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As everyone knows, nobody can play Scarlett O'Hara like Vivien Leigh, and nobody can play Rhett Butler like Clark Gable. All others pale in comparison, and Timothy Dalton and Joanne Whalley are no exceptions. One thing that I really couldn't get past was that Joanne has BROWN eyes. The green eyes were the most enhancing feature of Scarlett's good looks, and in this sequel she has been stripped of those.

The movie, as well as the book, had several lulls in it. The new characters weren't all that memorable, and I found myself forgetting who was who. I felt as though her going to Ireland did absolutely nothing whatsoever. It could be that I'm only 11, but I saw no change in her attitude until the last say, 10 minutes when Rhett told her she had grown up. If Rhett hadn't told her that, I would have never guessed that there was any change in her attitude. She really loved Cat, her baby. She likes this child best because she had it with Rhett, her only loved husband. Still, if you've read Gone With The Wind, you would see that children make no difference in Scarlett's world. 

Quite frankly, it seemed to me like there was way too much going on without Rhett. All anybody cares about is whether or not Rhett and Scarlett get back together, and Scarlett took way too long to get to that. It is virtually nothing compared to Gone With The Wind, but then again what isn't? If you have read the novel, you will like that better than the movie.

I would watch it, just because it is the sequel to Gone With The Wind, regardless of whether or not it's worthwhile. It may not satisfy you entirely, but it will get you some of the way there.
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It was a fascinating story waiting to be told. FAT MAN AND LITTLE BOY takes us inside the trials and tribulations of a group of top American scientists handed a lofty task during the Second World War: beat everyone else to the atomic bomb. Sequestered in a heavily-guarded New Mexico compound, the brainiacs slowly turn the idea from ambitious concept into immense reality.

FAT MAN AND LITTLE BOY is one of those films that requires your close attention. It's a real thinking person's movie, not only from the scientific aspect of developing a seemingly impossible weapon, but also the moral implications of contributing to killing on a massive scale. Characters are constantly torn between that reality and their wartime duty as Americans. The film is never preachy about, however, leaving us free to marvel at the enormity of the inner turmoil these men face. The performances deserve special mention as well. Paul Newman delivers one of his great, understated performances as the Pattonesque general in charge of delivering the ultimate big stick for the Allied Forces.

Where FAT MAN AND LITTLE BOY loses much of its traction is in the unnecessary romantic component. Dwight Schultz as the leader of the scientific team struggles with his affections for his family and his relentless obsession with his big project. Director Roland Joffe apparently felt the need to explore the more human angles of this story, but the romantic overtones serve primarily as a distraction. Besides, it's the interaction among the scientists and their military hierarchy that give us the greatest insight into the thoughts and feelings of these brilliant men.

Still, it's difficult not to recommend FAT MAN AND LITTLE BOY. It's a largely forgotten gem that puts a human face put on one of the most intriguing stories in human history.
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OK....so, by minute 15 in the film, there's still no dialogue.

This film arrived to me in a padded sack from Down Under, with Sharpie encrypted info on the front. I am a programmer from a North American fest, and MOD LOVE was sent thru to me by our chief as a potential starter having preem'd at the far-away Moscow/Karlovy Vary interface.

Straight away I thought "this film is not for us" (no dialogue by minute 15??) but kept watching anyway. Well, well, well. It built and built and built, and half way in I was involved in this film, because, like when you go to the zoo, at first you're reticent, but by the time you get to the dangerous snakes bit, you're totally 'there'.

