cindermond/bento huggingface dataset:
The operative rule in the making of this film seems to have been "never make a 1 minute scene when you can make it a 10 minute scene." This was a principle set right from the start with an interminably long portrayal of the graduation of the Harvard class of 1870. The point of that scene, I suppose, was to introduce some of the primary figures in the story and give a bit of their background - which is somewhat effective when comparing the idealism of the Harvard graduation ceremony to the realism of life in Johnson County, Wyoming, but it just keeps going and going, and that sets the stage for a film that features repeated stretches of mind-numbing nothingness, made even worse by the fact that I found a significant amount of the dialogue to be almost incoherent. In the end, I couldn't even watch this in one sitting. I got through about half of it and had to set it aside for a couple of days before I could drag myself back to see how it turned out.

My reaction to this movie in many ways is a shame, because there are positives here. The performances are generally of a high calibre, especially from Kris Kristofersson as Averill, Christopher Walken as Champion and Isabelle Huppert as Ella. The basic story - interspersed as it is around that ever-present mind-numbing nothingness - is potentially interesting, focusing on the efforts of immigrants to establish themselves in Johnson County and a local cattle company's efforts to stop them by killing a number of them in collaboration with the government and the military. There's also some absolutely breathtaking scenery shots. Having said that, the whole thing could frankly have been done in half the time - and should have been. In the end, all those potential positives are washed out by - again - the mind-numbing nothingness that the movie seems to revolve around. Seriously - 2/10.

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It's not plot driven, OK; it's not a character study, fine; there's no action, alright; there's no point, hmmm...

Maybe it's supposed to represent the boredom and absurdity of living in Palistine and parts of Israel these days in a state of violence, petty disagreements, deep rooted hostility, etc. But mostly it's long, long scenes of nothing happening - or things which look like they're dripping with meaning (a checkpoint tower crashing to the ground, an Arafat balloon floating into Jerusalem, a crouching tiger women deflecting bullets into a halo) but when you try to derive some meaning, there's no there there.

Bonus: you can watch this film in fast forward and it will make absolutely no difference except that it might be slightly less boring.
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weak direction, weak plot, unimpressive music, i wonder why Udita Goswami is there in the movie world in the first place ? she tried to reveal a lot of her talent (mostly skin) but failed to impress.

music wasn't that impressive as well, only one song "Jhalak Dikhlajaa" was worth listening to..... 

Aksar, the title ? well they tried to justify the title of the movie in the end, but it didn't make sense..

there were many unwanted twists and turns in the story, which made it more boring. however if someone's a Dino Morea fan, please go ahead and watch it.
LTL is the kind of formulaic, hopeless comedy to be enjoyed by the sort of sheep that stop and listen when they come across a band playing in a shopping mall.

I remember Murray promoting LTL on Larry King's crappy CNN show, where he said something like "if this movie doesn't become a hit I'll stop making movies (or comedies)". He wasn't being nearly as jovial as one might think; he must have felt that LTL was a sure-fire hit and that its failure would mean his status as a star had markedly fallen - hence a sort-of ultimatum live-on-air to his fans to spend their hard-earned money on a dumb elephant comedy. (The comedy being dumb, not the elephant...) Or maybe he simply realized during the shooting (or when he saw the final cut) what a turkey this was, so he tried desperately to convince everyone how much optimism he had regarding LTL's quality. "Go see it, it really is good!" Actors are prostitutes inter-bred with car salesmen.

LTL is the sort of lousy project that comes from the "Friends" school of comedy; their motto: "If you ever run out of ideas - or if you never had any in the first place - then stick an animal into the plot and that will at least inject an element of cuteness". Cuteness = a sad substitute for lack of funny gags. The other motto "Friends" had was: "always include pointless, dull sentimentality", which this movie so predictably ends with, when Murray rather pathetically says: "what they forgot to tell you is that you never forget an elephant". Maybe not an elephant, but I certainly managed to easily forget this turkey, which I saw many years ago. I was suddenly reminded of it when I saw a scene from it on TV today (hence this equally pointless review).

Murray wastes his talent on this turkey (disguised as an elephant), but he isn't nearly as uninteresting/bad as McConaughey (or however that man's name is spelt); one would think that M.M. would have an easy time playing himself, i.e. a hick, but he is so painfully unfunny and unconvincing that I could barely stand to watch him make such a jackass out of himself. It was cringe-worthy. To round off this nonsense, we have that generation-X buffoon, Garofalo, in a rather useless role. Then again, everything about LTL is useless...

