cindermond/bento huggingface dataset:
Write a positive movie review.

I just wanted to inform anyone who may be interested that the the movie "New Jersey Drive" was my personal favorite off alltime. I admire the work Nick Gomez and Spike Lee put into this masterpiece of a movie. This movie made quite an impression on me because of its realness and its appreciation of detail of life in urban New Jersey. It struck a chord with me, personally, because I grew up with friends like those depicted in the movie. It further made an impression with me because I used to spend time in Teaneck several years ago, so some of the characters were kept "real". At times, this movie seemed like a documentary because you didn't know whether or not these were real events taking place. Although movies like "Boys in the Hood" and "Menace II Society" grab more attention, I personally feel these movies were somewhat "enhanced" to appeal to a broader audience. "New Jersey Drive" was an uncompromising piece of "in your face" reality. Lee and Gomez covered every detail in this urban drama from the music, clothing, slang, and location.Unlike some of the movies I mentioned earlier, the actors performed as if they weren't "actors". Nothing was compromised in order to make good "theater". The only misfortune to come from this movie was the fact that many people "slept" on it. I look forward to more works of art from Nick and Spike in the hopefully near future.
This is one of my favorite "Capra-esque" comedies. This movie is just meant to be enjoyed, not deconstructed, microscopically analyzed. It's not religious commentary. It's fun. It's fantasy. The surprisingly negative comments (IMHO) reflect a level of expectation that professional film critics have led us to think must be a part of every movie.

Others have described Travolta's role (it's the reason you'll watch the movie over and over) and the excellent supporting cast (including Sparky!).

Sometimes a cigar is just a cigar; sometimes a movie is just fun.

Enjoy!
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positive
The Emperor and the Assassin (w/English Subtitles) at 161 minutes is long, but the time is packed with a story that barely fits into it. Golden hued palace scenes and dusty yellow panoramas of Chinese landscapes background a true story of China's unifying King, circa 300 BCE. An intricate plot with a myriad twists and turns is played out with excellent portrayals by the cast. King Qin's simple wish for a unified Empire for his common people is fulfilled, but not without treachery, plots and counter plots and oh yes, bodies. Lots of bodies. This epic story of China's beginnings is a great way for Westerners to glimpse little known Asian history. Emperor Qin's legacies include the thousands of life-size terra-cotta figures which are still being excavated today. As an historical person, this film makes it clear that Emperor Qin should be regarded along with George Washington, Napoleon Bonaparte, Alexander the Great, Genghis Khan and Julius Caesar, to name a few of the world's greatest conquerors/statesmen. I highly recommend seeing The Emperor and the Assassin, especially on the big screen.

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There are so many more complexities to the plot of this wonderful thought provoking movie than just infidelity and cover-up of responsibility for the accident. I was struck by the initial seeming goodness of husband Wilkinson who wanted the driver, when he thought it was Everett, disclosed to the police, and the change of heart (and morals) when he learned it was his wife. As well, was he indeed good, and/or was he attempting to redeem self by allowing her to go with Rupert. Then, things switchedand SHE decided the right ting to do was admit that she hit him. Most importantly the theme of redemption (for the accident - for the infidelity - in her own odd, flawed way)is strongest in Watson's sickbed care for Everett. I believe that is why she undertook that effort.

This seems to be a common theme in modern British novels: Brideshead Revisited, The End of the Affair come to mind. Love it.
If there was justice in the cinematic universe, director Lewis Schoenbrun would never be allowed to set foot on a movie set again. It would seem inconceivable that anyone who spent two full decades in an editing room, where LS started his movie career, could be so utterly devoid of any sense of pacing or dramatic staging, but this film is damning evidence.

As bad as it is, it is fascinatingly so. From the opening scene, where a nurse is clad in a costume appropriate only for a porno film or a skit on a Mexican variety show, the viewer is compelled to see just how low it can go. The answer isn't far away, as in the next scene we move to a funeral parlor, where the next stunning fashion statement comes in a sexy off-the-shoulders black dress worn by one of the mourners.

Aggressively inappropriate costuming isn't the film's only flaw. The dialog is a treat for connoisseurs of bad writing. "You turn my tears into wine," is a sample gem. The actor deserves an Oscar for delivering that one with a straight face.

The director reinforces every cheeseball scene with what is possibly the schmaltziest soundtrack score ever recorded, which veers from embarrassingly maudlin in the dialog scenes to cheesy groovebox wannabe rocknroll in transitional scenes.

The script introduces characters with no rhyme or reason and story beats are doled out as if with a broken ladle.

