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I just watched this film at an advanced screening. I had not read the book, and knew nothing of the story, but went because the book was voted "Book of the Year" by two local colleges. So I cannot compare the book with the movie as others have done.

In short, I thought this was an incredibly moving story. The acting was believable, and the insight into Afghan culture and political history was both interesting and shocking. My oldest friend is Iranian-American, and so I felt an affinity for certain Middle Eastern values and traditions that were portrayed in the movie, as they reminded me of the times I spent with his family.

The themes of friendship, family, human values, and courage under fire are universal, and are well developed in the film. I won't list the plot details, as these can be obtained elsewhere. But based on the film's technical aspects, the acting, and, above all, its heart-wrenching story, I would definitely recommend this movie.
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This movie had terrible acting, terrible plot, and terrible choice of actors. (Leslie Nielsen...COME ON!!!) The one part I considered slightly funny was the battling FBI/CIA agents, but because the audience was mainly kids they didn't understand that theme.
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After my 6 year old daughter began taking riding lessons I started looking for horse movies for her. I had always heard of National Velvet but had never seen it. Boy am I glad I bought it! It's become a favorite of mine, my 6 year old AND my 2 year old. It's a shame movies like this aren't made anymore.

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my friends and I are always on the lookout for chuck norris films to just bash and make fun of. One of our favorites so far is Lonewolf. i went to a wal-mart Christmas shopping and i came across this movie in the 5.99 bin. i had to get it. i had high hopes for this movie and although being absolutely hilarious at times, we agreed that bells of innocence is the worst movie we've ever seen, made, produced, thought up, etc... who the hell would think this is a good idea. not only is it confusing at times, but the acting is just hard to watch. the man who plays oren has acting i can compare to my own vomit, and chuck took a dive on this one, he's not the greatest actor, but this was terrible. and what kind of names are oren, conrad and jux........ jux. come on people. if you honestly thought this movie was at all watchable, great for you because it was hard for me and i seriously had a headache and stomach pains after watching it. I'm telling you now if you haven't seen this movie, DON'T!!. For the love of god please do not subject yourself to such a horrible 90 minutes of your life.
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There is not much to add to what others have already commented, the movie fails hard where it shouldn't, it has no depth in the planning of the heist and the characters are so unbelievable.

One thing that got me thinking, was that although the rest of the gang is trying hard to remove the pins from the doors of an armored truck, because there is supposed to be no other way of opening it, the guy inside the truck, with great ease manages to remove the floor of the truck which happens to have a hole in it so he can get out, and then get back in, without being noticed by anyone, because no one else could think that he could get out from there or even better, that they could have gotten into from there.

Promising but not quite there.
Never have I seen a movie like this; didn't plan on seeing it but it was worth the turn of the TV channel. I am mostly a scifi movie watcher,but I would be more than happy to add this one to my collection. It starts out as a one sided film with a simple love triangle, then became something a little different(can't tell more then that. but it does involve two guys and one girl. juts not the way you would expect). Also, this movie starred Hugo Weaving from the "MATRIX" and "THE LORD OF THE RINGS" in a role I would not have expected...very funny guy. This movie is playing on HERE TV, but if you do not have satellite, it is worth a rent. So give it a try; you won't be disappointed.
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When I first heard that Jack Black and Kyle Gass would make a movie about their band I was freaking out! I love their music and I hoped that this movie would be really funny! Now that I have watched it I can't really say that these hopes weren't satisfied but I think I expected more. The movie is full of Tenacious D's great music and I really loved listening to all of it. There are a lot of great jokes and I just love the story, at least the first bit. I don't like the way the movie ends. The ending is very abrupt and in my opinion they could have extended that a bit more.

Overall I think it is a good movie to watch! Everyone who likes rock music should watch it! It'll give you a good laugh!
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Opera (the U.S. title is terror at the opera) is somewhat of a letdown after some of Dario's other movies like Phenomena, Tenebre, and Suspiria. (i still can't find Inferno anywhere.) it's one of those movies that has a great first half but midway through it's like someone started slowly letting the air out of the screenplay and logic.

the basic plot involves a beautiful opera singer who is being stalked by a deranged obsessed fan. this killer begins killing people close to her in a most unique fashion. he binds and gags her and tape tiny sharp pins under her eyelids so if she tries to close her eyes she'll gouge out her eyes. this forces her to watch while the killer murders her acquaintances in typically brutal and gory Argento fashion.

unfortunately, about midway through the film becomes sluggish and illogical. (this is especially directed towards the killer's motivations. i still haven't completely figured out why he's such a nut.) the ending especially come out of left field in the worst possible sense.