This film has a dangerousness, not at all like the much hyped WolF Creek, but because it is so totally 'other' in every way shape and form, and seems to weave a web made up of all the fantasies of most independent first-time helmers ie. - gloomy weather, red-neck intrigue, odd splicing, eerie music, and a plot which, though imperfect and basic, has a bit in common with one of the 'great Aussie Movies' ie The Cars That Ate Paris, by Wier. But MODERN LOVE is actually not really a very Aussie movie in the sense of Ocker-ishness and playful self-deprecation that pervades many of that country's films. It works on a more nightmarish realm from the start. No cell-phones, no brand names, no i-pods, no gritty urban middle/class angst - just a dude married to a good-looker, an old Volvo, and a little boy (son) who has weird teeth and chucks stuff around. Oh and it's set in weird sea-side village where people all look slightly 'wrong.' Photographed by Nick Matthews (2:37) and music by Tom Huzenroeder (Ten Canoes) MOD LUV succeeds where many Aust. movies fail - ie it stands up without regard to the "god-forsaken" country that it comes out of. Instead, it revels in a warped but entertaining riddle which the film itself cannot solve - and herein lies the weak link...what on earth does this film have to do with "Modern Love"???? The final minutes of the film seem to give an answer, or at least hints at one....and as I sat and drank a coffee and ate my Hershey's afterwards, all that I could surmise was that this film's helmer, Alex Frayne, will prob have a lot of fun with this one./
Great 1980s Comic Strip comedy set in the South West of England. It is a tale of sex, drugs, cream teas and murder by the seaside. Adrian Edmondson, French and Saunders, Nigel Planer (hilarious in drag) and Robbie Coltrane play a part. Dennis (Edmondson) tries to impress girlfriend by boasting he is involved in a multi-million pounds drug deal. This leads to complications with hilarious results. I am trying to find out the original picture ratio for this film but it does not appear under 'Technical Aspects' of the IMDb site. I spotted the DVD in the shop and it appears to be in 1.33:1 (full screen) format. Was the film shot in this ratio or was it originally a widescreen film with a pan and scan DVD? It would be useful to know as I hate pan and scan films. So come on IMDb. Could you find out for us?
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Please tell me the sentiment of the following review: I don't know how people can watch this - the only people who enjoy watching this are those who have no feelings and emotions and enjoy watching people die, houses burn down, car crashes, babies die, and cast members being killed off every week. Its the most absurd thing on television and i still don't know how it pulls in the ratings. Its so depressing. I can imagine the writers sitting down and saying - 'so who shall we kill of next week then' or 'whose house shall we torch in a months time?'

Its the most depressing, absurd and most stupid thing on TV at the moment, and i cant understand peoples motives for watching this depressing pile of crap anymore
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Darr is an brilliant movie..It is 1 of my favourite films..SRK has done a mind blowing job in the movie....

this role couldn't have been played by anyone else because this type of role only suits SRK...

SRK plays a mental villain in the film..

SRK's performance in this movie is the best performance ever in boll wood...

SRK deserves an honour and an encouraging appeal for his fantastic performance...

Juhi also delivers an excellent performance..

Sunny Deol looked strong and physically fit in the film..
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This film is a very beautiful and slow film. There is nothing Hollywood about it. It is very danish and the characters are very real. It is the first danish film to take up this transsexual theme. It is really about love that has no gender. I would not say it is about lesbian love even though the two main characters (the transsexual veronika and Charlotte) are attracted to each other. It is a story about love and life.

The story pretty much takes place in the two apartments. There is almost no background music, which makes it seem more real and intense. The two actors playing the main characters are great. They really make them seem real. They are not archetypes, but real people you could meet in the street. I think it is the first time I have seen a transsexual portrayed this well. Very well done.
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This is a movie, that has all the basic elements of its genre. It makes you wanna cry, it makes you laugh, it disgust you, it makes you angry etc. 

The topic of the story is fortunately not about some disease or drugs, what is the common trend in gay themed movies in these days, but it focuses on the social interactions between characters what could be considered not to be in the high school elite. The play and the direction could be a little bit more sophisticated, but on the other hand it's somehow better so, because it really shows the distress of the characters, that they are experiencing. If this was intended, then this is a remarkable job and assuredly an achievement, specially for such an young director. 

It's actually a good story that gives you a little inside into, how it is to be a fat girl and to acknowledge it to yourself.

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Scandinavians are pretty good at making me laugh at the drab nothingness of my soulless life, huh.

The film-making here was incredibly meticulous, every piece of framing, every deadpan stare, every element of the colour palette, every snippet of muzak or whooosh of those street cleaners was there to hammer home this world's calm emptiness.

In fact, I think I might have found the general sense of emptiness overbearing had its absurdity not been genuinely funny and relatable. Like when Andreas is telling his boss that he misses children and looks up and the guy is smiling and halfway out the door, it's a sort of sad but true reflection of working with people, spending 7/8 hours a day with them, seeing more of them than the folk you love, but ultimately knowing deep down they don't give a damn about your troubles and you the same.

This might have been a film the Coens had made had they been born in Oslo and not Minnesota. I think their humour is more aggressive and more wrapped up in cinema's past but they have the same mastery of technique and their films have the same underlying sense that life is pretty inconsequential.

I'll stop before I talk myself into taking a bus into the wintry wilderness.
I thought "puppets making crank phone calls" was pretty low, but I don't believe that Carlos Mencia's show even qualifies as comedy. His main objective is to make the audience incredibly uncomfortable while using the word "beaner" as many times as he possible can. I have never felt compelled to write a review declaring the awfulness of anything on IMDb before, but I really do hope this show is never renewed or rerun.