Let's not forget this is a "horror" film, though. Our characters find themselves in a forest wherein lurks Dr. Chopper and his two "scary" henchwomen, who are supposed to be some kind of Frankencreatures but look exactly like Valley Girls with fake blood dabbed beneath their Supercut shags. I've honestly seen scarier make-up on eight-year-olds out trick-or-treating on Halloween.

And again we get a whiff of the costume designer's malodorous handiwork, as Valley Ghoul One prances around in a pseudo-Victorian polyblend smock while her buddy wears a nondescript ensemble that might have been almost fashionable in less hip corners of the 1980s.

Dr. Chopper makes the big fashion statement though, looking like a Crisco cowboy who got lost in the woods on his big black Harley, clad from head to toe in zippered black S&M leather.

If this sounds intriguing, by all means check it out. There is plenty of side-splitting and belabored dialog (like the precious "elephant's graveyard" scene or the "intellectual" discourse on Ginsburg).

To be fair, the cinematography is good, considering what was put before the camera, and the actors strive (with wildly extreme results) to make something from a scrap heap of clichés and inanities. You do have to wonder if they were really really stupid or just blindly desperate, not to walk off the set after catching one glimpse of the ridiculous-looking villains with their 99 Cent Store weapons.
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I watched the world premiere of this on the Starz Action channel. They call it Vampires: The Turning. The plot was a little confusing. There is a voice-over in the introduction about an 800 year war, and I didn't quite understand. The movie is about a young couple somewhere in Asia (maybe in China, I don't think the movie specifies). The couple has an argument and Meredith Monroe runs off and is kidnapped by a biker gang of Vampires. The boyfriend finds a group of vampires that don't kill humans, and enters into a battle with the bikers. A human group of slayers somehow get involved, and the final fight sequence takes place during a solar eclipse. This movie is not related to either Vampires or Vampires: Los Muertos. Confusing, but decent action. Four out of 10 stars.
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This TV adaptation of Sarah Waters' novel was so lovingly done I can hardly find the words to appreciate it. Not since "Tipping the Velvet" (also highly recommended) have I seen such a performance by the lead actresses, this time by Sally Hawkins and Elaine Cassidy. They acted with their souls, and this is what gets across to the audience! The supporting actors were well chosen, too, they made a great ensemble.

For those who think the story is just about a lesbian relationship - no, this is only one part. The other main theme is the betrayal of the person you love. And the plot has some further surprising twists. So the movie should be interesting for straight people or guys like me as well.
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I love this movie!! Sure I love it because of Madonna but who cares - it's damn funny!!! *ALANiS Rocks*. When I first saw this film in the theatres back in 1987, I thought it was all out hilarious! Madonna is so funny and I love her dubbed accent and wacky/funky look. The all-time funniest part is when Madonna(Nikki) screams at a man who is about to get into a taxi. And also when Griffin Dunne(Louden)trips and falls at the apartment interview scene. **ALANiS Rocks**. Madonna's character Nikki steals/shop lifts and fools people throughout the whole movie - her hilarious antics are enough to keep you on the floor the whole time. "Didn't rob nothin', when you rob a store you stick up the cashier. We busted a few tapes, there's a bit of a difference" I love that!!! It's classic. ***ALANiS Rocks***. I don't know why this movie got slammed the way it did. I see nothing wrong with it - course maybe if you're a huge Madonna fan then whatever she does is just awesome. Anyone out there who wants to see some funny, classic entertainment then watch "Who's That Girl?" And another very important fact that of which should be known to all man kind or at least to all that exist, ALANiS will always "rock ya" completely to the end! So does Madonna in this film, and just entirely! Her acting is superb!
While some of the things in Haggard are dumb and unnecessary, the overall package is good. 

Haggard follows Ryan Dunn and his friends Valo (Bam Margera) and Falcone (Brandon Dicamillo) trying to win back Glauren (Jenn Rivell), Ryan's ex. 

The story is followed and developed surprisingly well, it doesn't wonder off and become an episode of Jackass or Viva La Bam, although it does have a side story which doesn't hurt the main story.

And, for all the Bam fan boys (And girls) there are multiple sequences of Bam skateboarding, perhaps the weakest aspect of the film. Phil makes 2 surprisingly small appearances, even Don Vito got a bigger (but pointless) roll.

If you are hoping to see a comedy and escape Bam's craziness, then stay away from this movie, otherwise, enjoy the time you spend with it, if you can find it. There are some truly funny scenes in this film.

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his has to surely be one of the worst gay-themed films of all time. Who told any of the so-called actors that they can act. Bad sound - bad script - gestures so overboard that they defy reality. A nightclub scene with only one actor and dubbed crowd scenes.

After seeing other low budget films similarly made I was prepared for something innovative - but not plain pathetic.

