cindermond/bento huggingface dataset:
When THE PUFFY CHAIR beckons, beware of its soft, colorful upholstery.

The movie starts out quite well. Josh (Mark Duplass) and Emily (Kathryn Aselton) are a boyfriend-girlfriend couple having a bit of a tough time with their relationship. An argument occurs one night and in order to make up, Josh asks Emily to come along on a roadtrip to his father's house where Josh plans to deliver a purplish LazyBoy recliner for his dad's birthday. Emily accepts and along the way they pick up Josh's flighty brother Rhett (Rhett Wilkins), an Amish-looking fellow more in touch with other peoples' lives than his own.

The roadtrip quickly devolves into more squabbling between Josh and Emily, as well as a bitter feeling for The Puffy Chair (it is initially very grubby and falling apart until Josh "convinces" the original owner to refurbish it). Rhett quickly ascertains that the cause of all of Emily and Josh's problems is the LazyBoy and sets it to the torch one night ...

And that's the last we hear of the chair, even though there are many minutes left in the film.

The big issue is that the title of the film is The Puffy Chair, when it isn't the chair at all that takes center-stage. It is Josh and Emily's doomed relationship and how the roadtrip seals their feelings for one another. Once the chair is destroyed, there's never another mention of it, even though they arrive at Josh's parents place on his father's birthday without a gift. Josh never mentions the chair, nor does his father. There's no connection between it and the lives of these people. So why call the movie The Puffy Chair and why isn't there a tie-in with it at the end? Bad script.

The other annoying thing is that Mark Duplass' brother, Jay Duplass, is not only the director but also the cameraman (and not a very good). Nearly every scene has a rapid zoom-in on the characters that goes grainy and out of focus before the camera's autofocus catches up and rights itself. Initially this took on a quaint and artistic feel, but rapidly became unbearable.

The acting in the film is accessible and entertaining. All of the actors/actresses did fine jobs. But the poor production quality, stilted ending, and lack of coherency to the title caused this flick too many problems.
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Write a positive movie review.

Horror-genius Dario Argento is one of my personal favorite directors, and his films "Suspiria", "Phenomena" and "Profondo Rosso" range high on my personal all-time favorite list. "Opera" of 1987 is yet another tantalizing and brilliant film that no Horror lover can afford to miss, and that will keep you on the edge of your chair from the beginning to the end. This stunning and ultra-violent Giallo could well be described as the master's nastiest film, which is quite something considering that Argento's films are not exactly known for the tameness of their violence. The violence is extreme and very stylized in a brilliant way that makes Opera a film censor's nightmare.

- Warning! SPOILERS ahead! - 

Just when Betty (Christina Marsillach), a young opera singer, is becoming successful, a murderous and incredibly sadistic psychopath starts stalking her... The murders are truly brutal, and of particularly sadistic nature. The killer attaches needles to the tied up Betty's eyelids, so she has to keep them open and watch while he brutally murders people close to her in abhorrent ways. When done with the butchering, the killer releases Betty and leaves, just to come back for other friends of hers...

As usual for Argento's films, the violence is extremely graphic and very stylized. "Opera" truly is a brutal film, and what a stylish and atmospheric film it is. This film is absolutely tantalizing and pure suspense from the beginning to the end. The performances are entirely very good, especially Christina Marsillach is brilliant in the lead. A stunning beauty and great actress alike, Marsillach fits perfectly in her role of the talented singer, whose fear and horrid experiences are slowly making her crazy. Other great performances include those of Ian Charleston as a Horror film director who is directing an Opera, and director Argento's real-life girlfriend Daria Nicolodi, who has a role in many of his movies. The camera work is excellent as in all Argento films and The huge Opera House is an excellent setting that contributes a lot both to the film's beauty and its permanently creepy atmosphere. The score, which is partly classical music and partly heavy metal is great too, even though I slightly missed Goblin's brilliant Progressive Rock Soundtracks that are such a distinguishing element of most other Argento movies. "Opera" truly is a terrifying and absolutely breathtaking Giallo experience. This is an absolute must-see for any Horror lover, and I highly recommend it to any other film-fan who is not too sensitive when it comes to extreme violence. Excellent and absolutely tantalizing!
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Due to a very misleading advertising campaign, I saw this film in theatres at the relatively young age of 10. The trailers on TV portrayed the film as a comedy, and I bugged my parents until they took me. After seeing the movie, I was blown away. I had no idea what to think. Totally different than anything I had seen before, leaving far to many questions for such a young mind. Needless to say, I loved it. This morning was the first time I'd watched in in probably 2-3 years, and I still think it's one of the greatest films made in the last decade. Kevin Spacey and Jeff Bridges are both in top form, as a mysterious man who may or may not be from another planet, and the psychiatrist that develops a bond with him while trying to decipher his mystery. The supporting cast are near perfect as well, each resident of the mental institution is incredibly convincing in their own way. The open ending was handled very well, giving lots of evidence to support whatever you believe happened in the end. How this movie failed to receive at least a nomination in that year's Oscars is beyond me. If you haven't seen this film, run to Wal-Mart RIGHT NOW. The DVD is usually in the bargain bin, pick it up! 