Mencia is trying to be the next Dave Chapelle, and perhaps he was only hired by the network because they hoped he would fill those shoes. It is obvious right down to the rip of Chapelle's intro (blues guys vs. mariachi band). However, Mencia has absolutely *no* attitude, and does not delve into popular views of the hispanic culture enough to come up with a creative poke at it each time. Instead he sticks to a small number of hardly-shocking nicknames for his fellow latinos and makes "jokes" about immigration. Every once in a while, he'll take advantage of the slight darkness of his skin to make fun of someone else, like middle eastern cultures. These jokes mainly consist of reiterating every joke or stereotype made against the culture, and perhaps some incredibly old topics (such as 9/11), in a watered down, stand-up style, while he laughs at himself to cover up the audience's style. I think he's too afraid of really offending anyone, so it just makes the viewer feel awkward. He also beats jokes to death. If you've ever seen "Why the f*** is this news?" you'll know what I'm talking about. It's funny at first, but he just rambles on and on and becomes Captain Obvious at some point. 

It's a trainwreck that is purely painful to watch.

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Please tell me the sentiment of the following review: I don't understand why more people have not commented on this, other than the fact that perhaps not very many have seen it. It's an amazing cast of characters, one after another after another, all done by the guy who wrote the play. If you don't like filmed plays, you may not like this (after all, plays usually don't look good on TV), but it's a one-man show that will have you paying attention throughout. Highly recommended.
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Just to correct something in a previous review here, I don't believe this film is only for people who know London, it's a case of a very specific situation being used to make universal comments. Jack Rosenthal says in an introduction to the published script that it was meant to be about characters who, by going though this gruelling Knowledge test, gain some measure of self-knowledge.

I think it's one of the most perfectly-written dramas I've seen: technically it's supremely adept at conveying quite complex details but it's also joyous in how it involves you. At the start you know no more about this London Knowledge test than the main characters but you get scooped up right along with them until it's vitally important to you. You become tremendously proud of those characters who succeed, and you are crushed for those who don't. Especially one whose downfall, without giving anything anyway, will make your hands fly to your face.

Also just as a point of fact, Nigel Hawthorne's character, Mr Burgess, is called the Vampire, not Dracula. You don't need to know this, I'm not saying it's crucial, but it's a measure of the drama: once you've seen this, you will want everyone to and you will evangelise about its every detail.

I hope you get to see it.

William
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I haven't read the Anne Rice novel that this movie was based on, but who knows, maybe reading the book is cheaper than renting QUEEN OF THE DAMNED and is probably better for your health. It isn't that this movie is necessarily bad for your health, but a book can be very relaxing and certainly exercises the active part of your brain more so than this movie. You can count the number of pages by Anne Rice that I've read on one hand, but after seeing this movie and Interview with a Vampire, I get the feeling that she writes really good novels. The plots for both movies hint at a whole sea of deep and interwoven vampire history.

Still, Stuart Townsend's voice-over narration gets a heck of a lot more annoying than Brad Pitt's vampire narrative ever did, and you can tell that QUEEN OF THE DAMNED's limited production resources barely give enough flesh to the Anne Rice storyline. While Interview decided to go with lace and elegance, QUEEN relies on low budget special effects that try really hard to be taken seriously. One can see that the original novel had potential as a movie and that the production team focused its attention in the wrong places. The costumes and rock & roll stage could have been replaced with more blood and an eerier soundtrack.

However, I'll give credit where credit is due. The soundtrack is excellent. Korn and Disturbed had me down with the sickness bobbing my noggin like Butthead.

The film opens with a very cool Goth-rock zoom & splice montage, but after the first ten minutes or so, the directing degenerates quickly. It's as if the movie was so long that the director realized that there wasn't enough time and enough money to do an Anne Rice novel justice. What results are some mediocre vampire scenes and plenty of cheesy special effects. Unfortunately, QUEEN OF THE DAMNED fails to do the genre justice just as its John Carpenter counterparts fail to impress. Where are the yellow contacts? Where's the pale blue make-up? Scene after scene, I shook my head reminiscing about the days of Salem's Lot and Fright Night when low budget was done right.

There are redeeming qualities though that save this movie from being garbage. Props to Aaliyah, and may her soul forever rest in peace. She might have become a renowned actress, had her life not been taken from us so prematurely, for she did give this movie a decent performance with plenty of nice belly dancing. Did I mention that the soundtrack was good? Let's see, what else can I say? It wasn't too long. The Anne Rice novel could have easily been a three hour movie if an ambitious director like Francis Ford Coppola got his hands on it. There are a few twists and turns here and there in the plot. But all in all it was a legitimate rock and roll addition to the slew of second-rate vampire movies out there. The director of this movie went on to direct a new Battlestar Galactica mini series if that tells you anything.

