cindermond/bento huggingface dataset:
After a long hard night being partied away at the Walkabout in Islington, I needed a pick-me-up. My throat hurt, my wallet was empty and I ended up chatting to a drug addict at a bus-stop trying to sell me some petrol. Today, I watched "Red Sonja" and I can honestly say that I felt much better last night than I do right now. Brigitte Nielsen leads a bunch of ass-kicking warriors in various shapes and sizes to recover a green rock from some evil queen whose motives are never fully explained. Yep, it's that good.

"Red Sonja" isn't in a genre known for great films until Peter Jackson came along with a certain Oscar-winning trilogy. In fact, the best swords-and-sorcery film I could think of before "Lord Of The Rings" was George Lucas's kiddie-friendly "Willow". Perhaps, in view of this, one should go a little easy on this film. But I can't - it's poorly written, badly acted (with the exception of Paul Smith, who's just average) and dreadfully put together. The film is as convincing as an episode of the Flintstones, with costumes and scenery seemingly lifted straight outta Bedrock. Considering the comic-book source material, it is easy to forgive the various plot inconsistencies. Why Sonja insists on saving the most annoying kid, in this world or that one, is bewildering. His personality seems to flick from spoilt brat to polite gentleman at the flick of a switch. Schwarzenegger displays less charisma than a field full of cows and just goes through the motions, a perfect actor for his breakthrough role in "The Terminator".

It's simple to kick a film when you're down but the fact remains that this is not a good film, by any stretch of the imagination. When Nielsen mourns the death of her sister and Schwarzenegger tenderly places his hand on her shoulder to comfort her and then blurts out, in that distinctive Germanic accent, "she's dead" then you know you're in for a rough ride. A few smiles were raised at inappropriate points, such as the priestesses of a temple who, when sent plunging to their deaths in a hole in the ground, seemed to enjoy the experience - at least, judging from the orgasmic moans that seemed to echo around the place. If you have to watch an Eighties fantasy film that wasn't porn, watch "Willow" (but never take that as a ringing endorsement). For the real thing, take yourself to your local multiplex and show Peter Jackson what a great job he did with "Lord Of The Rings". Trust me, 11 Oscars really does mean it's a great film - unlike bloody "Titanic".

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I'd be hard pressed to say what is it that makes this film so important to me. While a very good movie, this is definitely not the most outstanding Fassbinder's film. Still along with the American Soldier it keeps making it into my personal list of favorites whenever I get to thinking about it.
Please tell me the sentiment of the following review: One unfortunate reality of post-Soviet Russia was that the people's welfare didn't change much from Soviet times. As we see in "Window to Paris", most people are still as depressed as ever, while they are encouraged to go after money.

Then, everything changes for music teacher Nikolai Chizhov (Sergei Dontsov) after he finds a window that leads to Paris. He and his friends are naturally quite amazed at what they find. This movie has one of the funniest discussions of Elvis Presley and Edith Piaf that I've ever heard. So watch this movie. You're sure to love it. It's sort of a precursor to "Being John Malkovich".
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Yes, let's get this out of the way before we begin: *This is the one that Sean Connery returned to in 1983 after the stint we had of Roger Moore. *It's Connery's last film. *And YES it's a (kind of) remake of Thunderball, but more of a film inspired by it. If all you Bond purists out there think I'm gonna get controversial, you're right. Bond is one of the greatest movie series ever, but that doesn't mean that a series should go on forever. This, I think, is one of two films where they could've done themselves a huge favour and ended the Bond saga. Not offended yet? Then I'll continue... Hey, if you're thinking I'm indifferent about Bond flicks, you're wrong. I grew up with my Mum being OBSESSED with them. Any spare moment, Bond and his antics would be on the TV. Bond rules, and 'Never Say Never Again' (directed by Irvin 'Empire Strikes Back' Kershner) is one of the best. It may not be 'Goldfinger' or 'From Russia...' and may not have been done by the same production house as all the others (which I hear is why they refuse to accept it was ever made!?), but still stands head and shoulders above the recent Brosnan outings... (if you haven't spat at the screen, read on). CHARACTERIZATION!!!!! Something so many blockbuster films forget about these days, but something which is essential to telling a good story. 'Never' played a superb hand by treating 007 like he had been ageing since 'Dr. No'. He's 'getting on a bit' and so has to do things like go to a health farm - a direct order from 'M' (!). Yeah, if you haven't seen this film, I won't give too much away with the plot because A) Loads happens and B) Obviously, I want YOU to see it for yourselves. Don't be put off by my 'old Bond' revelation, Connery still get plenty of superb set pieces to charge, swim, punch, speed, smash, and snog his way through. The man is a legend, and this film is one of his most enjoyable outings as Bond. High tech gadgets galore, some great villains, and an excellent supporting cast (including a fantastic cameo by Rowan Atkinson) lift this movie high above audience expectation.

