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This was included on the disk "Shorts: Volume 2"--a rather dull collection of short films. Shorts are among my favorite style of films but somehow the people assembling this second collection had a hard time finding quality content--and it wasn't nearly as good as the first volume or other shorts collections. 

This short film feels like it's woefully incomplete. There is a story, but so much in unanswered that the viewer, like me, feels a bit left out and unfulfilled.

The film begins with a woman, her boyfriend and her Westie (that's a dog, by the way) going to a lonely beach. The lady speaks with an accent that, at times, is a bit difficult to follow. Given that I am hard of hearing, I sure would have loved if it had been closed captioned. Anyway, the boyfriend goes for a swim while she naps. When she awakens, her dog is gone. She panics and makes the guy follow her all about looking for the dog. They spend most of the time arguing and being disagreeable. Then, out of the blue, they stop to have sex. Later, they find the dog--end of story.

As far as the characters go, both seemed rather dysfunctional and unlikable. She was a fussy and demanding lady and he seemed to have contempt for her. When you wondered why they were together, their little sex break showed what bond kept them together.

Some might like the characterizations--I kept finding the people irritating and unreal--more like caricatures than people you might meet or know. Also, the payoff for all this just isn't worth the wait (unless you want to see the guy naked).
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overrated, poorly written, badly acted. did the academy even watch this? i guess not. the political content guaranteed it an Oscar nomination -- indo -pak border -- a little boy , terrorism. anything with the word "terrorist" gets attention in

this post 9-11 world. its like holocaust movies that are guaranteed an Oscar nomination irrespective of their merits. 

and please cinematography does not mean shooting landscapes which are pretty in the first place. you have to be a rotten shooter to screw up making the desert pretty. at least this didn't win the Oscar. they got that right at least. would have been a travesty.

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Korea's answer to "I Know What You Did Last Summer" follows a similar story route to its American counterpart: one year after a group of high school friends accidentally kill a classmate, a masked killer begins to pick them off one by one. Who could have possibly seen them that night - or was their 'victim' still alive when they dumped him into the sea?

Originality cannot be expected from the teen slasher genre anymore but an effort can still be made to ensure films of this ilke are entertaining and scary. RECORD is neither, churning out badly rehashed scenes from "I Know...", "The House On Sorority Row" and "The Faculty" (among many others) and failing to deliver one decent shock throughout the 95 minutes.

Acting is decent from the cast who, as seems to be the norm in Korean cinema, approach an uninspiring script with gusto and an undeserved enthusiasm. Direction is mediocre at best, however; a strange choice of camera angles and the worst killer's costume *EVER* contributing to RECORD's downfall. Most disappointing is the film's ending, where the two 'surprise twists' are that obvious you've earlier dismissed them as being too blatant!

RECORD's only saving grace is its bright start - the first act is actually excellent and shows the American counterparts how character development and setting the mood are supposed to be done - but, other than that, this is a very poor movie. Not recommended. 

** / *****
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The stage star Grace Hayes stars in this obscure little film. After years of being on the stage, she is going to visit a small college town to check up on her son who is being raised by his grandfather. The kid doesn't know who his mother is and when she sees him in a local malt shop, he's a boorish jerk. Part of the problem is that he is a college clown the other part is that he's really spoiled.

Interestingly, it turns out that Mom is really quite wealthy and has been not only funding her son's life but is a hefty contributor to the college. So, she has the idea of forcing the young man to mature. She talks to the man who's raising Peter and has his allowance cut off completely--hoping he'll rise to the occasion. It also turns out that she puts the screws to the school because she thinks all these kids need to stop playing around and be more responsible.

Now here's where it gets pretty dumb. To show that they know the value of hard work, she hires a bunch of them to sing and dance at the malt shop she just purchased. Talk about contrived!! What happens next is like a long and not particularly good talent show or perhaps a poor man's version of a Judy Garland/Mickey Rooney musical! I'd suggest the kids try to do something else to earn money...or perhaps sing and dance until people pay them to stop! I know I would pay them.

Considering that the talent is far from talented, Peter is a bad actor and his change from lout to responsible adult is almost instantaneous, the whole thing is a bit hard to take. Not a very good film by any sane standard, this is an obscure film that should have stayed obscure! 