but, for about the first hour or so this is some of Dario's best filmmaking and the camera work is breathtaking. too bad it couldn't maintain it through to the end.

rating:7

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(May contain spoilers) I find myself disappointed with the criticism this movie receives. While it is most certainly not perfect, it is much better than it is given credit for. The acting and photography are excellent. Some of the musical numbers are great; including the title number, "Where Do I Go?", "Easy to be Hard", and "Black Boys/White Boys". While I have not seen the stage musical, I think that it clouds the judgement of many. This is not the musical you see in theatres. Do not attempt to compare them. The theatrical musical might have been sensational to watch, but it would never have had the same effect on film, so a plot had to be added. And the ending that has been added is just amazing. The movie left me feeling like I had actually watched something important, unlike most of today's movies, which only satisfy on one level.
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I just saw "Eagle´s wing". I do not really know why this movie was made. What is the message of this story? Nevertheless I liked it. There are some exciting scenes in it. I appreciate a strong performance by Martin Sheen. Harvey Keitel is less convincing.
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I'm not a movie maker but I do know it is hard to tell a story in seven minutes and draw your audience into the character. Horses on Mars does this and more. When you are watching a good movie you don't want it to end. This is how I felt watching this film. It is visually expansive and the microbe takes on such human qualities that you feel you are on the journey with him.

Really looking forward to see what exciting adventures Mr. Anderson takes us on in the future. Well done.
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This Royal Rumble basically had the message of wrestling these days. Gimmick and image are more popular then wrestling ability.

HBK vs Edge. Pretty good match. A lot of heat for Edge who was just starting out as a heel again and what better way to go into a match with HBK. It kind of got a little slower at the end then usual. Overall this match gets a 6/10. Undertaker vs Hedinreich. Not a good match. Undertaker had to carry Hedinreich through this match who seemed to be really lost and screwed up his moves. It did get interesting to see Raws Gene Snitsky and a bit later Kane come into this match. Overall the fans seemed more interested when this match ended. 2/10 Kurt Angle vs JBL vs Big Show. This match was slow at first but got pretty good at the end when Angle managed to speed up the match.Kurt Angle did some really good wrestling moves and proves he is the best wrestler out of the match. JBL and Big Show put on a slow match. The ending to this match was bad. Over all this match was a 5/10 mainlly because of Kurt Angle. Randy Orton vs HHH. Good match,surprising heat for Randy Orton who was the face in this match. Randy proved he can go the limit with any top star. This match also marked the first match HHH has wrestled where someone dosn't run down and save him from a loss. Over all this match was about a 6/10.

Royal Rumble match was OK. Some surprises. Some not so good surprises. I was kind of upset that Kurt Angle wasn't given enough time in this match. But over all this match had a guy who I never thought would be pushed so soon. I won't tell ya who wins. I give this match a 8/10
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Clearly my rating for this is not to suggest it compares with the classy horrors of the likes of Argento but with other 70s low budget, drive in fare and in that department it truly is a classic. The lack of money shows, (Does anyone care too much?) the acting is adequate rather than professional, (Does that make it more realistic?) but unlike so many other movies, and not just low budget ones, this does not drag for a moment. Crap it may be but non stop crap, in your face crap and although inevitably a bit campy at times, this is a must see for anyone who has any idea what I'm talking about. At times quite delirious, this crazy little film filled out with crazy characters is clearly made for fun and fun indeed it is to watch.
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This parody is cleverly done: from the songs (Express Yourself becomes Expose Yourself, Like a Prayer is now Party in my Pants and Vogue is now Vague) to the fake interviews of the cast of the show, this movie is hilarious. Remember Madonna saying she didn't know about the rain season in Asia? In this one, she doesn't know about the volcano season. It is a precious jewel. They got a lot of money on that spoof, and it pays off. Highly recommended!!!
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Dee Snider was inspired to do a two part song by a horror movie. This movie he wrote/directed/produced and starred in details the subjects from those songs (Horror-terria,from TwistedSister/ Stay Hungry). People have commented he must have a sick mind to put something like this out. I don't hear anybody making comments like that about Stephen King, Wes Craven,Dean Koontz,or in his own time Alfred Hitchcock. The movie profiles a modern Psychotic created by current trends in society. Personally I thought it was pretty well done from sheer imagination and inspiration,also without the benefit of a large budget and interviews with actual victims/criminals. This movie is perfect if you want something to give you nightmares and make you cringe about the possible and probable. IT COULD HAPPEN!!
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George Barry is a genius. "Death Bed: The Bed That Eats" is a prototype for much of the 'slipstream' fiction and camp surrealism that is so chic now. Truly innovative, maverick, and just effing brilliant. Hyper-strange acting, subtly nightmarish atmosphere. I recommend reading Stephen Thrower's book "Nightmare USA" (there is a chapter devoted to Barry and "Death Bed: The Bed That Eats"). Available from FAB Press. On a related note, "Death Bed: The Bed That Eats" and "Beyond Dream's Door" make a perfect double-bill. Furthermore, it's trite and tired - and ultimately stupidly ironic - to criticize a low-budget cult film for being 'poorly made' or 'technically inept.' The B-movie aesthetic is part of these films' charm. No amount of CGI could duplicate the cumulative effect "Death Bed: The Bed That Eats" has on the viewer with an advanced palate.
Like the previous commentator on this film, I too found myself in tears at times during this movie. Sometimes one wonders how a film of such awe-inspiring awfulness comes into existence. From the first moment when our protagonist wakes up in his New York apartment from a dream of subway trains intercut with galloping horses (what Irish emigrant hasn't had that one), its clear we are in trouble. And it doesn't get much better.