JY

Jimboduck-dot-com

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I've got to say that I'm not a massive fan of Troma films. Granted, I've only seen three of them (or four including this one), but two (Blood Sucking Freaks and Mothers' Day) are widely reputed to be the best, which leads me to believe that all the others aren't worth seeing. That would certainly seem to be the case with Graduation Day, which is a Troma take on the over-popular eighties slasher. While the film is never particularly bad (given the type of film), it's never particularly good either; and by the end, all I could think about was 'why did I bother watching this?'. Anyway, the plot sees some girl die on a race track, and shortly thereafter; more people start dying. Naturally, there are a few possible suspects; but it's hard to really care about anything that happens. Of course, in slasher terms; it's the gore that is most important, and given Troma's track record where the red stuff is concerned, I was expecting buckets of it. There are some decent kill scenes, and some of them are gory; but it's never very shocking, which really just makes this another dreary slasher based on a celebratory event on the American calendar. It's worth noting that there's a small role in this film for sleaze queen Linnea Quigley, but the rest of the cast aren't worth mentioning. The direction, plot and its execution are all very mundane; and I will say that unless you're a big Troma fan or someone that wants to track down every slasher ever made; don't bother with this film.

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Honestly, one of the worst written, directed and acted movies I have ever seen. Seemed like a made-for-TV movie. And a bad one at that. I cannot believe that people are still hiring Danny Huston after seeing him in this movie, or that they are still allowing John Sayles to make films. My husband and I came across this movie on TV one night and got so bored with it, we ended up cleaning the house while it was on . . . and it still bored us! It made me think that critics have been so gullible with Sayles' previous films, such as Lone Star, which was raved about at he time but didn't really add up to much in the end. Spend your time on something better. Anything.
This is a disgrace to the name of all of the lovable and laughable Critters' saga. Why do the writers feel the need to make the movie unbearable to watch by all quality standards. The Critters are cute and adorable as ever but deadly behavior has been transformed into that of a killer baby. They aren't as terrifying, gruesome, some what spine -chilling and funny as they were portrayed in the movies before. I used to love their porcupine shots but now it is hidden as if it was thought to be repetitive and boring. And what is with the killing and not eating. I thought this movie would have been cool but everything was so wrong. Why did Ug have to be evil and killed by that which is known as Charlie. This movie sickens me. Disgrace! Disgrace! DISGRAAAAAAACE!!!!

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This review contains spoilers.

I was searching through horror movie DVDs on Amazon when I came across Flight Of The Living Dead. I already knew from the name that it was going to be abysmally naff and most probably a rip-off of Snakes On A Plane, but it was selling brand new for 69p so I figured I didn't really have much to lose.

The music played over the opening credits didn't fit at all, although I did like the song itself a pop-rock song isn't really suitable to appear on the soundtrack of a zombie horror movie. It started off surprisingly well, the opening scenes weren't too bad, some of the acting was a little cringe-worthy but not as bad as I initially thought it would be.

It all goes well until Laura Cayouette (Rocket from Kill Bill: Vol. 2) enters the picture. She is supposed to be playing a scientist. If she is, she's not a very bright one. Luckily she's polished off pretty quickly.

I actually physically laughed out loud when the camera panned over the passengers of the plane during some turbulence. There was a nun. Have you ever been on a plane with a nun!? I was surprised she wasn't clutching a crucifix.

Finally, after 35 minutes, we get to some zombie action, and use the word 'action' loosely. The special effects are pretty below standard, but that's to be expected from a movie with this budget. Being covered in blood and having yellow contact lenses does not make you look like a zombie though, it makes you look pretty amusing. Using slow motion doesn't work particularly well either. I think this movie is probably guilty of trying to add too much story. Trying to pass off the problem as a variant of the "malaria virus" wasn't an especially good move either considering malaria isn't a virus.

The rest of the movie pretty much plays out like any other zombie movie. Most of the characters are killed off and it eventually ends up with a handful of people fighting to stay alive. Possibly the worst part of Flight Of The Living Dead is the utterly inconceivable ending. I know it's a movie about people who come back to life and feast on the living, but the ending was just ridiculous. Rating: ★★
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as i said in the other comment this is one of the best teen movies of all time,and one of my personal favorites. to me this movie is the second best teen movie of all time. second only to the breakfast club. the last american virgin is also maybe the most honest teen movie of all time. it's underrated,and pretty much an unknown movie to a lot of people. it comes on TBS maybe once a year,but sometimes longer. the first half of this movie is a sex comedy with a few honest scenes. then the second half is pure honest,and most of the time serious. with only a few comic scenes. in my opinion this is the best soundtrack of all time. i've never heard this many great songs in one movie before. there are 4 love songs in this movie that i think are some of the best love songs in history. the movie is about a pizza boy named gary who is a virgin. hes in high school who has a couple of best friends. his two friends are sex-sarved teens. the first half of the movie is pretty much sexual misadventures. that are very funny. gary is major in love with the new girl in school. he later finds out that his best friend is going out with her. he also cheats on the side. you can feel the love gary has for this girl very much. you can feel it even more in the second half. gary's friend turns out to be a creep. but his other friend is pretty cool. the movie shows how mean people can be. you can relate to a lot of this movie. the plot sounds like your typcial teen sex comedy. but it's so much more than that. it's a very honest movie. it's also very 80ish which i love. if you love the 80's or grew-up in the 80's,rent this movie. but there may be some people that don't like the 80's,but still may like this movie. i first saw this movie back in 1987 i think. it's very entertaining,and very funny. it combines very touching moments with very funny moments. it's an underrated gem! i have the movie. i love it! i give the last american virgin ***1/2 out of ****

