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Perhaps one of the first slasher film that came out after Halloween (Although made from Irwin Yabalans from Halloween), I must say I honestly found "Tourist Trap" to be scarier and funner. "Tourist Trap" is one of those remarkable treats you find every now and then, and are left with the most enjoyable feeling of surprise. It was destiny I tell you, but one night I was at my local Blockbuster (One or Two months before it went out of business), and had nothing to get. Then I stumble upon this movie, I think huh seems like a laughable B-Movie, I rent it and took it home, boy was I in for a good scare. "Tourist Trap" comes off as a bad movie, it definitely has it's cheesy moments,but in the end you're having to much fun with it to really care.

The things that impressed me the absolute most, and the things that made this movie one of the scariest ones I've seen, is number one the setting. A horror movie without a good setting isn't very fun, not here. I just love love love the location, it feels like we can relate to it, it almost feels like we've been there before. Which makes it creepier. Next is the characters, non of them are really stereotypical, and they all have a real personality. For example they're not stoners, alcoholics, or even Sex obsessed people, they feel like normal young adults. Plus they look realistic enough, and then their is Chuck Connors. Who gives a great performance as Mr. Slausen who we all take an instant liking too because again he's so real, he feels like that nice guy grandfatherly figure we adore. The last, and probably most important thing that makes this movie scary is how they make us (the audience) jump half way out of our seats, and turn on the rights, for the right reasons. For example most of the time in horror films we mainly just jump because of a sudden change in the music pitch, but in "Tourist Trap" prepare yourself, that's not the case. With it's perfect use of lighting, mannequins, and weirdness you feel utterly creeped out. Plus I love because although they may go a bit over-the-top with some things you still feel like this could happen. Which is exactly what a horror movie who takes such a ridicules premise should do, and that is make us (the audience) feel unsafe and terrified.

Overall as far as any major problems go, I have none, only that it's weirdness may get a little too weird at times. However in the end "Tourist Trap" holds a place near and dear to my heart, for being one of the few horror films to make me turn on the lights and feel unsafe about traveling.
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I'm racking my brain, but I can't seem to think of another movie quite like The Valley of the Gwangi. A Western with dinosaurs? What could be more natural? You gotta wonder why John Ford and/or John Wayne never tried it! 

The plot  While searching for a mythical miniature horse for her circus, TJ Breckenridge (Gila Golan), Tuck Kirby (James Franciscus), and the rest of the cast/characters enter a strange, lost valley. There they find not only the miniature horse, but some other, more fearsome creatures as well. Dinosaurs rule this place. Now wouldn't that be an attraction at TJ's circus  a caged T-Rex? 

It's not that I find The Valley of the Gwangi a bad movie, I just don't seem to have enjoyed it as much as many others who have posted comments on the movie. There are some parts that I actually find almost unwatchable. For the first half of the movie, there just doesn't seem to be much going on. I wasn't necessarily bored, but I did want something to happen. Plodding would be an adjective I would use. To top it off, the movie features a very contrived love story. It feels forced as if the writers decided that the male and female leads just had to get together. But The Valley of the Gwangi isn't a total waste. There are moments I really enjoyed. Who doesn't get a kick out of the scenes of the cowboys on horseback trying to lasso a T-Rex. You just don't see stuff like that every day. Ray Harryhausen's creatures are impressive. There are some really cool shots of Harryhausen's miniatures interacting with people and horses. It might not represent the best of his work, but the effects are very nice. Still, at least in my mind these good moments aren't enough to overcome the negatives. As much as I hate to do it, I've got to rate The Valley of the Gwangi a 4/10.
Here is one of Jane Austen's movies that I found very delightful. I read the book first then listened to it on CD and was captivated by how a young Victorian girl could be persuaded against marrying the man she loved due to his lack of a fortune or education. The joy of knowing that Anne is evidently reunited with a lost love. The fact that her godmother tries to marry her off to a good for nothing cousin who's only out for money. Looking at the snobbery that comes from the upper classes and how class distinctions can divide couples from following their hearts. Captain Wentworth realization that he still loves Anne after seven years. His final understanding that Anne's love was constant all that time and they she wasn't going to let her family interfere with her true happiness and eventual marriage to one she truly loved.

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Everything that you need to know about the pornography of the late 70s and early 80s is all wrapped up in Paul Thomas Anderson's BOOGIE NIGHTS. Although the film is completely fictional, it is actually supposedly based on the story of porno kingpin John Holmes.

In Southern California in 1977, Eddie Adams (Mark Wahlberg) is working as a busboy in a nightclub. One of the regular customers is pornographer Jack Horner (Burt Reynolds) and two of his starlets, Amber Waves (Julianne Moore) and Rollergirl (Heather Graham). Jack and Eddie meet and Jack realizes that Eddie is well...a little...gifted.