After LTL, which bombed as far as I know, Murray went on to become more of a "serious actor". What is it with these comedians and their inferiority complex? Is it all just about getting awards, i.e. "recognition from their peers" (read: votes from their moron colleagues)? This piece of crap marked the end of a string of good and great movies Murray made in the early- and mid-90s, such as "Groundhog Day", "Quick Change", "Mad Dog & Glory", "Kingpin", "What about Bob?" and "Ed Wood". Recently we've had the immeasurable pleasure of seeing him in garbage/mediocrities such as "Hamlet", "Lost In Translation" (you just can't get away from these "ultra-talented Coppolas"), and "Broken Flowers". Compare those two batches.

One guy described LTL "funny as heck". Now THAT'S the kind of audience this movie was hoping for... Shopping malls and trailer parks...
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I don't see that much wrong with this movie. Granted, the principal singers might not be Luciano Pavarotti and Maria Callas, but they can certainly carry a tune. Burt Bacharach and Hal David are talented songwriters and I happen to love their songs, especially "The World Is A Circle", "The Things That I Will Not Miss", and "Question Me An Answer". Some people claim that Hermes Pan's choreography is ghastly and that the snowy mountain sets look as if they were made of plastic; I disagree on both counts. I've seen powdered snow before and the snow in those mountain scenes looked realistic to me. And most of all, in this film's defense, it is appropriate for a family audience (at least I remember it being that way when I saw it on Christmas Day a few years ago.) With all the outcry over sex and violence in the cinema these days, I find it refreshing to note that this film deserves its G-rating. And they don't say that naughty "F" word every ten minutes like some films I've seen. Thank God. So although this film may not be everyone's cup of tea, it does have some redeeming value and I give it ten points out of a possible ten. That's my story and I'm sticking to it.
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Clifton Webb is one of my favorites. However, Mister Scoutmaster is not one of his best. His patented curmudgeon role seems forced and even unpleasant rather than funny. The film itself is overflowing with mawkish sentimentality. In addition, the viewer is presented with numerous ham-handed references to religious faith and U.S. patriotism that come off as over-reverent rather than genuine. Clifton Webb does his best with a poor script. Edmund Gwenn plays yet another jovial clergyman and is given nothing to do. The child actor lead is played by a talentless child who displays a flat affect throughout the entire film. His sole claim to fame as a performer evidently is a bullfrog-like low voice unusual for someone of his age. However, once you've heard it, you've heard it and you don't need to hear it again. Unfortunately, he is in the majority of the film's scenes. I find this child so irritating that I fast forward whenever he shows up. Since he has a lot of scenes in this film, this means that I fast forward through a lot of the film. There were and are so many talented child actors; it's a pity this film doesn't have any of them in it. Still, Clifton Webb in the traditional broad-brimmed hat and shorts is a sight worth seeing.

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I gave this 2 stars out of a possible 10.

I went into this not realizing what it was - and discovered it is apparently some kind of African musical - since people break into song every few minutes.

None of the songs rhyme, most of them aren't really saying anything sensible, and they all have the same non-existent tune - if you could call it a "tune."

Karmen is a tall, spectacularly built young woman, with the longest braids I've ever seen. [The actress looks as if she has probably done some modeling.]

The film opens in a women's prison, although not like any prison I've ever seen or heard of -- the inmates wear whatever they wish - and seem to be having a party.

Karmen does some frantic dancing, and the woman warden of the prison, Angelique,[a magnificently handsome woman]is definitely erotically interested. She and Karmen dance together. Later Karmen visits the warden's room and they make love - unfortunately the scene is not detailed, and is very short, although there is some nudity.

Karmen then escapes from the prison and next we see her dancing in front of another group where a man, named Lamine, maybe a Colonel - it was never really clear who he was, watches her. He is with a young woman who dislikes Karmen's seductive dancing and there is a dance-off between the two women.

After that the story [such as it is] becomes even more muddled.

With Lamine in jail, out of jail, and who knows where.

Karmen may be involved with a group of smugglers or thieves.

There is more singing. More dancing, and a scene of Angelique obviously suffering from heartbreak.

The film muddles its way to a finish, and I heaved a sigh of relief that it had ended.

 