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It's nice to see Julie Andrews trying a straight dramatic role here--something she hadn't done in awhile--but her character of Judith(wise they didn't try to pass her off as a 'Judy')has the old refined manners and tomboyish hairstyle of yore, and Andrews enacts 'grown-up' as any other actress would interpret frigid. It's a surprisingly bland drama set in Barbados involving Omar Sharif(not the liveliest leading man around--not even in 1974!)hoping to make Andrews a spy while also slowly leading her into the proverbial bedroom. Unmemorable outing does have some camp value: the James Bond-like credits at the beginning are a cheesy hoot. As for Julie: she's quiet and contemplative, but that doesn't do much for the audience, or for the film. Blake Edwards paces the freakin' thing like a funeral. * from ****
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Peter O'Toole is a treat to watch in roles where the lines he speaks are good and offer a chance for him to swagger in drunken stupor. The lovely Susannah York provides a good foil for O'Toole's dramatic presence.

The film alludes to incest--without a single explicit scene--but it is able to entertain the viewer in its raucous social commentary. Though this is not major film by any reckoning, it will be remembered for its entertaining performances. 

Even York, signing the papers at the end, is a treat to watch, exuding tragedy silently. The possible weakness here is Thompson's laid-back direction. But the film floats because of the actors and the script.

I saw the film twice over a period of 20 years--on both occasions with the name "Brotherly love". "Country dance" is a rather farcical and inappropriate title for this movie, wherever it was released as such.
Please tell me the sentiment of the following review: My tolerance for shlocky direction was overwhelmed by some of the choices in this could-be-really-good time-waster.

When the "romantic" intervals were of a nature to take me out of the story and into "How-and-why-did-the-movie-maker-do-/that/?" mode, you got to figure something is missing in there; restraint and tastefulness, I think.

Brian Brown is a capable, empathetic actor - usually. I think he didn't like the project or the people, and it shows. I don't remember anything the other guy did. Can't even picture his face.

On the other hand, it doesn't have to be any good to be entertaining; some of the vignettes and twists are fun and even ingenious.

I watched this movie ($2.00 purchase at the vid rental place) against the advice of the screenwriter; I understand he was tempted to remove his name from the credits. Matter of pride, I bet.
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This movie is excellent!Angel is beautiful and Scamp is adorable!His little yelps when hes scared,and the funniest parts are when:Scamp is caught under the curtain and when Angel and Scamp are singing 'Ive Never Had This Feeling Before'.I totally recommend this movie,its coming out on special edition on June 20.The cover has scamp on a garbage can and Angel underneath the lid.

I just cant explain this movie more than romantic,charming,hilarious,and adorable.The junkyard scenes are funny,all the junkyard dogs have something special.Too funny i laughed,kids will LOVE it.Buy it when it comes out,it has new features!
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I like a lot of Myrna Loy movies. This film was produced before her character actor personality was developed. It would be an okay short film but seems to go on forever in it's complete form.

Myrna Loy it seems is told what to do with her acting and does the job. That is about all you can say about her.

Her gypsy character is shoddy and the film has many flaws, such as the jewelry shop scene.

This film will probably be interesting to Myrna Loy fans but even as such is something of a disappointment.

