cindermond/bento huggingface dataset:
This film was hilarious. It provided a somewhat comical view of the British club scene, which, if you really look at it, is a funny thing. The characters in this flick were so realistic to those of us who watched here at my place that it was like watching a movie about ourselves.

There were a few pivotal scenes which really made this movie work: the getting ready scenes; the "Get me a real doctor" scene; the white background scene showing each character in a total state of being wrecked, ending with the infamous line "what was i saying?" and the comedown-sunup scenes. I have lived these moments myself and found myself laughing hysterically at my own ridiculous behaviour.

I can't give this movie a 10 because it doesn't measure up to Groove, which I thought was out of this world, but it certainly has its moments. The mise-en-scene and the camera work is superb, the special effects are well worth mentioning, and the acting is fantastic.

After waiting a long time to see this film, I am glad to say that I was not disappointed. I hope to see more from the writer/director in the future.

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4 Oscar winners, Karl Malden, Sally Field, Shirley Jones, Michael Caine. Great character actors Telly Savalas and Peter Boyle. 1 hour 54 minutes of sheer tedium, melodrama and horrible acting, a mess of a script, and a sinking feeling of GOOD LORD, WHAT WERE THEY THINKING?

Irwin Allen was just trying to cash in on the popularity of the original classic disaster film with a grade D minus script, the actors were obviously just in it for the paycheck as well,... the horror, the horror!

How insane are the characters that Caine, Savalas, Malden and Field are playing? Go into a potentially deadly sinking ship that's 1. on fire 2. Hot from steam 3. Slippery from water and oil, 4. boilers that are exploding every 5 minutes, etc., all for the love of money? Greed? 5. They have very little equipment, not even a pair of gloves or work boots in sight, much less a grappling hook, rope, etc.

Stupidity!

What were they thinking?

Peter Boyle overacts so much that I just wanted to smack him! Stop it! And what's the deal with the bad toupee? Also, there is no way you can believe his character was a WW2 veteran.

Caine, Field and Malden find all that gold and money and they are happy--whoopee! We're rich! (We may not live to spend it, but hey...)

And yee haw, it's the great character actor Slim Pickens!

Survivors galore! Jack Warden and Shirley Knight, too!

The final dramatic sub plot about that scary plutonium never really went anywhere, it's like they forgot, sort of? Lots of holes in the script.

This film has an illness that the strongest pill couldn't cure. I'm surprised Alan J. Smithee's name wasn't on the script, I'd be embarrassed to have penned this one!

Oh the insanity, Oh The humanity! Oy Vey!

The Horror, The Horror!

It's like a bad two hour TV movie.

At least the sets were made from recycled material from the first movie.

The script needed to be on the compost heap...
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I suppose that in 1997 Hollywood wasn't quite at the point of openly celebrating homosexuality, so one might want to give some credit to those who put this movie together for having shown a little bit of courage. One simply wishes that credit could be given them for having put together a really good movie, and in my opinion "In & Out" doesn't qualify on that count. It's the story of Howard Brackett (Kevin Kline) - a small town high school English teacher who on the eve of his wedding is outed by a former student who happens to win an Oscar and who then has to go through what can only be described as a period of self-discovery as he comes to terms with being homosexual. To me, that was the first problem with this movie. Howard didn't really have to turn out to be gay. The movie would have been funnier (and perhaps even more thought provoking) had Brackett remained defiantly straight in spite of the stereotypically gay aspects to his life and the town's belief after the Oscar speech that he was gay. (In fact, I thought that identifying him as gay given the presence of those stereotypes might actually have been rather insulting to the gay community, as well as to straight men who like poetry and believe in dressing neatly!) 

Kline was decent enough in the role, and largely carried the film. Aside from him, most of the other cast members (although fine actors) were people not really noted for their success on the big screen. Folks like Tom Selleck and Wilford Brimley and Bob Newhart are good actors but not big movie stars. I actually thought that the funniest (if very small) role in the movie was that of the super model Sonya, played by an actress named Shalom Harlow (Speaking of stereotypes, I loved her oh-so stereotypical model line "I promised to do that photo shoot this afternoon. I have to shower and vomit!") In the end, what really turned me off about this movie was the ridiculous ending, starting with the graduation ceremony (and, to be honest, even if someone decided that the graduation was really necessary, the movie should have ended there, rather than proceeding on with the totally unnecessary nuptials at the end.) 