This could've been the last Bond film ever, and it would've been a party to remember. Playing the secret agent as someone nearing retirement was refreshing stroke of genius - the last scene wraps things up perfectly for the series.... ...but still we had more, and then more, and more still, and one more Moore. Still, if you fancy finding out what "Fatima Blush" is all about, get this film. Then you can at least pretend 007 spent his last moments as a wisecracking secret agent, in the arms of Kim Basinger, and smirking at Mr. Bean. (P.S. * That other film that I think could've finished it all off? The gritty 'License to Kill'
Unspeakable starts in Los Angeles with Jim (Roger Cline) & his wife Alice Fhelleps (Tamera Noll) arguing as they drive along in the pouring rain, unfortunately Jim crashes the car & his daughter Heather (Leigh Silver) ends up dead while Alice is turned into a wheelchair bound vegetable. Devastated by the death of his daughter Jim starts visiting prostitutes, he then kills them because of voices in his head. Erm, that's it really.

Written, produced & directed by Chad Ferrin I hate Unspeakable as a film. There are some films you occasionally see that move the 'goal posts' as it were in regard to everything you watch thereafter, some films are so brilliant that all other's will be judged by it while other's like Unspeakable for example are so bad that it sets a new cinematic low. This is truly one of the worst films I've ever seen & I am seriously surprised by the largely positive comments on the IMDb although I'm not surprised the the low overall rating on the main page, I not sure if I missed something but for a start Unspeakable has no plot, it has no story & a lot of it seems almost random. There was nothing in Unspeakable to maintain my interest or entertain & as a result became a test of endurance to get through to the end. The film tries to be shocking with some limp scenes of sexual abuse of a rent boy by a priest, there is a scene in which a disabled person craps herself, it splats on the floor & her dodgy male nurse starts feeling her soiled genitals, legs & underwear. If anyone can find such crap entertaining then I'll just cut my wrists now, the character's are some of the worst I've had the misfortune to know, the dialogue is hilariously bad with some it sounding like it came straight from some dirty faggot porno of the worst kind. It doesn't work as a horror as it's not scary in the slightest, it's absolutely hilarious & frankly insulting to claim that it is trying to be a serious drama about someone suffering a great loss & attempting to cope with it & overall I just think it's a pointless, rubbishy, badly made piece of crap from Troma.

Director Ferrin films like some badly made documentary, the special effects are terrible & are of the 'let's pour tomato ketchup on our actor's face & the audience will be convinced that they died a gory death' variety, there is no graphic violence at all apart from a suicide where someone sticks a knife in their own mouth. Considering the amount of prostitutes in Unspeakable the nudity levels are kept to an absolute minimum...

Apparently Unspeakable had a budget of about $20,000 & all I can say is where did all the money go? Oh, a quick note to the filmmakers, if your going to record sound live make sure you don't have your actor's deliver their lines next to a main road that half of Los Angeles seem to be driving up... The acting sucks, period.

Unspeakable is, in my opinion, total crap. It's probably not the worst I've ever seen but it's right down there & I can't remember seeing such a awful film recently. One to avoid unless your a masochist or insomniac.

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As I sit here, I find myself laughing at certain moments in this film. Go and see this film.

If you've ever been clubbing, go and see this film.

If you've ever wanted to go clubbing, go and see this film.

My bet is that the film was borne from an idea whilst out clubbing and this is the product of that one-in-a-million chance that someone remembered it in the morning and had the application to follow it through.

In summary then, go and see this film.


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I saw this when it came out in theaters back in 1996. I remember I was already familiar with Elijah Wood's work (that's right, he made stuff before "Lord of the Rings"!) and the merchandising tie-ins to the film were pretty abundant ("Flipper" water guns were even circulating).

Adults were reminded of the old movies and TV show and for nostalgia's sake took their kids to see it, who were excited because it was a movie about a dolphin and a stupid boy.

Unfortunately it wasn't what anyone expected and flopped severely. You know a movie's in trouble when a boy swims away from a Hammerhead shark in the middle of the ocean, and a pack of dolphins scare the shark away, and the kid -- instead of getting out of the water into a boat -- floats in the water for five minutes thanking his dolphin for saving him ... apparently he hasn't taken into mind that the shark is still out there, perhaps even below him.

Another problem is Paul Hogan. He looks old, crusty and tired of recycling his Croc Dundee shtick. By now, no one even remembered "Crocodile Dundee" much less Hogan, and I half expected him to suddenly start pretending he didn't know what a hair dryer was for the sake of fish-out-of-water/social-satire laughs.