So Eddie stars in Jack's films under the pseudonym of "Dirk Diggler." He becomes a "big" porno star (no pun intended) and seems to be on top of everything. Then comes the 80s when video replaces film and Jack's porno empire begins to collapse, along with Dirk Diggler and everybody else working in the field.

BOOGIE NIGHTS is a really well-filmed drama. There is a little bit of violence, but P.T. Anderson makes it more stylized. And it kind of is a scathing approach to the degradations of pornography, especially when VHS became the standard medium for making pornos.

A lot of bizarre and unique characters are introduced. William H. Macy has an interesting role as someone working on the films, whose wife keeps having sex with everybody. I especially liked Don Cheadle's role as Buck the stereo salesman. The best performance is BOOGIE NIGHTS was definitely Burt Reynolds. A 90s classic!
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In this 4th Child's Play film, Chucky gets lucky. It's very funny and there are some enjoyable parts. Very good direction. Not as bad as it could be. The best one in the series since the first. Three stars out of four.

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A swedish splatter movie? Has the world gone insane?

Probably not, but it's still not a common sight in these days with swedish gore-flicks, the b-movie business in Sweden seems to have troubles these days, long gone are the golden days of "Rymdinvasion i lappland". And this movie seems to have some troubles on its own: it's just too much talk in it, it still manages to be somewhat amusing mainly for the good FX, which are great for a b-movie. The script and most of the acting is still pretty bad though, but that actually don't matter that much, it's supposed to be a gore flick and nothing more, that's where it goes a bit wrong for some reason. There's is simply not enough blood to fill the void. 

Every person who know about Gert Fylking will have a good laugh over his role as a sgt. though. I nearly laughed my ass off. It's really that hilariously bad. 

Besides the good parts I've listed there's really nothing else to recommend here unless you're starved for swedish B-movies.

4/10

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This is no doubt one of the worst movies i have seen in a long time. I was expecting alot more from the actors. It started alright, then things go from idiotic to absolutely ridiculous. Definitely not worth renting except if its a free rental.

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After World War II the ungoing crime in Phenix City, Alabama, encouraged by the money from an Army base just across the river in Georgia, got even worse. Gambling, prostitution, loan sharking, and the like helped an organized crime apparatus in the city. Soon it was too bad and violent to even tolerate anymore. This movie is based on the real story of that fight.

By the standards of the 1950's it was shockingly explicit. Although low-budget, that same small budget helped with the realism requiring location shooting. A very gritty film. Richard Kiley was marvelous as always, and John McIntire stolid.

Why this good movie isn't on video is a real puzzle!
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I'm a horror movie freak, and this has got to be one of the most phenomenal horror flicks I've ever seen. The plotline is totally original (who else would think up a town who gets totally obsessed with a certain symbol to the point of death and insanity?), the special effects are amazing, and the cinematography couldn't be better. Some may find it disturbing, but that doesn't mean it's a bad movie. It also makes a good point. The spiral symbol is kinda ubiquitous. The spiral notebook, spiral seashells, spirals on cakes. Of all the shapes they could have used (square, triangle, trapezoid, rectangle) this was one of the best choices. If you can find this movie, definitely see it. It's certainly unique, and quite unforgettable.
Apart from the DA (James Eckhouse), and a brief appearing woman who is convincingly sympathetic to Ellen Gulden's (Renee Zellweger)plight, Ellen herself is the only convincing character--and likable character in the movie. She is the one, not her dying mother, who should be and is--the one true thing. it's not only in the role, in Zellweger's acting, but also in the plot itself.... Until, the plot turns against itself--and makes the mother the "one true thing" in the eyes of her weak willed, shallow husband who can do nothing right for his wife or daughter. The daughter perceives what the viewer perceives, but such intelligent perceptions must give way to the shallow sentiment of the husband who is blanked out on both the realities of his wife and daughter. 

To boot, the one powerful scene in this whole movie, when Ellen confronts her father's cruelty, is given the lie at the end. Ellen is just another young strong woman who must be tamed into conformity by a crybaby father. A very flawed movie--so flawed as to be called a bore and not worth the time.
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The film is a great watch very thoughtful.I believe it is a film about how your like would be if you lived in a world created by catalogues. The scenes are all perfect recreations of an Ikea catalogue they even watch furniture on their TV. When they break into the kitchen they break into another perfect picture of how a kitchen would look like in a catalogue. When he is reborn or whatever you would like to call it he returns to the harsh reality of life. I love the bit when he tells his new love he has left his partner. It pokes fun at commercial bliss by saying you can have it all and whilst it it is nice to have the same things, but some things you do not want to share. A film without children also per Say makes for a perfect ten.
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"Cover Girl" is a lacklustre WWII musical with absolutely nothing memorable about it, save for its signature song, "Long Ago and Far Away." This film came out before Gene Kelly really hit his artistic stride, and while there are evidences of his burgeoning talent here, mostly he plays sidekick to Rita Hayworth. And there's the problem. Rita Hayworth is gorgeous, no doubt about that. But she's simply not a compelling screen presence. I've always found myself wanting to like her more than I actually do, and this movie is no exception. She's simply not a very good actress, and she's not even a very good dancer. Good looking as she is, there's something vapid about her, and this movie suffers because of it.