By the way, it is interesting that Ms. Hayes' son in the film, Peter, is actually her real life son. The only problem with that is that Peter Lind Hayes is a truly awful actor. He's not handsome enough to be a leading man and he comes off as either dull and uninteresting or downright obnoxious. In particular, all the stupid impressions he does are really bad and he has the charisma of the gelatin that you scrape off Spam. Despite this terrible performance, he did go on to have a reasonably successful acting career. Who would have believed it if you'd seen him in ZIS BOOM BAH--because here, he's about as welcome as the Bubonic Plague!!
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Have you ever read a book, then seen the movie, and wonder-How did they screw it up so bad? This is one of those. The book by Huffaker, "Nobody Likes a Drunken Indian" was great, riotously funny...this movie is not. It seems as though nobody cared enough to move the direction along so we CARED about the characters. This movie, which touches on some real concerns about Indians, makes you wonder why we haven't seen more comedies about the holocaust, or slavery. Not well done.
In a Morocco completely invaded by Europeans and Americans, in the beginning of the Twentieth Century, the Moroccan leader Mulay Achmed Mohammed el-Raisuli the Magnificent (Sean Connery) kidnaps the American Eden Pedecaris (Candice Bergen), her son and her daughter. His intention is to get some money and rifles as ransom for them, to fight against the corrupt Sultan of Moroco (Marc Zuber). In times of election, the American President Theodore Roosevelt (Brian Keith) agrees with the proposal. However, Raisuli is betrayed and Eden helps him to be released from the prison with the American soldiers. I do not like films about explicit colonialism and lack of respect to the sovereignty of other countries, but `The Lion and the Wind' is indeed a great adventure. The action scenes are very realistic. Candice Bergen, the most beautiful American actress in the 70´s, is wonderful, performing an abducted woman like in the remarkable movie `Soldier Blue'. Sean Connery is perfect, as usual, as an honest and nationalist religious leader. Brian Keith is great as the American president. I do not know much about the Morocco history to analyze whether there is any truth in this story, but this movie is a worthwhile entertainment. In Brazil it is only available on VHS. My vote is eight.

Title (Brazil): `O Vento e o Leão' (`The Lion and the Wind')


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I could not believe it. This film was a total wast of time out of my life. The title is appropriate. Love didn't beat the hell out of me, this film did. I kept watching and watching and waiting and waiting and hoping for something, anything to happen. And nothing ever happened! Nothing!! Terrence Howard couldn't even save this lame piece of work called a film. It was dark, and confused and I didn't get who killed the girlfriend in the end. The tone and pacing of the film was supposed to be building to a dramatic climactic ending. This only served to confuse the audience because the movie just plodded along going no where. If you want pure torture, watch this film.
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"Who do you dream of? Hoot Gibson ... Howdy Doody? I'm talking about the *theater*!" [Harry Crystal]

Nothing beats a great stage show ... nothing! And Harry Crystal lives that belief. A stage actor still waiting for his big break, Harry brings the magic of live theater to a small town and to Artie Shoemaker (TOM HULCE) ... a young man who has big dreams (but just didn't know it until he met Harry).

With scenes and songs from many of America's classic musicals ... Those Lips, Those Eyes conveys both the ups and downs of the people that, for 2 hours, take us to a fantasy land, but who manage to keep that magic alive in their hearts all day long!

Like Artie ... once you've seen Those Lips, Those Eyes ... "You're hooked, kid!" [Harry Crystal]
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I have a completely biased point of view mainly because I live and enjoy the club culture lifestyle. Being a DJ and frequent club goer I see the honesty within this movie and I love it. If you don't know the club/rave culture then it will be a great foray into that culture for anyone that doesn't know it first hand. The honest portrayal of human emotion and issues in the part of Jip I loved. The characters were well constructed and I thoroughly enjoyed this film. I really don't enjoy the fact that you have to write ten lines on this web site. I will write at least 6 or 7 but i feel that i can portray my point with fewer than ten. Here are some extra lines to make the IMDb gods happy.
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This movie was good. I can't say it was one of the best, but it still was good. The only reason that I watched it was because of Ryan Phillippe. He is soo hot! (Don't get mad Reese). But I think that it was sort of funny- not a laugh your head out kinda thing, but still O.K.

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I'm not a huge fan of Lucio Fulci's films. Most of his 80s gore films had their moments, but often came across as second-rate Dario Argento imitations. With the exception of the entertaining "Zombi" (which was a George Romero imitation), I didn't really enjoy them. I know Italian horror often disregards the plot, but the storyline and characters in his films were just far too thread bare even by the standards. This is why "Don't Torture a Duckling" surprised me. Its actually a very well made film with an engrossing murder mystery. Its possibly the best giallo ever made, only seriously rivaled by Dario Argento's entries into the genre. And unlike Fulci's previous giallo "A Lizard in a Woman's Skin", this never drags.

Fulci's direction here is quite good. He keeps the story moving at a good pace and maintains the viewer's interest throughout. Also, the conclusion to the mystery comes as a complete surprise to the audience. Plus, he adds some clever touches, such as the upbeat soul music during a particularly disturbing graveyard beating sequence. Overall, the violence here is restrained and only used when necessary for the story. The acting is good for the most part also, full of familiar faces from 70s Italian exploitation cinema. Both Thomas Milian and Barbara Bouchet are super cool throughout. The only weak link is Florinda Bolkan, whose performance is just far too over-the-top. Its the only laughable aspect of the film. "Don't Torture a Duckling" definitely comes with my recommendation and may be a good introduction to the giallo subgenre as a whole. (8/10)
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Even if it won't give one more than previous posts here (like Ruby Liang's very good one) i wanted to share my own point of view. Hope my English is understandable.