Whisked back to 1950s Ireland, we enter a world where everybody speaks without intonation, and exclusively on the topic of the Irish Civil War. Schoolchildren go to school to learn about the Civil War. The drinkers in the pub divide themselves according to their Civil War allegiances. Remembrances are carried out for those who died in the Civil War. The town is divided between those who believe we should remember and those who want to forget...the Civil War. Every glance and conversation is dripping with meaning that traces back to the Civil War.

The blurb on the videocover of Broken Harvest suggests that the film is a parable of the troubles in modern Ireland. The only parallel which strikes me is that in present day Dublin conversation is indeed dominated by one topic: house prices. If its intention is to offer some sort of insight into Ireland's obsession with its past, it fails miserably. It is striking how few Irish films have dealt with the Irish civil war and its legacies. However it will take a film of a great deal more subtlety and intelligence than this one to tell us anything about the lasting effects of such a traumatic event on the nation's psyche.

For those American viewers who have suggested the film evokes the atmosphere of 1950s Ireland: it doesn't. 1950s Ireland was a horrible, poverty stricken pit of sexual repression and misery from which young people fled in their droves. However there was more than one topic of conversation.
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I saw the movie after checking its rating on IMDb. Back then, it was at 8.0 and I thought, "wow! That must be a good one". I thought wrong. The beginning of the movie actually keeps what the plot promises, but then it goes exponentially down underneath its basement. I think without the character of Richie Nix, it might have been alright - although he is the reason the story line takes the course it does. The character is just too extreme for my liking, and hard to endure. Also, the journey the main character takes from the beginning of the story till its "climax" at the end is partly irrelevant and could easily have been omitted - the alternative is, I just did not understand the movie.

Although I must admit that it is "easy watching", and I had no problems sitting through the whole movie, when it had finished I was somewhat unimpressed by the ending. All in all, rather mediocre.

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Christian Propaganda...Lots of fear mongering...

This is not SciFi, this is ChriFi (Christian fiction).The movie started out OK but took a sharp Christian right turn. From then on it was all about god, jc, the holy bible and the devil . The ufo's are really just demonic deception to fool people in to believing that there is other intelligent life in the universe. Satan's idea is to trick you in to thinking that there could be more to life than what is in the bible.

The abductions could be used to explain away the rapture. The people left behind would believe it was a mass alien abduction, instead of god taking all the Christians to heaven. No reason to repent if its aliens. The deeper message in the movie is that if you don't believe in god and have jc in your life than you believe in nothing and your life has no purpose.

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Critics claim that this film is one of the worst films ever. Watchers also claim the same. But there is a flip side to that coin. They are wrong, very wrong. It's the most clever film I've seen in ages...

From beginning till end you see a story thats unrealistic. A story that reflexes the real world. This film is like a mirror. You see yourself in another way that people see you. To really understand the directors point of view, you have to see it another time...

When you see this film...Try to understand the story (and watch the background)...Listen to the lyrics of the music...And smell the industrial complexes...

This film is one of a kind. You'll hate it(most people do), or you'll love it(and understand it completely)

Ernest Hemmingway once said:'the world is a fine place, and worth fighting for'. I agree with the second part.

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When I was younger I saw the end of HAIR on TV. I just watched the last 5 minutes of the film. And I was really impressed by it. I got goose pimples and I said to myself that I HAD to watch this film.

And I did, and I've to say: This film is amazing. The songs are great, the actors are very good and the message... The message of this film is one of the most important ones: "Make love, no war". This film is a real masterpiece. Meanwhile it's my favourite film.