Grade: C-
I'm not sure what the director and editor were thinking when they were editing this poor excuse for a film, but whatever they thought of didn't help this movie, it only hurt it, and it hurt this film badly. The acting, for once, isn't the problem, it's the horrible editing, scenes will end for no apparent reason, while in the middle of an action sequence or people will be cut off in mid sentence. I'm not sure what the story was, but it didn't really matter, since what I did see was fairly uninteresting. Just bad all around, a huge "Jaws" rip-off and not a good one at that. The MST version was funny though. 7 for that, none for the film itself.

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This movie is one big stereotype. The acting (except Philbin & Harrison) is awful and the horrid script only make things worse. I must agree with another review that the "local" characters sound ridiculous as a matter of fact so do the "caucasian" characters. 3 stars out of 10 for 1)Philbin 2)Harrison 3)surf scenes. (1/2* out of ****) Watch "Aloha Summer" (**) and/or "Beyond Paradise"(***) for Hawaii done right, especially BP which I found to be entertaining and brilliant.

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!!!! MILD SPOILERS !!!!

With the exception of THE TERMINATOR and TOTAL RECALL I don`t think Arnie`s action/adventure movies are up to much . They`re better than his comedies for sure but that`s hardly saying much . The problem I have with his all action blockbusters is that they`re overblown and lacking in any sort of morality 

Morality ? I mentioned in my review of TERMINATOR 2 the scene where good guy Terminator blows the kneecaps off the SWAT team . Are we to think that because the hero maims people doing their job instead of killing them we will admire him in someway ? This is the problem with ERASER , when James Cann`s character is revealed as a traitor within the US Marshal department Arnie`s character John Kruger goes on the run with a witness he`s protecting but in several later sequences Kruger kills a fairly large amount of marshals working with the villain . Are we take it they were all traitors too ? Surely many of them were honest men who were trying to stop Kruger because the bad guy told them Kruger was the traitor ? It`s a rather uneasy thought that Kruger killed several people who were trying to genuinely up hold the law 

Despite costing one hundred million dollars the special effects aren`t all that impressive . Look at the scene where Kruger lets go of the jet wing and scrambles to put on a parachute . It`s obvious as the action intercuts that it`s a stuntman who`s doing the free fall sequence while Arnie is in a studio in front of a blue screen . ERASER is also a film that has unnecessary CGI featuring killer alligators , not only unnecessary CGI but unconvincing CGI too . There`s also a few plot holes like in the opening scene involving a couple of witness protection people that the mob has caught up with . Kruger opens a car trunk and pulls out a couple of bodies and starts a fire thereby throwing the mob of the scent . Kruger is next seen rearranging the dental records via computer of the couple he`s saved . It would be logical to do this but would ALL the couples dental records be kept on computer ? Most importantly of all are we to believe the US Marshal department keep a freezer full of bodies for such events ?

So they`re you go , a typical Arnie thriller long on unlikely set pieces and short on intelligence and it`s interesting to note that ERASER didn`t make much of a profit at the box office as the production costs almost outweighed a potential audience figure . After ERASER Arnie didn`t do much more business at the box office save for TERMINATOR 3 : RISE OF THE MACHINES which was an event movie and it`ll be interesting to see if he`ll be remembered as a politician rather than a movie star
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I am a huge fan of Northern Exposure. Men In Trees is a complete knock-off of Northern Exposure. There's the city-folk from New York stuck in a remote backwoods town (Marin Frist / Joel Fleishman). She immediately doesn't hit it off with a local (Jack Slattery / Maggie O'Connell). The town only has one pilot who is not often available. Ther is only one radio show. And the entire show is about quirky people with sincere and odd relationships. Too many parallels. Just like Northern Exposure except one obvious demographic has been altered in each character. I'm bored. Give me something new to think about.

On the upside, the writing is pretty good. But if this was a school project, it would certainly have earned the stamp of plagiarism. 