9.5/10
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I haven't seen any other films by Antonioni and the people that saw this one with me agreed that it shares themes and imagery with the rest of his works. Maybe if I had seen other stuff by him I would have enjoyed this one, knowing what to expect. 

I saw it as an almost complete failure for so many reasons. First of all, the film introduces interesting, deep issues about social relationships, feelings, the nature of reality versus fiction, but this is very often done in the clumsiest of ways making the characters speak as if they were delivering speeches, rambling on and on, juxtaposing declarations rather than having dialogues. The scriptwriters seem to be so worried that we will not get the point that they prefer to tell instead of showing.

Secondly, the movie has no rhythm, especially in its first half. It is not only that it is slow. Some slow films have been made with an excellent sense of pace and rhythm (El Sur by Victor Erice Or Scorsese's The Age of Innocence are examples I like), but for that to be successful it is necessary that we find the characters so engaging or the story so moving that we can adapt to it. This does not happen in Beyond the Clouds, where the first episode seems to drag endlessly, and the relationship between John Malkovich's "reality" and the love stories "fiction" is at times fluid, others abrupt, others confusing.
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This movie made by the NFBC was made in honor of the Montreal Canadians dynasty years in the 50's,60's and 70's. My 5th grade teacher played this in class in honor of my 11th birthday in 1987 and also to celebrate my return from a serious facial injury in 1986. I have been a Canadians fan for 29 of my 30 years of life. on a scale of 1-10, I give this film a 117. All hockey fans should see this as I hope it will be placed in the Hockey Hall of Fame in Toronto and shown at the Bell Centre in Montreal or here in Edmonton at Rexall Place. Watch this film with your family it is a great movie. I also recommend the book in both French and English. Go Habs Go.
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Seriously... I'm amazed at all the good feedback this show has here. All we have in this show is two stupid kids who keep doing an annoying laugh and they do OCCASIONAL funny things only in like... 2 of the shows, while most of the others sucked... as then they comment on music videos which I cannot stand personally while they either love or like.

In most episodes, the only things you will hear are the repitive "let's go score with some chicks", or "I'll kick your ass beavis", or the better yet and usually used quote "that was cool", and above all, their annoying laugh.

If you want a good animated show, try The Simpsons, Ren and Stimpy, South Park, this show is just not worth the time or energy it takes to watch this awful MTV series truthfully.
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i did not read the book. nor do i care to. the movie was a beautiful romance, and i think women will enjoy it. no, it was not a "10" film, but it was enjoyable. women, if your man is bored as mine was, then watch it yourself. hurt is wonderful as the philosophic doctor who delivers a thoughtful monologue on "in love" and "loving."

also, if you like nick cage, he was terrific and funny. i enjoyed watching the developing romance. 

also, if you like Christian bale -- do see him in equilibrium. this is a "10" sci fi movie.

do see this film. ignore the previous user's comments. 

one -- especially the ladies!! also do visit my website at my name as one word and a "dot" com.
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If you go into the Twins Effect looking for a pure Hong Kong movie experience you will be disappointed. This is not to say it is bad, but it is NOT a traditional Hong Kong action movie, running in a similar vein to Shaolin Soccer and Kung Fu Hustle. It's resolutely silly and juvenile, so if you want a good bit of serious Hong Kong action, look to a John Woo or Yuen Woo Ping movie. This movie's got a lot of flak for it's silliness and I thought the first thing I should do would be to explain what you're getting into, as it's disappointed a lot of purists.

For the non-purists and those with more forgiving tastes though, Twins Effect is a delightfully silly kung-fu comedy. I liked it a lot for a variety of reasons, not least it's wonderful female leads who spark off each other in a thoroughly entertaining comedy double act. I believe this is the first movie of it's type they've been in, but they hop, kick and fly about like seasoned pros.

The patently ridiculous plot is handled with a great deal of care and attention, and the movie is quite knowingly written, making a lot of the movie laugh out loud. The comedy really is the most prominent thing here, and it's a subtle, gentle comedy as reliant on words as inanimate objects going flying a la Stephen Chow. It has to be said the slapstick is immense fun too. The sequence with the disco-dancing vampires is a total classic.

The action is a blend of two genres really. It falls between the 'period drama' wire-and-sword fighting (which comes in more toward the end) and the comedy fighting style of Jackie Chan, coming out with a blend that though a little derivative at times is always exciting to watch and occasionally throws up some genuinely innovative encounters.