The last song is one of the saddest and happiest I ever listened to. I nearly could feel myself joining the crowd. All I've got to say: "LET THE SUN SHINE, LET THE SUN SHINE IN"
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One: your screen will be filled with beautiful effects and colours. These do nothing for the story, but they will keep your lazy eyes occupied for some 50 minutes. A good example is the eternal use of a computer screen that shows each fingerprint from the database as that print is compared with the one they want to find out about. Yeah, right.

Two: these guys being like real professional Pros, they will engage each other in intriguing Pro talk: "Look, Grissom, these are what we call fingerprints. Everybody has them, and they are different on each person. So, with these fingerprints we can actually find...".

Yup! Exactly like real pros would talk to each other if there wasn't a completely uninformed and stupid audience around.

However, not everything about this show is bad. Some stories work to some degree, and the colours _are_ really beautiful. They use red, blue, green, yellow... all of them colours I've loved since kindergarten.
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What? - that was it? The town sheriff (John Agar) blows up the mutant gorilla with a stick of dynamite hidden in a mannequin? Did I just write that? Did I just see that? 

With instrumentals by The Wildcats, "Night Fright" is one flick that never deserved to be made as late as 1967. The heyday of the gorilla was well over, and anyone other than Ray Corrigan in an ape suit is just asking for trouble. Remake this in black and white and set the story about thirty years earlier and you'd have at least a 4.0 rating on the IMDb. But sadly, this one never should have stood a chance of seeing the light of day. Oops, there's another quirk - you can never tell if it's day or night in the story, since they seem interchangeable with one another.

I'll give you this though, a couple of the early malt shop scenes looked like they could have gone on the air as Coke commercials. Thinking about it now, those were probably the best looking and best lit scenes of the picture; Coca Cola must have paid for them. Had they seen the completed movie, they might have been better served to prevent it's release.
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A heroic young trail scout leads a large party of pioneers along THE BIG TRAIL to the West, with Indian attacks, natural disasters & romantic complications all part of the adventure.

As sweeping & magnificent as its story, Raoul Walsh's THE BIG TRAIL is a wonderful film, as entertaining as it was more than seven decades ago. With very good acting and excellent production values, it lives up to its reputation as the talkies' first epic Western.

John Wayne, pulled from obscurity for his first important movie role, looks impossibly young, but he immediately impresses with the natural charm & masculine authority he brings to the hero's role; he quietly dominates the film with the attributes which would someday make him a huge star. Marguerite Churchill is fetching as a lovely Southern belle who slowly warms to the Duke's attentions. Dialect comic El Brendel is great fun as a Swedish immigrant beset with mule & mother-in-law woes; his appearance in a scene signals laughs for the viewer.

Looking & sounding like a human grizzly bear, Tyrone Power Sr., vast & repulsive, makes a wonderful villain. Slick cardsharp Ian Keith is a sophisticated bad guy. (His famous physical similarity to John Gilbert is very apparent here.) Silent movie character actor Tully Marshall is impressive as a wily old mountain man who helps guide the wagon train. Corpulent Russ Powell, as a friendly fur trapper, puts his vocal talent for making nonsense noises to good use. Sharp-eyed movie mavens will spot Ward Bond as one of the Missouri settlers.

What will surprise many modern viewers is that THE BIG TRAIL was filmed in an early wide screen process, called Grandeur. More than living up to its name, the picture looks marvelous, with Walsh showing a mastery of the new technology. He fills the screen, every portion of it, with action. Notice during the crowd scenes, how everyone is busy doing real work, which adds so much to the verisimilitude of these sequences. Walsh deserves great credit for being one of the first directors to use wide screen. In addition, the film is blessedly free of the rear projection photography which blights so many older films. It should also be stressed that it is only natural that the soundtrack sounds a little primitive; talkies were still in their cradle. That Walsh was able to use a microphone at all, with most of the scenes shot out of doors, is more kudos for him.

THE BIG TRAIL was not a box office success. In 1930, William Haines' comedies were the big money makers and the public was looking for fare other than intelligent Westerns. Most of the cast slipped into obscurity, including Wayne. It would not be until 1939, when John Ford rescued him in STAGECOACH, that John Wayne's legend would begin in earnest. And despite its grand & sweeping vistas, it would be another 25 years before wide screen caught on with Hollywood, largely as an answer to the economic threat from television.

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There are several ways to misunderstand this movie and a couple of them have been shown in some of the past comments. This is a movie to be analyzed as a free recreation of a known subject and therefore not to be compared with the opera, the book or other Carmen movies seen before. It just stands for itself and I must say that this Carmen does it very well. It is a mistake to compare because that is the first step to deny movies the chance to be autonomous creative works of art. Vicente Aranda is a master of atmosphere and the art direction, the costumes and the photography are extremely well put together to achieve a pleasing aesthetic experience. Let's take it as it is.