Basically, I got a few chuckles out of this but nothing more. 3/10
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I pride myself in being able to sit through everything. I think "if I've paid the rental fee, then I'm going to at least watch it". I have found the exception to this rule- The Planet. I don't know what the exchange rate is, but reading through the other comments I can only guess that £8000 must be around $150. I'll date myself but this movie reminds me of the old Steve Reeves movies of the 50's. He was a bodybuilder turned actor. He was in these really awful Italian, dubbed movies that starred Reeves as Hercules or some other muscle bound hero. As a kid watching them you couldn't quite articulate why these movies stunk- you just knew they did. Mike Mitchell IS the new Steve Reeves. That's it.. that's what this really was- a new telling of an old Italian "Spaghetti Sand and Sandals" movie. And, I kid you not- where was Reeves born? Glasgow, Montana. This movie isn't so bad that it's kind of fun to watch- it's just plain bad.
All that talent.....but when ya have poor direction, and a WEAK screenplay, it doesnt matter WHO is in a movie. Very tired attempt at telling a tale..which was actually interesting in the beginning, but then QUICKLY fell apart toward the end....to bad.

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If pulp fiction and Get shorty didn't exist this might be an OK film.When i say this i mean that nothing from this film is it's own unless it's another bit of terrible dialogue or a cliché full scene.All the lines like 'i won't say more than i have to if that' from Get shorty seem to appear in this rubbish sequel, all the cameos like Steven Tyler's are acted terribly and are not needed and as for Christina Milian, man, don't get me started.Sadly some of the coolest actors and actresses like John Travolta and Uma Thurman seem like they are trying to be down with the kids and hip and have nearly ruined there reputation because of this film and frankly i think the best acting is from The rock who plays alongside one of my least favourite actors, Vince Vaughn.The man tries to be funny throughout with him taking the mickey of how apparently rappers talk.Cedric the entertainer and Andre 3000 play another terrible double act {i personally think the background actors were better than Cedric and Andre} and the only funny part of the acting of Cedric,Andre and the rest of there gang do is the way there trousers are down to there knees so you can clearly see there boxers and the only reason i find this funny is because lots of people actually do that.So in conclusion this film tries to be funny and fails miserably, it doesn't have any new material, comedy or coolness throughout as it copies every other film and finally the only reason you should see it is if you want to compare how bad it is to it's brilliant predecessor Get shorty.Oh yes i forgot to mention there is a BIG cliché at the end.

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This is pure CRAP, and probably the worst Biblical theme film ever... Absolutely inaccurate, I mean, they've put Sodom and Gomora BEFORE the great flood. They've described Lot as a friend of Noah although he lived after Noah. To make things worse, later Lot became a pirate and attacks Noah's Ark during the flood!!!??? And what's with the merchant who comes along on a boat which is moved over the water with a bicycle mechanism??? And exchanges alcohol for a food and water, and then Noah is portrayed as alcoholic!? Mockery, and continuous blasphemies one after another, and it goes on and on, and on... Film maker and all participants surely secured themselves the front row in hell with this garbage...

Please stay off this crap, because you will save yourself nearly three hours of your life.
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We saw La Spettatrice at the Syracuse International Film & Video Festival & liked it.

This film delved into the fear we all have. Fear of rejection, fear of intimacy and most importantly fear of our own inadequacies.

The three lead actors, Barbora Bobulova as Valeria, Brigitte Catillon as Flavia, Andrea Renzi as Massimo are match well to their roles and are excellent. It was a joy to witness the dynamic between the three of them as it seemed real.

I believe Barbora Bobulova is a stand out. I hope we see much more of her in the coming years.

This film doesn't take the easy way out. Thumbs up to the Italian team who put this film together. Highly recommended.
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It's just that. Chucky 1 was good. Chucky 2 was better. Chucky 3 sucked. Now, the 4th in the series which is, in my opinion, the best out of the series. Jennifer Tilly was just great in this movie. For dolls, they were better than a few actors that come to mind (Freddie Prince Jr, for one) and funnier than many comedies I've seen in the past.

The plot wasn't great, but I really didn't care about it. Just to see Chucky and Tiffany bicker and fight each other. And the ending leaves it wide open for a 5th sequel (which I hear is in the works). Idle Hands premiers next week and looks to be another horror/comedy, but I doubt it'll top this one.
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Weird with unnecessary singing and backdrops. Randomly much of the action will occur on stage giving the feeling of an opera performance. None of that explains why this is such a bad film.

It's the impression that either not enough rehearsal took place or that no experienced choreographer was available. The acting is flat. Even the sparkling Ziyi Zhang looks like she's just waiting for her next movement or line. You may notice the trivia on this site stating that she spent half a month in Japan learning to sign and dance. Read that again as 2 weeks and things begin to make sense. Even worse are the little kids who seem to be looking at their parents at the back of the studio rather than at the camera.