All this is great, and the movie is tremendous fun all the way through. Despite this, it does have a few sticking points. For instance, Twins Effect is in many ways much more westernised than kung-fu fans are perhaps used to, the inevitable comparison to the Blade series is definitely sound as an example, though Twins Effect is honestly much better than Blade ever managed, especially for fighting action. Personally, it was also a bit of a shame to see the excellent Anthony Wong (the hissable villain from John Woo's classic Hard Boiled) so underused, but the younger audience this is aimed at are unlikely to notice this or indeed know about Hard Boiled or his other movies, so this is only really a personal gripe.

If you watch this with an open mind, you'll probably enjoy it greatly like I did, but you must be firmly aware it is a COMEDY, not a balls to the wall kung-fu movie. Keep that in mind and you'll be fine.
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On Halloween a town is terrorized by a lunatic with a big pumpkin for a head. Bad acting compromised mostly of local talent and laughable special effects makes this one baaaaad. B-Movie Queen Linnea Quigley looks embarrassed to be a part of this one and even her considerable charm which has helped so many of her other films can't help this one. Pass this cheesy flick if you are looking for a good Halloween horror film and rent "Night of the Demons" which also stars Ms. Quigley.
there is only way to describe this movie.

so bad its hilarious.

the acting is so bad i laughed my ass off throughout. The male lead in this movie trying to use a gun is so ridiculous you would think he was trying to copy a toy action figure, i know this sounds ridiculous but when you see it for yourself you can't help but agree.

the monster looks like a cgi guy trying to recreate the clay monsters you get in old Sinbad movies.

in short this movie is good for only one thing a really large laugh at how bad movies can get.

If you want to see bad acting bad script and special effects gone wrong

THIS IS THE MOVIE FOR YOU
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The first two Bring It On movies were both quite good in their own ways. The first was fairly serious, the second was successfully satirical - and the third opted for the usual idiotic low-brow comedy that we always see in the utterly brainless teen movies that Hollywood has coming out of the woodwork. The entire point in this movie was that cheerleaders are total airheads who hardly know enough to carry on a common conversation, and that's the extent of this movie's comedy. Ha ha. Not.

There is no shred of cleverness in this movie, no theme, no subtext, nothing for anybody with half a brain to be entertained by (and sure enough, I could not sit through all of it). If you're the sort of person who're entertained by fart jokes, this movie is for you. Congratulations.

2 out of 10.

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The stars and the planets must've all been in just the proper alignment, the day that THRILLER was conceived. Michael Jackson's album was slaying the charts, John Landis still had a lot of good will built up from his genre pic "An American Werewolf In London", (not to mention his classic comedies ANIMAL HOUSE and THE BLUES BROTHERS) and choreographer Michael Peters was creating some of the most innovative and influential pieces for music videos of that period.

Not before or since has one single piece of film illuminated, exploited or underscored MJ's incredible talent or the more "otherworldly" aspects of his persona quite like THRILLER, the world's most successful (if not officially the first) long-form video, and the most fondly remembered. Also the most expensive at the time, but every penny and every bit of the talent behind its creation and execution is up there on the screen. And how would it not be complete without the "rap" from the original song, provided by the late, great Vincent Price, to add even more cache to the chills already there? 

The glory days of one of the world's greatest performers have long since passed, but no one can ever take away the man's towering achievements, of which this is probably the most memorable. If you don't think so, now, remember: Halloween is coming. I won't be one bit surprised when, like other Halloweens before it going back decades, this appears on some Saturday Night Creature Feature special.

As it will next year, and the year after that...
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Some martial-arts purists think that comedy was the worst thing that could have happened to the old-school kung-fu flick; and it is true that the introduction of comedy into the genre signaled the end of the "chop-socky" period in Hong Kong film. But the fact is, one can only carry-on a primarily physical exhibition of prowess for just so long, then everyone gets bored with it. And that's really why the chop-socky died and how the Hong Kong "New Wave" action film was born: the producers, the actors, the directors all just got bored with hitting people for ninety-minutes straight.

Given that, and given the fact that Liu Chia Liang is a professional director with a considerable list of films in his resume, this film has to be seen as something other than just another kung-fu comedy. Rather, it is a comic film within the martial-arts genre, and in fact one of the best ever made.

What Liu has done with this film is really a pleasant surprise: he has taken a martial-arts plot and re-constructed it along the lines of a Hollywood-style musical! Complete with episodes of singing and dancing! It was around the time of the making of this film that some film-makers and film fans began to recognize that the cinematic performance of martial-arts (really derived from the acrobatics of the Chinese opera) has more in common with dance than with fighting. (I will continue to point out this connection until most Americans realize what they are actually supposed to look for when watching a martial arts film - well-choreographed body movements, using the plot of an action film as an excuse for their performance.) At any rate, quite clearly Liu Chia Liang made this connection and decided he would explore it close to its limits.