Parents and friends really should not encourage anyone to make such tripe.

And the DVD - No menu access; its worse than a VHS tape. Once you start you have to watch the whole thing through - luckily the fast forward button works - with this film and DVD nothing else does.
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Greetings, Moviegoers! As I watch Octopus II, I contemplate the inherent lameness of the Octopus/Croc/Dino Horror Genre. Many moviegoers may blame the poor acting, nonsensical screenplay, or poorly constructed plot as the reasons that cause the OCD movie to flounder. These reasons may indeed be floundering factors, but it is the inherent difficulty of filming an OCD movie that is at the heart of the lameness.

You see, the technology does not yet exist to make a realistic, life-size OCD and the CGI technology currently used by studios lacks the ability to blend in smoothly with real world environments and characters. Even with clever cinematography, you can only film the semi-dark depths of the sea/semi-dark forest/semi-dark cave/semi-dark corridor so many times before the Sci-Fi aficionado becomes bored with the genre entirely (the OCD sub-genre, that is).

What can be done, you ask? I wouldn't suggest that the genre surrender to cheesiness, but another avenue needs to be explored. We can't really go back to the days of the "Fade-to-Black" cue that someone has been killed. Or can we? If we can't reach the goal of realism, we have to compensate in other ways, such as plot twists, innuendo, and photo-ingenuity.

It will be through ingenious and alternate methods that the disease of lameness, so common to the OCD sub-genre, will be cured.

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I was unsure of this movie before renting and did so on the assurance that Hilary Swank has always given excellent performances in her movies. She seems to rely on restraint to gain the emotional impact that she does. And she didn't prove me wrong in this movie.

However the movie also had fantastic performances from all other members of the cast both speaking and non-speaking. I have to single out Jamie Bartlett and Chiwetel Ejiofor - the two main protagonists - for their outstanding acting abilities and portrayal of true human feelings and failings. The whole movie ran almost like a documentary.

I must applaud Tom Hooper as the director and Avril Beukes as the editor for keeping a multiple layered story being revealed smoothly whilst keeping dialogue and action moving along in an understandable fashion. The opening sequence of the South African landscape was striking and I had to push the pause button to savour the photography.

Why can't a movie like this ever get nominated for an International award. It seems to me to hit the high-rating button on all counts. It was not just a film it was a true experience of life in a country coming out of apartheid. A life of poverty was all around but it celebrated the dignity of the human spirit.
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The Robot vs. the Aztec Mummy was one of the silliest and least believable films I've ever seen. O.K, I can buy that the woman in the film is a reincarnation of a virgin that was sacrificed to an Aztec God. What I can't buy is that the incredibly phony looking mummy and the even worse looking robot. When you want to watch a film like this, you want to see lots of fighting action. But the robot and the mummy fight for about a minute total! Probably worst of all was the dia de los muertos art they had in the credits. It's the worst I've ever seen. Avoid this one if possible.
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Messiah was compulsive viewing from start to finish. The story centred on apparently random murders of men in London in various gruesome ways. DCI Red Metcalfe (Ken Stott)has to find the truth which, to his surprise, is a little closer to home than he might think.

Gripping drama and Ken Stott was brilliant. Hopefully we have not seen the last of DCI Red Metcalfe.
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It seems a lot of Europeans and Americans see Indian movies for the wrong reason; I see some people are complaining that this movie did not have any dance sequence! A class apart from their Hindi counterparts, Bengali movies tend to be more realistic. Rituparno Ghosh is one of the best young directors in India, being widely known for his choice of subjects for the movies and the strength of his scripts. 'Chokher bali' is a perfect example. A faithful adaptation of the Nobel laureate Tagore's novel dealing with the pursuit of sexual pleasure of a Bengali widow, the director gives a new dimension to the much acclaimed and controversial work.
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This is a gem of a film, Slapstick violence a-plenty, Simon pegg and Green Spew.

A suspicious looking power plant and an incontrollable motorbike add to this stonker. 

If you haven't seen this I can highly recommend it, maybe not quite as good as bottom but not far short.

If you have never seen a man impaled by the nose on two hooks then what are you waiting for buy this film.

I didn't even see the twist at the end coming when it turns out that Ritchie and Eddie are both ghosts.

Feeb - 1 boiled egg.
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I'm an opera buff, and operas are full of sex, blood and death. It may help to know the librettos of the operas the arias are from to really appreciate this film -- my mileage is very different than Tug-3. I am a classical music lover, and I liked this film.