Perhaps people who love this show were sheltered from the dedicated creativity and hard labors of Joshua Brand and John Falsey.
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I went along to this movie with some trepidation; the original is a masterpiece of both writing and acting and unfortunately my fears were realized. This is a humorless piece of work and I sat in the theater waiting for the wit and humor to begin- I'm still waiting, it seems. Updating the storyline to the present time just didn't work and the altering of characters an absolute travesty- why did they introduce Bette Midler's character when she disappeared just as quickly as she arrived; the related character in the 1939 original was an integral part of the plot. The women in the cinema laughed a few times but nothing touched me as being funny with the exception of a line from Meg Ryan talking to her mother about her situation and telling her that 'it's not like a 1930's movie'- I sorely wished I was viewing the 1930's version. It was all too touchy feely 'sisters stick together' and really needing some of the acerbic wit and clever dialog from the original play- I still watch the original movie and pick up a line that I have never caught before. There is no sense of closure to this new version, and whilst the 1939 movie is politically incorrect by todays standards, each thread was tied up and when the movie ended- it did so strongly. This remake should be labeled with a warning for any viewers- if you know the original, don't bother: I felt cheated by losing part of my life in a cinema watching this unmemorable piece of fluff. Bring on the Jungle Red!!

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The plot of "Open Graves" is very simple:it's about a board game called Mamba,where the players die in real life the same way they die in the game.Laughable death scenes include killings via computer generated crabs and snakes.The characters are cardboard and deliberately annoying and there isn't even a tiny bit of suspense.I liked Eliza Dushku in "Wrong Turn",but she is completely wasted and unmemorable here.The climax with CGI-witch coming from the sea is utterly laughable and stupid.The only reason to see "Open Graves" are some interesting camera angles plus sexy Eliza Dushku.If such movies are the future of horror then I seriously give up.Give me any 70's or 80's low-budget horror flick over this modern piece of crap.A generous 3 out of 10.

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What an absolutely charming movie. The cast is wonderful, and the story is witty and fun. An all around pleasant movie experience. Although the plot is somewhat predictable, it doesn't make the story any less enjoyable, in fact I didn't want it to end. I've always been a Ingrid Bergman fan, and I was interested to see her in a comedic role. She didn't let me down, Ingrid Bergman's performance as Ms Dickinson is fun to watch. I loved her interaction with Toni at the music store as well as her Dancing and doing "the Dentist". It only further proved what I already knew, that she is one of the greatest actresses of all time. Goldie Hawn is also delightful to watch. Her fun, gentle-hearted and lovable Toni is the driving force of the movie. You don't even question why she would be so concerned about her Finacee's wife, you just accept that she's just that type of person who wouldn't be happy unless she knew everyone else was also. And Walter Matthau is great as Julian. His actions never create a feeling animosity for the viewer, in fact they almost make him more enduring. There wasn't an unlikable character in the bunch. This movie has definitely with stood the test of time, I watched it just last night and I think it's one of the best romantic comedies I've ever seen. If you're looking for a fun, lighthearted, romantic comedy look no further.
Please tell me the sentiment of the following review: How is it possible to like and dislike the same movie?

The plot is very much like that Jody Foster thing, Sommersby, only not as good. Nicole was great....Jude was adequate. They didn't give him many lines...is there a reason for that? Generally, he's a pretty good actor. She's so elegant, his character is so country bumpkin. It makes one wonder what they see in each other.

Romance between two such was only successful in Lady Chatterly's Lover.

I think the dislike comes about because the movie is too long. They could have told the story in two hours.

The story is good. Good locations, good filming. The character actors were great.
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What makes this one better than most "movie movies" is that it doesn't feel phony. The film the story of the hot-headed director and his rise and fall and rise, by using real recognizable names and events during the silent and early sound eras. Instead of the generic "sound will put us out of business" business, they actually SHOW Jolson and "The Jazz Singer". The acting is really quite good, with believeable performances from Don Ameche, Alice Faye and J. Edward Bromberg in particular.
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I would think that this was one of those films whose director hadn't read the book it was based on, were it not for the fact that they are just slightly similar. It is certainly possible for a great film to be "based" very loosely on a book and this was certainly the latter but not the former.

There were a number of flaws. One was that it tried to be too much like the Railway Children, probably because adults would expect this, being from the same author. Another is that it also sought to be too like Harry Potter, down to the music and in overemphasizing the setting. I have nothing against J K Rowling or the films but the book is just nothing like the Harry Potter ones. I thought the Psammead, though very well voiced by Eddie Izzard and in character too, was almost gratuitously in a totally inappropriate environment. I may have missed something here, as the comments made about one of the characters' own books may have been a reference to the inaccuracy of the adaptation. There was also no need for the extra characters, and today's special effects could easily have been used to tell the story as it was written, but they weren't.

I saw this film with my two children, one of whom knows the book and the other of whom doesn't. The one who does know it thought it was all right but wasn't as enthusiastic as the one who doesn't. I'm not sure what this means.

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I saw this movie when it was first released in 1986. At the time I was young and enjoyed all the normal comedy available, i.e.; Monty Python, Jim Belushi & SNL, Steve Martin, Cheech & Chong, so I believe that my judgment represents most "sane" individuals.