The cheap and cheerful sfx are just cheap and cheap. The editing is staccato chops peppered with slices of just nothing that adds to anything except annoyance. Just imagine all the silly dance scenes from the recent Zatoichi - particularly the closing routine - performed by your local high school drama club with one famous actress who speaks in another language (but you get her in simply because she's so good normally despite being unsuitable), recorded on a cheap camera and then edited into three times its length in no artful order.
It seems that some viewers assume that the only thing which can make the viewer dislike this movie is the graphic violence. In fact violence, both disturbing and cartoonish, is the last of "Oldboy"'s deep flaws. The characters are unidimensional, underdeveloped, primitive. The "intensity", an obsession and a goal in itself with this director, is served up with the cheapest of means. Let's not confuse a mindless shot of adrenaline with artistic worth. By the end of the movie, it seems that all the cards were exhausted so the script becomes almost inadvertently funny in its efforts to find new levels of "horror", to continue to "shock" an audience which is already numbed by the plethora of dumb soap-opera "revelations" already served up in big bunches. It would be hard to imagine anybody even vaguely familiar with the masterpieces of the last fifty years of Asian cinema being enthralled by this pompous piece of trash. Imagine Homer Simpson hesitating in front of the cinema theater: "should I go in or should I buy five cones of ice-cream for the same money?" Be smart, Homer, go for the ice-cream.
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Footprints is a very interesting movie that is somewhat difficult to categorize. "Psychological thriller" is the most appropriate description I can think of. The female protagonist, Alice Cespi, discovers that she doesn't remember anything of the last three days. The only clue she has is a torn photo of a hotel. She is also haunted by a recurring, very vivid, dream about a science fiction movie that she believes she saw many years ago. In her pursuit of the truth behind her amnesia she doesn't trust anyone, but little by little it becomes obvious that she has visited the town where the hotel is located before. This is an exciting flick whose main virtue is that it is virtually impossible to predict how the events will unfold, and particularly, how it will end. The unusual loneliness of the main character and the unreliability of everyone else ensure that the good old paranoid feeling is present throughout the film, whereas beautiful colors and some spectacularly filmed sequences make this a visually attractive movie as well. The important part of the one and only Nicoletta Elmi, everyone's all time favorite redheaded obnoxious child star of Italian horror, is an extra bonus.
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Please tell me the sentiment of the following review: Honestly, people who gave this movie a ten would have given 100 for pulp fiction. This is the level that we are dealing with here.

The movie isn't bad but no way is it like "OMG, the best movie since Pulp Fiction!". Some people have incredibly low expectations for movies, even those of indie variety. Personally, I found my interest in the movie waned after the half-hour mark. The plot defies logic and belief. You have got to hear the part about why the wife did what she did in order "to save her husband". Yeah, right. I guarantee that you would walk out of the theatre thinking, "hmm, now that doesn't make sense at all." This is one movie in which you really need to suspend all logic and belief.

Those who said that the music score is good were probably listening to their MP3 players. It absolutely killed the movie in some parts.

In conclusion, watch the movie only if you have nothing particular important to do. I give this a three because there is one long sex sequence in the motel which is decent.
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I've read that Paolo Sorrintino's inspiration for The Consequences of Love came from simply observing a businessman alone in a Brazilian hotel, and speculating what he might be doing there. The film unfolds to us in a similar way. We view the existence of Titta who has lived alone in a hotel in Switzerland for 8 years. He is secretive and avoids friendship. His life is dominated by order and regularly. Gradually, the truth of his existence is revealed to us until, finally, his world begins to fall apart.

The mystery of Titta is central to The Consequences of Love and it works thanks in large part to the superb performance by Toni Servillo. His character becomes all the more intriguing to us as little details are revealed - that he injects heroin once a week, that he has no imagination. Although some here criticise the dialogue for not being naturalistic, that doesn't matter in my view - this is not that sort of film, and I think the script is great. The camera work is also excellent.

If you have to criticise, the film does lose its way a in the later scenes as the mystery of Titta's existence is revealed to us, and as his world begins to fall apart. However, the tragic final scenes are every bit as good as the earlier build-up.
Please tell me the sentiment of the following review: Saboteur was one of the few Hitchcocks I had yet to discover and I was less than half-overwhelmed. The French title "La Cinquième colonne" (i.e. The Fifth Column, a very evocative phrase for underground spying and sabotage organizations) set my expectations quite high as did the images of the finale on top of the Statue of Liberty.

Basically Saboteur is as much light-hearted as were The 39 steps (note this is another evocative phrase, even McGuffin as a title) but it lacks most of the humor (so the characters are rather down to earth) and it's definitely not as fast paced. As a chase movie across the USA from LA to NY Saboteur drags its feet from sequence to sequence. The sequence at the villain's lovely ranch? Lovely ranch, lovely villain but pretty tame on the whole, it doesn't really add up to nothing. The meeting with the blind man, the mixing with Circus people, the Soda City sequence, the NY ball sequence? They fall flat, bringing in more characters with very little added suspense value.