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This extraordinary pseudo-documentary, made in 1971, perfectly captures the zeitgeist of America today...which makes it all the more scary and relevant. "subversives" (college students, hippies, black activists, academics) are being rounded up by the government and given lengthy prison terms for what amount to thought crimes and social protest. As an alternative to life in prison, these convicted "criminals" are offered three days in "Punishment Park". Their objective inside the park is to make their way to the American flag where freedom awaits them. Not surprisingly, the Punishment Park option is a dirty lie. This brilliant film from Peter Watkins even pre-dates "Battle Royale" and "Series 7", though its angle of attack is more blatantly political. Shot in '71, it looks and feels as fresh as anything made today. The performances are exemplary and the direction is razer sharp. The narrative cuts back and forth between various groups trying to survive the harsh conditions of the park and the McCarthy-like trials that convicted them. Today, this film still retains its power. In '71, there was nothing but nothing quite like it. This is a masterpiece that succeeds on a dozen levels. It has the balls that most people today have lost.
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Totally different, with loads of understatement and black comedy, this is a film few get to see, but those who do will remember it. This movie creates its own universe, and is fascinating in every way. What it is about? Estrangement, I believe. Probably up to the viewer, but I found that this movie tries to say something about the coldness and emptiness behind all the designer furniture and perfect facades. Don't know if I'm right. But this movie really got to me. See it. I really hope the team behind this movie makes more movies, and that they will continue to do so in their own, some kinda weird style. And I forgot: The Casting here i superb, with Trond Fausa Aurvåg being perfect in the role as the Bothersome Man, who doesn't understand where he is, what he is doing and why. The acknowledgment of not understanding the purpose of life (in the city), is what makes him bothersome. All the others do as they are told, and pretend (?) to be happy. This movie is a good and humorous comment on life in 2006.
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Seeing Laurel without Hardy in a film seems strange, yet it's entertaining all the same. It's a well done parody of what became a classic silent film and it showcases Stan's talents very well. While his pictures with Oliver Hardy were great, these early solo efforts give you an idea of how skilled he was at his craft and how great he might have been had he continued in the tradition of Keaton and Chaplin as an individual star on his own. The dance sequence with his real-life wife in the café scene is the best part of the picture, and has some pretty funny bits to go with Laurel's excellent dance steps. And the bullfight climax is a gem, as even the bull takes a pratfall. And I like the irony in the scene where he's buried in hats and comes up wearing his familiar Laurel and Hardy bowler hat. As much as I love the Laurel and Hardy team and feel that there was never a funnier comedy duo on screen during their prime, it's nice to see them on their own once in a while (check out THE FIGHTING KENTUCKIAN that Hardy made with the Duke as another fine example.) Dale Roloff
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This is by far the worst ever 'horror' movie, no, make that any movie, I have ever watched. Shame on Block Buster for even carrying this type of crap. I never ask for a refund on any movie, but I think this will be a first.

The movie is so bad that I had to stop after just 15 minutes of watching it.

I had more fun watching any of the fuzzy YouTube movies than watching this piece of dropping.

The marketing dude for this movie must have some type of silver tongue to move this thing into an establishment as Blockbuster.
Why do the powers that be continue to cast Jennifer Lopez in unbelievable roles? She was excellent in Selena, and pretty good in Money Train, which both cast her in roles where she could basically be herself. However, roles like this just draw the line. I could never see Lopez as an FBI agent (see Out of Sight for that unremarkable performance), but as a psychotherapist? Give me a break!

Basically, Lopez plays the aforementioned psychotherapist, who is involved in virtual reality experiments in which she enters the minds of her patients in order to help them sort out their issues. When she enters the mind of a comatose serial killer to help save one of his victims, she breaks all the rules to try and crack the insanity of his inner mind.

Lopez's acting here is typically below average. I can't get over that high-pitched squeak of a voice she has. She's no Julia Roberts, but yet she comes across on screen as though she believes herself to be on the same playing field. Well, she's not even in the same stadium. Sure, she is a very sexy lady; however, that isn't going to carry a film, and it certainly doesn't carry this one. With anybody else cast in her role for this film it would have been excellent, especially if it was cast with someone who could lend more credibility to the character.

Having said all that, this film is visually stunning. The colors are fabulous, and the story line isn't half bad in a B-movie kind of way. The audio here is superb as well. This movie gains some points for the fairly original storyline, and major points for how it looks and sounds. Unfortunately, the acting and poor casting bring it down a few notches.

My Rating: 6/10
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Not all, but most of this story is Buster being mistaken for "Dead Shot Dan," a notorious criminal. 

There really is no story, just a series of adventures to show off Buster's physical talents, which are amazing, and his comedic timing. The 27-minute film is basically one adventure after the other mostly involving someone chasing our hero.

Earlier, it's a couple of policemen on their beats racing through the streets after Keaton and later it's "Big Joe" Roberts, a rotund cop - and father a girl Buster is interested in - who chases him. Those latter scenes were the best I thought, with a lot of clever gags involving the hotel elevator where Big Joe and his daughter live. That was Keaton at his best.

It's just a madcap half hour that makes little sense, but cares? It's Buster at his slapstick best, or near it, and so it serves its purpose: to entertain us. Just think: 85 years after this film was made there are people (like me) still discovering and enjoying these silent comedy classics! Cool!