Bon voyage is a rhythmic, light but deep presentation of the French unorganized come-down, but also courage and charm. All along in a brilliantly reconstituted 1940 France with many details (from Bordeaux luxurious hotel occupied by Government HQ and attacked by useless high class French, to Parisian coffees near Le Pantheon / rue Mouffetard and 1930s cars) Gérard Depardieu and Yvan Attal give their second roles a brilliant taste;) Isabelle Adjani and Virgnie Ledoyen are very credible in their drastically different roles, and Grégori Derangère makes an bewitching performance:)

Much lighter than average (e.g. American) war times movies, and focused on the civilians, Bon voyage shows a lot of things about french issues (even to a French guy like me), some of them quite deep.
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This was not a very good movie, the acting pretty much stunk and the effects were bad most of the time. But there were some funny moments but most of those were not meant to be funny. The most hilarious part of the movie to me was the part were a little kid in wheelchair falls out (thats not the funny part What kind of person do you think I am)anyway the kid falls out and starts screaming for his big brother, well the brother comes running and the way the kid runs is so funny he's all stumbling and really over acting I had to rewind it several times so I could laugh some more. so if your looking for something to rent but just can't seem to find anything check this one out and watch for the running part.
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I really think this movie deserves some Oscars! I really don't care what people can say badly about this movie...because it's a really well played parts from Samuel L. Jackson, and mainly by Christina Ricci!! I'm a big fan of hers, right since I saw her in Addams Family...been trying to watch all things she makes, and this is absolutely one of the best parts she played!! I love her looks (even though people say she's not pretty...I think she is...and I love her eyes)!! The movie is about many things...people say that is religious...people say that it's about racism...people say that is about drugs...people say that is about nymphomania...well...maybe is a little bit of all that!! But what I truly feel is that this movie has a high level of eye opening for what blues is...what it stands for...and mainly were it comes from: life...heart...pain...sorrow...and above all...spontaneous feelings!! I hope you get to see it...if you are that kind of person that likes a movie not only from the pictures or the story it tells...this is a good movie to see...if your not...well...see it anyway...cant hurt that much, and you get to see Christina Ricci acting so horny!! She's a fox!!
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It is not only difficult to comment separately on the three parts of Kieslowski's trilogy, it seems obvious that the filmmaker wants us to do just the opposite: view them in order, Blue, White, and Red, and consider them together as one complete work. It is true they are distinct stories with distinct themes: liberty, equality, fraternity, and each them is developed with unique applications of intrigue and artistry. They are each well worth seeing independently, but I believe they are best seen as one work. Collectively, I would rate the trilogy as a 9; separately, I place each in my top ten for the years 1993 and 1994.

The color red is most memorable in the third movie as a backdrop in a billboard ad, the profiled model of which is the central of the movie's three main characters. The other two characters do a double-take of a varying degree of recognition when they first come upon the ad, posted larger than life alongside a busy city intersection. This ad is not a major part of the plot of this movie, yet its image becomes striking and is one of the reasons I have called Red a `mind-bending' film. This is the third of Kieslowski's Three Colors trilogy, based on the Blue-White-Red of the French flag and the three parts of its motto, `Liberty, Equality, Fraternity.' The films stay primarily focused on these themes, keeping with the basic levels of one, two, or three main characters, yet with each film the complexity of plot escalates as the three principles move from fundamentally personal (Liberty, Blue) to relational (Equality, White) to social (Fraternity, Red). Red is my favorite of these films, and I give it a 9. It stands by itself as a great film, but one should see Blue and White first for the fullest effect.
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This is by far the worst Hemingway adaptation ever. Rock Hudson was badly miscast and entirely unbelievable as a hard-bitten soldier/adventurer drawn to war. Jennifer Jones was far too old for her part and Vittorio de Sica seemed to think he was acting in some other movie altogether. They tried to make a large-scale epic out of a low-key romantic novel and the result is terrible. As if that were not enough the whole thing is so slow, overlong and dated that it is practically unwatchable. Rock must have kicked himself for turning down "Sayonara" and "Ben Hur" in order to make this ghastly crap.

0/10. To be avoided.
Great movie in a Trainspotting style... Being billed as the Welsh Trainspotting, but then so was Twin Town, although this is streets ahead.

Takes in a weekend in the life of Cardiff Clubbers, good debut movie from Kerrigan and some great performances in the cast.