All in all this is a really poor "family" movie that is amateurish and almost hard to watch at times. I hated it when I saw it in theaters back in '96 and I hate it more now.
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I went to see this film last night at the National Film Theatre in London, as a birthday treat. It was the the first time I've seen it, and I think it has now overtaken the dreadful "Twister" as the worst film I have ever seen. Disjointed for no reason, self indulgent and full of imagery that oscillates from the crass and obvious to the obscure and unintelligible, not particularly beautifully or grimily shot, I really don't understand why this is considered classic, gay or otherwise. I normally enjoy films that push boundaries or even films that are hard to watch because of their length or unusual cinematography. But this was truly, truly awful.
If Andrei Tarkovsky had been a hack, he would have directed Mother and Son instead of Mirror. This is the single most pretentious film made anywhere in the world, I am convinced. A son, without a name, takes care of his mother, without a name. They love each other, I guess. No, they don't, I'm sure. These aren't characters. They aren't even actors playing characters. At least it could be pretty, but even the nature seems ridiculously touched up and changed wherever it was necessary with a Macintosh computer. And could Sokurov have come up with a technique as hackneyed as a distorted aspect ration? You would have to have been born yesterday to buy this garbage. 1/10.

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In Cold Mountain, North Colorado, near to the period of the American Civil War, the Reverend Monroe (Donald Sutherland) arrives in the small town with his daughter, the shy Ada Monroe (Nicole Kidman), due to health reasons. Ada meets the also shy Inman (Jude Law), and they fall in love with each other. With the beginning of the war, Inman becomes a soldier, and his great support to stay alive is the wish to see Ada in Cold Mountain again. Meanwhile, Ada meets Ruby Thewes (Renée Zellweger), a survivor of the war, who helps her in the farm and becomes her best friend. The story alternates present and past situations, disclosing a beautiful romance. I liked this film a lot. Having names such as Philip Seymour Hoffman, Natalie Portman and Giovanni Ribisi in the supporting cast, a magnificent direction of Anthony Minghella and seven indications to the Oscar, this movie does not disappoint. My remark is that there are some very important scenes deleted in the story and presented in the DVD. At least one of them, which show what happens with Sara, her baby and the three dead bodies in her farm, should not be deleted as it was. My vote is nine.

Title (Brazil): 'Cold Mountain'
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I am a big fan of this film and found the TV mini series "Children of The Dust", the version fans should look for. At least 20 minutes or more are cut on the DVD version of this film.

I would also suggest viewers who enjoyed this film to check out the book there is a more rounded storyline with Corby/Whitewolf and Rachel, more on Black History and Buffalo Solders. There were two many storylines for the series or this film.

Sidney Poitier only shows he gets better with age, the talent just keeps growing the chemistry between his character of Gypsy Smith and Regina Taylor were wonderful viewing. I also enjoyed the Billy Wirth/Joanna Going storyline, they seems to play off each other well.

Billy Wirth is of course the "Model of Indian Vision". The look, the attitude, the dream of every woman who was wanted to be carried off in one of those romance novels by a native hero. Worked for me also.

Much more could have been done with this storyline but it did give the viewer a brief glimpse of racial problems back in the 1880's, white take over of native schooling, lack of Black pioneers to setup towns in the west. Michael Moriarty (Maxwell) as always a great actor comes across as a very caring and confused teacher, not sure if the "whites" should be interfering with native culture.

For anyone who enjoys characters and watching them change this film is for you. I thought the chemistry between Poitier's character and that of the orphan Whitewolf very moving and thought Wirth and Poitier worked very well together. Billy Wirth did some of his best scenes when working with Poitier.

Going got on my nerves sometimes when you want to just stop and shake her or give her a " wake-up and grown-up" call. But on the whole it was a great evening of entertainment.

Look for the two tape version of this mini series if you are a fan you will really see the difference.

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Just about every commentator has mentioned the way that some of the interview footage is superposed over the concert footage in places. This is true, and is the biggest flaw of this film. However, it isn't so often, or so bad, that one shouldn't see this video. If you are a Black Sabbath fan, you have to see this. Aside from having seen Black Sabbath in the Sevnties and early Eighties, I saw them in 2005 or 2006 when they also headlined OZZfest just like in this video. The concert was amazing, and very much like this, which was why I rented this in the first place. It's just about the best geezer-rock out there. Check it out.
I did not know what to expect when I decided to watch this documentary. I knew it was about an ex-Viet Nam POW in Laos who escaped, but I didn't know much else. In reality, I wasn't expecting too much. Oh what a surprise! The story of this man's life is very interesting in itself, but what sets this film apart from other biography-type docs is that Dieter himself tells most of the story himself. Dieter is very comfortable in front of the camera. His personality really shines. He tells his story about his life growing up in Germany during WWII and the hardships. We are there with him in that same small town as he describes his family, inspirations, and struggles. We follow him to America and his path to fulfilling his dream to be a pilot. Then later Dieter describes his story of capture, escape, and survival in the Laotian jungle. We are again with him in that very jungle as he describes and re-enacts his imprisonment and path to freedom with great detail. We see the same primitive huts, villagers, and forms of detainment he dealt with that really hasn't changed for 30 years. We see the thick jungle, mountain terrain, and rivers Dieter faced during his escape. It helps us to understand his emotions, pain, and plight. I enjoyed the man, the story, and the style. Job well done!