The result is an incredibly charming entertainment, filled with marvelously human characters attempting miraculous kung-fu (and tripping over their own shoelaces as often as not when they do so). and the film being set at the turn of the 19th and 20th centuries, allows Liu the opportunity to explore the nature of the Westernization and Modernization of China that contributed so greatly to the making of the China we know today. So the film has considerable historical import as well.

Also, fans of Stephen Chow's recent Kung Fu Hustle should really watch this movie carefully, as Chow clearly learned from it before the making of his own film.

A very amusing, well-made film. Oh, yes, and the kung fu in it is really, really good.

Purists won't admit it, but this is probably director Liu's best film.

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Uzumaki, is a visually stunning Film, and I don't think anyone is going to be able to argue that. But, unfortunately, the story somewhat falls flat.

The film nevertheless is very entertaining. It uses it's wild style to tell a somewhat non-existant story. The film almost works, just based on it's characters and style, but In my opinion, leaves something to be desired.
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I found this movie immensely interesting yet a little jaded, it talks of violence and what there doing, I still don't see the point in becoming terrorists in order to stop the terrorists. We have similar people in the United States and other countries justifying the use of violence and war tactics because they think they are right. Think of the Puritans,and the Christian crusades against the Islamic people during the Medieval times. Lots of blood and death far exceeding the violence of today, the western world has had a negative impact on the religion. I do not justify their actions but western culture in the past has had a very negative effect on some. But still do remember the majority of the Islamic people are PEACEFUL! People of any nation feel some sort of patriotism but to start a war on the fact that I'm right and your wrong needs to be rethought. Again I repeat you cannot stop terrorists by becoming like them.
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****SPOILER ALERT**** My boyfriend, some friends, and I rented this movie as part of a marathon of really bad movies. We sort of knew what we were getting into. But the lack of plot, direction, and special effects actually left us hoping for a great (or passable) fight scene between the two main characters... the badly rendered swimming cobra and the super violent giant komodo (that ate people like scooping ice cream)... we sort of get this in the end, but had to be cut short due to possibly budget or time constraints? Its one redeeming quality is that its laughably bad, with many salient details pointed out by other readers. I recommend this movie if your into cutting onions to make yourself cry.
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A very disappointing film from Oliver Stone which, unlike his recent epic "J.F.K.", fails to stimulate any sort of real emotion. "Talk Radio" is about talk-back host 'Barry Champlain', a very loud, opinionated man who manages to upset a lot of people and yet still draw an audience, most of whom mind you just want to ring up and abuse him. His boss in the movie (Alec Baldwin) sums up his character very well by saying he's just a shoe salesman with a big mouth. And as Barry (Eric Bogosian) gets death threat upon death threat, the final outcome is almost inevitable.

This is the sort of movie that usually has something very powerful to say. However, "Talk Radio" fails to make a serious comment and remains a frustrating, pointless film.

Thursday, September 17, 1992 - Video
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I wonder why I haven't heard of this movie before. It's truly a magnificent comedy (I'd say farce, but it's too well acted and I'd hate to denigrate it's quality). A comedic character study about the travails of mid-life crises, the inequity for gays who can't have their long-time unions recognized, and the general differences of people who can't fit nicely into society, that pairs Kathy Bates and Rupert Everett to a wonderful effect. Forget Julia Roberts and Rupert; Kathy Bates and Rupert should do another movie together. The anxiety-ridden, acerbic and outrageous daughter-in-law, Maudie (Meredith Eaton), is a truly wonderful character. If you liked the Tales of the City films, you'd like this quirky charmer.
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I watched the movie about 13 yrs ago while living in Airlie Beach Qld Australia. I had found it in the shelves of a little shop in the back that most don't bother to browse.

To my pleasure I found it and watched it with the intention of one day owning it and being in my collection. I still do not have it but will one day.

I like the concept with the poetry and the fantasy. The semi deserted street scenes with a busy teaming city in the far background added to the visual effect.

I have numerous times mentioned this movie to people that enjoy this genre, with nothing but praise. It has stuck in my mind and will for a long time to come.

I fully recommend this film, but only to those that are into this type.