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This movie was sooooooo good! It was hilarious! There are so many jokes that you can just watch the movie over and over and not get tired of it. John Turturro and Tim Blake Nelson were awesome as Pete Hogwallop and Delmar! I love those guys! I love the adventures they went on, too. I definitely recommend this movie.

Also, the music in this movie is terrific! I love singing along with all of the songs!
There is a lot wrong with this film. I will not lie. I will say that most of the problems feel like they stem from a budget that was chopped out from underneath the flick, and some bad hack job editing.

This is not Office Space. Do not go in expecting Office Space levels of comedy. It is very funny though. It is a mess, but very funny at the same time. A funny mess of a film. In the way that Caddyshack is funny. A mess of unrelated funny scenes filled with some very annoying unfunny scenes.

It works as a whole though, and it certainly deserves a wide release. This is the best commentary on the Wal Mart/ Starbucks/ MTV nation you could hope for. The very fact that a film is exploring the idea that dumb people are breeding at an alarming rate while the intelligent people are not, is great in my book. Not very politically correct but worth at least some debate.

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I see that C. Thomas Howell has appeared in many movies since his heyday in the 80s as an accomplished young actor.

I bought this DVD because it was cheap and in part for the internet-related plot and to see how much older C. Thomas Howell is; I do not recall seeing him in any movies since the 1980s.

In just a few words: what a very big disappointment. I give some low budget movies a chance, but this one started out lame. Within the first 15 minutes of the movie, this elusive woman is chatting with an Asian guy in a chatroom. They basically stimulate themselves to their own chat, she then insists on meeting the participant in person. She meets him, has sex, ties him up and then murders him in cold blood. The plot then deteriorates further.

The plot is thin and flimsy and the acting is very stiff. Do not bother renting it much less purchasing it, even if it is in the $1 DVD bin. I plan to take my copy of the DVD to Goodwill. I am truly amazed that any of the prior reviewers here gave this movie a bad rating.

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Garlin outdoes himself as writer-director-actor in his indie production about a big guy (Garlin) wandering around Chicago with an eye for every woman he sees. The laughs keep coming almost every minute. It's a somewhat dramatic and serious story about a man looking for love, but done with great comedic writing and acting. The supporting roles are also very well done and very funny and really make the movie rich.

Rose Abdoo is hysterical in her receptionist role taking you right into the mood of the rest of the film. Sara Silverman is awesome with some of the great bits she does with Jeff. Bonnie Hunt is classically great in her role. I only wish there was more of her in the film, as I think most will agree. It's certainly refreshing to see her in a tight leather outfit.

David Pasquesi was the aloof detached sidekick, and voice of reason. Mina Kolb plays Jeff's mother who he lives with. There were numerous other cameos, all of them done very well.

At the premier Jeff mentioned his inability to do more with Bonnie due to production issues. Still, it's good to leave you wanting more. I think it's that indie thing of keeping some things ambiguous to let the audience do some thinking for themselves to fill in the blanks. The wordy title should clue you in to this.

Jeff said some of the basic characters were based on his past relationships. This explains why they work so well. Real life people are always unusually colorful and makes great characters. He departs quite a bit from what you might expect, having seen Curb Your Enthusiasm and some of his other work. It's one of those break out things where an actor takes some risks to do something they maybe always wanted to do but couldn't.

I think it's noteworthy that Garlin's improv Second City background, and Hunt's for that matter, set the style here of acting being the focus of the story and the directing. It's perhaps a new innovative hybrid of improv meets indie film-making.
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Well its a great work by Aparnaji and some where people like this makes us believe that there is a lot more concepts till now which has to be expressed and the film is a great media to do that. Well all great actors together hence nothing to say about acting or directing but the film gave us a great message through out. It has nicely predicted the conditioning of human minds with that of the patient. We all believe that what we believe is true with our own point of view and we want to solve all the problem accordingly.Hence from the professor to the maid servant all tried their own ways. So when JOydeep was discussing with her wife he says that , 'she is looking for a thing which she will never get' and the wife replies 'are not we all?'. So that was a great comment which after the film left me with a great question, 'are we all sick?'
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Tom Stern and Jeremy Slate are swing bachelor's planning to hijack a casino, ala "Ocean's 11", and pin it on the Hell's Angels. Bad move. For a film with the words Hell's Angels AND the number 69 AND featuring actual Hell's Angels, this movie is surprisingly tame. The Hell's Angels truly deserve a better film to be centered around them. Not this snoorefest. Luckily this is one of the DVDs that features commentary by Joe Bob Briggs so the pain of having to sit through it is greatly alleviated. If you watch it any other way, let me recommend something to you. DON'T!! 