One big problem I can point out is the relationship between the leads Robert Cummings and Priscilla Lane which is not building up as with Robert Donat and Madeleine Caroll in The 39 steps. Hence the whole narrative structure is floating, depending on the addition of new scenes. And new scenes only bring us nearer the end since it's not clear if the hook is the hero's escape from the police, from the villains or his action to stop the plotted sabotages. In The 39 steps it was clearly scripted as 1/escaping from the police (so you know the hero can't just go to the police) then 2/running for his life and after the villains to prove his innocence.

If you want a better Hitchcock from the 40s wartime propaganda I would advise you to chose Foreign Correspondant over Saboteur. They are both chase movies with a catchy finale, well really a gripping one and not just sightseeing in Foreign Correspondant as well as beautifully efficient scenes (the umbrella crowd, the tulip fields, the strange mills...).
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Coltrane and Idle are members of a bank robbery gang who double cross their leader during a robbery. They hide out in a nunnery school and disguise themselves appropriately to avoid detection from the mob and the police. Alot of catholic humor and slapstick but the script is kinda thin as are the laughs.. There is a GOOD shower scene though... on a scale of one to ten..4
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This movie is everything but the true story of Phoolan Devi. Director Shekhar Kapoor's claims are countered by the fact that he made the entire movie without even once meeting Phoolan Devi, on whose life this movie is supposed to be based! The excuse being that meeting the woman would have interfered with director's conception of the story! The film wastes the opportunity of sensitizing the society of the plight of low-caste women in the Indian society and ends up as a stereotype portraying Phoolan Devi as an angry woman whose sole motivation is revenge. No wonder, this Shekhar Kapoor's film was successful in the west as it catered to their non-bollywood tastes!
As a film buff, I obviously had read all the excruciating reviews and funny, sarcastic comments about this film (my favourite being Woody Allen's quip "If I had my life to live over again I wouldn't change anything ... except for seeing the musical remake of Lost Horizon"). Therefore I've never been able to watch it without smirking at the choreography/set/songs etc. Just recently I came across a widescreen DVD and watched it for the first time in years, along with a friend who had never heard of the film's reputation. HE really enjoyed it, and - after trying to block out all the negative prejudices I obviously had about the film - so did I. There is nothing especially bad about Lost Horizon, and it is far more enjoyable and watchable than many other early 1970's movies. It isn't even especially camp. The lyrics to some of the songs are rather repetitive and simplistic, but this isn't really apparent when hearing them for the first time or having the flaws pointed out in advance so you are ready to scoff at them. As for all the reviewers who claimed the cast cannot sing in tune, this criticism falls apart since Liv Ullmann, Olivia Hussey and Peter Finch were dubbed (brilliantly too, as the vocals match their speaking voices perfectly), and Sally Kellerman has a really lovely and totally unique singing style. Vocally, Kellerman's duet with Olivia Hussey on "The Things I Will Not Miss" is excellent. Special mention should be made of the legendary Hollywood star Charles Boyer's brilliant performance as the High Lama - and his comments about mankind destroying itself are chillingly apt to today's fractured world. I wouldn't claim for a second that Lost Horizon is a masterpiece (The things I wouldn't miss about it are the uninspired choreography, and Bobby Van's "Question Me An Answer" number, which could easily have been cut), but if you haven't even seen Lost Horizon, or haven't seen it for some time, try watching without that "Oh boy, let's have a laugh at this pile of junk" attitude, and you will be surprised at how enjoyable it actually is.
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Most of the Brigitte Bardot movies I've seen have failed to take full advantage of her captivating screen presence. Unfortunately, she was given few really good roles in movies of undeniable quality, which was a real oversight. She deserved them and was able to demonstrate her full cinematic power when they came her way. As Genevieve in "Love on a Pillow" we had a clear exception to the trend of light, fluffy vehicles, for it was an interesting, artistic film by any reasonable measure, and in it, a 28-year-old BB was at her most alluring. "Une Parisienne" is another, featuring an extremely captivating Brigitte in an interesting, well-crafted comedy that explores how an ambitious lady's man can be convinced to remain faithful to an incredibly beautiful young wife. There are several good performances here. Her playboy husband, Michel, is one, "the prince," played by Charles Boyer, is another, with entertaining efforts by a good supporting cast. As for Brigitte Bardot, the way she looks in this movie is the way I remember her as a kid in the fifties. She was 23 in 1957 and way ahead of her time, more beautiful than any other actress of the period, including Marilyn Monroe. Her curvy, coquettish sexuality, amply displayed in several bosom-baring, skintight dresses, simply jumps off the screen. She was more hip and cute than the women of America are today, nearly fifty years later. Obsessed with their careers and still desperately clinging to feminist politics, they come off like a bunch of clueless lesbians. In stark contrast, the sex kitten was sexually liberated, intelligent, and clearly independent long before it was fashionable, yet while fully understanding the power of her exceptional femininity, she used it for a higher purpose than mere self-interest -- she believed in love. A still photo simply could not do her justice. You had to watch her slender yet voluptuous form (with its 20-inch waist) lightly cross a room. You had to see that wild blonde mane, gaze into her big, brown, seductive eyes, and listen as her full, pouting lips spoke French. In a closeup at the end of this movie she winks and flirts with the camera, her beautiful orbs twinkling. What a babe! For fans of Brigitte Bardot, "Une Parisienne" is not to be missed.

