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Generate a movie review with positive sentiment.

This film is chock-full of little surprises, many of them funny. The fact that it's written and directed by a 24-year old blows my mind. Some of the scenes where the high school kids are using ecstasy made me very uncomfortable because I have a kid that age and I could picture her using it. As parent of a teen, I found the depictions of the parent-child interactions to be dead-on accurate.

I enjoyed the film's many little jokes, and I enjoyed the fact that not everything made perfect sense and not all the issues were resolved by the end. To paraphrase Mark Twain, truth is stranger than fiction, because fiction is required to stick to that which is possible, while truth is not.

This is a film which plays with the viewer, allowing us believe that people are what other people think they are, only to allow us later to realize that the folks we assumed were right were completely ignorant of the real situation. One of the film's strongest scenes, a scene about which we feel very relieved and sympathetic about what the character is doing, turns out to be based on a completely wrong assumption, and the character, while admirable, is totally wrong. It's very subtly done, I think. Very realistic.

I liked the score a lot -- I thought it really aided the film, really helped set the mood -- the film has a couple of screwball moments, and the background music helps establish that.

The valedictorian speech is a hoot and a half -- got a big laugh! The movie is really in my head right now -- saw it this morning. Will try to see it again, time allowing. Tens are hard to come by, but a solid nine in my book.
Musical bios are all cut of the same cloth. Hopeful struggles, succeeds and finally wins the girl, but this one - a life of Irish tenor, Chauncey Olcott/Jack Chancellor - has more going for it than the usual trappings. It has great charm and great sincerity and is played beautifully by all concerned. Dennis Morgan is fine in the lead as is Arlene Dahl as his love interest. Andrea King's supporting performance as Lillian Russell is far better than Alice Faye's leading bio performance in the film dedicated to her career. William Frawley is touching as the aging tenor champion, William Scanlon, and Sara Allgood is lovely as Olcott's mother. George Tobias, Ben Blue and Alan Hale lend good support. There are over 25 songs (a true treasure chest): Come Down My Evening Star; My Nellie's Blue Eyes; You Tell Me Your Dream; Wait Till The Sun Shines, Nellie; Will You Love Me In December?; By The Light Of The Silvery Moon; Minstrel Days; Polly Wolly Doodle; The Natchez and the Robert E. Lee; Miss Lindy Lou; If I'm Dreaming; Wee Rose of Killarney; Shake Hands; One Little Girl; A Little Bit of Heaven; Mary; Sweet Innescarren; Tiddely Um; When Irish Eyes Are Smiling; Mother Machree; The Kerey Fair; Room In My Heart; My Wild Irish Rose.

Although the film only earned one Oscar nom -for Scoring - and deservedly, it also deserved nods for Art Direction and Costume Design - sumptuous and lovely in Technicolor.

Reasons why this is not on video may be due to the large chunk of time spent within the Minstrel Show atmosphere -at least a quarter of the film - with a great deal of material quite politically INCORRECT for today's audiences. It's historically accurate, however.

This is a true gem and very worth seeking out. It leaves one with a warm glow.

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I loved this film. It was so intelligent but it also had some great action sequences, without basing the movie solely around them. Quinn, Sutherland and Kingsley all put in fantastic performances and there are enough twists to keep anyone interested. The ending was great as well.
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I own a Video store with hundreds of documentaries. I have seen loads of them and love all of the great info out there. Only a small handful though even come close to offering info as important as this one. I have been reading through other peoples reviews of this film and can't help but notice that the main things people are criticizing are irrelevant. Such as "It is very one sided" Such a pathetic criticism, every where in society that you look you will see the other side, and if you still need help go to globalpublicmedia.com. "It is the same people over and over" Uh one might be led to believe that these people are the experts, so maybe they are the best people to interview. "filming style is all the same, head shots with few exceptions" If you want flash and dazzle watch Micheal Moore if you want info watch real docs such as this one. As you can plainly see none of these complaints have any relevance to the information contained. My guess is that these people are just missing the point and don't wanna give up there SUV's.

My recommendation: Watch it. Learn from it, and continue your education about such subjects. It is very important stuff for EVERYONE.
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positive
Young, ambitious nurse Ms. Charlotee (Rosie Holotik) is sent to work at a mental asylum out in the middle of nowhere. During the course of 3 days, she encounters strange happenings, even a patient in her bedroom watching her, yet she still stays. The mental patients are all a little eye rolling (espically by the Judge), but my favorite was the old crazy biddy (Rhea MacAdams). The storyline is okay at best, and the acting is surprisingly alright, but after awhile it's gets to be a little much. But, still it's fun, quirky, strange, and original.