Go see ! then go clubbing
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Ocean's 12 starts off on annoying and gets worse from there on. Like a celebrity awards presentation, each major actor/actress is introduced in short 60-second scenarios that seem to stop just short having a blinking "applaud now" sign. The first 60 minutes of the film are incredibly disjointed, poorly edited, and at times, utterly unrelated to the story and confusing. Speaking of the story,...there is one, kinda,...but its barely visible for all the "look at me" shots and cameos. Only Matt Damon seemed to actually "act" during this film...the rest of the cast appeared to only be there to participate in a rat-pack-wanna-be session. As for the heist, the action, the drama....it was put into the last 8-10 minutes of the movie and was pathetic and anticlimactic. Horrible! Horrible! Horrible!
Please tell me the sentiment of the following review: Demi and Woody are married, but they're poor. They meet Robert Redford, and he's REALLY rich. He takes a fancy to Demi, and since he's a gambling man he makes the couple an "indecent proposal:" one million dollars for a night with the little woman.

At this point you need watch no more of the film because you can put the details together in your sleep. Of course Demi is going to accept the offer. If she doesn't there's no first half of the movie. Of course it will affect Demi and Woody's marriage. If it doesn't there's no second half of the movie. And of course everything will turn out okay by the time the credits roll. If it doesn't, there's no happy ending for the sake of box office.

The absolute best thing you can say about INDECENT PROPOSAL is that Demi Moore looks good in a black dress. As for the rest... The script is incompetent, the direction amateurish, the performances negligible. I suspect Redford, Moore, and Harrelson blush and change the subject every time the film is mentioned. Do them--and more importantly yourself--a favor. Unless some one offers you a million... Miss It!

Gary F. Taylor, aka GFT, Amazon Reviewer
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There are two ways to turn a TV series into a film.

The first, most common, and least successful, is to basically make a feature-length TV episode- see the disasters of the Steptoe & Son movie. The second is to do something else- something quite different, à la Monty Python.

Thankfully, the creators of the cult TV series have gone for the second option, and they've come up with something unique, clever and funny- it couldn't feel less like a TV episode.

Try to get your head around this- the writers, playing themselves, are confronted by their Royston Vasey alter-egos, played, of course, by them, and told to continue writing the series, otherwise apocalypse will befall the village.

High-concept, contrived and easy to screw up? Yes, but somehow they managed to pull it off. Not for every taste, perhaps, and the ending does drag, but fans will be delighted, and it might even win over the uninitiated.

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Ponyo is a beautiful animated film with some dark undertones. It features a kid-sized story of longing and love with ecological implications, but it is not preachy. Hayao Miyazaki has fused Andersen's Little Mermaid with Japan's native myths and his trademark steam punk flights of fancy, and the result is very rewarding. There are some scary moments of oceanside storms and flooding, but they are thrilling, not horrific.

If you've ever wanted to run with the waves along the shore, ride on a jellyfish as an elevator, completely transform yourself, or make a friend for life, Ponyo is a fable for you.

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This is truly a documentary of love about a fascinating character, her outlook on life and her extended family. The filmmakers spent three years taping Sister Helen at her halfway house and managed to capture so much wonderful material that you can not help but feel you know Sister Helen and her "boys." The house holds 21 recovering addicts each with a story almost as involving as Sister Helen's. The ending scenes are particularly involving and emotional.

Sister Helen's story of marriage, addiction and loss reveals a very complex character who's tough love is at all times funny, touching and endearing.

The film is a amazing in the way it tells its story in wonderful slice of life sequences which develop into a story that is almost as clear as if each scene were scripted and acted by the best. The honesty (and obvious dishonesty) of the "clients" is very involving as you learn of their fears and watch their attempts to grow.

You will never forget Sister Helen, Robert, Moe or poor Ashish(spelling?).
I only gave this nine stars instead of ten because i really don't approve of pornography all that much. pornography has a useful purpose in society(can't say i can always think of one)but it probably does.

personal viewpoints set aside, i really thought this film was pretty funny. i didn't buy this movie because it was pornography, i bought it because i am one of those 'Alice' obsessives who will watch anything about 'Alice in Wonderland'. i own just about every version there is on DVD so it was an obvious choice to complete my DVD collection with this. i must admit i was scandalized beyond my expectations, and the whole thing would have been thoroughly offensive if it hadn't been so damned funny. besides, the music is really good and i like musicals.

not everyone can make a good nudie musical. anyone that has seen 'The First Nudie Musical' knows what a stink-bomb that was. considering what a low budget Bill Osco worked with, 'Alice' is pretty remarkable as a musical(it's better than some musicals made on costly budgets).