And that brings us to the next misunderstanding. Someone complains about the typical Spanish clichés in the movie. Well, historically the movie is extremely well researched and you can see the results of that very serious work in every scene. It is not only an accurate portrait of the "black Spain" of knife and espadrille that Goya portrayed so vividly, but it's also of that part of history as seen by a foreigner fascinated with the folkloric side of that society. Honestly, anyone who doesn't want to see any cliché about Spain shouldn't buy a ticket to see Carmen, but in this case those clichés are presented before they became one and the way to see them is getting rid of our own prejudices.

Another important requirement to understand this movie properly is to speak the language. It is not acceptable to criticize any actor performance for not having understood his or her lines. If all the rest of the audience did, the problem most likely lies somewhere else. Paz Vega has an immaculate diction with her Andalusian accent and all she says is understandable and credible. Her Argentinian partner, Leonardo Sbaraglia, gives also a convincing portrait of the Basque officer that became a "bandolero", and her accent is very well learned.

No less important is to have a minimally open approach to the material. To say that Paz Vega is "horrible" suggests that the author of the phrase entered the theater for the wrong reasons. We already had in Spain a critic in one of the most prestigious papers that used to recommend us pictures he found homosexually arousing, without mentioning it explicitly. And that was not totally fair for the rest of us, especially for the ones that hadn't detected that the man was writing with parts of his anatomy that many readers didn't necessarily had to care for. I'm not suggesting at all that the reviewer had the same motivation, but the expectations must have been different as the ones of those among us that went to see a talented and beautiful actress play an almost classic role, because that's what we got. Paz Vega IS Carmen, and an excellent one, in Vicente Aranda's movie.
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No Holds Barred is a movie that should in no way ever be taken seriously. It sucks hardcore as a serious movie. Look at it more in the way that you should Plan 9 From Outer Space. They are one in the same in that they are both so bad they are funny. The funny moments in No Holds Barred are usually the ones that aren't supposed to be. When Rip (played by Hulk Hogan as only he can play them) grabs the limo driver out of the front after his first meeting with Brell (Kurt Fuller) hilarity ensues and it is one part of the movie that every person should see. It might be the funniest scene ever, I swear.

Anyway, how someone thought this movie would make money I'll never know and that person should probably be beaten into submission. I hope they at least got fired. This movie earns a 1 out of 5 on my scale and that one is just for the unintentionally funny parts.
It may be difficult to believe, but the basic plot of this abysmal flick has been lifted from Hitchcock's perennial classic, "Vertigo". To see Edward James Olmos in the part once played by James Stewart is heart-breaking; Sean Young is better, but still a poor substitute for Kim Novak.

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Gritty drama? Emotionally powerful? Blah! The BBC has lost out big time to masterful productions such as The Wire, Sopranos and Carnivale from HBO. Okay, so the budget may be a lot smaller but 'The Street' last night was badly acted, predictable, unrealistic, stereotypical, insensitive and a big fat waste of time. TV (British TV) is not as good as it used to be and is falling further and further behind the American productions.

There was no sense of brutal violence from the 'local gangster'. There was no indication that this man was 'insane' enough to beat up a man he has respected for such a long time. There was no remorse when he did it and this shouldn't be the sort of character that would back down when Bob Hoskins called his son a pansy, in a display of 'bravery'.

I wish I was more eloquent to express my disdain for this show, but I am not and although I can't prove my point well enough, believe me when I say that this was rubbish, shock TV, that provides no real inward looking perspective on life.

1/5 stars.
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some funny lines are all what makes this movie bearable. the camera tv-movie-like, the acting poor (julie davis is more than disapointing) and the directing amateurish and / or loveless. but i can understand that no one had fun to realise the overconstructed and trivial script.
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Please tell me the sentiment of the following review: A young couple -- father Ben (solid Charles Bateman), wife Nicky (the lovely Ahna Capri) and their daughter KT (the cute Geri Reischl of "I Dismember Mama" fame) -- find themselves trapped in a small California desert town populated by hysterical lunatics. Worse yet, there's a pernicious Satanic cult that's been abducting little children for their own diabolical purposes. Director Bernard McEveety, working from an offbeat and inspired script by William Welch and L.Q. Jones ("Devil Times Five" director Sean MacGregor came up with the bizarre story), relates the compellingly oddball plot at a slow, yet steady pace and ably creates a creepy, edgy, mysterious ooga-booga atmosphere. Strother Martin delivers a wonderfully wicked and robust performance as Doc Duncan, who's the gleefully sinister leader of the evil sect. The top-rate cast of excellent character actors qualifies as a substantial asset: Jones as gruff, no-nonsense Sheriff Hillsboro, Alvy Moore as friendly local Toby, and Charles Robinson as a shrewd, fiercely devout priest Jack. John Arthur Morrill's bright, polished widescreen cinematography, Jamie Mendoza-Nava's spooky score, and the wild, rousing climactic black mass ritual are all likewise up to speed. The idea of having toys come to murderous life is simply ingenious (the opening scene with a toy tank coming real and crushing a family in their car is truly jolting). Nice eerily ambiguous ending, too. A pleasingly idiosyncratic and under-appreciated winner.
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Man with the Screaming Brain is a story of greed, betrayal and revenge in the a small Bulgarian town. William Cole, wealthy industrialist, winds up with part of his brain replaced by that of a Russian cab driver Yegor. The two couldn't be more different, but they share one thing - both were killed by the same woman. Brought back to life by a mad scientist, William and Yegor form an unlikely partnership to track down their common nemesis.