Note: The thing inside the basement is hardly horrifying, so the title is a little bananas.
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Please tell me the sentiment of the following review: I was pleasantly surprised with this one. It's actually quite interesting and engaging. The cast is strong, even Dan Cortese. Brooke Shields has come into her own as an actress. Black and White must have really set her free, 'cause I have never seen her in this much command playing a conventional character. If marketed right, could be a medium-size hit.
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Please tell me the sentiment of the following review: Although "They Died with their Boots On" is not entirely historically accurate it is a very entertaining western. Not only is Flynn the perfect Custer, the character actors are superb. Besides the action portion of the movie Flynn and DeHavilland's love scenes are very touching and believable.(Flynn and DeHavilland were very fond of each other in real life). Flynn was always so tormented for being not taken seriously if only he knew that there were very few actors who could play the characters he played and play them well!
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positive
I can't get over how lazy the director is with this movie. Instead of setting up scenes in a creative way he relies on boring old zombie clichés.

Where the two unarmed leads have to get down the college steps into the van he surrounds them with zombies yet neither of the leads is bitten. He can't be bothered to direct a decent fight scene so we see the leads shove their way down the steps.

Sometimes the zombies limp about and at others they run like the wind. This is really convenient for the director because he can set up anything he likes without bothering with continuity in the behaviour of the zombies.

With careful planning and a lot more inspiration this movie could have been so much better.
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This, ladies and gentlemen, is truly a modern B-movie. The dialog is stilted and delivered with wooden rigidity, the premise is predictable (there are a few decent twists) and characters remain 2D for most of it. And yet there is a certain...charm. WWE wrestler Kane brings to life the sick, twisted monster of a man with a lot of pathos (though it is somewhat like his character that he's been playing around ten years) and so I'll find it quite amusing when people say it's "not much of a reach for him," but Glen Jacobs is, apparently, quite the nice guy, so actually it is. In any event, he's cast perfectly as the hulking brute and the deaths are suitably over the top (Jason would be proud), but I heard at least four applause breaks for four different kills scenes. Frankly go into this movie thinking that you'll have some fun and a gorefest, oh it is QUITE the gorefest. The R-rating IS richly deserved and I actually got a little nauseous during some of the more graphic times. In any event, a very, very fun, but fairly bad, movie.

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Please tell me the sentiment of the following review: I love the TV contest. Hate to see it end. There are so many talented contestants. It's a shame that only 2 will be picked. I love watching the judges also. At times they are as entertaining as the contestants. I have been watching the show faithfully every Sunday night. Wouldn't miss it for the world. It's the best reality show that's ever been on television. Good luck to all the contestants, though I have already chosen the two who I would like to see play Danny and Sandy on Broadway. I am anxious to see if my decisions are correct. I am not aware of how long the contest will go on until a Danny and Sandy are chosen but I will keep watching until the end.
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The third entry in the "Stepford" franchise, but apparently the three made-for-TV obscure sequels are incredibly obscure and hard to trace down, whereas the 70's original as well as the blockbuster remake with Nicole Kidman are commonly known and very popular. I haven't seen either the early 80's "Revenge of the Stepford Wives" or the mid 90's "The Stepford Husbands", but this "The Stepford Children" is a quite charming and highly entertaining little film. It's basically the exact same film as the original; obviously less mysterious yet much cheesier and incredibly 80's to the nth degree. The main difference here, like the title implies, is that not just the liberated wives but also the rebellious and punk teenage offspring in town undergoes the typical and highly effective "Stepford treatment", licensed by the local Men's Association. For some reason the scenario attempts to uphold the Stepford mystery until late in the film, even though nobody is likely to watch this sequel before having checked out the original and presumably everybody also knows about the denouement. The Harding family is all packed and ready to move from the grisly city of New York to the small and peaceful community of Stepford. Particularly father Steven is excited about their new life because he already lived in Stepford and always wanted to go back ever since his first wife, whom his new wife Laura and adolescent children Mary and David know very little about, died under mysterious circumstances. The town is almost too perfect, with picturesque neighbors and model students, and especially the modern teenagers face huge difficulties to adjust. Their efforts to modernize the place and take the local youth of Stanford in tow cause confrontations with the eminent townsfolk, particularly the members of the Men's Association, and put the familial relationships under a lot of stress. David meets and falls in love with the last "normal" girl in school Lois, but when even she transforms into a domestic dummy overnight, David can convince his skeptical mother to investigate the sinister Stanford secret. The first hour of "The Stanford Children" is slow-paced and rather tame, but the finale is trashy and cheesy like the VHS cover promises and like a late 80's thriller ought to be, in fact. The modus operandi behind the Stanford secrets is illustrated in greater detail, and I think horror fans and lovers of the original film will appreciate that. At least, I did. The overall plot still doesn't make a lot of sense and the script is chock-full of irrational aspects, but it's nonetheless an engaging formula and undoubtedly one that evokes an atmosphere of suspense and fear. The acting performances are far above average. Especially the arrogant and obnoxious members of the Men's Association depict plausible characters and even teenage players Tammy Lauren and Randall Batinkoff give away impressive performances. Recommended without hesitation!
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Having watched all of the Star Trek TV series episodes many times each since the 1960s, most being quite good to superb, and only very few being mediocre, my opinion is that this one is the worst of all.