My Grade: D 

DVD Extras: Joe Bob Brigg's commentary; Conny Van Dyke's message to her fans (she has more than one?); Photo gallery; Theatrical Trailer; and Trailers for "Blood Shack", "Hell High", "Samurai Cop", and "The Hollywood Strangler"
This is the result of the town of Milpitas California making a home movie and subjecting the rest of the world to it. Legendary in some circles as the biggest cinematic turkey this movie is rightly thought of as a bad movie. Part comedy, part giant monster horror movie this movie is full of non actors not acting. the plot has something to do with a giant monster being created from the garbage and pollution in the area and going on a rampage. The monster, which we don't see until the final 20 minutes, is rather cool looking but isn't cool enough to warrant watching the preceding hour of boredom. Frankly even hardened bad movie lovers are going to have a tough time getting through to the end. This is a stinker.

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Obviously it seems many people really enjoyed this movie, and that's wonderful. It is certainly a very well-intentioned film, and I appreciate that in an era of heartless or emotionally damaging films. Unfortunately, the film has a lot of problems and it was not something I enjoyed watching.

The primary problem is the writing. It is just not very funny. When something tries to be snappy or witty and fails, that is far worse than when it hasn't attempted wit at all. This film is to a great degree a series of "snappy"-but-gentle come-backs between adult family members, none of which seem imaginative or apt. There is also a few central premises in the film that seem like too much of a stretch of coincidence or character motivation to be believable or really work. Some of the back story seemed more intriguing, and did serve to decorate the story around the edges fairly well, but it couldn't make up for the moment-to-moment flatness that pervaded almost all of the movie.

The directing/editing doesn't support the film well, either, although I don't know to explain how exactly. Somehow things always seemed to me rather fake, and that the actors were forcing there way through unnatural material for the most part. They tried, and I don't fault any one person here. There were also too many small and charmless roles in it outside the immediate family.

Not a good rental in my opinion, though, again, apparently a number of people found it very charming (I am 38; I suspect that perhaps people over 60 might enjoy this film more?).
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The year 2004 was the year of the biopic with no less than four pictures tackling real events, real people, with varying degrees of critical praise. Of the four pictures to make it to the race to the Oscars in early 2005 (KINSEY, THE AVIATOR, HOTEL RWANDA, and, RAY), RAY became the big winner of the night as the acting award went to Jamie Foxx for his portrayal of R & B genius Ray Charles.

And it was well-deserved despite that Leonardo diCaprio came close and Liam Neeson wasn't even nominated. What made Foxx the winner was that the other two were playing relatively obscure eccentrics, Ray Charles was still making music right up until his death in 2004 and by then there wasn't a soul who didn't know at least one song that Charles' had penned. It did help that Jamie Foxx rose well above the movie -- itself as a whole somewhat weak and often looking like it wouldn't be out of place as a TV biopic -- and his portrayal is detailed as it's ferocious. He has the delicate assignment which is to embody a person down to nuances, and once the crisis of Ray's addiction to heroin hits a head, Foxx pulls out all the stops and it isn't hard to imagine the real Ray actually going through such a painful ordeal.

The low point of the film is how it spends a little too much time in detailing Ray's relationship with women. Like THE AVIATOR, Taylor Hackford wishes to establish that Ray had this turbulent life, a product of his own demons and his entry into success at a time when being black and successful brought a huge amount of baggage. Of the women, the only one to succeed bringing real life is Sharen Warren as Ray's mother. Hers is a difficult role since she is alone on screen with the child actor playing young Ray but her facial and body language is gut-wrenching, especially at the moment she must relinquish her maternity to have Ray find his way around the house. Such intensity of emotion, to stand there and watch your blind son crawl across a room and having to force him to have this rude awakening into independence. A beautiful performance, and one which should have been acknowledged.

A fantastic counterpoint to RAY is the featured music. Anyone who knows R & B will enjoy the early recordings of Ray's radio hits as much as his later ones which would bring him to the forefront of popular music, and Jamie Foxx virtually steals the show as he performs the songs as Ray. That alone will live on even when the movie in itself is little more than a stiff biopic. I would have, though, loved it if they would have used his last Adult Contemporary hit from 1993, "Sing my Song for You" in the closing credits. After all, it is Ray Charles, a performer who had a fierce dedication to his art.
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Please tell me the sentiment of the following review: Renoir's tale of Paris,the Cancan,a washer-girl and the Moulin Rouge.A more subdued,but highly entertaining version of the opening of the Moulin Rouge. Jean Gabin gives his usual excellent performance.The Technicolor photography on the print I saw was exquisite.An easy evening's viewing. chris w galla
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