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A family is traveling through the mid West. There's widower Ben (Charles Bateman), his girlfriend Nicky (Ahna Capri) and Ben's little daughter K.T. (Geri Reischl). Then hit a town named Hillsboro where everyone acts more than a little strangely. Their car breaks down and they're forced to stay. They soon find out a witches coven has a spell over the town and is up to incredible evil.

The story is not that good. People just figure things out of nothing and they just happen to find out where the witches are at the end. Also there are a lot of loopholes left dangling at the end. The acting is pretty poor too. Bateman and Capri are bland and everybody else is about the same. Only old pros Strother Martin and L.Q. Jones give good performances. Still this movie does work. It forgoes blood and gore (there's some but this is PG) and manges to work with some very creepy visuals and atmosphere. The acting hampers a lot of it but it still works. Martin especially chews the scenery in his role. I can't explain exactly why I (sort of) like this movie but it did work on me. It's a quiet kind of horror that isn't made anymore. Hardly a masterwork but this deserves to be rediscovered. A 7.
I saw this movie many years ago, and just for kicks decided to rent it and watch it again. The plot is a carbon copy from Fright Night. I did like the hairy vampire and the bug eating driver. Otherwise it was not good at all.
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For one used to the comedies on television now- whether sketch, sitcom or animated, it's nice to watch something truly refreshing.

The Chaser has to be the best comedy of this decade, Seinfeld being the last's triumph. It follows the hosts urban crusades to fix situations, do 'ad road tests' and try to get the facts from our politicians the good old fashioned way.

Despite being very controversial at times, the shows excellent quality, from the well made and truly funny opening credits to the sketch style investigations (sketch style only in time, they are not scripted, at least, not the ones at the other end of the joke) is certainly worth watching. Even the most cynical and intellectual viewer won't be disappointed, and the show deserves ten stars.

All in all, well done to the ABC for showing this and i recommend it highly.

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Please tell me the sentiment of the following review: This is one of those films you can have on for a couple of hours on a Sunday morning -- able to do other things with no real complications in losing any understanding of the proceedings, and gaining some fascination in wondering why such mediocrities acquired the manpower and financial resources to be produced in the first place.

Of course, with all the cable channels, as well as Lifetime's need to fill its time slots with 100 or so hours worth of movies per week (along with incessant "Golden Girls" reruns), this type of fare is now a t.v. staple. Also, it seems these flicks provide livelihood to the Canadian locales where most are made, as well as the host of Canadian actors appearing in them.

Tori Spelling, like the ferret-face Paris Hilton, is somebody who - if not for family connections and resources - would likely be working at The Gap. But at least Tori has become, say, a C+-level thespian, appearing in occasional presentations appropriate to this level.

This story is one which has been seen on Lifetime and similar venues God-knows-how-many times. Devious woman, a total sociopath, trying to screw-up everyone else's lives, operating during the initial parts of the story with more cleverness than a CIA operative could muster, committing murder when necessary, and out to wreck the life of the flick's "heroine."

As usual, the male lead is a completely clueless dolt. And in these types of films, one finds, say, characters about whom one can really "care," about 10% of the time. This one is in the other 90%.
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Now we know where they got the idea of Snakes on a Plane. To put it bluntly, do not pay to see this movie. If you really want to waste 90 minutes of your life, then either catch it on cable, or get it as a free pick from NetFlix or Blockbuster. Do not pay to rent this. If you do pay to rent this, then you are one stupid individual. The acting was awful, the plot was awful, everything was awful except for the snakes. Whether they were real or CGI generated, they did look pretty good. But that being said, still this movie has to be one of the worst movies I have ever seen. Even the nude dancing scene was pretty bad that I actually fast forwarded through that. Don't sat I did not warn you.
This show drives me crazy. It goes against everything a family should be, even if it is intended to be a comedy. The show is suppose to follow Dave and Vicky Gold (Michael Rapaport and Anita Barone) as they raise their three teenage children: Hilary, Larry, and Mike. A good premises for a comedy yes but it does not mean it will be a good show.