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"Admissions" is a fine drama even though they're are some problems with the ending. Lauren Ambrose plays Evie who is trying to avoid college. To make her overworked mother not notice, she makes up poems that everybody thinks her mentally challenged sister wrote. All the acting is first-rate especially Lauren Ambrose and Amy Madigan. They both put in great performances. The climax is also very powerful. There are only two bad parts. First is the character of Stewart Worthy played by Christopher Lloyd. His part is underdeveloped. The other weakness is the ending. It goes around in circles, which I didn't expect with the 84 min run time. Besides that, the movie is definitely worth watching.
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Generally speaking, I'm a an admirer of Jess Franco's film-making but, for some of this movies, I really have difficulties understanding the motivation behind them or even their reason of existence. Like this sick puppy, for example. "Sadomania" has absolutely no cinematic value, it's poorly made without any sort of plot and featuring some of the most ill-natured sleaze footage ever captured on film. This is another filthy women-in-prison film where rape, lesbian-action and violent torture games are daily routine. The guards are crazier than the prisoners and the institution is protected by an impotent governor who only gets sexually aroused when he spots a girl having sex with a dog (!). The girls are all very beautiful and naked throughout the entire film, yet you can't really enjoy this sight with all the perversion going on. The dubious highlights include a barbaric hunting game (you can guess what he prey is), a duel-to-death between a guard and a prisoner and the image of a poor girl having a needle injected all the way through her nipple. Auch! Avoid this sick mess and you'll save yourself the trouble of taking TWO baths in order to wash the filth off.
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The best bond game made of all systems. It was made of the best bond movie of all time. If you don't have the game Goldeneye you should rent it and if you don't have the movie Goldeneye you should rent it also to better understand the game. The best bond game of all!!!
Two things can happen when an ensemble cast is brought together. Either you are left walking out of the theater asking, "Why?' or you receive MANNA FROM HEAVEN, a delightful comedy from the Burton Sisters, whose mother not only provided inspiration but the screenplay itself. Ursula Burton, plays Theresa, a nun whose friend's and family had always believed she was touched by G-d. When money falls from the sky the clan use young Theresa's faith that the money was gift from the heavens to allow all their dreams to come true. Years pass and we find Theresa returned home to her native Buffalo. She comes to the realization that the gift needs to be repaid and calls together her friends and family, (Academy Award winners Shirley Jones, Louise Fletcher and Cloris Leachman) to return the debt before Easter Sunday. The money has long since been spent and all the characters find themselves in financial difficulties. Shirley Jones and Frank Gorshin, are a husband and wife con team that teach the all important lesson's in life, of how to dress for winter in Buffalo and my personal favorite, "they expect you to take the silverware," when visiting a restaurant. The audience can only hope that if Theresa does reach her goal that that someone won't run off with the money. The movie teaches us that it is not money, but ourselves that make our and other's dreams come true. Every action has an outcome not just for you, but the community around you. When looking into the mirror we see ourselves as we'd like to be, MANNA FROM HEAVEN, answers the question of how other's can see the image we'd most like to reflect. The Burtons have done a superb job directing the cast to break out of their shells and create new and inventive characters. In the day of multi-million dollar budgets, this low budget Indy proves it is not the cash in hand, but true talent that will draw the biggest laughs. Wendie Malick (The American President, Just Shoot Me) adds a special flavor to this already talented cast.
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toplines this ok comedy about an aging father (C. Aubrey Smith) who decides to gather his grown children from around the world. Davies is working as a chorus girl in New York when she gets the news that "daddy" wants her. Hmmmm, sounds familiar. Davies' considerable talents as a comedienne save this otherwise so-so comedy as she upsets the staid British countryside with her brazen American personality. Not as sharp as some other Davies comedies, but still worth a look. Ray Milland plays her long-lost "brother." Doris Lloyd, Elizabeth Murray, and Halliwell Hobbes are all fun, too.
From the crash of the opening theme, "The Man With the Golden Arm" is classic 1950's entertainment. No subtlety here, Frank comes home from prison with a monkey on his back and goes right back to the old neighborhood, where the old scumbags still lurk. This is a tale of his dark ride with all of his emotional baggage intact. The performances are all a bit overripe, but that's part of the fun of watching. Darren McGavin and Arnold Stang are unforgettable, and almost steal the show. This and "The Manchurian Candidate" are the two greatest Chairman of the Board films, in my humble opinion. Don't miss either one of them.
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A Formula For Murder isn't a well known Giallo, but that isn't to say it's not a very good one! The film is directed by Alberto De Martino, the man behind cult classics such as The Antichrist and Blazing Magnums. The film was released late on in the Giallo cycle, but more than stands up to many of the films released around the 'golden' period in the early seventies. Despite a lack of logic in some areas, the film works mainly due to the competent way it mixes Argento style death scenes with some genuinely surprising plot twists, and a host of well defined characters. The film is, perhaps, not as exciting overall as many other films in the genre; but this is more than compensated for by the assured way that the central situation is fed to the audience, and the tension resulting from that. The plot begins by showing a fake priest raping a young girl named Joanna, before pushing her down a flight of steps. We then fast forward several years and the girl is now a woman, who is unfortunately in a wheelchair. She is being trained for a sports event by Craig; a man who also has romantic designs on her. However, his proposal isn't met with glee by Joanna's personal assistant, who also has romantic designs on her.