In fact, I think it's so poorly executed as to be an embarrassment to the series. It's not that the story is so bad, although it's not particularly outstanding in any way, but the acting is just abysmal on the part of the two lead characters, meaning those other than the regulars in this case. Barbara Anderson gives her weakest performance ever as the daughter of a mass killer, and who is on a mission of a sort. She practically calls in the role from a phone, and shows no real emotive abilities here. Although usually she's never used as more than a pretty face in most of her film/TV roles,usually small parts, she has done much better.

Arnold Moss as her father gives new meaning to the term 'Ham' and is the only actor ever on a 1960s Star Trek episode that outdid William Shatner in this area, and actually makes Shatner look superb by comparison. And he gets to play a Shakespearian actor no less, which gives him more impetus to overact, and he does so.

Other than these two leads being so weak, the story is such that anybody with any sense at all can tell who the killer is within the first 15 minutes. I say this because I told my brother the whole plot ending at the first commercial break when we were watching the original 1966 broadcast as pre-teens. His reply was, Yeah, you're right.

Skip this one and watch the much superior Menagerie episodes which were originally televised right before.
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Generate a movie review with positive sentiment.

This movie is great--especially if you enjoy visual arts. The scenery that the two daughters paint and photograph are beautiful. The story is also both funny and poignant at times.

People who like European films and "art movies" will like this movie. This is truly an art movie--it actually has a lot of art in it. Go rent it.
Morris and Reva Applebaum had been the toast of Broadway in its heyday. At ninety, Morris is a widower. He summons his sons--the psychotherapist and the BMW car dealer--and his daughter, the television writer/producer--to attend a party in his honor, after which he will euthanize himself. Literal-minded creatures that they are, they take what he says at face value. He leads them, his grandchildren, and some others including an African-American-Jewish psychiatrist reminiscent of Godfrey Cambridge, on a merry chase through Manhattan as they try to stop him or dissuade him.

The comedy totally works. The performances are excellent. Peter Falk is in top form. This film does more than deserve an audience: it deserves popular success.
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Please tell me the sentiment of the following review: NIGHTS IN RODANTHE brings back to the screen two talented actors in Diane Lane and Richard Gere in a simply beautiful story of a man and a woman hungry for something more in their lives than they have at present. The chemistry between Lane and Gere is magical from the first scene in the film to their last embrace. The locations, beauty of their attraction for one another when it unfolds when they first meet, and the story that follows, and as they begin to know each other with the attraction they feel towards each other is real, is romance that is projected to an audience with tender care. James Franco in another micro role is just the right casting, and the elegance of Lane in combination with the beach house, is a true Fall 2008 film to remember forever, as was THE NOTEBOOK.
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I finally managed to get myself a copy of Dario Argento's Opera, and I tell you ... that was about time !! It was the last Argento movie I had yet to see and I'm a fan of most of his work. I reckon that most of his work is extremely important for the genre of horror but some of his movies tend to disappoint ( like Phenomena ). But the plot idea of Opera always appealed to me and it turns out I was right !! I enjoyed every shot in Opera and I was fascinated by this movie for the first minute till the last. Out of all the Argento movies, Opera went straight to the number one spot and I hope I can encourage as many people as possible to see this one as well.

The script and plot-idea of Opera is rather simple. Especially compared to Argento's previous movie Phenomena that had too many ideas in it, and ended up being a mess. The plot of Opera is creepy and chilling but at the same time it's an excellent satiric comment - almost a spoof - towards the opponents of explicit violence. ***SPOILERS*** A young opera singer ( the gorgeous Cristina Marsillach ) is being stalked by a horribly sadistic murderer. During every massacre he commits, he forces Betty to watch his actions with her eyes wide open. There are needles attached to her eyelids and when she closes them, they're getting torn apart. ***END SPOILERS***. To this simple - yet effective - idea, Argento adds a lot of horrific elements like ravens, the classic piece ( and curse ) of MacBeth and the whole atmospheric location of the opera building and the music. Especially the presence of the creepy ravens are and extra value. Ancient masters like Edgar Allen Poe already knew these black birds have a lot of mystery hanging around them, and Dario Argento knows it as well. 