I don't think I've ever heard cruder talk from parents to children and vice versa. The only talk that seems to be in the show is control of children by the parents and sex. I know that sexual intercourse is usually a subject talked about by teenagers often but it is brought up in nearly every episode with no point to it. The one episode I was just watching involved the parents giving their daughter, Hilary a car, not once do you think they are related in anyway by the way they talk to each other and how the parents talk about how Hilary is like "their slave."

The show fails on the comedy level the most. I haven't laughed at this show once in the numerous times I have attempted to watch it, and I'm a person who gave such films as Animal House and Dumb and Dumber very high marks. Michael Rapaport is a very good actor and why he choose to ruin his career by making this piece of filth show is beyond me. 

Parents, make sure your children never and I mean never watch this. Teenagers, you'll probably get a laugh out of this just for the blatant sexual references but nothing comes out of it and afterwards you feel rather empty. 

1 1/2/ 5 Stars.

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This picture was released in May of 1979 starring Playboy Playmate Susan Kiger as Honey Shayne, Playboy Playmate Lisa London as O'Hara and Playboy Playmate Pamela Jean Bryant as Terri Lynn. In one of the most delicious sec comedies in drive-in history a bevy of bouncing young lovelies all come together in a tale of battling bikinied sorority sisters who will stop at nothing to bare everything. So what does H.O.T.S really stand for? You're going to have to watch the movie to get the answer. You see, the girls are having there problems with the society girls on campus that make them out to be nothing but sex craved maniacs. Therefore, the girls set out to discredit the society girls no matter what they have to do to get the job done. In addition, cut up in this mess is the Dean of the college who wants to dismantle the group of girls before they grow out of control. I loved this movie especially Lisa London. I thought her acting was fantastic and I'm disappointed that she didn't get other acting jobs. Based on the three playmates alone I give this movie 10 weasel stars.
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This is one of the most horrible 'scary' movies I've seen for awhile. I had to wonder if John Ryhs-Davies was just bored and wanted a distraction to do this movie. Th Chupacabra looked like a cross between the Sleetaks from Land of the Lost and the Creature from the Black Lagoon. Additionally they should have used someone who was a bit smaller as the Chupacabra of legend is much smaller. All in all however the movie was soo bad it was funny. Why couldn't bullets and electrocution stop the Chupacabra but the captain's kick-boxing daughter do OK?? Watch if you are sick at home or feeling down and need a good laugh.
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How do you describe perfection? In-the-Mood-For-Love! Maggie Cheung and Tony Leong practically dance on the screen and give stellar performances that stay with you hours after you've left the theatre. Every scene in the film resonates with the powerful combination of superb cinematography and shot selection, top-notch acting, and the sensual soundtrack. Nat King Cole singing in French absolutely sets the tone for the whole movie. Maggie and Tony look marvelous, with Maggie slinking about in some truly glorious cheongsams and Tony always looking dapper. I've seen this movie several times already, and everytime I see it I find something new to rave about. Love it!
Beware My Lovely originated from a play written by Mel Dinelli who apparently liked writing about frightened women. His first and best effort was the screenplay for The Spiral Staircase. He also did a Loretta Young suspense thriller Cause For Alarm a couple of years earlier. The play Dinelli wrote was originally entitled The Man and it ran for 92 performances on Broadway during the 1950 season. It was Dinelli's only effort on Broadway and it starred Dorothy Gish and Richard Boone. 

The roles that Gish and Boone played are taken by Ida Lupino and Robert Ryan. For whatever reason RKO thought to eliminate the age difference. Dinelli himself rewrote his play for the screen so I'm wondering what he thought about that. Certainly the frailty issue was eliminated completely from the story.

That wasn't the only thing that was eliminated. The people are all wearing period clothing from around World War I yet there's no reference at all to the time this story takes place in. I thought that strange and later on when the telephone company repairman comes to Ida Lupino's residence, I noticed his truck was a vintage one of the same era.

The film is almost entirely set within Ida Lupino's home where she's hired an itinerant stranger in Robert Ryan as a handyman. The film is a great object lesson in not hiring strangers without reference. It turns out that Ryan is a schizophrenic who imprisons Lupino in her home for about a day.

Both the leads do fine jobs even with the changes made. Films like Beware My Lovely are the stuff that a small studio like RKO did best. If this were done at MGM or Paramount the glossy trappings would have overwhelmed a solid story.
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Please tell me the sentiment of the following review: I can't remember the worst film I have watched.Total waste of actors and audience time.If you prefer sitting by your TV and think when will be this film over,then this is the right film for you.Maybe this film is recorded to make people believe that Moscow has some mystique past. But I must say I have not expect anything else from Rade Serbedzija,but I have expected more from Vincent Gallo.The film lacks a plot, character,development,denouement.Entire movie is about underground tunnels and how they are mystique.I must be fair there is some camera effect but even that is too poor.Over and over are the same pictures.Total waste of time.
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Even if Ryan wasn't such of an annoying person, this would still be bad, i said even if, where do we begin? "directors log" You will have the urge to snatch his tape recorder and pound it with a hammer or punt it into a lake, a haunted lake of course. Oh how i wish "dead time" was more literal as opposed to what they refer to it as, but alas, no death, maybe a pillow out of place or a "humming noise" oh wait thats the cat. I actually expected to see some sort of evidence or at least something to verify their escapades, don't worry you wont see anything you that you would not see on a normal day.

