill. The cause appears to be due to a past racial incident back in the 60s, causing a frustrated redneck spirit to remain in ghostly limbo, seeking to kill black motorists. "Route 666" is another good installment (which isn't uncommon, I've noticed) which contains a few notable aspects pertaining to the pair of main characters such as Dean getting laid and Sam's admitted regret for having left college... The killer truck does't come across as the most terrifying thing in the world, though, for an hour long show, it does it's job well. Not a hands-down fantastic episode, but a solid concept with more horror movie references.
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I love this movie a lot. I must get this on DVD. I have 2 VHS copies, but the quality is so poor that you can't read one written joke over the door of the ward. I'm forever amazed that Blankfield did almost nothing afterward. He made both Dr. Jeckle and Mr. Hyde totally believable.

The movie is plagued by it's low budget. (One atrocious edit jumps into mid-word and was described on, "Siskel & Ebert".) But, there are a thousand jokes, sight gags to subtle references, that more than compensate. I often find myself quoting lines (or, singing, "I've Got Nothing to Hide") and, from time to time, completely describe a scene which matches some conversation. There are, at least, six scenes which are among my all time favorite comedy bits.

Viewers with no history of cocaine use may miss a lot of gags.

"Here, take it." * Visual of driving while waving butt out the window.* "I said, 'Is this seat taken?'" "Nice Burn!" Visual of chaps, headdress, jockstrap, & swim fins. * "Yeah. I'm right handed." * "Me! Me!" says the woman trying to sell 'nads. * "Bernie's going to love these." * "That's my feet, Jack." says the black feet. * "Why should we tell you?"... "SHE'S AT THE SUPERMARKET!" * "Ivy!" on supermarket PA. * Loading whole shopping cart into ambulance. * etc.
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I think that this short TV series, was absolutely wonderful, and gave both a in-depth and clear explanation of everything that was on the screen at the given time. This was by far David Attenborough at his best. I personally thought this was one of the best documentaries in the past decade. This is definitely worth peoples money!

I also found the bit about the abyss and deep water the most fascinating and interesting part. It was incredible to find out that the 'Blue planet' team discovered more than 10 new species of underwater life! 

In this documentary Attemborough almost certainly lived up to his high reputation. 

This was a masterpiece and will always be considered to be one of the best modern documentaries 

Many congratulation's to the 'Blue planet' team.

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Of all the major 30s star actresses, Miriam Hopkins has been the most bizarrely overlooked and underrated. Her string of excellent 30s and 40s films is quite impressive but she is often referred to as stagy or brittle. Yet she had a great sense of humor and was memorable in several comedies, including this film, Old Acquaintance (with Bette Davis), and The Smiling Lieutenant (with Maurice Chevalier and Claudette Colbert). Hopkins was famous for her dislike of Hollywood, and the results has been a bad rep--undeserved.

In Wise Girl she play an heiress trying to rescue the children of her dead sister from their guardian--the sister's brother-in-law (Ray Milland). The film offers several hilarious scene such as Hopkins taking a bath is a storeroom, Hopkins joining Milland and Guinn Williams in a Greenwich Village restaurant for $3 apiece to act as "bohemians," and Hopkins going ringside during one of Williams' fights. Milland is also excellent and very funny.

Hopkins and Milland make a great couple. The film also boasts solid support from Williams, Walter Abel, Henry Stephenson, James Finlayson, Margaret Dumont, Grace Hayle, Leonid Kinskey, and Inez Palange. The two girls are OK.

But Hopkins, drunk on a "slice of wine" and wearing a pinned-together dress that is twice her size is hilarious as she blows at stray hairs while smoking.... A scream.