The violence and gore is very well presented in Opera and that's what makes this a true Argento picture. His best in my opinion with Profondo Rosso as a close second. I surely hope to recommend this movie to a lot of people among you. Especially for fans of the ( Italian ) horror business, this is an absolute must ! Favorite "Rewind"-scene : Argento shows his visual talent the best in the scene where Betty's friend is getting shot in the eye while she's trying to see who's in front of the door.
Please tell me the sentiment of the following review: Is Thursday an original film? Heck no, but it is a lot of fun! I just caught this buried on the movie channels one night and it was an enjoyable flick. I was expecting much but what I got was some interesting scenes (I really liked the first seen at the convenience store), some amusing stories as told by the characters and a little bit of action thrown in the mix as well. Some good performances from young actors, Paulina Porizkova was good and I was particularly impressed with Aaron Eckhart (who has gone on to impress me further in Yours Friends and Neighbours' and Erin Brokovich'). So if you want 90 minutes of easy going fun go ahead and check out Thursday'.
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I regard this loving, and sensitively written story, to be one of the screen's true masterpieces. After having seen this film, originally on the silver screen with my mother, in Los Angeles, California when it first came out, many years passed before I would have the opportunity to experience it again. The beauty, quiet simplistic elegance and tranquility of the film to me, set it aside from many, many others of its kind. Yes, tears still come to my eyes when I see it, and hear the refrain of that once in a lifetime song. perhaps still, today my number one all-time most beloved film. I would hope, this classic love story will be enjoyed, and appreciated, by our future generations.
I had to write a review for this movie based on the ones that are saying gory, non stop action, great movie..

These people were obviously watching a different movie. Killpoint honestly sucked from the word go!! I kept waiting and waiting for this film to get better and it was to no avail. Some said this movie was brutal and others said gory but I can't find either of those adjectives actually showing up in this, I mean hell there are so many scenes with people getting shot and there being no blood at all it's not even funny!! I guess the best way to sum this up is it probably should've been rated PG by 1984 standards and now in the year 2010 there is no doubt this would be PG!! Bad, BAD not in the fun cheesy "B" variety movie!!
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Big D.B. tries to keep peace between the settlers and their red brothers.

Boone (an aging Bruce Bennett) has to try and prove to the local Indian chief (Lon Chaney, Jr., appearing to be drunk, as usual) that his son was killed by the tribe's leading jerk who has also been dealing in rifle-trafficking when nobody's looking. Faron Young sings, though he holds his rifle like it's a mop. 

OK western-adventure directed by two guys, neither of whom has many credits on his resume, but this flick ain't too bad and it has a nice short running time of 76 minutes.
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Another great Tom Wilkinson performance punctuates "Separate Lies," a 2005 film also starring Emily Watson, Linda Bassett and Rupert Everett. Directed by Julian Fellowes, it's the story of a married couple, James and Ann Manning where the husband (Wilkinson) believes he and his wife (Watson) are happy together. An accident near their house on the night they have a party brings the police around. It is a hit and run that killed their maid Maggie's Bassett) husband. James becomes suspicious of a neighbor, Bill Bule (Everett) when he sees some damage on his car. He confronts Bule, who admits he did it and promises to go to the police the next day. When James arrives home, Ann is angry that he is making such a big deal out of it and states that she was driving the car. Of course, James then isn't so eager to rush to the police. She suggests that they call Bule and tell him their decision. "Oh, f___ Bule," James says. "Well, that's just it," Ann says. "I am f___ing Bule." James' devastation is just the beginning in this well-crafted drama. Without giving the plot away, this is a good example of how gender switching changes a story. Example of what I mean: Susan Smith drives her car into a lake and her children drown. She gets life in prison. What if the father had done it? The chair. You'd be surprised how often the outcome would be different. The same is true here - if it had been James having the affair and doing the subsequent activities, viewers might feel differently about the story. If Ann were in James' place, it would be shattering. As it is, it's tremendously sad.

Tom Wilkinson is heartbreaking as a man blindsided by the woman he adores, and Emily Watson does a beautiful job as Ann, who, once she frees herself from her lies - her involvement in the accident and the happy marriage - knows what she has to do. Rupert Everett as Bule is very effective - indolent, uppity and ultimately in need. Everyone here is very civilized in their dealings with one another, and no one is all good or all bad.

There are separate lies - James that his marriage is happy, Ann's as listed above - and there is one uniting lie - the accident, about which all parties keep quiet. It's enough for Ann that Maggie knows. In the end, all must deal with the separate lies that the single lie uncovered.