The film features a plot twist half way through that makes up the backbone of the movie, and while it's not exactly logical; it's good to watch and hints that you're in for an interesting movie. Director Alberto de Martino is clearly not afraid to show a few outrageous gore scenes, and the best of which in this film features a priest being battered to death by a spade - and I personally wouldn't hesitate to name that sequence as one of my favourite Giallo murder scenes! The plot can be a little uneven at times, but generally the action is very good. The director spends what seems like an eternity on the conclusion to the film; but it's absolutely packed with tension, and the way that it plays out is good in that it takes advantage of all the plot points that have gone before it. The musical score, taken from Fulci's The New York Ripper, works well in this film also and, breaking a Giallo tradition, de Martino's film also features some rather good acting performances from cult veteran David Warbeck and Christina Nagy, in her only feature film role. Overall, this film isn't one of the easiest Giallo's to come across; but its well worth tracking down and comes recommended to fans of this sort of film.
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This film was a new direction for Natalie Portman. A much more adult role, though she comes to it from the traces of a child in the movie itself. Ann,(Portman) and Susan Sarandon, who plays her newly divorced mother, Adele, travel from a small town in the middle of nowhere to Beverly Hills. There these tortured souls try to come to terms with their new life and their new relationship as Portman's character grows up. Unknowingly at first to Adele, she grows up and becomes a better mother for it.

Ann sees her mother telling her she wants to be an actress, or so she thinks. Adele uses that crutch every time there are problems in their lives. We see their struggle as mother and daughter come to terms between themselves and with being alone, having left their old lives behind.

The acting is top notch from both of them. They seemingly become mother and daughter before your eyes. You can almost feel there is a bond there beyond the actual movie.

Though this movie really doesn't take us to any new ground in these types of films, the fact that the acting is well done, and the story isn't too flawed, let's me recommend it.

I will say however, it will probably go away soon, I don't believe it can have the staying power needed for a huge Christmas season of movies starting in a week or so. See it now before this happens if you like either of these actresses.
I think that FARSCAPE is the best scifi since Babylon 5 and is one of the best sci-fi television series of all time (ranking up there with Dr. Who, Blake's 7, Red Dwarf, MST3K and the aforementioned B5). I find the characters and races of Farscape are much more interesting and imaginative than the typical "humans-with-birthmarks" that are found in many series. The effects are quite good and the stories engaging. Despite missing the bulk of season 2 and some of season 1, I find the character development very well done.

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This film seems well made, and more efforts should be made to promote films by women. That aside, this film is also profoundly disturbing in that it justifies the manipulative and psychotic machinations of a character that is profoundly disturbed. If you've seen any of the promotional material, you might think this is a poignant film about a relationship that's reached its end, but none of that suggests how really disturbing the central premise is:

A woman threatens suicide unless her soon to be ex agrees to relive here most treasured memories of their relationship. When told how unfair (to say the least) that such a threat is, Tessa (the purported protagonist) suggests that "life's not fair."

Huh??? This character also uses tears to manipulate her former lover into staying, and coaxes him into sexually oriented behavior (which she initially denies as a motive) all the while assuring him "this isn't sex."

Reverse the genders, have the leads played by Tracey Gold and Brian Austin-Green and this could air in feature length on Lifetime with a title like "Hostage to Obsession." There is no medically accepted definition of sound mental and emotional stability that would encompass Tessa's behavior in this film.

Props to Kristen Thomson for playing a border-line psychotic, manipulative ex to a T, perhaps too well because there is no well-adjusted person, male or female, who could watch this and not have shivers run up their spine.
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Well OK, I've seen Wrath of the Ninja.

It isn't something that I would recommend to people who aren't seriously into japanese fighting movies. This is a sort of japanese fighting ninja movie, with a complex plot. It's about these 3 old ninja schools that had these 3 "Swords of Sorcery". I saw the subtitled version (NOT recommended by the way, it's easy to miss something) and I didn't really keep up with it all. It had some good scenes tough, but in general, it wasn't much to my liking.
"Tokyo Eyes" tells of a 17 year old Japanese girl who falls in like with a man being hunted by her big bro who is a cop. This lame flick is about 50% filler and 50% talk, talk, and more talk. You'll get to see the less than stellar cast of three as they talk on the bus, talk and play video games, talk and get a haircut, talk and walk and walk and talk, talk on cell phones, hang out and talk, etc. as you read subtitles waiting for something to happen. The thin wisp of a story is not sufficient to support a film with low end production value, a meager cast, and no action, no romance, no sex or nudity, no heavy drama...just incessant yadayadayada'ing. (C-)
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The concept of this movie is pretty compelling: zombie children climbing out of an abandoned mine to seek revenge for their deaths in the backwoods of Pennsylvania. Cool. The problem I had with the movie is the lack of creativity when dealing with the zombies. The makers could have really spiced this film up with some terror-like imagery a la "The Ring" such as stop action, reverse camera walking or stuff like that. When the zombie children are strolling through the woods they look like a bunch of 9 year-olds walking to a playground in West Philadelphia. Instead of pick axes and shovels they could have easily been carrying baseball bats and gloves. Why would I fear these little kids? Anyone could just run away in a straight line to safety. Also, who in their right mind would have stayed one night with their children in that creepy, run-down house? The moment I opened that front door and looked around I would have said, "Mm-hmm. Mm-hmm. Son, go start the car. I'm going around back to pee on a bush and then we're out of here." Totally unbelievable movie. Don't waste your time.