This comment and the one from LA,CA can assist you when choosing to watch this film. The comments may be negative but I found them positive if you look past the derogatory connotation.
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> This show is the single greatest thing to come out of America since The > Simpsons. Not only does it have thousands of new ideas, but it's actually > controversial (see the Jewish joke, Season 1, Episode 1) and isn't scared to > "tick" people off. However, the great minds at Fox have canceled it, along > with Greg the Bunny and Futurama, so make sure you buy the Season 1 box set > while you still can. It'll be the best money you ever spend. It's > definitely a show that gets better the more you watch it, as at first the > constant flashbacks can get a little annoying and don't always seem to fit > the story properly. However after a couple of episodes you realise how > brilliant it is, and how well it compares to any other show currently on air > at the moment.
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I have noticed that people have asked if anyone has this show. I have all 26 episodes that aired in the U.S. and will be willing to share these with anyone interested. All I require is that you supply the VHS tapes or Blank DVD's I have them on both formats and pay for shipping. My email is creator67@pipinternet.net, just send me an email and your request and I will notify you and we can make the arrangements. The quality is very good and they are very enjoyable to watch especially if you have not been able to see them since they aired in the 60's. It was one of my favorite shows as a child and hold a very special place in my heart because it brings back a lot of memories of my childhood as well as other shows like Ultraman and Astroboy.

Peter
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Out of the top 24 lesbian films in my library, I must rate this one as the number one film of all times. This film will go down in history as the best in it's genre. It is a story about a girl (Rachael Stirling) who goes from riches to rags and from rags to riches, with her first love (Keeley Hawes) popping in and out of her life. It is set against a Victorian background in the 1890's, which makes it an ideal setting for some of the best entertainment in the industry. This film spared no expense for music and costumes, and the make-up Rachael and Keeley wore while on stage in the Halls only added to the film's diversity.

No matter what kind of films you favor, I can guarantee this film will not only amaze you, but will keep your attention through all three episodes. This film will be played and enjoyed for decades to come. The unrated DVD collector's version is a must for anyone's library. Rachael Stirling and Keeley Hawes was the best choice for the casting in these two roles, and they played them extremely well.
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It's funny how time went by and never saw this movie...'till last week, when i was like under a spell. I saw it twice in a week and it still wasn't enough. It's a great movie and I will love to see it again. The story is great and it really moved me. I would love to live such a story. The actors are great, the music too and you can dream about your own love story. I just hope that someday I will find the opportunity to learn to dance like Johnny and Baby. I feel like dance connects people and brings them together. I think people should learn to dance...it helps a lot, especially in a relationship. It's great to feel the dance in your blood and in your body.
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positive
Joe Rogan's whole act is profanity laced with bile. He is a pot smoker who entered Fear Factor, thinking it was a joke. He said he would egg people on because he did not know how stupid people were going to be. The producers of the show he explained were going on the premise of playing pranks on unsuspecting contestants to see how far they will go. The level of evil involved is a little twisted. Mr. Rogan's special is just filled with the rants of someone who is too good for regular human beings. I found him to be offensive and his stuff can be heard by more talented comedians such as Eddie Murphy or Chris Rock. Rogan even does a five minute set on the N word. Overall, ignore this special.
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You looking for a comic drama with suspense and an ensemble cast? Well locate this little sleeper. John Lithgow and Billy Bob Thorton are great in this little plot twister. Don't forget the cameo by Jamie Lee Curtis. A touch of the 60's, a touch of "the Prince and the Pauper", and dash of that homegrown gold makes for a greast little story.
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not a Larry Mcmurty masterpiece but it stands on its own as a good western, any of the lonesome doves do. who ever takes on the role of Woodrow call, does a great portrayal in their own style. It's also easy to see that they were looking to use this as a stepping stone to the t.V series (both version of it) and that the writers knew how to keep the flavor alive William Peterson was awesome in this, the geeky C.S.I guy is not the character he plays in this - this guy can do it all it seems

it's deserve to be enjoyed by those who enjoy westerns

4out5 stars
As a bit of a Michael Dudikoff fan I sat down to watch one of his good old-fashioned actioners - I'm still waiting.

The film is based around a group of US commandos trying to get rid of a bunch of Syrian terrorists who have taken over a nuclear reactor. Maddie Reese (Felicity Waterman) was an English member of the commando unit and of course she became romantically involved with Tom Dickson (Dudikoff). I must ask since when have the Brits had female SAS members - as far as I know if they are ever needed they are got from other sources. Even if they did I can pretty much guarantee they wouldn't be as wet as Maddie Reese. I would also think that Tom Dickson would be a little more responsible in his position - or have I lost the plot?! I know there is always the romantic angle in these films as it helps provide the feelgood factor, but does it have to be throughout, especially when there's more important things to be taken into consideration - like nuclear warfare!

The signing of the treaty on the US aircraft carrier intrigued me. The "sacred pen" as carried by one of the supposed TV news crew - are there were no security checks to find out who or what goes on board one of these ships, especially with the calibre of people that was on it. Mind you if there was, I suppose there would be no story.