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Yes, I am a romantic of sorts who likes musicals and comedy and this fit the bill! Julie Andrews gives a mesmerizing performance at the beginning and end of this film with the "Whistling in the Dark" production number. The sedate-to-outrageous number that she performs in the middle of the story when she believes that Rock Hudson has been seeing a dancing/call girl is eye-popping and will certainly make you giggle.

I only wish that this film could be found in video or DVD as I would surely purchase it in a heartbeat for my home library!
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I like movies about quirky people. "One Flew Over the Cuckoo's Nest" is maybe my all time favorite, so one can imagine I had a blast with this one. It's definitely not one to watch if you want to walk off smiling. This movie is unpredictable and intense. Some scenes are downright frightening, even after multiple viewings (because this kind of stuff really can happen). It will most definitely keep you on the edge of your seat for the whole ride. And after you see the ending, if you're not deeply disturbed, you really should check yourself for a pulse.

The acting was phenomenal. Marcy, with her rather extreme case of tourette's, shifts from quirky-cute to utterly terrifying, sometimes appearing so out-of-control that she looks like the undead. Seth was great, too. The focus of the movie definitely does not fall nearly as much on him as it does on Marcy, though he happens to be the one that gains the most momentum as a blossoming character.

It's a classic love story with some unconventional twists, and it's also my favorite love story next to "True Romance." There are two bad reviews for it up here, but one of the people who gave such a review didn't have his facts straight and admitted to not seeing the whole film, while the other was just looking for some Hollywood thrills without the deep characters (and perhaps was a little thrown off by the apparent shallowness of the plot, seeing as the end goal revolves around stealing a black bobbi head from a toy store). The point is that this movie is not for those who want to see something "normal" or "lighthearted". This one is messed up and indie as can be, and won't let you go until the heavy climax.
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This movie has all the ingredients of a great horror story and loses it in the last half. Few movies can actually give me chill bumps. This one did. Few horror movie give me a sense of dread. This one did. It kept me guessing. I cared about the story. I cared about the characters. The acting was decent. Unfortunately, about half way through the movie, the story just doesn't have many good directions it can go. It becomes evident that everything cool about the plot is going to self-destruct. It does. What builds in the first half as a great horror concept shifts away from horror and towards the absurd. A plausible fear turns into a series of implausible reactions from the characters. The story concludes with disappointment. While this movie seems complete, there is one loose end that could setup for a sequel. The movie isn't good enough for a sequel. This movie is worth seeing in the theater, just don't expect to be stunned. This is best suited as a movie to rent. It's probably not a movie you'd want to own.
I heard about this series in 2001 which a friend of mine was recording off the television each week. I never bothered to watch though I became acquainted with the series through the magazine which I looked at every now and then in bookstores. I recently purchased series one on DVD and have become addicted to this fascinating and original series. The characters at first seem unlikeable but it is amazing how fast they grow and develop into a united force. As they begin to care for one another it becomes easy to care what happens to them (bearing in mind that this is only a TV series and they are fictional).

However it isn't the PC world of Star Trek and so whilst every character shows a good trait they each have their own flaws and demons that they must deal with. Indivual story lines mixed in with an overall multiple story-arc make this one of the most complex and rewarding television experiences I have ever had the pleasure of viewing. I absolutely enjoy watching each of the characters interact with one another.

This strange new world we are introduced to is brilliantly portrayed through the eyes of astronaut John Crichton and as he learns and adapts to being on the other side of the galaxy, strange alien creatures, different cultures, being hunted by a character that wants him dead and being treated as inferior by his comrades we can easily relate to what he must be feeling. As he becomes used to his surroundings so do the viewers and his compassionate, strong-willed and brave character is a joy to watch.

I have watched only seven episodes of Farscape season one and look forward to continuing through seasons two-four and the mini-series. Maybe one day we can all enjoy a season five. Highly recommended viewing and well worth setting time aside to watch. Buy and enjoy! 10/10.

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Harrison Ford playing a playing a cop in a crime thriller. The perfect ingredients it SEEMS for top entertainment with Harrison back to his Indy and Han Solo best, protecting a witness from ruthless and merciless murderers. How easy it is to be fooled. If the film concentrated on the main, supposed, themes of crime and suspense instead of putting up barns and shoving ice creams in peoples faces it possibly could have been more worthwhile. Unbelieveably predictable with the best method of despatching of a foe is with corn.
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This film is more than the story of Danton. It was a joint Polish French production filmed at the time of the beginning of the end of the Soviet system. It probably helped spur the Solidarity movement's union activity. It is more about Poland in the 20th century than the French Revolution. Solidarity began the end of the system. This film itself is historical by it's very existence....the rest is History.