The absolute best part of this movie was the trailer played at the beginning of the movie for the new "My Little Pony" movie that was coming out.

This movie was so atrocious that it was actually yanked from most theaters before the initial week run was completed.

I'm surprised that anyone would waste there corporate money to duplicate this steaming pile of human waste.

Don't waste your time or money to rent or watch this "movie".
This started out slow, then got worse. The best parts of this were all seen in the previews.

Bad Apple has the feel of a pilot - if that's the case TNT should save their money.
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Totally forgettable movie but an unbelievable soundtrack: I'd give it (soundtrack)a 9 out of 10. I have the CD and the guitar work (Nils Lofgren) is superb! I saw the movie years ago and had to check IMDb to remember what it was about. I obsessed about getting the soundtrack and have since had to replace it. It ranges from blues/soul/ballad to a dose of gospel. All songs written, arranged, produced and performed by Nils Lofgren who is the "other" lead guitarist opposite Steve Van Zandt in the E Street Band. This dude can play! The vocals are handled by Nils (he can't sing very good-too raspy), Bonnie Sheridan (who is a great singer) and Tom Lepson.
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The title pretty much lets you know what you're getting. It's a grade-C howler but not as blatantly funny as I was hoping. Directed by exploitation film specialist Eddie Romero from a story that originally came from Jonathan Demme (long before directing "Silence of the Lambs" and "Philadelphia"), this low-budget 1972 action movie was obviously filmed in the Philippines but set in some anonymous third world country. Playing hooker and small-time drug dealer Lee Daniels, blaxploitation superstar Pam Grier plays the first half of the title role, while long-forgotten Margaret Markov is the other half, Karen Brent, an unlikely Patty Hearst-like political revolutionary looking to partner with her comrades to overthrow the oppressive local government. Naturally antagonistic toward each other, they are in a women's prison camp where they wear inexplicably bright yellow mini-skirts as uniforms. Run by a closeted warden and lecherous matron, the prison is just an excuse for a lengthy shower scene and some half-hearted cat-fighting as Lee and Karen are pitted against each other. Of course, they escape but shackled together a la "The Defiant Ones" and continue the cat-fighting until they attack a couple of nuns to steal their habits.

Meanwhile, various groups of unsavory men are in pursuit - the loutish drug lord looking for Lee who stole $40K from him, the rather passive revolutionaries looking for Karen, and the incompetent police (who suffer the humiliation of exposing their privates to the drug lord). Needless to say, everything eventually comes to a head but not before gratuitous nudity by a number of Filipino women, a dog wears Karen's panties and some of the worst of 1970's men's fashion (one beer-bellied revolutionary wears a leather halter top with a straight face). There is a rather sad ending, but what's truly sad is how much of the potential black comedy is missed entirely in this hilariously preposterous exercise. Sadly, Grier is disappointing in this outing because her character is not allowed much to do beyond dealing with all the "jive", while Markov is an Amazonian blonde whom I am convinced is trying desperately to be credible. Since no one displays any talent for acting, the rest of the cast is not worth noting, except balding, bug-eyed Sid Haig, who uses his standard psycho persona as the drug lord. The 2003 DVD contains only the original trailer as an extra.
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It happens often, while growing up, a Hollywood movie impresses a youth. It not only lasts a lifetime, but inspire him to study ancient cultures as a career. Such was the case, with the 1954 film entitled "The Egyptian." Audience were awed with the sets, costumes and great acting of this film, so much so, other films soon followed in like vain. This is the story of a young Egyptian boy who was left parent less soon after he was born. With such a dubious beginning, it is not hard to wonder why he will spend his life, asking questions. The boy Sinuhe, (Sin-oh-way) which means, 'He that is alone'(Edmund Purdom) grows to manhood and continues asking why, even as he graduates from The School Of Life to become a physician. During his formative years he acquires a lifelong friend named Kaptah brilliantly played by (Peter Ustinov), and Horemheb (Victor Mature) who raises from a simple officer of the guard to Commander of the Armies. His life offers everything from a quick rise in social status to condemned criminal, to outcast, a wondering healer, and eventually to a station in life he never expected. Fine acting goes to Jean Simmons as Merit, Michael Wilding as Akhnaton, Bella Darvi as the temptress, Nefer, and John Carradine as a memorable Grave robber. Tommy Rettig, plays Thoth, the son of the Egyptian. In his final years, 'He that is alone,' finally discovers the answer he had been seeking all his life, which he bequeathes to his son, now in the care of his lifelong friend. Excellent Film! ****