Bruce Campbell returns to the B horror movie genre that gave him his cult status, this time not only in front of the screen, but behind the lens. Unfortunately for this time around, the laughs don't deliver and Campbell has to resort to what he does best to try and fill the gap in this film.

As a fan of Campbell, who has the movies, the books and the action figures, I was hoping for another hit to add to my collection. Although, after seeing this film before the purchase, I am glad that I don't have the "pleasure" of adding it.

The film first goes wrong in the story, which at first sight, seems like harmless fun but turns out to be boring drawn out dribble. Which is a sad thing to say because it was written by Mr. Campbell himself. The comedy never really hits, it only makes us scratch our heads. It seems that Campbell ran out of things that are funny and resulted in giving the audience what we've already seen...him fighting himself.

Ted Raimi, the brother of Evil Dead director Sam Raimi, is undoubtedly the highlight of the film. He brings a freshness to it and an entertaining time when the film really needs it. It helps if you are a fan and have been following these stooges from Evil Dead to Xena, which is why I felt compelled to like this film.

Campbell's experience as a director, from directing episodes of the TV series Hercules is apparent. Campbell makes the film work well enough, even with the low-budget. In the end, there aren't as many things going for this as one would hope for, but the fans of Campbell will stick behind it no matter what, unfortunately for this fan...I won't.
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Horses on Mars is an engaging animated short that takes a sometimes comical look at the process of evolution through the eyes of those yet to evolve. The story is personal, and at times sentimental, and is supported by strong digital animation and narration that involves the viewer in this science fiction story. I was fortunate enough to view this short in widescreen format at the 2002 Sundance Film Festival, and must suppose that when transferred to the small screen, it will lose some of its ability to draw the reader into the no less thoughtful story and stunning graphics.
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I've heard a lot about Porno Holocaust and its twin film Erotic Nights Of The Living Dead. Both films are interchangeable and were filmed at the same time on the same location with the same actors changing clothes for each film (and taking them off). If you are expecting the D'Amato genius displayed in films like Buio Omega or Death Smiles on Murder, you won't find it here. Nonetheless this film has a charm that exploitation fans will not be able to resist. Where else will you see hardcore sex mixed with a zombie/monster and his enormous penis that strangles and chokes women to death? Only from D'Amato. There is some amount of gore in which many of the men are bludgeoned to death. The film is set on a beautiful tropical island. As far as I know there is no subtitled version, so if you don't speak Italian you wont know what is going on...but who cares right? In all honesty, Gore fans will probably fast forward through the hardcore sex. And if anyone is actually watching this for the sex only, will for sure be offended instantly. I can just imagine modern day porn fans tracing back through D'Amato's output and coming across this atrocity! Out of the two I find Erotic Nights Of The Living Dead far superior. But, don't bother watching either if they are cut. Porno Holocaust is extremely low budget as expected. Even the monster looks no where as good as George Eastman's character in Anthropophagus. The film is worth watching for laughs and to complete your D'Amato film quest.
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Excellent introspective / interpersonal piece that really had some teeth to it without feeling hopeless or worse, manipulative & artificially gratifying. Might be a good double feature with American Beauty as well. Best performance to date that I've seen from Anita Mui, and every actor in this seems like a powerhouse. Hats off to Ann Hui for the direction and Ivy Ho for the brilliant script. Seriously one of the best dramas I've seen in a while, especially if you have a taste for classical literature ALA poetry. Again, excellent.
You have to hand it to writer-director John Hughes. With enormous success behind him in the misfit-teenager/high school vein, he managed to branch out into other areas of comedy, finding in the bargain a great ally in comedian-actor John Candy. Here, goof-off adult Candy becomes a better person after agreeing to babysit his brother's wiseacre kids; it's a surefire formula designed to please both cynical teens as well as their parents, and it isn't any wonder the film was a winner with theater audiences. Still, Hughes relies almost completely on Candy's charm to put the scenario over, and one may eventually grow tired of the repetitious gags with the star front and center. The kids are sitcom-smart, the other adults shapeless blobs, and Amy Madigan is too intense, too hyped-up playing Uncle Buck's girlfriend. Later became a TV series, which is befitting since the material was already television-perfected. *1/2 from ****
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Please tell me the sentiment of the following review: I think this is a pretty good movie, but one thing makes it VERY interesting to me. It is blatantly obvious once you look out for it: the main characters in this movie are the inspiration for the bullies on The Simpsons. Layne is Jimbo, John is Kearney, and Tony is Dolph. There is even an episode of The Simpsons where Jimbo uses the line "I poked her with a stick."