Robspiere, aka. totalitarian leaders. Danton, aka. Walensa. When one watches this film, one must remember the snowball which began in Poland. 

Actually, it could be useful for seeing the superpower struggle within the only superpower left.

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Please tell me the sentiment of the following review: And it got it in France ! Why not in the rest of the world while the studios keep churning out expensive post-Grisham trash (Will anyone remember him as a fine writer, and not the most betrayed-by-the-screen author this side of Stephen King ?) this one has it all. Okay, the situations are not always original, has minor plot holes and it has a tendency to be too clever some (brief) times for its own sake, but it actually delivers and is obviously a work of love. I'd be curious to know what the budget was. AND. for once, this is not a cheap Tarantino copy ! (Well, film noir didn't started with Tarantino, you know.) Will it once again be saved by Europe, like John Dahl's movies were, so Mr Guttierez can make another one like this ? If you ever read this, Mr Guttierez, thank you and se
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This appears to be one of Noel Coward's lesser known films, and it is easy to understand why. Taken at face value it's not a bad film, but there's nothing terribly good about it either. Nothing much happens at all throughout the course of the film, it's simply the story of Chris and Leonora's ill-fated affair, and Barbara's reaction to it. The only thing that keeps the film interesting is the fact that we already know it's going to end badly for one reason or another, owing to the first scene. Oddly, there are many perfect opportunities in the story for conflict, and yet none of them are utilised. For example, it would've been much more interesting and believable if Barbara had've fallen out with Leonora, but instead the two remained on good terms throughout the film. The notion of Barbara having been betrayed by her friend was not explored at all - in fact she didn't even seem to feel betrayed by her husband; she even encourages him to go on a holiday with Leonora. Similarly, Chris' two secretaries at his practice, Susan Birch and Tim Verney, who also happen to be close friends of both Chris and Barbara, are never forced to take sides. In fact, Tim shies away from conflict by telling Chris that he's terribly fond of both him and Barbara. Despite the strange lack of conflict, the biggest flaw in the film is the fact that we don't care whether Chris ends up with Leonora or Barbara. The two womens' personalities are indistinguishable anyway so we don't know which of the two is better suited to be with Chris, and besides this, Barbara's permissiveness gives the impression that she hardly cares about the affair anyway. Furthermore, I found Chris and Leonora's relationship somewhat unconvincing. I can overlook the ridiculously short timeframe in which they fall for each other because that is so common in films of this era, but even then the relationship seemed shallow. Coward's character was too austere and cynical to be the object of Leonora's affections. He reminds me of the socially inept genius Sir Earnest Pease from the film "Very Important Person" - I'm sure the two would've gotten along well. Chris' coldness and austerity made his love for Leonora seem insincere. I think Coward should've sat this one out and given his part to a younger man - as it is, I was constantly wondering what this young beauty saw in such a sombre, mostly emotionless, balding middle aged man. Despite all my criticisms, the film still manages to be interesting - just not terribly compelling. The fact that none of the characters are particularly well developed gives them an enigmatic nature, which is somewhat intriguing. The Astonished Heart is certainly worth watching, but it is a flawed piece of cinema.

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So, Americans make t.v. series based on movies, whilst us Brits make films based on t.v. shows.It should never work, but on this occasion it does because of a sublime meeting of character and actor. Cliches are sometimes justly so, and Leonard Rossiter was BORN to play Rigsby.This is one of the great comic creations, kind of how Norman Bates would have turned out if he'd been melancholic instead if murderous.

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The riddle as a concept is an interesting idea, but i'm afraid is miscast, Vinnie if given the Hard man role is his element as in Lock Stock and Snatch. In this movie Vinnie plays a Newspaper sports writer (greyhounds to be precise),who during the course of the movie is easily is beaten up with ease and bundled over a balcony by a man who 10-15 years his senior. I'm sorry Vinnie is tough looks tough and has so to cast him like this is foolish. Trying to investigate the double murders of a friend and a drug addict found near the Thames. He takes on the role of policeman, whilst the real police are bit part players, interceeding with flashbacks from Charles Dickens.

When Vinnie is on screen his reputation precedes him he looks tough but does'nt in this part need act tough, snarling at the camera in parts. If you watch the Mean Machine, he is perfectly cast, and believable and does a very decent performance. 

Getting back to the movie what confuses the matter somewhat is the flashback to Charles Dickens who is narrating a different story with characters who are also appear in present day, these two stories are it appears unrelated apart from the same actors are used. 