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Please tell me the sentiment of the following review: Edward Dmytryk directed this shadowy movie about a murder investigation involving demobilized military personnel. Robert Young gets to lecture us about hatred, Robert Mitchum walks through most of this picture, and Gloria Grahame revisits the feistiness she exhibited in "It's A Wonderful Life." It's Robert Ryan who gets at the heart of the matter: anti-semiticism. He goes so deep into his role as Monty Montgomery (Imagine parents named Lawrence calling their son Larry!), that the drama sits squarely on his shoulders, and he is more than up to the challenge. Without him, the movie would be commonplace. Ryan has played a number of memorable villains in his day ("Bad Day at Black Rock;" "Billy Budd"), but this performance put him on the map. With Sam Levene as the murder victim.
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Yes, this movie was just hilarious and the acting was top notch from the whole cast. Except Shelley Winters German accent wasn't that great but then that doesn't matter as she is hardly in the film. So if you're a fan of hers beware! The two main stars of this film are Laurence Harvey and Julie Harris. Now before this film, I'd only see Miss Harris in East of Eden with James Dean and I own an audio tape of The Glass Menagerie that she did on stage with Monty Clift and Jessica Tandy, so I wasn't sure how she'd be in this role and BOY, did she impress me. How hammy was she? I love ham! ;-) Mr. Harvey, he tickled my fancy! I am now a full time Laurence Harvey fan! That hair!!! *cackles* OMG! It's almost like Burt Lancasters, that crazy messy look, it doesn't get better than that. He is young and so innocent in this film. SEE IT NOW! It's definitely in my top ten! :) I am SO glad I found a copy that is all mine! Unfortunately this movie is out of print and very hard to find on video. :(

Btw, watch out for the hospital hotel room scene!!!!! It's one of the best parts! Or when Mr. Harvey has convinced himself he's ill and he's trying to get his knee to kick, you know how Doctors do with that little rubber hammer ;-) Well he does it himself and his leg kicks and it kicks the table *squeals* Check out the look on his face, so innocent!!!! I can't describe it but to all those people who say he couldn't act very well and other cockamamie comments, see this film and you will see what a GREAT actor he really was. You'll be bowled over! If you aren't, then I'm afraid there is nothing I can do for you, you're hopeless. ;-)
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I figure this to be an "alternate reality" teen flick...More precisely a Ferris Bueller type character as the leader of a cheat ring . Yeah, I know it's not meant to compared to Ferris Bueller, at least not in a "oranges-to-oranges" way, but it will none-the-less.

Bottom-line: It's galaxies away from even being even a minor classic. It is watchable, though only if you're not expecting very much. That said, the main character has some charm, but the premise wears thin because the writing just isn't clever. The movie just did not deliver enough laughs, twists, or tension to keep my interest. 

To be honest I did continue watching...Watching with hopes to see if anything suddenly clicked. It didn't. So, stylish as it is, I wouldn't recommend this movie. BTW, it seems odd to see Mary Tyler Moore as the principal. She's truly miscast, I hope the paycheck was inordinately big.
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Im sorry to myself, you know why. I feel pained from the viewing of this movie. I went to the theater with some friends to see this movie, and still did not give it the satisfaction of watching it in entirety ( i left with about 20 minutes left... hoping to god it might make me at least comfortable for a moment. ) most movies now, even this bad ones... when i watch them, there may be a small part in the movie where I feel some joy at times because of maybe a quirky joke or a good line... this movie on the other hand made me feel uncomfortable and mad at myself the whole time, especially since i wasted money on it. It was poorly written, poorly directed, poorly shot, and definitely poorly acted...

please, for the good of humanity, do not see this movie, even if your some guy who wants to say he has seen like every movie ever... just don't...
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This film has not exactly remained fresh in the minds of film buffs, and it's a crying shame. Its witty screenplay adaptation should have netted Oscar nominations for the great screenwriter I.A.L. Diamond's adaptation, and Ingrid Bergman's flawless performance. It must have been an honor for Goldie Hawn at such a young age to work with Bergman, looking more than a decade younger than her 54 years--fifty four! When she's on the screen, it positively twinkles.

This is a film which may appear dated at first, but it actually made me wish I was around during the swingin' 'sixties. Hawn's fashions are as tacky as Bergman's are chic. (That's one minor flaw--isn't her character a little too soignée for a gal who still lives with her sister? But then again, would we have Ingrid any other way?) And who wouldn't want to hang out at a nightclub called The Slipped Disc?

The best compliments I can pay to this film is that it somehow made me nostalgic for a decade that I never saw, and that it left me wanting more. Speaking of wanting more, I wonder what ever became of sexy supporting actor Rick Lenz? (He resembles Griffin Dunne in this film.) This was his film debut, and I don't see any other major roles in his filmography. As for Goldie Hawn, she's done so much since then it's easy to not be impressed, but I can't imagine any other actor in the role, either.