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CHEERLEADER MASSACRE (2003)

starring: Tamie Sheffield, Charity Rahmer, Erin Byron, Leonard Johnson, E. Eddie Edwards, Samantha Phillips, GiGi Erneta, April Flowers, Nikki Fritz, Tylo Tyler, Brad Beck, Summer Williams, Brinke Stevens, Melissa Brasselle.

plot: A group of cheerleaders, along with their coach and three guys, are on their way to a game when suddenly their van breaks down and they take refuge in a nearby cabin. Soon, they drink, have sex, and are brutally murdered one by one by an unseen killer.

the good: A few laughs, surprising identity of the killer, a Brinke Stevens cameo, my favorite scene from THE SLUMBER PARTY MASSACRE used as a flashback. 

the bad: I was excited about this film, I loved all three Slumber Party Massacre's because they were just so fun, and I was expecting a lot from this "Slumber Party/Sorority House Massacre with Scream tones), but it just sucked! They overdid it on the "We're cheesy but proud" thing and basically made soft-core porn but with a good who-dun-it.

**
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According to this masterpiece of film-making's script (pun intended), Charles Darwin was full of nonsense when he presented his evolution theory, because he made absolutely no mention of any alien intervention. For you see, aliens sent Chupacabras to the earth and they form the missing link in the evolution theory. However, the rest of the film clearly seems to emphasize that Chupacabras are a typically Puerto Rican phenomenon, so I don't really know where that fits in. Are they saying all Puerto Ricans are aliens? Whatever, it's all pretty irrelevant anyway. The only thing you need to memorize is that "El Chupacabre" is an utterly cheap and imbecilic amateur B-movie, lacking tension, character development and any form of style. Several duos of people are chasing this goat-munching monster (remotely resembling the midget version of the Pumpkinhead demon) through the streets and ghettos of an ugly city. We have an untalented dogcatcher and a nagging female novelist, a pair of obnoxious cops and the supposedly evil scientist with his dim-witted accomplice. Since they all are extremely incompetent in what they do, the monster can carelessly carry on devouring all the Latino immigrants of the neighborhood. The monster itself looks okay and the make-up effects on his victims' leftovers are acceptably gross and bloody. The acting performances are irredeemably awful and headache inducing. Particularly Eric Alegria is pitiable in his first and only lead role as the overly ambitious employee of Animal Control. Yes, it's an incredibly stupid film, but surely you have struggled yourself through worse and less amusing low-budget garbage.
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Well they've done it again a new pumpkin head film, the first pumpkin head film was perfect for its time, a dumb, gory, and clichéd monster flick. so heres how it goes, some one loses their loved one, goes to the witch in the woods, gets her to raise pumpkin head and have it murder everyone responsible. unfortunately the film makers have deemed it irrelevant to try and do any other than this, for the films fourth outing, deeming it far more suitable to add some lame romeo and Juliet sub plot, involving an idiotic family feud (over a car!!!!) and surprise surprise some gory pumpkin head slayings, so far so formulaic, but it doesn't stop there the acting talent in this flick is dire...oh so bad half of them can't even keep up a southern accent without slipping into their native and often posher accents. Lance henrikssen is on board so surely he would bring some gravitas to the movies proceedings...but no lance merely ambles on screen lets the words fall out mouth with absolutely no emotion or seemingly direction, and walks off again, i honestly think he just turned up for the money, then went off to his trailer to drunk and reminisce about aliens.

this film is utter cack there is no redeeming feature other than it ending credits which signal its all over.

despite the failings of ph:bf...if you want a no brainer that'll make you laugh for all the wrong reasons watch it.

if you want something with abit more meat and originality avoid.
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Sharky's Machine is a crime drama set in early 80's Atlanta. It stars Burt Reynolds as a renegade cop who is hellbent on stopping crime and corruption in his city. The story is about a dirty politician who is at the top of a crime ring that has been brining the city to it's knees. Sharky's link to bringing down this syndicate is a high-priced hooker that he falls for during the course of the movie. The action sequences are well done for the early 80's and the soundtrack / score are pretty good. The acting is B-level but this is a pretty decent film to have in your DVD collection.