The sound on the movie especially from Julie Cox is inaudible at times, and not really fleshed out what her role in the movie is short of Vinnies Love interest, she starts the film as a Detecive, but quickly becomes the Girlfriend.

The Death of the Prostitute is sort of answered but yet/not answered . Strip out the Charles Dickens stuff and you may have a decent movie.

Vinnie, is slowly becoming Britans Steven Segal, stick to the supporting actor role, your'e quite good at it.
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This is a special film if you know the context. Antonioni, in his eighties, had been crippled by a stroke. Mute and half paralyzed, his friends -- who incidentally are the best the film world has -- arranged for him to 'direct' a last significant film. The idea is that he can conjure a story into being by just looking at it. So we have a film: about a director who conjures stories by simple observation. And the matter of the (four) stories is about how the visual imagination defines love.

The film emerges by giving us the tools to bring it into being through our own imagination. The result is pure movie-world: every person (except the director) is lovely in aspect or movement. Some of these women are ultralovely, and they exist in a dreamy misty world of sensual encounter. There is no nuance, no hint that anything exists but what we see; no desire is at work other than what we create.

I know of no other film that so successfully manipulates our own visual yearning to have us create the world we see. He understands something about not touching. No one understands Van Morrison visually like he does. Morrison's Celtic space music is predicated on precisely the same notion: the sensual touch that implies but doesn't physically touch.

Antonioni's redhead wife appears, appropriately as the shopkeeper and she also directs a lackluster 'making of' film that is on the DVD.

Ted's Evaluation -- 3 of 4: Worth watching.
This movie was sweet. The main character lady was sensitive to 2 different men who wanted her. She seemed not a character at all but a real person who had made some mistakes but was trying to set things right. I liked the movie a lot. Even the older ladies who were lesbian didn't irritate me too much.
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Just watched it on the Hallmark Channel. I was surprised to John Denver! This movie was full of clichés, but that is to be expected (a made for TV Christmas movie- come on!) The acting is as good as any other '80's made for TV movie. The story is, as I said before, predictable and cliché, but still good. If you are looking for a campy Christmas movie, it will certainly scratch your itch.

I was also pleased when I learned that it took place in Georgetown, Colorado. It is a real mountain town west of Denver. Very cool as this is my home region.

I was never a big John Denver fan (I always found him to be pretty foney) but he was a decent actor. He is very good as the good old boy like he played in this film.

If you get the chance to watch it, than do. I'm sure it will be on again in 2007.

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I first saw The Victim (aka Out Of Contention) well over 25 years ago when I was very young. Being a passionate fan of Bewitched since I was a child, I loved to watch anything that starred Elizabeth Montgomery. This movie was (and still is) a real treat - whether you are a fan of Miss Montgomery's work or not. Elizabeth always shines in her roles, such as her portrayal as the rape victim in A Case Of Rape and as the suspected murderess in The Legend Of Lizzie Borden. Her performance in The Victim as Kate, a terrified woman trapped in an isolated house during a storm, with a killer after her is brilliant. If you like exciting suspenseful thrillers than this is one movie that will keep you on the edge of your seat till the end. Another great performance well worth mentioning is that of Eileen Heckhart who plays the eerie and suspicious housekeeper. Unfortunately like most of Miss Montgomery's movies, The Victim is not available on DVD and I believe that although it was released on VHS some years ago, it is a rarity these days. I was lucky to have taped it when it was aired on television some ten years ago and so have a nice copy of this very good movie. A must see!
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I've heard that this move was put together by a bunch of high-school students. As a high-school art or theatre project it's not too bad. Unless you lived near milpitas in the seventies or knew someone involved in the making of the movie, this is pretty awful. Most of the actors are clearly not actors, but locals who volunteered. Bob Wilkins (the original host of Creature Features on KTVU in Oakland appears, but only for about a minute). Some of the monster effects are done with stop motion animation and some with a man in a monster suit and each works okay on it's own, but there is no continuity between the two. Watching without dialog, you'd assume that the movie had 2 monsters. I guess the most unsupportable aspect is that even the main characters, who I assume are the kids behind the movie, cannot even pretend to act. These kids must have been involved in theater in some way to want to do this project, but they display zero believable emotion in front of the camera.
An in-name-only sequel to John Carpenter's Vampires, this movie takes place in Thailand and involves a sect of bad vampires, who enjoy killing people, and a sect of good vampires who do not. While it's an interesting idea to set a vampire film in Thailand, the writers don't seem to do a lot with the exotic locale. This film could just as easily have been set in Los Angeles. Which brings me to my next point, which is that this seems a lot like Blade Lite. We've got the rock soundtrack, the martial art battle scenes, a dance club bloodletting and, of course, lots of sharp objects going through vampires. What we don't have is the budget and talent. Yes, the hero is a good martial arts fighter, too bad his acting wasn't as good, and there's plenty of decent wire work, and tons of revved up fight sequences, maybe too many. The problem is they just don't have the same impact as the ones in any of the Blade films. Perhaps it's just that the film has a "been there seen that" feel to it.