Brilliant film.
Seagal fans beware- He does no action scenes until almost an hour into this mess. Instead, Seagal RUNS AWAY from numerous fights, letting Ja Rule convincingly lose every battle. Actually, Ja Rule could be an up and coming action star, but Hollywood needs to let him at least hit puberty (which should happen in a few more years...) Also, what sort of commando/terrorist wears a bare-midriff outfit? The chick in this atrocity looks like a backup singer for Christina Aguilera.Back to Seagal- When he finally does cut loose, it's his stunt double (HEAVILY PADDED to resemble the bloated Seagal) doing a lot of the work & taking the falls. I don't remember any aikido, either. It's just your standard kicks & punches you'd see in any straight-to-video martial arts turkey. Not even "so-bad-it's-funny", either. Just plain dull...
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"Dogmatic," as another reviewer described this film, is a fitting word. The director's idea was to present Bach without plot, acting, fun, theatrics, dialog, narrative, or drama. Mission accomplished, Monsieur Straub. "Pretentious?" Yes. "Cinematic?" No way. This is anti-cinema. No one moves. Hardly anyone talks. The camera holds static shots for 10-12 minutes at a time: very very occasionally the camera will dolly in. You may catch a glimpse of Gustav Leonhardt's fingers moving over the keys. That's it.

If you like the idea of staring at the back of a harpsichordist's (bewigged) head for 7 minutes at a stretch while listening to Bach, this is the film for you. I'd rather listen to Bach on my stereo with my eyes closed.
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I clerk in a video store, so I try to see the movies we're about to put out each week. I don't have a problem with this; in fact, I sort of feel it's a privilege. Not so with this film . . . After an hour and a half of our hero whining and growling his way through scene after scene, I was truly wondering if they planned to get to the point. I felt like I should be getting paid for watching this at home, in my free time. And if I'd known there was another hour to be endured, I might have given up right then. I didn't care about the characters, the filming was unremarkable, and Ford made kissing look like a chore. Even the score was incongruous and jarring. What a waste.

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I never saw any of The League's work until early last year - although when channel hopping one night I caught the end of one the series three episodes. But last winter I fell in love with the show and its dark, eccentric and sometimes downright sinister characters. So when I learnt they had made a film in which the show's lovable creators met their own characters, I couldn't order the DVD fast enough and near on tore it from my postman's hands when he delivered it. I was so excited to see what the Gents had done and how they'd done it.

And it was excellent! From the beginning where Jeremy (Michael Sheen) is terrorised by Edward, Tubbs and Papa (Dyson, why didn't you play yourself? He's perfectly capable as viewers of the infamous Highgate House of Horrors know!), to Bernice berating yet another one of her flock, to Geoff, Herr Lipp and Hilary discovering that THEY are characters, which is a great scene. The scenes set in 1690 are very enjoyable, with the Gents turning their hands to yet more characters and an all new plot. David Warner's turn as Doctor Pea is fantastic, slightly camp and very funny.

The League have always been brilliant at blending humour with sadness and emotion - and the climax of this film, where Herr Lipp is struggling with the idea that he and the other Vasey residents are just fictional people who will never be able to change who they are or their purpose - and to witness how it's breaking him down, is really sad and beautiful to watch at the same time and that really shows the Gents' talent - something for which they are terribly overlooked for to this day.

And then you have that rather clever ending - where you sit in wonder - with Joby Talbot's beautiful theme music playing. And you know you've enjoyed a very clever and funny film.
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Dr. Franz Tobel, a Swiss scientist, is smuggled out of his home country by Sherlock Holmes in order that the Nazi agents spying him do not get his invention of a new bomb sight. Arriving in London, he takes residence with Holmes and Watson, but goes out for a visit with his girlfriend, Charlotte Eberli, where he leaves a clue for Holmes as to the locations of his bomb sight, which he has divided into four pieces, but Holmes' eternal nemesis, Professor Moriarity, is also seeking the bomb sight to sell to the Nazis, and abducts Dr. Tobel and the clue left at Charlotte's, a code series of dancing men, which both Holmes and Moriarity are both unable to decipher completely. Holmes eventually discovers the clue to the code and get the location of the fourth piece of the bomb sight, but Moriarity has the other three and a showdown is inevitable. Very good entry in the Holmes series with plenty of mystery and guesswork to go about. Atwill's portrayal of Moriarity is more sadistic than the cunning sort described in the Doyle stories (or George Zucco's performance in The Adventures of Sherlock Holmes), but Atwill's skills as an actor makes his Moriarity quite the benevolent fellow. The script and direction both make this entry more of a cat and mouse game between the two characters and that is one of the reasons this entry succeeds so well. Great job on the cinematography as well. Rating, 8.
Due to rather dubious plate tectonics, Japan starts to slip under the sea. Initial predictions say it'll take about 40 years before the country is submerged, but a rogue scientist adds in some even more dubious science and determines it will actually take less than 1 year! The government think he's a crackpot, but evidence soon starts bearing his theory out.