An entire season and what do they have to show for it, um nothing. No in fact they have less than nothing, they have a waste of time. They took my challenge, the do something for the paranormal challenge. Now in this you actually do something for the paranormal, you could say go on camera and say "i love the paranormal so much I'll draw stick figures of ghosts" or " I love the paranormal so much I'll film hot co-eds pretending to be ghost hunters" you would be wasting film, but wasting it for the paranormal. Or you could say "I'll mess with a demon" but don't say it's name you might get hurt, and you know god doesn't like that, that would be quite a thing for god but he wouldn't like that so don't do that. So i asked them to waste time for the paranormal and they followed suit, they went into an old building looking for "mothman", it was a waste of time, it made no real difference at all, it had no effect, we learned nothing new, it was a waste of time and film.

There amazing detective work is just so uncanny, "well we found your problem" a cat died here so were going to psychically communicate with that cat and tell it to move on, kind of throw some catnip at it, and it'll be OK......directors log...." Captain log star date 541.2 ...oh i mean " directors log, i just brought on a few new investigators, a couple 8's and 9's but this chic is a 10....um yeah....we have a new case... strange things happening.... .......focusing on one of the children.....were going to investigate.." Now we will bring is a psychic, we haven't told them anything this is TV trust us,
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I saw this film at the 2001 Toronto International Film Festival. La Pianiste reinforces the "Austrians=grim" thesis I'm formulating. Isabelle Huppert won a well-deserved Best Actress award at Cannes for her portrayal of a woman who, in her efforts to attain the artistic ideal, loses her humanity. Trapped by her talent, she suppresses her emotions and her sexuality until they can only be expressed in twisted and terrifying ways. When a younger student falls in love with her, our hopes rise, but are soon dashed by the realization that she cannot experience love the way others can. It is too late for her, and the film's final 30 harrowing minutes are, tellingly, devoid of the beautiful music that carried the first 90 minutes. The message seems to be that the music itself is not enough without the life and beauty it's describing.
It's fun to watch a young James Cagney doing his thing. He plays the cheapskate Weights and Measures guy who takes his job very seriously, stepping on the toes of a group of crooked politicians. He is offered the world, but keeps his integrity. He is beaten and set up, but that's the problem. We never know if he is really in danger. They say he's in a spot, but still seems to have carte blanche to move around and do what he needs to do. At times he's so cocky he doesn't do much to protect himself. His allies are in the police department but just about everything else is pretty corrupt. He perseveres (almost too good to be true), of course, and we pull for him. The problem for me is a lack of sustained suspense. It would have been much better if he had had to clear his name. He never drops into the depths, even when rejected by his wife to be. It's still fun with the bad guys kind of imploding. See it just to watch Cagney do his tough guy posturing.

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After viewing this movie, lets say, around 8 times, the story line has never bored me. Each character has their own distinct personality and their own views of "love". This movie has timeless, almost realistic, love lessons. Filled with philosophies on love, a jazzy soundtrack, and great actors is why I would call it a classic.
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Yes, this film is another remake. Yes, this film can be considered a chick-flick. And yes, this film is not perfect. The Women is however a clever modern update on the social behaviors of all women, with an impressive cast of A-listers including Meg Ryan, Debra Messing, Annette Benning and Bette Midler.

The film revolves around four main characters, Mary (Ryan), her best friend, editor-in-chief, Sylvie (Benning), Alex (Jada Pinkett-Smith) and Edie (Debra Messing) and the out-of-this-world female creature who is responsible for most of the film's drama,named Crystal (Eva Mendez). Mary is trying to deal with her cheating husband (who's never actually seen in the film), by following the advice of both her friends and her mother (Candice Bergen).

Aside from Mary, there's Sylvie who's torn between her social life and her professional life. She has decisions to make that test her moral and ethic values. Then there's writer Alex who's a lesbian, with a lot of spunk, but knows her way with words. And finally Edie with four girls and another baby on the way, who loves children and has a heart of gold, with a hidden secret revealed at the end.