the film can't totally escape the dirtiness of porn. I usually watch the XXX version for full shock effect and some of those scenes are scandalizing(scandalizing because we are talking about Lewis Carroll). i found myself feeling very uncomfortable and embarrassed during the scene where 'Alice'(Kristine DeBell) starts masturbating. it made me feel like a voyeur. and the gratuitous lesbian scenes with 'Alice' and the kitty-cats were a bit too racey.

the film has a great sense of humor about everything however. there is one especially funny moment during the Queen's orgy when one of the actresses gets up and says "who do i have to F---K to get out of this movie?". Hilarious.

i'm not sure i buy the whole sex is good for you ball your brains out philosophy here, but sex is human, and nothing human disgust me.(i don't know if i really feel that way, but i couldn't resist saying it)some people think everything should be about sex. i dunno. Jeez, just show some frick'in responsibility and decorum. this movie definitely scores points for the sex-minded, but i wouldn't push your luck, next time you might really freak someone out. i mean we are dealing with children's literature here.
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Why couldn't the end of the movie have been Sean Connery's men fighting the French instead of the Germans. Ever since the French had occupied Algeria in 1830, the tribes from Morocco and those of Algeria were making raids on the French military and civilian settlements. This movie could have been a continuous of that historical aspect where the French had seize the Rasuadli so his followers would not be raiding Algeria, and then his followers would have attacked the French to free him.

The movie is still stereotypical of shootouts between the Germans and the Americans. When the Americans shoot the Germans, their guns (even the pistols) make loud noises, create large bloody bullet wounds, and their enemies are screaming after being shot. When Germans shoot at the Americans, their guns don't make large sounds, do not create bloody wounds, and their enemies make little or no sound after being shot.

In real life, the American Krag rifle was the worst rifle America had ever produce until the early version of the M-16 came along. The Krag was hard to maintain, not reliable, and the rifle bolt was always jamming. The German Mauser was one of the world's finest rifles. We were so impress by it during Spanish American war, that we made a copy of it and call it the Springfield rifle.

Finally, the people of Morocco must had a word for artillery since the French were using them in their raids against Morocco. I didn't like it when they made the Rasuldai feel stupid that there was no word for artillery in the Moorican vocabulary. Instead, the Rasuadli stated that the Europeans had guns on wheels that make the ground shake.

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This show uses a rather tired sitcom formula of the fat idiot blue collar slob with the pretty (and sometimes shrewish-seeming) wife and crazy in-law(s). With this show, it's fat unfunny comedian Kevin James as Doug Hefferman who works as a delivery driver for a parcel service. He has a pretty wife, Carrie (Leah Remini), who works as legal assistant, and senile father-in-law, Arthur Spooner (Jerry Stiller), who lives in his daughter and son-in-law's basement. Kevin James' Doug is your typical beer drinking, sports loving, TV watching slob of a sitcom husband who would rather watch the tube than deal with his marital issues. He also has a couple of idiot friends who lend extra stupidity to the problems encountered by this show's couple. Beyond the few laughs supplied by Jerry Stiller's crazy old man character this show was generally unfunny. Kevin James' imbecilic behavior usually caused the show's problems that usually resolved by his wife. This show continued a run of sitcoms with the fat stupid father/husband and their pretty wives that all seemed to run on ABC for some reason.
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Rented this out from my local because it was the only new British film available this week. Never heard of the film-maker before or his other films (thank you IMDB). About time some one made a good young British comedy that didn't star Hugh Grant or forty something's. The story is a morality tale but never preachy, throughly enjoyable from a young and fresh faced cast. Luke Goss's cameo was surprisingly very good, but then he did surprise me with his excellent performance in 'Blade'. Loved the colour grading, especially in the night club sequences. Great music and a truly original voice at work here. Nine out of ten and well worth the rental charge.
Oz is by far the best show ever to grace television. Better than The Sopranos, yes, ER, yes, CSI, absolutely. Uncompromising, daring, and utterly disturbing yet profoundly moving. Oz took us past any image of prison that anyone had ever conjured up on television. Tom Fontana truly did a brilliant job with the writing. No topic is taboo. Rape, drugs, murder. Oz is evidence of just how good TV can be. It follows characters of all different backgrounds and all different races, but always comes back to your everyman Tobias Beecher, in jail for vehicular manslaughter. We see what we don't want to see, pain, death, mayhem. Oz will disturb you, make you cringe, make you look away, but most of all it will make you think. To see Oz is to see a truly magnificent television production
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This is another case of Hollywood Arrogance presuming to eclipse French Style. The original, Mon Pere ce heros, was one of the most charming films of 1991 so naturally the accountants in Hollywood thought they could hire Depardieu and phone the rest in. They did, however, take the precaution of hiring Francis Veber to write an English version albeit one utilising virtually every word of the original. Depardieu brings his Gallic charm and Katherine Heigl shows all the promise that is now paying off. The thing is that when the French make a sort of Lolita-lite they get away with it because the 'dirty French postcard' thinking works in their favour; here the Hollywood idea of lightweight subtlety is to have Depardieu (totally unaware that his daughter has let it be known he is actually her lover), prevailed upon to play and song 'something French', launch into a spirited version of Thank Heaven For Little Girls. See the original.
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This movie was the worst movie I've ever seen. No story, no point, it wasn't even funny at all, not sure why people say this movie is hilarious because it sucked SO much!! Felix Bean the main character sucked. Susanna sucked. This movie was made in 1996 and it really was set in the 80s. What else, I'm never letting my friend pick movies ever again. Hmm, the movie cover said it was from the producers from super troopers, who kidnapped them and stole their identities. Wow, what a waste of time. The only minute thing that was funny was Freaky Ricky, he was funny, especially when he and Emily ended up together. That was funny. All and all, it sucked, waste of time and sleep. Wow, never thought a movie like this could be made, so dumb for watching for watching it to the end.
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I've always loved "Gone With The Wind" and have seen it numerous times. However, its ending left me not only "hanging," but depressed, with a hopeless feeling. Finally, in "Scarlett," Ripley took us to a very plausible and satisfying end ("beginning") of the original story.