This big budget disaster movie follows the formula set by any number of Hollywood films of the late 90's (I assume, having seen none of them), with the scale of disaster and tragedy bringing out the nobility of the human (well, Japanese) spirit in acts of heroism and sacrifice, and proving the power of love or something like that. i.e. it's as naive in its psychology as it's geology... we all know that half the populace would be out raping and looting the minute they thought the police had their back turned, and the other half would just panic and be useless.

The film does have some very nice special effects, but is not as slick or expensive looking as an equivalent Hollywood production would be. It is at least as nationalistic, humourless and lacking in self-awareness as that Hollywood film would be though, and probably has even worse acting. It does have the hot evil chick from Battle Royale as one of the leads... but she's not even slightly evil, and is therefore much less hot.

The film is much too long at 132 minutes, and gets worse and worse as it progresses towards a conclusion that had me in danger of puking. I certainly didn't care in the slightest whether Japan sank or not by the half way point, and well before the end I was trying to think of ways to expedite the process should I ever find myself in that situation for real.

But, it does have nice special effects, and Kou Shibasaki is still pretty hot, so I magnanimously give it... 3/10.

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I stumbled across this film while channel surfing, and was blown away. It was being broadcast on a lesser known short films program here in Australia.

It has been a long time since I have been so impressed by a film, especially one so short. 

The power of the story, the quality of the acting and the stunning cinematography... wow. If it were available, it would make a very worthy addition to my DVD collection.

I am undoubtedly impressed, and I will look forward to Joshua Leonards' next film.

An exceptional experience 10/10

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Its really been a long time since the last time somebody created a movie such as like this on. A so called B movie. Maybe it was not a great movie, but it is fun to watch, classic Bruce Cambell, it has its Good parts, funny ones, Disgusting ones, even artistic ones. 

******Spoiler Ahead*******

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The part where his wife as a dummy-robot-avenger is about to die, I don't know about you, but it made me feel so weird, so sad and disgusted in a good way. I compare this scene with the scene form the Fly 2 where his dog as a monster dies. Makes you think oh my god.

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********No more Spoilers********* 

If you are a Bruce Cambell fan, you definitely wanna have this movie in your collection. If you are generally interested in movies, you might wanna. Just think that the movies target is to make you smile, gross you out(Don't worry not that bad though) and make you have a good time with your buddies. Attention, I said buddies, not possible future girlfriend.

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What can I say? The little kid inside has always had great affections for the following...giant robots, giant monsters and a cackling, megalomaniacal lead villain and this movie delivers on all counts. As an adult, it's easy to point out the many flaws in this film and to say hey it's really only a bunch of episodes taken from a children's TV series strung together. Despite all of this, I find the ending very moving and the content surprisingly adult in nature. Tremendous Fun if a little nonsensical at times.
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that got destroyed quickly by the poor quality acting, cinematography, numerous pointless scenes and a terrible villain. Well let's see Joe Estevez is bad (as usual) but he isn't the only casting problem, writer Vivian Schilling is no great actress, in fact, well she sucks. Her script isn't so bad, it's just bad directed. In fact if the direction had been better and if better actors had been cast, this could have been a really good film.

 But alas, with all of these problems "Soultaker" fails to be even kind of passable as a horror movie, plus the pacing is just awful too.

 The MST crew had some fun with this one but it definitely wasn't one of their better efforts. 5 for that, nothing for the original.
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This film does for Infantry what Das Boot did for Submariners. If you appreciated Das Boot then that is all you really need to know.

This is a well done piece of cinema. On a par with Das Boot. Basically it follows a Company of elite German "Stormtrooper" infantry who leave garrison duty in an idyllic Italian seaside town and are immediately thrust into the chaos of the disintegrating Russian front. 

A good war movie illuminates both the senselessness and brutality of war and at the same time gives us insight into the experiences and essential humanity of those who fight. This movie does that. The film is full of drama and action and so is entertaining on that level as well.
It's a shame that someone so idolised by many kids as well as parents should demean himself in appearing in this exploitative, bandwagon-jumping tripe. I often wonder if Mr Wisdom in his later years looked back at his excuse for a film with any pride. At least Sally Geeson had the decency to retire to doing something worthwhile after appearing in this low budget rubbish. A cameo by some long forgotten pop called the Pretty Things cannot rescue the film from it's awfulness. If you want 60's nostalgia invest in 'Here We Go Round The Mulberry Bush' instead, starring Barry Evans and Sally's sister Judy instead.