Overall 7/10

Peace 

Buggieblade
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I'm Mike Sedlak. I co-wrote the score for this movie. And proud of it. 

And I love all of the comments. Some have not gone far enough.

The movie premiered in San Francisco in the summer of 1973. The theater was packed with friends and family. We all clapped.

Five days latter, it was pulled from all of the screens in the Bay Area.

If anyone is interested hearing some of scene by scene details, which might make the movie even more enjoyable, please let me know.

We could start with the shot where Gideon Blake throws the toilet plunger to distract one of the evil henchmen guarding the radio transmitter on the deck of Bud's house. 

Or how Gideon diffused the bomb in the original version.

Didn't help. It still bombed.

Bring it on.
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This is a documentary unlike any other. It has so many layers and shows us so much that trying to analyze it all at once is nearly impossible. Documentarian William Greaves shows us the process of film-making from a different perspective. We see the struggles of the actors, the director, the sound crew, and everybody else trying to hang in there and make this film successful. If this was just about a movie being made it would be ordinary. What Greaves does is make it more complex by having a crew film the actors, and then this will be filmed by another crew, only to have another crew film the whole thing. Three cameras, each with a different goal. It has an almost dizzying affect on you but at the same time is exciting. I like the parts where the crew organizes together and discusses what is going on. Even they are somewhat in the dark as to what Greaves is trying to do. Half see this as an experiment while the other half sees it as a chaotic and confusing failure. No matter what side you choose, you can't argue that Greaves doesn't get you involved in this process.
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This film, won't win any awards for greatness. But if you have an hour and a half free and fancy a bit of light hearted entertainment then you could do much worse than watch this...

The cast are mostly young and pretty, the script has some genuinely funny moments and the soundtrack is pretty cool too. Rupert Penry-Jones as Jake seems to have the most fun, while Laura Fraser as Justine is sweet, likable and funny.

I rented it because I like the series 'Spooks' that RPJ is currently starring in. And here he's young and buff and the perfect eye candy for a girls night in.

Get some wine and some ice cream and have a chuckle.
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I watched all three segments and am so disappointed in the story line. Zahn spends so much time mimicking Duvall he does nothing else in the show. And Tommy Lee Jones would never be so weak as a young man, unlikeable yes but weak never. We never see how or why they go to back to Lonesome Dove...which is a dirt hole in the original...why would they ever leave Austin where they are hero's...for doing nothing during the whole movie...I was rooting for Blue Duck by the end of the movie and he was totally miscast. There is no warning about how many segments there are...it just ends. This mini-series could have been "somebody"...tragic. It looked like it was directed by the Parrot and the Jag
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This movie was a masterpiece of human emotions and experience. I think that a lot of people get caught up in Leland's apparent mental illness as the storyline, but I was drawn into the relationships of many of the characters and what they reveal about the force of human emotions. Much of the message of the movie is that we never know the good without the bad, which is a little cliché, but what makes this movie so good and so original is that it very eloquently portrays the crushing and devastating force that the bad can have, whether you see the bad everywhere like Leland, or are experiencing the utter helplessness of unrequited love or a relationship that just isn't going to work no matter how bad you want it to. This movie captures how helpless relationships and emotions can make you feel better than any movie I've seen, and it is as depressing a movie as it is good.
This movie is awful. It creates characters not in the book, and some of them are ethnic or racial stereotypes. Including an obnoxious little Jewish boy and a politically correct little black girl. Not to mention the Yiddish speaking elves. The book was a simple story about belief, and this movie is a dark, ugly, and needlessly scary movie about nothing.

The animation is superb, but the story has been ruined by Hollywood.

The good thing is that this movie will take a bath in the box office and maybe producers will learn to keep from tampering with a story that needs no improvement. Hanks was overdone and i don't see why there couldn't have been other actors' voices be used.
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Sometimes I think that somewhere in the "Lifetime" Channel's office complex there is a room where the writer's hang-out, with a large wheel on the wall - sort of like the Big Six ones in casinos. The latter have a lot of spots where you win even money, and fewer for higher amounts, until there are perhaps a couple which pay bigger bucks.

But I picture the channel's wheel having about six different genres on its wheel, with two of them, appearing the most, labeled "The Psychotic Neighbor," or "The Spouse with a Hidden Past or Secret or Both." "Lifetime" movies have a few repetitive story lines, and these two seem to be the most ubiquitous.

The "Spouse..." category can have a spouse of long-standing, but some person appears, or an event occurs, exposing that the good wife was once a hooker, one of the couple was involved in some nefarious act long ago, or that something else in one of the background in different than presumed -- etc., etc., or, as in this flick, one of them has entered the marriage with the most nefarious of aims.