I could go on, but when it got to "inner body bomb defusion" in order to safely remove a bullet I gave up on the action drama movie bit and enjoyed it for the comedy it actually was.

By the way, would a news reporter really say "Downtown Damascus"??

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I first saw this movie at least thirty years ago, and it remains one of my all-time faves! It's a classic - the intriguing plot, great characters, suspense and shocking twist ending (all set against the backdrop of the gorgeous Monterey/Big Sur coast) never get old. Roy Thinnes portrays Johnny Brant, a captivating character that grows more mysterious as his true identity unfolds. The acting is great and believable; viewers get caught up in the web that develops between the workaholic husband, disenchanted wife and the alluring stranger (Thinnes as Brant). I have searched for a copy to buy for years - I guess TV movies don't get released to video, unfortunately. Great movie, see it if you can find it.
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positive
I just caught "Wild Rebels" on one of the "Mystery Science Theatre 3000" archive compilations, and this movie was so bad even the MST3K crew couldn't make it entertaining. There are some MST3K "targets" that were films whose concepts were so dippy they couldn't possibly have been good movies (like "The Green Slime"), and others whose basic premises could have been made into genuinely entertaining films if their filmmakers hadn't bobbled them in the execution. "Wild Rebels" is a film whose basic premise DID make a good movie three years earlier, when Don Siegel directed his remake of "The Killers" at Universal. Both films are about a failed racing driver who's seduced by a femme fatale into driving the getaway car in a robbery masterminded by the woman's boyfriend -- only in "The Killers" the driver was John Cassavetes, the woman was Angie Dickinson and the criminal mastermind (cast wildly but successfully against type in what turned out to be his final film) was Ronald Reagan. Steve Alaimo, Bobbie Byers and Willie Pastrano are quite a comedown! But what REALLY makes "Wild Rebels" an awful movie is the direction by William Grefé (note the accent over the final "e," present in his on-screen credit), which has absolutely no sense of pace whatsoever and seems to let every shot run at least half again as long as it needs to to make its dramatic point. It's only a pity that someone didn't do a mocking commentary on this movie now (in 2009); the comparison between Steve Alaimo's hairdo and Rod Blagojevich's would have been irresistible!

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A `Wacky Chick' flick. A beauty contestant winds up dead and the Usual Suspects are rounded up. Another entry in the vein of the Texas Cheerleader, this is an average example of its type.

Yasmine Bleeth turns in her usual wholesome girl performance, and Jill Clayburgh does a good job as her stressed-out slightly obsessed mom.

Some mildly funny moments listening to the vapid self-serving PR coming out of contestants' mouths. (`I'd like to own a restaurant so I can give left-over food to the homeless.')

You have to ask yourself what people are using for brains when they think a cheerleader spot or beauty crown is worth killing for!
It looks b grade and you will probably think there is no reason to rent this film! But do! I expected nothing from this movie, just something to pass the time, but I was hooked from the start! Two interesting premises - A bank robbery gone wrong, a million dollars missing and two girls on the road to start a new life - How will these two stories collide? Just when you think you know what direction the movie is headed, it does a 180 and you are left blown away by the great twists in the plot! It has a great but unexpected ending, and you are left wanting more - always a good sign - rent it or even buy it, you will not be disappointed!

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I was very surprised to learn that Goldie Hawn won an Oscar for this film. She seemed very lifeless and completely schooled by the 54(!) year old Bergman in the scenes where they are side by side. If it had been written today, I think that Bergman and the young man Ivan would have wound up together (Ingrid is so much hotter than Goldie...) and the two self-absorbed characters played by Matthau and Hawn would be left out in the cold. But it was written at the end of 60's and feels like Plaza Suite or Barefoot in the Park. However, Matthau's one-liners, Hawn's innocence and Bergman's classy performance make this quite pleasant to watch.
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This film without doubt is one of the worst I have seen. It was so boring that I simply could not wait for it to end. I talked my girlfriend into watching it after this site had good reviews and after even 30 mins in she looked at me as if to say "your nuts" The scenery was as boring as the film with nothing but driving around in the car looking at the wind blowing bits of bush around. The acting was un-inspiring and the film was simply a waste of what have been a good idea into a waste of a dvdr.

Guy Pierce should have stuck to neighbours as at least he washed his hair. All he done was talk on his phone but yet sold nothing as a salesman. He would have been sacked weeks before. His girlfriend (once in Coyote Ugly) should have remained dancing on the bar as at least she looked hot in that.

The guy who played Vincent (those who watched know) was so annoying with his phone calls that any normal person would have drove to his house and hit him with a bit of 4 by 2.

I do not on this earth know what anyone liked about it. I actually want people to watch this to suffer the torture I went through.
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This film tries very hard to be an "action" film, but it fails miserably.