However, for me the biggest problem was that the filmmakers didn't take enough time to establish the relationship between the lead, played by the buff and bland Colin Egglesfield, and his girlfriend. She gets snatched at the very beginning of the flick after a whiny exchange with her boyfriend. We have no vested interest in her welfare at this point and no reason to believe that her boyfriend would be willing to risk his neck to save her. Now that's a major drawback when that's the major thrust of the plot.

In the end, you could do worse than waste 85 minutes of your time with this, but I can think of a lot better things to do with your time, like renting any of the Blade movies.

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DO not take this film seriously, rent it with some folks who want to play Mystery Science 3000, and you will probably laugh your butts off. The evil guys are so not scary, it's funny, it's like some dude from 7th grade with a sickle in a scarecrow get up. The acting is hilarious. I love the occasional self torture with a poor horror film and this really had me giggling. I recommend it on that basis. Of course recreational drugs will enhance the experience. Oh, there is a naked group swimming scene, that will allow for some star dust on the 5 star system. The token black male gets injured badly, but continues his joking as well as using the injured body part quite readily throughout. Enjoy this complete and utter disgrace to films.

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i have one word: focus.

well.

IMDb wants me to use at least ten lines of text. okay. let's discuss the fine points of focus. i don't know about the rest of you, but in my first year of film school they taught us a lot of useless crap, like 'you'll all be famous avant-garde filmmakers someday'--but they also taught us how to do this crazy thing called FOCUSING the lens! it was amazing! you give a little twist and wham! everything is clear as a bell. the person who shot what alice found needs to learn a few things about the finer points of focus. lighting, too. this movie is not only completely out of focus, it's also lit like the corner of someone's basement.

don't even get me started on pacing or plot. they could have trimmed about ten seconds off the beginning and end of every single shot.

but who cares about that anyhow? there is not enough lurid in this movie to make up for the utter lack of regard to film's best friends--FOCUS, and LIGHTING.

words to the wise.
Best fan boy movie I've ever watched save "Free Enterprise."

In some ways it reminded me of an early Kevin Smith film.

If you do any kind of role playing, this movie will likely have you laughing often at its insatiable fun. Don't expect a big budget here, the acting is also questionable at times, but it really adds to the fun of the atmosphere they create. The script is truly humorous with a lot of witty moments worth experiencing.

The bard that always gets killed had me rolling. The sexually confused player also had me smiling a bit too. But in the end... It was just a great movie showcasing some better moments in the lives of a few geeks having a great time with role playing.

If you are bored, and ever got into role playing, this will do nicely for a distraction. A real unexpected treat.
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this is a dreadful adaption of Charles Kingsley's story. The animation is, to put it bluntly, awful. And the songs are a disgrace to film songs, epsecially the "high cockororim" song, which they keep repeating. I feel sorry for Jon Pertwee and David Jason, 2 of Britain's finest talents, providing the voice for the depressing animation sequence. Bernerd Cirbbins tries his best to perform in this awful production ,but fails.

Avoid this film at all costs, even if it is the last film on this planet!
Nothing is sacred. Just ask Ernie Fosselius. These days, everybody has a video camera, and a movie is hardly out before the spoofs start flying, quickly written and shot, and often posted directly to the internet. Spoofs are hot these days, and we go out of our way to make sure filmmakers don't get off on their own self-importance. 25 years ago, when the first Star Wars was made, it was a different world. Filmmaking was the playground of a select few and spoofs were very rare. Then God gave us Hardware Wars. It was shot to look cheap (or was it just cheap?) and the audio was obviously recorded after the fact. Does that take away from the experience? HECK NO! That's what makes it so great! It was raw and unpolished, and hit relentlessly on some of the more pretentious moments of the original movie. From Fluke Starbucker waving around a flashlight instead of a lightsaber (I did that when I was young!) to Chewchilla the Wookie Monster, to Auggie Ben Doggie's "nah, just a little headache" remark, this film short is as much a part of the phenomenon as any of the actual Star Wars films. Rent it. Buy it. Borrow it from a friend. And may the Farce be with you. Always.
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I checked this out at the Vancouver International Film Festival and was not impressed.

The only area of the film I enjoyed was the commentary on film-making. For the most part, this film seemed random and somewhat fantastical (I don't say that in a complimentary way, however) and just silly. It was as if he was mixing fantasy with everyday life, which may sounds intriguing in some films, but the fantasy merely seemed needlessly perverse.