One constant, in all of their genres is that the husband or other males are usually clueless, vacuous, and slow to have any idea what in the hell is going until the climax, or at best, very late in the proceedings (unless the male is the miscreant). Not the case here.

Whether the referenced miscreant might be the "neighbor," or as in this offering, "the wife," it is always fascinating how easily, successfully and effortlessly they proceed with their dastardly deeds. They manipulate many of the others, whack them as necessary, assume various poses, and juggle more deceptions than you can count - with unfailing success until just before the end.

The lead actor here, like many in this channel's movies, is an old hand. I noticed that another film in which he starred was titled "The Perfect Neighbor."

Finally, the vengeful "perfect wife" in this flick dispatches those in her path with more expertise and ease than the most experienced and competent "button man" in Don Corleone's family could muster. And I couldn't help but imagine that Jack Nocholson's Melvin Udall character fro "As Good As It Gets," with his massive OCD affliction, could provide counsel to the anti-heroine to assist in dealing with he obsession which was the basis of this opus.
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All you need is great house, a babysitter and a phone. Simon West directs this thrilling and chilling remake of the 1979 original. This version is more of a thriller than a horror flick. Emotionally tense with an escalating fear factor. Jill Johnson(Camilla Belle)needs to work off an excessive cell phone bill; she takes on the task of babysitting the two children of Dr. and Mrs. Mandrakis(Derek de Lint and Kate Jennings Grant). The house is a beautiful 1970ish wood and glass masterpiece. Secluded and peaceful. The kids are already in bed, the wind builds and is joined by down-pouring rain. The phone begins ringing, ringing, ringing. The babysitter is soon in a frantic mode of survival in fear of the creepy stranger on the other end of the phone.

Belle is great as the innocent, smart and strong teen babysitter. The voice of the stranger on the phone is that of Lance Henriksen, while the physical stranger is played by Tommy Flanagan. Also featured are: Katie Cassidy and Brian Geraghty. Kudos to James Dooley for the atmospheric original music.
this film has no plot, no good acting, to be honest it has nothing, the same songs play over and over awful acting and if you can actually sit there and watch the whole thing and enjoy it there is something wrong with you. I wish i could give this 0 out of 10 but i cant so it has to be a 1 which is generous! ice-t isn't even a good rapper and even worse at acting, every bit of the film is rubbish, i got this film on DVD without knowing what it was for the price of £1.99 and thought that i had picked up a bargain, i then looked at the IMDb rating and didn't take it into consideration but after watching it found out that the DVD i had bought was a complete waste of time, money and electricity. if you have this film there are two things you can do sell it to someone who doesn't know about it or burn it!
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Lana Turner proved that she could really dance up a storm in this 1940 charmer about the ultimate sacrifice that her sister (Joan Blondell) makes for her.

When both sisters come to New York, they follow Blondell's beau, a wonderful George Murphy, in this film. 

As fate would have it, the director of the show is impressed with Turner but sees nothing ahead for Blondell except a job as the cigarette-girl. Not only does Blondell miss stardom, boyfriend, Murphy (Eddie) falls for Turner as well. So as not to hurt her sister, Turner is ready to marry the producer of the show, a wealthy womanizer who has wed 4 times.

The story concludes as best as possible with Blondell taking a fast exit back to Nebraska. Look for Paul Ford, as a gossip columnist in the film. He is hard to recognize due to the date of the film and the fact that he is much thinner. The film leaves you with the question of whether Ford and Blondell could ever get together.

Blondell, as the devoted sister, sacrifices both career and love, for her sister. This film is sentimental and might have worked better if it had been shot in Technicolor.

Few realize that George Murphy, the future Republican senator from California, was quite a song and dance man in his day.
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Please tell me the sentiment of the following review: If you're not a fan of the 80s, and you need to be a particularly strong fan, or of one of the two leads, there's nothing about this film to recommend.

The story, as others have said, is dull, almost an afterthought to the basic notion of the characters and the idea of making a slightly manic comedy. I watched it to about an hour, hoping it would turn a corner, a twist would occur or it would somehow kick into gear but no... It's not unwatchable, it's just dull. It goes by. It goes by with bits of running around madly, lingering shots of feet at strange angles, bits of shouting madly but I didn't get a real feel of energy or manic fun, it just came across as forced. Needless to say also, there was nothing to laugh at particularly. A bit of mild amusement here or there but nothing more.

Don't be fooled by the mention of feminism by the way, all it means in this case is that almost all the principal cast is female. If anything, it's actually cloying... Two female leads, fine, excellent, the drug dealer is female, okay, their landlord is a landlady, alright, their friends are female, okay, the only other person we particularly see who lives in the same building, oh, female... I wasn't on the lookout for that but after a while it felt like a conscious decision had been made to have the film cast that way and it felt, again, a bit forced and cloying.