It follows that someone of Scarlett's obvious intelligence (as originally written) would eventually grow up. Although, like most people, I fell in love with Scarlett in GWTW, I tired of her constant insipid infantiilism to the point of exasperation, and I was disappointed that Mitchell did not show Scarlett using that obvious intelligence to even make an attempt to grow emotionally. Thankfully, someone finally did. (After all, isn't that nagging immaturity that conflicted with her beauty and intelligence the very reason Rhett finally gave up on her in the first place?) I think Ripley did an excellent job of describing that long-overdue process, and Whalley-Kilmer did a superb job of portraying it. Joanne W-K has all the fire, exuberance and intelligent sparkle as did Vivian Leigh, and she is certainly at least as, if not more, beautiful.

There was, is, and always will be only one Clark Gable. However, if I had to pick an actor out of the thousands to which I've been exposed to portray him in his biography, it would definitely be Timothy Dalton. Dalton possesses the same elegant charm that Gable did, which is essential for Rhett's character. I can't imagine anyone else who could come close.

In my opinion, both Joanne Whalley-Kilmer and Timothy Dalton were superbly cast and the only actors who could have possibly played Scarlett and Rhett. I think both their performances did justice to not only the late actors but also the spirit of their characters.

I enjoyed the whole cast. Julie Harris was her usual delightful presence, and Jean Smart was an adorable kick! Even Ashley's character was nicely played by Stephen Collins, and the progression of his relationship with Scarlett was totally believable.

The story became a little convoluted in Ireland, but so is life, after all, and I still found it entertaining.

All in all, I thoroughly enjoyed the fruits of Ripley's imagination. I wish I'd written it!


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This movie was better than I expected. I don't think it deserved an R rating, though. I've seen PG-13 films with worse language and violence. I found this movie entertaining and I enjoyed it. If you're a person who dissects everything, you might find a lot wrong with it, but if you take it for its face value, I think you'll find it entertaining.
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After looking for this Bruceploitation for months, and then accidentally buying it cheap, it was disappointing. I heard about it on a DVD-R site, and it sounded crazy.

But no, what I got was a pretty bad martial arts movie. The kung fu-ing wasn't too bad, but the rest of the movie was pretty awful, and made the movie seem really, really long, much longer then it's 85 minute runtime.

On a positive note, the ape was funny for a couple of seconds (especially when I think they took the only close up of it's face from another movie), and the black guy who pops up half way through was funny because of the one line he said, which singlehandedly made all black people look like complete simpletons.

But it wasn't enough, sadly.

4/10
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Stay Alive has a very similar story to some Asian horror films which include technology on the story.Some of this Asian horror films are One Missed Call,Ringu and Pulse.So,the idea of Stay Alive is very clichéd and obvious but the filmmakers behind it did not know how to put something new or interesting to the clichés in Stay Alive.This film is totally crap.But a very big crap.All the elements of Stay Alive belong to the worst class of ''horror'' films:shallow characters,nothing of suspense,stupid ''horror'' which makes laugh and light violence.It's easy to note that the ''director'' is incapable to create something original or disturbing.I do not wanna loose more time writing about this pathetic film.I just give you an advice:do not see this film.I really hated it.

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Yes, this review may contain spoilers, but you'll thank me for it. This is the worst film I've seen in quite some time. I came to this board expecting to see the same response I had, but inexplicably, there are several people who love this film and Spacey's performance in particular.

Some will chastise me for saying it, but I find Kevin Spacey's acting quite limited despite the world's admiration for him. I felt like I was watching a meaner version of Kevin's "American Beauty" role. His character in this film is ridiculously overacted, all the way down to his laughable insults he throws at his assistant.