The Jimbo-Layne connection is the most obvious with the knit hat and long hair and the voice. Kearney has the shaved head, unlike John, but is the big, dumb one. The Tony-Dolph connection is pretty obvious with the long, parted haircut and even the second-tier status.
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Please tell me the sentiment of the following review: This is one of the many Techno-phobic movies that sprouted like mushrooms in the mid-90s, after the Internet went mainstream.

Hollywood movies have always had their way in "beautifying" the depicted ongoings, to make them look better and more appealing. The same happens when Hollywood tries to show us some hi-tech. The outcome of such attempts varies from being very far-fetched and ridiculous (see Hackers (1995), Johnny Mnemonic (1995), etc.) to being quite realistic (see Sneakers (1992)).

"The Net" lies somewhere between those extremes. By nitpicking, one can end up with quite a lot of technical inconsistencies, and a lot of cases where the ongoings seem to be much more "sexy" and graphical than the way things are in real life (as usually happens in movies).

However, by simply overlooking those, the viewer ends up with a quite solid, entertaining movie. The characters and acting are convincing, and the movie does a good job in keeping you in your seat till the end of it. The plot is okay (a fairly standard one, really -- based on the good ol' paranoiac design, but with a hi-tech edge this time), and quite convincing (again, when disregarding technical issues). The development of the plot is a bit sluggish, though, and occasionally you can anticipate some supposedly surprising turns in the plot.

The bonus here is cutie-pie Sandra Bullock, which besides being cute (something she does quite easily, apparently), also portrays a solid act. You can really feel her character -- her despair, her emotions.

In the bottom line, the movie is entertaining and interesting, rates about 7 from 10 in my scale. It's worth renting from the video library, or even watching in the cinema. Whether to buy it or not is up to you.
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I went to the cinema to watch a preview of this film without knowing anything about it. Recognizing Jennifer Lynch's name and seeing the 18 certificate I realised it might be disturbing. In actuality I found the film a farce. I found myself giggling in disbelief through parts of it. The acting is atrocious- Bill Pullman and his ridiculous twitching face. I do almost pity the actors though as the script offers them no chance of any believable character interaction. After some shocking incident, (there is plenty to "try" and shock the viewer in this film), 2 characters are seen sharing a beer and talking about the weather. Everything was overstated, or thought it was being clever when really it was obvious! The performance from the little girl character named Stephanie was the best thing about the film. Quiet and intense. I really could not recommend this film to anyone. Its violent without point, ridiculous characters, bad acting, bad script and plain silly.
bottom at its absolute highest perfection. who ever says slap stick comedy is dead and boring is completely wrong. not that this film will only appeal to those who are of a masculine nature. this is another quality British dark comedy with many many jokes not violence related, but it helps if you can let your senses go and laugh at the sheer stupidity of it all.

this is a true example of thriving British ingenuity and homegrown talent hats off to them. on a performance level it reminds me very much of the early works of the marx brothers where the same level of enthusiasm and devotion are present in their acting styles, resulting in a performance where the audience can really engage the innate human desire to see others suffer, yet to be detached and still feel safe, much like the principle many TV chat shows operate on. a truly marvelous bit of manipulation leaving all parties feeling better off.
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In Los Angeles, the alcoholic and lazy Hank Chinaski (Matt Dillon) performs a wide range of non-qualified functions just to get enough money to drink and gamble in horse races. His primary and only objective is writing and having sexy with dirty women.

"Factotum" is an uninteresting, pointless and extremely boring movie about an irresponsible drunken vagrant that works a couple of days or weeks just to get enough money to buy spirits and gamble, being immediately fired due to his reckless behavior. In accordance with IMDb, this character would be the fictional alter-ego of the author Charles Bukowski, and based on this story, I will certainly never read any of his novels. Honestly, if the viewer likes this theme of alcoholic couples, better off watching the touching and heartbreaking Hector Babenco's "Ironweed" or Marco Ferreri's "Storie di Ordinaria Follia" that is based on the life of the same writer. My vote is four.