On the plus-side, if you are a fan of 80s fashions and culture, there is plenty to see and if you're a fan of Helen Slater, she's fun and enjoyable to watch. There's also some screen-time for Carol Kane, which is great, but not enough...

Overall: 3/10. If you're a huge fan of the 80s, Helen Slater and Carol Kane, you could maybe stretch it to a 5 because of them, although there's still the fact it's a comedy which isn't funny, which hinders it substantially. If you're not a fan of those things, you might as well make it 0 because there's nothing much else to enjoy here.
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I went to see this movie with my boyfriend last night. I'm 20 years old and this movie was way too much for ME. I couldn't imagine taking a teenager, preteen, or (especially) a child to this movie. It was crude and offensive. I was totally misled by its PG-13 rating and the previews that I had seen for it. I had originally seen previews for it on Nickelodeon, and I thought that it looked pretty cute (maybe I just don't remember the preview correctly) . Plus, Drake Bell (the movie's main character) stars on a Nickelodeon television show that targets preteens and young teenagers. I really didn't think that the movie's content would be as risky as it was. I should have done more research about it before I went. However, I'm hoping that parents will read up on this movie before they take their kids to see it just because it has Drake Bell in it.

Seriously, do NOT take your kids or teenagers to see this movie. The rating should have been R. There are tons of sexual references, drug references, and disturbing events throughout the movie. Examples: Drake Bell gets attacked by sexually charged animals, several scenes that involve men grabbing women's breasts, lots of profanity, Drake Bell uses a bong to smoke vanilla frosting (or something like that), people get stabbed, hit, and hurt in the movie, and an elderly lady and her dog get shredded. There are tons of other offensive and disgusting scenes throughout the movie. It was really demeaning to women in general. The movie is by the people that made the Scary Movie series, so that should tell you something right there. Please remember that seeing movies like this can give kids and teenagers all kinds of wrong ideas about sex, drugs, and violence. Most children and teenagers can't decipher between spoofs or comedy and reality.

I do have a sense of humor. I also know that the humor that was in this film is typical of its genre. But I find the possibility of children and teenagers going to see this movie HORRIFYING.

As for the overall quality of the movie, I didn't think it was that original or funny. It dragged in parts and some of the humor was just forced and painful. The acting wasn't TOO bad, considering how bad the script was. If you're an adult or older teen looking for a funny movie, skip this one or rent it.

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I love it! I love Pauly Shore. It seems some people don't agree. It's humor, and he's not like everyone else. The movie is great. I love the story line and most of the people in the movie. It's funny from the first time she meets him at school. I like the fact that she chooses him over the guy back home. I like that Tiffani Theissan isn't a bad girl in the end. All the secrets are let out. Only the people you want to see are left in the end. (except for those of you who don't like Pauly Shore.) Even if you don't like him, there are funny parts, and her family tortures him through most of the movie. She's country girl gone wild and needs to be heard. She finally makes it. It's got just the right amount of love and romance. I give it an 8 out of 10.

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I am very disappointed because I expected a real ride as promised in the many reviews. The script is very bad with lot of holes and the direction too. The director failed completely to develop each violent scene with thrills and suspense. It tries very hard to follow a wannabe thriller. Therefore I had to watch how every bullet was spent without giving any sense to me. I was always asking what kind of movie I am watching. Then I didn't like that she smoked aggressively one cigarette after the other but perhaps the film was supported partly by the tobacco industry. The end is also very disappointing. I cannot understand how Jodie Foster could have been nominated for the Golden Globe in this worst role of her life. Jodie, therefore I liked very much PANIC ROOM or FLIGHT PLAN. This is definitely one of the worst I have ever seen. 4/10.
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Going into this movie, I was a bit cautious. I have always been a bit iffy about claymation movies. I've always enjoyed decent animated movies, but claymation was always different to me. But this one caught me by surprise. Wallace And Gromit are extremely lovable characters, and it's a great story with jokes for all ages. There's the silly burp/fart jokes for the kids and the subtle, but over the head of young kids, jokes for us older people. Very neat claymation and while the story had holes, it kept my interest beginning to end.

It's so rare to find pure and uncorrupted humor these days, this movie was all the more refreshing. Wallace and Gromit go doing their normal thing, which is exterminating HUMANELY the buggers that ruin people's vegetable crops. But this time they find themselves fighting some form of a freak huge rabbit that their humanely built traps can't even keep under tabs. Great laughs and a great hour and a half of fun. If you have not exposed yourself to Wallace And Gromit, I highly recommend this movie.

The only reason I rate it a 7 and not higher is because it's still a family movie and I don't have kids. I enjoyed it, but if I had been watching it with some little rug rats and my wife, it'd be at least a 9 for sure! Give it a shot!
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