There are all-world trite and boring scenes like when Spacey is tearing into Whaley about bringing him Equal instead of Sweat and Low. Somehow, I suspected this particular scene was supposed to be funny, but by this time I was ready to hit the stop button (this is approximately 20 minutes into the film).

What about the faux-homage to "Resevoir Dogs"? Whaley proclaims, "I think I saw this in a movie once," as if he's going to cut off Spacey's ear. But what does he use to cut him? An envelope! That's right, he's going to give him paper cuts! That has to be one of Hollywood's all-time worst scenes, and the fact that the actors and director tried to carry it out with a straight face makes it even more appalling.

I will admit that I didn't see the end of this film (my DVD mercifully locked up about a half hour before the end), but anyone who wishes to say so could spare me the line that I missed a great twist and everything would have made sense. Well, I don't care what happened in the end, because it could never make up for all that bad acting and relentlessly over-the-top dialogue. I even got the feeling that the actors themselves wanted to get out of this film as bad as I did.
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Hargh... this film is so bad it's almost good. Trash at its best. Jesus' bro vs. pimps...come on. I'd say that you'd actually have to see this, it's so bad... my sides hurt when I laughed. I can't understand why this isn't in the worst 100.
"Congo" is based on the best-selling novel by Michael Crichton, which I thought lacked Crichton's usual charm, smart characters and punch. Well, sorry to say, but the same goes for the film.

Here's the plot:

Greed is bad, this simple morality tale cautions. A megalomaniacal C.E.O. (Joe Don Baker) sends his son into the dangerous African Congo on a quest for a source of diamonds large enough and pure enough to function as powerful laser communications transmitter (or is it laser weapons?). When contact is lost with his son and the team, his daughter-in-law (Laura Linney), a former CIA operative and computer-freak, is sent after them. On her quest, she is accompanied by gee-whiz gadgetry and a few eccentric characters (including a mercenary (Ernie Hudson), a researcher with a talking gorilla (Dylan Walsh), and a a nutty Indiana-Jones-type looking for King Solomon's Mines (Tim Curry). After some narrow escapes from surface-to-air missiles and some African wildlife, they all discover that often what we most want turns out to be the source of our downfall.

 The actors in this movie were not talented. Dylan Walsh acts like a pathetic crybaby, especially at the end; Ernie Hudson is unconvincing (is it no wonder he went on to star in TV films?) and Laura Linney is nothing special. I think I can safely say the only talented actors in this film had very small roles: Joe Don Baker and Tim Curry, an always enjoyable actor (although sometimes scarred for life by constantly being reminded of his "Rocky Horror Picture" days).

 This movie also had some other problems, including awful direction style, cheesy dialogue and a just-plain-boring plot, which was completely hashed when compared to Crichton's novel.

 Not even Stan Winston's creature effects could save this movie from being a disaster. I am deeply disappointed in this movie; there was not even a campy quality to redeem itself with. It was just plain awful, cheesy, boring and ridiculous, and proves to be one of the worst Crichton book-to-film productions.

2/5 stars -

John Ulmer

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I suppose I should be fair and point out that I don't believe in ghosts. That said, I'm very interested in the subject and I enjoy a scary story as much as the next guy. I am a fan of Ghost Hunters because they at least try to give their investigations a scientific angle. Even early episodes of Most Haunted had a camp entertainment factor to them. Paranormal State has neither of these qualities. The cases themselves have the potential to be interesting, but as with so much "reality TV" these days, it suffers from overproduction, poor acting and silly scripts. The makers of the show freely admit that writers "guide" the stories. I hear they are even going to shoehorn in a romance subplot to appeal to the young female demographic. The show has many other flaws too. As others have stated, the narration quickly becomes like nails down a chalkboard. Over the top visual and audio effects quickly become just as irritating. I'm willing to suspend some disbelief for the sake of entertainment, but this whole "demon with a vendetta" story arc is just ridiculous. Given that the producers of this show are also responsible for brain dead fodder like MTV's Laguna Beach and Newport Harbor I suppose this is really no surprise. If you are a die hard fan of Ed & Lorraine Warren or a big "reality" show junkie I guess you'll find much to like in Paranormal State. For the rest of us....I recommend you avoid.