Since the movie is based on a play, the line delivery may seem a bit stage-y, but it did not inhibit my enjoyment at all. In fact, I am amazed at how funny it still is after over thirty-five years. Because this film represents a bygone era, it has unjustly slipped from the consciousness of film buffs. It is more linked to the era films that came before it than the ones that followed. But don't let that stop you from savoring the delights it has to offer. Grade: A
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This is an account of events that have been covered in print several times, and I had read two books - 'A Voyage for Madmen' and 'The Strange Last Voyage of Donald Crowhurst' before seeing the film in Sheffield just before Christmas. I must say, it exceeded all expectations in its telling of the 1968 Sunday Times Golden Globe yacht race. These men set out to do something that had never been done before with no support vessels, wooden boats, no satellite phones, no GPS, and just their wits and skill to get them round the globe in one piece. Not to mention the months of solitude, the thundering southern ocean, little sleep, and boats that were often literally falling apart around them.

This documentary is excellently put together in my opinion, tightly edited, well paced with superb narration. The archive footage and the interviews are fascinating and bring the story to life. Clare Crowhurst's interview footage is especially revealing and moving as she relates the events that led up to her husband, Donald Crowhurst's departure from Teignmouth, the doubts and fears in his mind and her reaction as subsequent events unfolded.

I was moved and had even shed a tear or two by the time the credits started rolling, and overheard other people expressing similar feelings.

The two books I mentioned above are useful for more detail and back-story which couldn't have been fitted into the 90 minutes and I would recommend those too.

This is ultimately a true story of human courage and human frailty. A must see for anyone interested in sailing, adventure, human endeavour and real-life heroes.
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This film is about a woman falling in love with a friend of her boyfriend. From then on, she has to divide her time for the two boyfriends: Jack during the day and Joseph during the night.

This film feels like as if it was made with minimum budget. The majority of the film is set in a flat with minimal furniture. There are only three main actors, all the other actors listed in the credits make only momentary appearances. The wardrobe designer doesn't seem to have much to do, as the actors wear very down to earth clothes, and actually most of the time they are naked anyway.

The film is very dialog heavy, which should have made up for the shortcomings described above. However, the dialogs sound too composed and awkward. In the beginning of the film, most of the dialog is a person saying a very long sentence, and then the person says 'Me too'. After the frenzy of agreement, the dialog descends into a mess of disjointed and confused word salad.

The only merit of this film I can think of is that it serves as a feminist outlet which conveys that it is not just men who can be unfaithful.

This film is a great disappointment.
I'm a massive fan of prison dramas which is reflected in OZ being my all time favourite American TV show . I guess the appeal lies in a type of smug voyeurism of wanting to see bad things happen to bad mens' bottoms , but I found Don Siegel's RIOT IN CELL BLOCK 11 to be rather disappointing . Okay I knew since it was made in 1954 it would be devoid of bad language , graphic shankings and gang rape but even so it's a rather weak film compared to prison portrayal in earlier movies like EACH DAWN I DIE and WHITE HEAT . The problem lies in the preachy tone of the movie with riot leader Dunn being something of a prison reformer . Yeah that sounds ridiculous since he's a violent anti hero rather than some limp wristed tree hugging do gooder on a salary , but that's what he is in essence , he wants to see prisoners rehabilitated to rejoin society rather than being made to suffer . There's also a problem of making a B movie with such radical themes ( Quite ironic that Siegel would later make DIRTY HARRY where the only good criminal is a dead one ) and that is the cast isn't very good with Emile Meyer as the warder being especially irritating in his performance . like i said a disappointing movie
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Based on the 1952 autobiography "A Many-Splendoured Thing," "Love Is a Many-Splendored Thing" (1955) tells the story of Han Suyin, focusing on the romance that Han, a widowed Eurasian doctor in 1949 Hong Kong, had with a married American correspondent named Mark Elliott. "I don't want to feel anything again, ever," Han tells Mark soon after they meet, but the two soon develop the mutual irresistibles for each other, and who can blame them? Mark is played by William Holden at the near peak of his hunky-dude period (the following year's "Picnic" would be the peak) in this, the first of three films over the next seven years that would find Holden in China (1960's "The World of Suzie Wong" and 1962's "Satan Never Sleeps" being the others). And Dr. Han is here played by Jennifer Jones, who, although not a Eurasian (unlike yummy Nancy Kwan and pretty France Nuyen of those other exotic Holden films), does a credible job of passing as one. Whether dressed in cheongsam, European frock, surgical gown or (hubba-hubba!) bathing suit, Jones looks ridiculously gorgeous here. No wonder East meets West in this film so dramatically! With its two appealing lead stars, breathtaking Hong Kong scenery, beautiful CinemaScope and color, Oscar-winning costumes and that classic, Oscar-winning title song that wafts through the film like a lovely incense, "Love Is a Many-Splendored Thing" turns out to be quite the winning and romantic concoction. Han herself supposedly did not care for the picture, so I can only imagine that great liberties were taken with her source material. Still, I enjoyed it. And if the film's ending causes a tear to come to the eye, just remember Mark's words of wisdom: "Life's greatest tragedy is not to be loved."
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This has to be one of the worst films I have ever seen.