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"Gargle with old razor blades. Can I help it if I'm not cousin Basil? I think the piano's out of tune. Ginger Grey. This is your little snookums." Laughs throughout the entire 20 minute short as the boys spoof gold diggers and opera singers. They even manage to show us how to properly demonstrate to some attractive ladies how to handle both a rifle and a bear trap. Wonder how many times they rehearsed the scene with the phone booth. Adding Christine McIntyre and Emil Sitka, 2 frequent collaborators, to the mix makes it even better. Only Vernon Dent is missing. The Stooges did some great individual scenes, but this was their best overall.
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I have seen cheesy kung fu fight films. Living in Taiwan they come on in lieu of sitcoms in America. I have seen movies make fun of themselves, but this film belongs in the sad category of fight films that try too hard with awful actors, awful props, and awful music to be taken seriously. I seriously felt pity for the person who composed the music for this movie. How sad it must be to be a composer who has to churn out crap like what I thought should have been titled "Generic Ninja Fight Scene, Op. 1" or "Variations on A Bad Guy Pointing a Gun at a Girl's Head When Backed into a Corner" or the daring "Flight of the Helicopter". Then the fight scenes were over and the credits rolled. Those actually had me in tears laughing. If the "special effects" weren't proof enough that this was low-budget, the fact that only two or three of the crew members, presumably locals which although good for the much-needed Phillipino economy was probably done solely to save money, have ever done anything since this series of movies. They rented equipment, despite making sequels to this movie. That was pretty funny too. The thing that really had me going though, was not the music (which left me half expecting an animated Sargeant Slaughter from G.I. Joe to pop up), but the ending...I suppose this would be a spoiler if there was really a plot to spoil, but when the American Ninja drops the girl into Jackson's arms and then takes off his mask, I wanted to see him jump off the roof and Jackson drop the girl to catch him.

I think that would have been the perfect punchline for this joke of a movie.
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I viewed the movie for a second time on September 30, 2006 and thought that it was even better than the first time I saw it. I thoroughly enjoyed the acting, especially "Uncle Benny". I thought that Fred Carpenter did an excellent job of writing and directing this film. The story line definitely kept your interest and I hope this movie makes it all the way to the top. I felt it moved very smoothly between scenes and the surprise twist at the end, well, lets just say I didn't see it coming. I also thought that Craig, the actor who played "Eddie Monroe" did an excellent job and I hope that this movie will help him to go further in his acting career. From start to finish, I thoroughly enjoyed it.
This is the only movie that I can think of where after it ended, I was seething with anger at the waste of money and time on the part of myself and everyone involved in making it. No wonder Alan Moore refused to have anything to do with V for Vendetta (a phenomenal film) after this debacle.

It's not bad in an entertaining way, like Showgirls. It's bad in a way that makes you want to claw your eyes out. Plot holes the size of planets. The worst script in memory. Horrible acting by decent actors. Visuals that should be great, but somehow flop. 

It could have been so good...
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Kazuo Komizu, who hasn't made one decent film, directed this "notorious" shocker and should be ashamed that it was a hit upon its Japanese release.

Yes, it does feature scenes of rape, gore and dismemberment, but so what? It has the style of a bad American porn film shot and badly photographed by Ed Powers ("Dirty Debutantes") and is incredibly slow.

It seems to have earned its notoriety based on its roster of anti-social acts.

There is a huge difference between this and horror that is well produced.

Just because someone likes their cinema a little wet does not mean they'll accept crap like this. On the contrary, that kind of fan (myself, for example) tolerates even less crap than the average punter out there because he's seen so much and has become overly discerning. It's a shame production companies don't realize that.

One reviewer here (ZombieKilla81) commented that the film's "near obsession with gang rape" is one of the factors that killed it. I disagree. The subject matter is never the issue. The issue is how that subject matter is treated. In ENTRAILS OF A BEAUTIFUL WOMAN, it is treated so unimaginatively that it is boring.

Personally, I like graphic depictions of psychopathic behavior (with an intriguing context) if the material is well directed, freshly photographed and aesthetically pleasing. This Nikkatsu horror/pink hybrid is woeful.