Steve Guttenberg plays the head of an elite counter-terrorist team that fails (?) in attempt to keep a mysterious group from stealing a deadly nerve agent.

The story...the acting...the special effects...ALL FALL FLAT!!!

Definitely A MUST AVOID!!!!
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Once a month, I invite a few friends over for a "Retarded Movie Night". We look forward to movies that are either so bad they're funny or movies that know they don't have a plot and just show a lot of chests. Last night, we were unfortunate enough to have Zombie Planet as one of our movies. The cinematography is on par with what we're used to, but the acting was a different story. The lead role is played by a Johnny Depp/Rob Zombie wanna-be who couldn't get a role in a high school play, let alone a LOW-BUDGET horror film. Our indecisive hero, who couldn't tell whether or not he wanted to be a bad-ass this scene or a whimpering coward was one of the reasons why this was the first movie of 30 that I have ever had to stop early during a Retarded Movie Night. It had the possibility for greatness with a GREAT twist on the standard zombie infection, but they took it an entirely different direction based on Johnny Zombie. I personally would not recommend this to any of my friends. However, it's unfortunate that I already invited a few over last night to suffer through 80% of this movie with me.
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This documentary on dinosaurs was undoubtedly fascinating and very well made. However, I found myself watching many of the bits with unease. The film generally took a rather confident stand on anything it said and showed, but inevitably much of the behaviour of the beasts, their interaction with each other, what they looked like, how they moved, what they ate etc. much of that is surely guessing - sometimes guessing with reasonable confidence, sometimes just wild guessing. But the viewer is never made aware of that, the film pretends to actually observe real dinosaurs and their real behaviour etc. That makes probably better viewing than confronting the audience with mountains of disclaimers, but it makes it just a bit too populist in my estimation.
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Please tell me the sentiment of the following review: This is truly a re-make that should never have gotten out of the stable. It has two casts that are acting in entirely different strata. At the top of their game are Joan Plowright and Maximillian Schell. Every nuance of the Franks is in plain sight. at the rock bottom are Melissa Gilbert and Doris Roberts. I cannot imagine how Schell and Plowright manage to play so well when Gilbert and Roberts are working their anti-magic. Gilbert ruins every scene she's in. It's like Father Knows Best in the Ghetto. She's Ann Frank light. Her run at Helen Keller was thin but not awful. This is sacrilege. Doris Roberts makes Mrs. Van Damm merely annoying. She is a completely inappropriate choice to play the sexually hungry woman whose flirtatious, dissatisfied presence caused so much trouble in het Acherhuis. This needed to be played by a woman who could convince us that she at least remembered what it was like to voluptuous. Her weight is not the problem. Joan Plowright could have played this part beautifully. Roberts was on a career high when this was made, getting lots of press and many opportunities. Her performance here displays her weaknesses as an actress shamefully.

James Coco and Clive Reville, have most of their scenes with Gilbert and Roberts , and , strong though they are, they are completely incapable of undoing the damage done by their partners. Reville is a wily actor capable of the kind of iconic performance given by Ed Wynne in the original film. He gets no support from Gilbert . She drain the color out of every scene. 

I've read with dismay the comments by those of you who grew up watching this version, filled with attachment to these performances. It's a lesson in how the version you see first attachs to you. It makes me reconsider my attachment to some inferior products I loved in my childhood. I encourage you to watch the original. It has very few weak spots and it's head and shoulders above this mess.
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I rented this film for $5 and felt sorry I did it...I wouldn't give a 5c for it if I knew.This is the worse movie ever...None of the filming locations was in former Yugoslavia,map at the beginning what the...???English actors are trying to speak Serbian eg. pretending they are Serbs and they did it terrible bad.My first language is Serbian and I could not understand what they were mumling about.They drove a big jeep in a country where 3 sides (Croats,Serbs and Muslims) are in war and they wrote on it peace 4 Sarajevo???Ha,ha, how stupid was that...Don't know why English are making stupid films about war like this one...or even if they do why they are blaming Serbs for everything,when there was another two sides in a war too.And we all know they were killing too,not just sitting and pretending innocent,so they should at least show the whole truth.This film also Harrison's flowers,Behind enemys lines,The hunting party and few others were total bullshit and that's proved eg The hunting party was biggest loser in 2007/08 spent 20 mil 4 it and they earned 800.000 ha,ha, what a crap...The truth will come out sooner or later.Proud to be Serb!!!
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I went into this movie with very little in terms of expectations. I went with my girlfriend and two friends, and none of them could explain the story of the Grudge 1 to me. Well, if the first one couldn't leave an impression on them to explain the plot, then I doubted this one would be any better.

Let me summarize what the trailers let you know: The Asian lady is back and so is Sarah Michelle Gellar. Luckily for her, she isn't around very long. That decision may have saved her career.