We are supposed to like and be rooting for an arrogant, know-it-all, trashy bank robber, played by Dale Robertson, and a coy tease played by the extra-ordinarily beautiful Linda Darnell in a fire engine red dress. She must have been sewed into that bodice! 

A Senator in the film thinks Native Americans and whites should try to come to an understanding, the bigots, however, win the day. I could barely sit through the endless dialog of bigotry that issued from the other characters mouths.

Except for Wounded Knee and Dances with Wolves there are few films that give a positive portrayal of American Indians, and very few old westerns do. This one is exceptionally bad in that regard.

The romance between Robertson and Darnell set my teeth on edge, as he came swaggering in, forcing a kiss on her, while she plays the old hard to get game.

There are scenes that are unintentionally humorous, such as the characters obviously not really riding in or on a stagecoach in several shots.

A puzzlingly humorous incident in the storyline is Linda Darnell's character going to great lengths to purchase tickets for the stagecoach, only to then demand a horse to ride, minutes later, for no apparent reason.

Another humorous scene is when the stagecoach comes to a screeching halt at the sight of a cowboy hat lying beside the road, and not only that, but then ALL the passengers pile out for a look-see.

1 star.
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From the brilliant mind that brought us "The Exorcist"...and "Cruising." "Rampage" is unfortunately more like the latter. It's an overall messy movie that has a major made-for-TV vibe going for it. The whole film pretends to hinge on the question, "What if the 'Boy Next Door' was a serial killer?" but instead it winds up being an uninspired courtroom drama and meditation on the the insanity plea and death penalty that makes little sense. The movie is very loosely based on the Richard Trenton Chase case, culling a few facts here and there to make a fake character and a different outcome. One of the main points of the film seems to be that ending the life of a terminally braindead child and ending the life of a murderer are somehow analagous. "Sometimes you just have to choose," says the lead character. Yeah, sometimes you have to choose to pull the plug...on your TV!
Beautiful art direction, excellent editing and wonderful stories make this some of the best television ever produced. The fact that it was relatively short lived is sadly reflective on the state of television. I highly recommend snatching these up as they're released, you'll love them.
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It is unfortunate that between this film, In the Valley of Elah, Lions for Lambs, and Home of the Brave seem to all be based upon common stereotypes about veterans from the wars in Iraq and Afghanistan. The boozing, the fighting, the short-fuses, the broken marriages, guys freaking out and digging a foxhole in their front yard when they're drunk, etc etc etc.

Does it happen - yes, but not as often as one would think after having watched any of these movies. I think that it is unfortunate that these directors/producers/writers choose to grind their axe against the political establishment by portraying soldiers in such an atypical way. In this particular film, Kimberly Peirce didn't even throw us a bone, like showing the new children that were born while a family member was deployed, or the kid who grew up in some ghetto who can now afford college thanks to the GI Bill, or the couple who can afford a house, or start a new business, earn their citizenship, etc etc etc. Instead, we are treated to the stereotypes because the people who made this film only want to show you the bad side.

A couple of issues with the film itself: 1) somebody screwed up by putting Phillippe in for a Bronze Star with V after he led his squad down a tight alleyway after having been baited by a gunman in a taxi. Pretty stupid, but yes, it happens. 2) the humvees didn't have any turret armor, so we are supposed to believe it is a near the beginning of the war, yet every soldier and their brother has an ACOG and every possible attachment for their M4? sorry, don't think so 3) Timothy Olyphant as a Lieutenant Colonel? It's hard to believe, but I just checked an he turned 40 in May, so the timing isn't too off. 4) He strikes two soldiers to escape being sent to jail after saying that he wouldn't return to Iraq (upon having learned that he had been stop-lossed). So he's a fugitive. Then, when he finally turns himself in at the end, and they take him back, he keeps his rank and deploys with the same unit? Sorry don't think so.

I can only describe it as one giant stereotype of the Army and the Infantry. Do some of the events portrayed in this movie happen to some soldiers, yes. However, in this film you get practically every stereotype in the space of about 100 minutes, and really things just aren't like that for most soldiers returning. I wish the director had made a point of doing a little better research instead of starting off with her agenda and then making a film.

Of the movies I mentioned at the beginning of this post, the best one is probably Lions for Lambs, which is more a commentary on the sad state of Generation Y+ than it is about the Wars in Iraq or Afghanistan or the Bush Administration. If you really want to see this film wait for cable or Netflix it, don't pay cash directly to rent it.