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Please tell me the sentiment of the following review: Let me first start out by saying 1 out of 10 is too good for this movie. It's unfortunate that IMDb doesn't have tenths of a star... I watched this abortion of a movie in the middle of the night due to insomnia, and it was absolute garbage. The plot was horrible. The acting was horrible. The movie was utterly boring. "malachi" looked like the Shadow with Alec Baldwin (The Shadow is infinitely better than this as well) The character Eve was so undeveloped and 2 dimensional she didn't even grab my attention. I didn't even know her name was Eve. Don was interesting when he kept his mouth shut. The "TWIST" (if you can call it that) was laughable and pathetic. When it came, the movie had done such a horrid job of building suspense or attachment to any character that I simply thought "Who gives a S***." The only thing that made me even lift an eyebrow about this movie was the fact the med. teacher was Dyson in Terminator 2 (Also a movie that was light years ahead of this motion picture massacre.) Anyone who was involved in this movie should be ashamed of themselves for wasting 90 minutes of countless people's time. It's no wonder no actor from this movie ever had a fruitful career. In summary.... This movie is so bad, I feel dirty and need a shower. Worst movie in history, Gigli was better, Prom Night (the remake) was better and dare I say it Saw IV was better...........
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As with most viewers of this film, I'm an avid reader of the books. The first 2 films have Buck, Ray and Chloe as the main characters but in this the second sequel they play second-fiddle to Louis Gossett JR's Presidential effort. World at War is based on the meeting he has with Buck in the book series.

The problem is - this film is as awful as the first two. Amanda appears just from nowhere and suddenly has a significant part to play (I won't reveal it in case anyone hasn't read the series). Other illogical parts feature. I really really want Cloud 10 to make a good Left Behind film but sadly this is similar in all the bad ways to the first 2.
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Ordinarily, Anthony Mann made westerns with 'the big guys' - James Stewart, Gary Cooper, Henry Fonda . . . the A list cowboy stars. But in this B+ film, he tackled something notably different and had quite a bit of success with what turned out to be a truly one of a kind western. The main character, played by Victor Mature, is a trapper/ mountain man, and ordinarily they are romanticized in films - Robert Redford in Jeremiah Johnson, that sort of thing, where the hero is not in fact a typical mountain man but a clean cut heroic figure who hangs out with real mountain men. Not here. For once, a true mountain man - vulgar, crude, animalistic - is the central figure, and it's something to see, giving Mature one of his better later roles. The real acting chops are provided by Robert Preston, excellent as a self-absorbed Custer type cavalry commander, and James Whitmore, the poor man's Spencer Tracy, as another of those old timers who feel themselves trapped between ever more hostile Indians on the one side and the oncoming force of civilization on the other. Even more impressive is a very young Anne Bancroft as the officer's wife, who is initially repulsed by the very sight of Mature's grisly character, then finds her own veneer of civilization slipping away as she begins to realize, to her own shock, that she's attracted to him. Rarely if ever has a remote frontier fort been so accurately realized on screen, without the romantic allure that John Ford gave such a place in his masterful Fort Apache. The battle sequences are big scale and notably violent, and particularly impressive if you seen them in widescreen format. Good show, and underrated movie, all around.
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Don't get me wrong, the guy's a success dynamo, but he got to the top by selling overpriced plastic toys to impulsive brats. So I get a little peeved when he looks at comic book fans as an extension of that same market.

See, "The Invincible Iron Man" wouldn't be bad if it were slotted on a Saturday morning and geared exclusively toward undiscerning children. But it's not directed exclusively at children. Periphery characters are killed every five minutes and there's enough bloodshed and semi-nude bodies to make network censors squirm, so it isn't quite cut out for children's television.

So what audience is this video aiming for then? It's the audience that enjoys nigh intelligible story lines about reviving a tyrannical Chinese emperor with 5 arcane rings, that's who. And I think that audience is restrictively small.

A lot of great writers have passed through Marvel's leathery yoni over the decades. So it's a shame that Marvel would risk their pricey animation investments on so many questionable storytellers and scribes who, like Mr. Arad, are better accustomed to peddling action figures during Saturday morning cartoons. How many lukewarm receptions do Marvel have to endure before they come up with a better strategy? 

***

Animation: just passable cels, some segments are better than others, a low budget look all throughout -- this ain't no Bakshi (Ralph) and it ain't no Bluth (Don)! CG animation's okay, but far from impressive.

Story: a litany of clichés, all over the place, convoluted, contrived, and uninspired.

Characters: so why is Rhodes even here if all he does is add to Stark's sexual ambiguity? Hmmm... her Dad's in a wheelchair... Tony misses his mom... Asian chicks are hot and, apparently, little else; the female lead is thoroughly objectified by the feature's end.

Performances: can't blame competent voice actors for a bad script.

Art: very Western musculature, very clean lines, faces are very derivative of Eastern art, very boring mattes, very bland CG.

Conclusion: Not great, but worth a watch for the fans and those who enjoy superhero myths. A 'must-buy' for collectors. A valuable "what not to do" course for junior animators.
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