Together the women live for revenge, rely on each other, and give each other life lessons. But it's the cameos by Bette Midler, Candice Bergen, Cloris Leachman, Carrie Fisher, and Debi Mazar, that show the cruel and usual behavior of women. Bergen plays Ryan's mother, she's tough, silver-tongued, experienced, and yet feels she could have become what her daughter does later. There's Fisher who shows how to blackmail and test the boundaries of selfishness, morals, and betrayal. Mazar, the gossip girl, that shows no mercy for what she says and whom she says it to. Leachman who plays Ryan's sassy housekeeper, she knows her place, when and where she's needed, and how to deliver a good one-liner. Finally there's MIdler, who plays Leah Miller, a crazy eclectic but wise Hollywood agent. She's the one character who gives Ryan's Mary an epiphany on who she truly is by discovering "what do I want." Despite Midler's scene stealing performance and memorable quotes, she was underused.

But back to the film, together the women show the audience what it means to live in the 21st century without knowing exactly what you want until the time comes when you answer that very own question. It tackles feminism, what it means to be a woman (fierce, ruthless, bad-ass, tacky, smart, sly, clever, shy, proud, ashame, self-conscious, careless, beautiful, strong, independent); and also what it is that women want, why are women the way they are. It's funny, modern and by all means not a masterpiece. But the Bottom line is, it's worth the money and time to see veteran and younger actresses teach us all about women.
A plane carrying a rich scientist's daughter goes down in thick wilderness. He assembles a group to go and find her and the others, but the rescue party soon suspects that something is stalking them. Then ulterior motives for the expedition are revealed and that only adds to the already existing tension.

The movie is a decent idea and a take on the popular Sasquatch legend was bound to wind up on film sooner or later. However, the film's direction breaks a fundamental rule of horror/thriller directing and that is showing too much too soon. Of course the audience knows there is something stalking the characters, just read the title! But showing what should have been the film's kicker that early just ruins most of the suspense and, as a direct result, much of the fun. The film also lacks a good atmosphere and there are almost no landscape shots that show the expanse of the wilderness, but there are plenty monster point-of-view shots that add nothing to anything. They actually knock off 'Predator' quite shamelessly. The low-budget horror film 'Wendigo' did what this film tries to do much better.

Some of the character tensions and a non-cliché ending manage to make up for this rise above the crap pile, but it is still poor and given the premise and potential, very disappointing. --- 4/10

Rated R for some violence and profanity, but it's pretty tame compared to most R-rated horror.

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Please tell me the sentiment of the following review: It was probably watching this TV movie that got me interested in the debate as to whether "Anna" was really Tsar Nicholas's daughter Anastasia. Since seeing it I have made a point of watching various documentaries and also bought a book. Despite the evidence that has been discovered since the film was released, I sometimes still think she was. Such is the power of Amy Irving's acting in this 2-parter which is somewhat liberal with the historical facts, but packed to the brim with tear-jerking drama and Irving's totally convincing performance.

I was not consciously aware of Irving before this, though I must have seen her without realizing it in "Carrie" (another favourite film). In "Anasasia", I never felt for one moment that "it's only a film". For me this woman WAS Anastasia, and when part one ended with her in the railway carriage meeting members of the royal family, I knew that come hell or high water I had to see the second part. I just wanted to see how she would prove that she was who she claimed to be, and as the story progressed I felt an intense hatred of Rex Harrison's character, though I greatly admire him as an actor.

When I saw the movie listed again in the TV guide, I convinced my Mother that we should watch it, and afterward she thanked me for doing so, being almost as keen as I had been to watch part 2. Then I bought the video and can totally recommend it. "Anastasia" is one of those rare TV movies that you simply must watch for the sheer enjoyment of watching the finest acting I have ever seen on TV, and it doesn't really matter whether you believe the legend or not.
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Please tell me the sentiment of the following review: This is an embarrassing nth rehashing of the same plot in the nth bunch-of-idiots-young-adult-in-peril-because-they-are-idiots slasher movie of the early millennium: this time we get the story of a crazy miner who comes back from the dead to retake his gold from the hands of the usurpers. We have almost no thrills, almost no bare flesh (even if the girls are really hot only one of them goes showing her bare ass for a few seconds), the usual bunch of sunset boulevard horror stars in cameo roles (this time Karen Black, Richard Lynch, John Philip Law, Jeff Conaway), lots of fake blood, only the crazy miner resurrected as a zombie is cool enough to leave you stuck - well not exactly - to the screen till the end. Don't waste your time if you are not a completist.
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The Karen Carpenter Story shows a little more about singer Karen Carpenter's complex life. Though it fails in giving accurate facts, and details.

Cynthia Gibb (portrays Karen) was not a fine election. She is a good actress , but plays a very naive and sort of dumb Karen Carpenter. I think that the role needed a stronger character. Someone with a stronger personality.

Louise Fletcher role as Agnes Carpenter is terrific, she does a great job as Karen's mother.

It has great songs, which could have been included in a soundtrack album. Unfortunately they weren't, though this movie was on the top of the ratings in USA and other several countries
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