My criticism of this film is not upon the actors, rather the story itself. I found it boring and narcissistic. I wanted my money back, but considering it was a Film Festival, that wasn't about to happen.
Please tell me the sentiment of the following review: Aside from the discotheque scenes that epitomize the swinging sixties (especially with everyone dancing to instrumental versions of Monkees hits), I am surprised how well this lightweight farce holds up 37 years later, but indeed it does thanks to the breezy execution of its deception-based plot and the sharp interplay of the three leads. Directed by the redoubtable stage-to-screen expert Gene Saks, this 1969 comedy is about Julian Winston, a successful Manhattan dentist and confirmed bachelor, who pretends to be married in order to avoid long-term commitment with his young girlfriend of a year, Toni. In response to Toni's half-hearted suicide attempt, Julian agrees to marry her, but Toni first insists on meeting his wife to alleviate her conscience. Enter Julian's devoted nurse Stephanie to play the wife, and the inevitable complications ensue with white lies growing into major whoppers that lead to presumed couplings and de-couplings.

As Julian, a relaxed Walter Matthau dexterously plays the deceptive dentist in his typically sardonic manner, but he lets his two female co-stars walk off with the picture. In her big screen debut, a pixyish 24-year old Goldie Hawn is still retaining her giggly "Laugh-In" persona but provides unexpected savvy and depth as Toni. She and Matthau have great, unforced chemistry in their scenes together. Screen legend Ingrid Bergman, still serenely regal at 54, is obviously having a ball playing Stephanie, initially starchy and quick-witted but blossoming into a liberated spirit as the story evolves. I particularly like how casual she appears after her overnight romp. There is nice supporting work from Rick Lenz as Toni's bohemian neighbor Igor and Jack Weston as Julian's smarmy actor buddy Harvey. Billy Wilder's longtime collaborator, I.A.L. Diamond, provides the sparkling screenplay and opens up the story beyond its stage-bound origins for Saks, who is not the most cinematic of directors. Other than a couple of trailers, there are no significant extras with the DVD.
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When it opened in London during the Christmas season of 1969 this musical version of James Hilton's famous story was drubbed by the critics. The same reception greeted it when it opened in the US, prompting MGM to withdraw its "Roadshow" status and cut almost all of its songs. What a mistake!!!

Watched years later, when the trendy world of the 60's and 70's has turned in upon itself, this version of GOODBYE, MR.CHIPS is a total delight. First of all, as "Chipping", Peter O'Toole gives one of his greatest performances. To watch him turn from the hated, cold, emotionless Latin teacher at a boy's boarding school, to a man who finally can see the colors in the world (after falling for and marrying musical star Catherine Briskit) is to see a genius at work. (If you can, watch LAWRENCE OF ARABIA, THE LION IN WINTER, MY FAVORITE YEAR and CHIPS back to back over a number of days or weeks. Then you will see what a truly great actor O'Toole is, and how magnificent he is in CHIPS.) 

Catherine, as played by the glowing Petula Clark, at the height of her popularity, is ever man's dream; beautiful, loving, understanding, with a great voice to boot. Most of the songs are beautiful and fit the story perfectly, while the direction by the late Herbert Ross brings the proceedings wonderfully to life.

Okay, this film may be a bit too romantic for some people, but for those who are looking for a beautifully acted, sung, and directed love story, look no further. (If you can get your hands of the laser disc wide screen version, better yet. I am anxiously awaiting CHIPS' debut on DVD.)

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Here he is. A new horror icon for the new millennium. Better than Freddy. More dangerous than Jason Vorhees. More evil than Michael Myers. Hard to believe, I know. But his time is here....

Ray The Prick.

Yep, the antagonist, Ray is a complete Prick. This is partly because of the naughty things he does. Also because he has a scar (oh, scary) on his face. But mainly because Ray The Prick has been milked.

Yep, Ray doesn't channel evil. He doesn't even become cursed, not even by a voodoo spell. Nope, Ray The Prick has been milked. As DeNiro once said, "You can milk anything with nipples". And Ray has been milked. Of evil.

How do you milk evil you ask? Snake nipples, I reply. Snake nipples.

Why Ray you ask? Because he's a Prick, I reply. Capital P.

Watch out for the New Line Pictures extravaganza entitled "Freddy Vs. Ray The Prick".

Thought your new horror saviour was Jeeper The Creeper? Well not any more, cause Ray The Prick is here. And I'm frightened.

Pity about the atmosphere-less, PG-13, unoriginal workmanlike quality of the film though, because Ray's a star.
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A wonderful movie about people. I first saw Four Friends when it was originally shown in theatres and I've seen it many times since. If I'm not watching it when it's on TV, I'll get together with friends and rent it. Invariably, the people I've watched this movie with find it enjoyable. It deals with friends from childhood to adulthood, in the 50's and 60's. It's very funny and touching, dealing with first love (and first sex), racism, war, politics- the whole 60's shebang. It can also be quite dramatic. If you enjoy movies about people, this one is definitely worth the time.

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