Title (Brazil): "Factotum  Sem Destino" ("Factotum  Without Destiny")
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In the film, Lumumba, we see the faces behind the monumental shift in the Congo's history after it is reclaimed from the Belgians, and we see the motives behind those men into whose hands the raped and starving country fell. 

Lumumba is not a movie for the hyper masses; it demands the attention of its viewers with raw, truthful acting and intricate, packed dialogue. Little of the main plot is shown through action, it relies almost solely on words, but there is a recurring strand that is only action, and it is the stroke of genius that makes the film an enlightening and powerful panorama of the tense political struggle that the Congo's independence gave birth to. 

This film is real. It is raw inits depiction of those in power, and those on the streets. It is eye-opening in its content. And it is moving in the passions and emotions of its superbly portrayed characters. 

Whether you are a history fan, a film buff, or simply like good stories, Lumumba is a must-see.
This movie is VERY LONG, but totally worth splitting up over several nights. It has an all-star cast, and if you are a Patrick Swayze fan, this will get your heart to throbbing! :-) My mother is a Civil War buff, and a history teacher, and every summer we would watch this movie (we had recorded it off TV), over several, several nights until we got through the whole thing. We had every line in the movie memorized, lol. Pop some popcorn, sit back, and enjoy the action and romance. It's a great movie for those that like action, war, blood & guts, but also for those with a soft, romantic side. The clothes the women wore were GORGEOUS! Sometimes I think I was born in the wrong era, lol.

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I thought this movie was awful. I understand it was shot on a small budget but the acting was terrible and the movie itself was just plain dumb. The plot was predictable and the central character was an unsympathetic moron. In fact, all of the characters were unsympathetic and none were fully developed at all. The audience relates to no one in the movie. It was supposed to be suspenseful but if you don't care about the characters, it's hard to get "into" the movie at all. I felt like an outsider being forced to listen to someone tell me a stupid story. All the plot twists at the end were just a little too much - I was actually laughing when I guess I was supposed to be "shocked." All in all, I thought it was really just a bad movie.

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If you feel like wasting 86 minutes on a film that makes no sense, is badly written ,with a bad plot and bad acting then this little gem is for you. Recommended for those who are about to fall asleep. Major annoyance will be felt by the awake viewer. Do not pay to see this movie!
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This is a road movie. At least the movie is in yellow anf I think that suggests a road movie (?). I can't say much positive about The Delivery. It's bad acting, certainly their English. Camera looks like it is done by a kid, there's a bomb with counter, and suddenly a Beetle is falling from the sky. Since it was so cliche we actually laught the whole time -- and that was the most fun of the movie. This movie should be released in America, but I'm not sure you should go because that might suggest that is the quality we produce. The explosions look boring. Basically everything is over the top. Everything is just too much: the yellow quality, the sound, the babe, etc. Find all the cliche part in other movies, put them together and you have The Delivery.
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A tough sell: British playwright Ronald Harwood adapts his autobiographical stage drama into loud, bellowing film about WWII Shakespearean theatrical troupe saddled with an aged, blustery, brilliant-but-unreliable star at the end of his tether. The actor's effete assistant works diligently to get his master coiffed and costumed for a production of "King Lear" (during an Air Raid!), yet both men are losing their grip on their unraveling situation. Based on the waning years of actor Donald Wolfit, whose dresser was Ronald Harwood, this acclaimed production would seem to be a welcome haven for scenery-chewing thespians. Unfortunately, Albert Finney (at this point in his career, not at all elderly) seems too robust and quick-thinking to play the actor; Finney (and Oscar-nominated director Peter Yates) cannot modulate Sir's moods and bouts of coherency in a way that makes sense to us, so that in one scene he's stopping a train with the commanding echo of his voice, and in the next he's curiously falling apart. With such a wreck of a human being in the midst of failing health and aptitude, one would assume a dedicated assistant would go to great lengths to protect his boss (and his future), yet servant Tom Courtenay prods and badgers and goads Finney to carry on rather than rest. Courtenay, who played this part on stage (and was nominated for an Oscar alongside Finney for Best Actor), is far more attuned to his role, and eventually his bleating commands and confusion achieve the only real feeling in the film. These two, thankfully, do not peck at each other's heads, and scenarist Harwood is careful not to fall into a love-hate pattern (which could possibly be perceived in the film's first act); but, without a juxtaposition of servant vs. celebrity, there's nothing much to behold in this portrait except for the deterioration of narcissism, the hint at what once was. *1/2 from ****
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