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Joseph Conrad's timeless novel, Heart of Darkness, was depicted in the 1994 movie. I have read Conrad's novel, and I must say, even though I prefer the novel itself, the movie was a great depiction. The set and costume designs brought Conrad's novel to life on the screen as we followed Marlow's journey. The acting also brought the characters to life through the mannerisms, voices, and personalities. If you have read the novel, I recommend that you also view this movie. If you have not read the novel, however, the movie may be harder to follow. Conrad's Heart of Darkness is too full of action, emotion, and information to be made into a movie that is a little over an hour and a half long. Therefore, if you have not read the novel, the plot in the movie may seem too cluttered to follow. Overall I gave this movie a seven out of ten. The basic plot of the novel was brought forth to the screen with great sets, costumes, and acting. Nothing can replace Joseph Conrad's original work however.
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In KPAX Softley brushes on the subtleties of Eastern Religious Mores from the small archetypes embedded all over the film to the actual purpose of Prot. Spacey (Prot) assumes a predominantly didactic role throughout the entire film - it is as if the statements he makes embody general truths about a culture of peace which is strongly promulgated in Buddhism and Hinduism. It can be said that Prot is the eye of the storm - the world is in disarray and is 'bright' and the false veil of reality is what everyone else sees, but Prot sees truth - he sees the minute - and appreciates it and at some points fears it as he transcends his social construction of reality and becomes more humanly.

The film is particularly detailed, therefore I would recommend that you watch it at least twice to see how Softley interjects nuances. Listen carefully to the narratives at the beginning and end as they truly touch on concepts not commonly presented in western philosophies.

9 of out 10 rating - Superb - with nominal room for improvement.
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Tipping the Velvet (2002) (TV) was directed by Geoffrey Sax for BBC television. The basic plot is a coming-of-age story for the protagonist, Nan Astley, played well by Rachael Stirling. As a teenager, Nan works in her family-run oyster house. Everyone expects her to stay at home, then marry an appropriate husband, and settle down to family life. Nan expects this too.

Everything changes when Nan meets Kitty Butler (Keeley Hawes) a beautiful and talented performer who dresses in men's clothes and captures the hearts of her audience. The audience includes Nan, who is sexually attracted to Kitty in a way in which she's not attracted to her boyfriend. 

The remainder of the film follows Nan to London and through her ups (sort of) and her downs (horrible) as a lesbian and sometimes male impersonator. 

As is typical for the BBC, every role, no matter how small, is performed by an excellent actor. The BBC has a depth and breadth of performing artists that is truly marvelous. None of the supporting actors stands out in my mind--they were uniformly good. Both Stirling and Hawes are wonderful, and their acting carries the film along.

It's always sad to be reminded of how difficult life can be for someone who doesn't fit society's mold for what is normal. I know it isn't easy for lesbians even in the U.S., even today. Imagine the obstacles to love and happiness for lesbians in Victorian England. We've come a long way, but we still have a long way to travel.
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Poor Shirley MacLaine tries hard to lend some gravitas to this mawkish, gag-inducing "feel-good" movie, but she's trampled by the run-away sentimentality of a film that's not the least bit grounded in reality.

This was directed by Curtis Hanson? Did he have a lobotomy since we last heard from him? Hanson can do effective drama sprinkled with comedy, as evidenced by "Wonder Boys." So I don't know what happened to him here. This is the kind of movie that doesn't want to accept that life is messy and fussy, and that neat, tidy endings (however implausible they might be) might make for a nice closing shot, but come across as utterly phony if the people watching the film have been through anything remotely like what the characters in the film go through.

My wife and I made a game of calling out the plot points before they occurred -- e.g. "the old man's going to teach her to read and then drop dead." Bingo! This is one of those movies where the characters give little speeches summarizing their emotional problems, making you wonder why they still have emotional problems if they're that aware of what's causing them. Toni Collette (a fine actress, by the way, and one of my favorites if not given a lot to work with here), gives a speech early on about why she buys so many shoes and never wears them, spelling out in flashing neon the film's awkward connecting motif. At that moment, I knew what I was in for, and the film was a downward spiral from there.

Grade: C-

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This movie came aside as a shock in the eighties.Far from trends,that is to say in the heart of sincere creativity,Babettes gaestebud stands as one of the finest movies of its time.Stephane Audran,the wonderful actress of her ex-husband Claude Chabrol's greatest achievements (le boucher,la rupture,les noces rouges,all unqualified musts for movie buffs)gave a lifetime performance.To see her prepare with love and affection her meal is a feast for the eyes.All the people who saw this masterpiece actually tasted,ate Babette's culinary triumph. But the most moving part of the story is its conclusion:Babette was a great French chef,she was famous,now she found a new homeland but her heyday is behind her and she won't never be allowed to come back to her dear France.So the two old sisters do comfort her:In heaven,there will be huge kitchens where she cooks for eternity.While sharing her fortune with her new friends,Babette changed their life,she gave them pleasure and a magic evening they would remember forever.In this simple but extraordinary screenplay,human warmth is everywhere,and I wish everybody a Babette's feast,would it be only for one starry night...
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Low budget, mostly no name actors. . . this is what a campy horror flick is supposed to be all about. These are the types of movies that kept me on the edge of my seat as a kid staying up too late to watch cable. If you liked the 80's horror scene this is the movie for you.