The movie has three story lines, and none of them make sense. And even worse, none of them are developed. You almost start to understand, and then someone dies and the story gets left behind. Okay, killing people could be scary, but I was left more confused over the attempted plot development than I was frightened. They jump back and forth between all three story lines, which aren't related... OR ARE THEY?!?! *SOUND EFFECTTT*~~~ The timing of the three stories are displaced, and you can tell right at the start that the movie is going to have a twist at the end. BE PREPAREDDD. Oh Wait. Sorry, this isn't a Fight Club or Vertigo quality twist, you could see this one coming from miles away. And probably envisioned a MUCH better twist in your head... they should've hired me. Instead of the girl making her "SURPRISING" appearance, maybe it could've been Michael Jackson instead? That part of Scary Movie 4 scared the crap out of me.

The killing sequences were terribly done. Unlike horror movies of the past, where a killer pops out of nowhere, a closet or behind a door for example, and everyone in the theatre jumps (and subsequently the fat guy behind you spills popcorn down your neck)- this lacked any frightening pop ups. They zoomed in on where the random Asian woman or kid would show up, and you knew exactly what was coming. Instead of having the music get really loud, then quiet, then a pop out to psyche you out, the music actually gave you timing for the scary scene. If I know it's coming, it won't scare me.

The movie began with explaining what the "Grudge" is; when a person is killed during a fit of rage, a curse is placed on the location where she was killed. So why does the Asian lady being cursed by her mother have any significance to the story? And why is the grudge now moving countries? This movie was absolutely terrible.

All it did was leave me begrudging my friends for making me go- we should've seen one of those animated Pixar movies. It would've been scarier.
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It was dumb. Sort of like an Adam Sandler movie. 

There were a few funny parts but not that funny.

I liked some of the actors in it though. 

There were some Sat. Night Live people in the movie. But I wouldn't recommend this unless there is just nothing else better on. And it was still better than any Jennifer Lopez movie.
Tipping the Velvet has just three weeks ago been released in the UK and already I watch as countless letters flood to the national papers and TV guides, claiming that it possesses a thin plot, weak performances and an even weaker script.

You find me incensed. This is heresy.

I would really like to dispel all doubt by first congratulating Andrew Davies on enabling Geoffrey Sax to create this wonderful dramatization of Sarah Waters' novel by cushioning him with such a fantastic script. Kudos. But I fear I must now change tack.

I saw one of the premiere TV guides here in the UK (which shall remain nameless) relentlessly describing Tipping the Velvet as a "lesbian love story". If they are, and I assume they are, trying to promote interest in the film, then this is completely the wrong way to go about it (aside from the phrase being a disappointingly inaccurate description). By saying such a thing, they are either a) turning away those who would instinctively be repelled by "that" subject matter or b) attracting a class of people who will only watch to see some "serious girl-on-girl action". Buy a video! Through this display of serious inconsideration, this and other magazines are cheapening what is a brilliant adaptation of one of recent literature's greatest works. Tipping the Velvet is a story of love, of passion, of moving on, of loss, and of heartbreak. It's not a lesbian love story. No siree.

The end result is a stylish affair, with excellent performances all round (particularly from Stirling, Hawes, Chancellor and May). Direction-wise, it's intoxicating and immersive - sometimes, fast-paced, sometimes not - but it never ceases to be anything less than compelling. As a whole, it's polished and well delivered, the sex is undertaken with tenderness and delicacy - and although many will not class it as a real "film", it will remain among my favourites for some time to come.
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This version did not move me as deeply as the later, Hollywood version starring Anthony Hopkins and Debra Winger. While it was beautifully filmed and superbly acted, the BBC version was more packed with dialog that imparted information which I found fascinating. It gave me a detailed glimpse of the intellectual, theological and moral considerations that motivated C. S. Lewis. It was therefore more interesting and stimulating than the Hollywood version, but not nearly as visually stunning or viscerally affecting. Still, while I did not leave a heaping mound of sodden Kleenex in the theater, I did use one, and at frequent intervals. I enjoyed this film every bit as much as the Hollywood version, and was grateful for the increased understanding I gained.
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real love. true love. mad love. beautiful love. ugly love. dirty love. sad love. happy love. silly love. smart love. gorgeous love. dumb love. love love love. minnie moore understands that what she really needs is a man who trust her, trust her and love her madly. of course when this man comes along... she tries to run away but seymour, wonderful seymour, he trusts her, he believes in her so he is going to fight for her against her. i want to be like seymour moskowitz. i want to be that kind of man. a man willing to love without been afraid to fail but willing to fail. that's a kind of hero. that's my kind of hero... and minnie moore is my kind of woman. long live cassavetes and all his lovely bunch!
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positive