I loved Ken Russell's "Nessun Dorma" segment, and would actually like to see him produce Turandot, because opera is supposed to be overwhelming, truly multi-media experience , but then I loved Lisztomania. I love *Turandot* and knowing the libretto so well may be why I don't find this segment the travesty that Tug-3 did.

The Buck Henry/ Rigoletto segment is probably the most approachable for the average viewer -- they are likely to recognize the tunes, and its a classic bedroom farce. I like bedroom farces, so the silliness didn't upset me.

The "Liebestod" segment is so outstanding that I recommend people watch this for that piece alone. "Depuis la Jour" was, for me, beautifully spiritual. And the Caruso recording of "Vesti la Giubba" (aka I Pagliacci) with John Hurt as the clown was wonderful. But people just wanting naked women may feel there is too much music and not enough bare flesh and sex.
This movie was terrible not only was the plot weak, but the acting was unbelievable bad, and at times pathetic. Very unrealistic dialogs people in real life don't talk like this and there is no emotion or feeling in anything said very monotone except for the almost indistinguishable whispering that constantly occurs. Even the editing is bad the cuts are terrible. The camera work was sloppy and shaky on close ups even sways back and forth during conversations. There is nothing positive about this movie and George Katts needs to be working on heavy machinery or anything where he doesn't have to converse with other humans because he clearly doesn't know how to. How did this movie win/ get nominated for awards oh my god!!
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I remember running home from school almost every day to catch KTLA's channel 5 monster movies, but never did I run home faster then when this movie was scheduled. Somehow, the idea of being a boy and having a giant robot as a friend appealed to me in a very unique way. Sure, I pretended to be Spiderman, Batman and other superheros, but I really wanted to be Johnny Sakko over any of them. 

I have not seen this movie in 30 years and I can still remember it vividly. Who can forget the way Giant Robot shot missiles out of his fingers! Or how about the way Ghuillotene threw his fingernails to make explosions! Geez, I can even still whistle the theme music that plays at the end, which is so tragic that I remember crying myself to sleep a number of times!

Only one other movie has the kind of magic that this movie does in my mind and that is the Wizard of Oz. But I have seen that movie many times since I was a kid. Of course, the Wizard of Oz is a true classic whereas Voyage Into Space is low budget nonsense. These two films shouldn't even be mentioned in the same sentence but to a young boy it isn't high production values or continuity that capture your heart, its flying monkeys and giant robots!

P.S. My cousin use to do a very accurate impression of Giant Robot (he pronounced it "Giant Robutt.") If you recall, Giant Robot had a particular way of shooting his missiles and my cousin had it down cold. I made him repeat the routine endlessly for my personal amusement.

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Paul Schrader and his brother Leonard wrote Mishima, and in so doing, clearly drew parallels between the life of Yukio Mishima and his work. The film is divided into four sections: beauty, art, action, and the fateful day when Mishima held an army general hostage and spoke to the garrison, only to have it ridicule him and his Bushido ideals of the samurai code. Mishima committed ritual seppuku on November 25, 1970, and he planned it as a meshing of beauty, art, and action. Schrader edits scenes recreating that day with three different scenarios from Mishima's novels: Temple of the Golden Pavilion, Kyoko's House, and Runaway Horses. The moment of seppuku is perfectly realized in relation to its shocking climax via pulling back the camera while simultaneously zooming in. 

Black and white sequences are intermingled with the colorful moments depicted in Mishima's novels. The black and white scenes represent memories from Mishima's childhood and youth. Schrader correlates some of these autobiographical moments with scenes from the novels that often parallel Mishima's real life, such as his stammer, development of his bodybuilding obsession, and his fostering of the samurai code. Each of the three themes of beauty, art, and action is exemplified in the chosen depictions from the respective novels. The color sequences are reminiscent of early, stagy Technicolor films, giving the film, perhaps, an intended surreal quality considering the subject matter.

Ken Ogata plays the real Mishima with unfailing determination, headed to the general's office on that fateful day and resembles the real Mishima. Schrader took tremendous risks with this film in focusing on the novels he did and with tying them thematically to both Mishima's personal life and his literary ambitions. The editing of the film between the three main sections of November 25, 1970, the black and white growing up segments, and the colorful novel scenes clearly point to the deliberate intersection of these elements of beauty, art, and action in Mishima's life. At times, it is difficult to follow, and there may be little to recommend for the uninitiated viewer. *** of 4 stars.
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Please tell me the sentiment of the following review: This is a pretty pointless remake. Starting with the opening title shots of the original was a real mistake as it reminds the viewer of what a great little period piece chiller that was. The new version that follows is an exercise in redundancy.

Brian Kerwin plays a 'city boy' photographer who returns to a semi-abandoned desert town populated by a scattering of underdeveloped clichéd stock characters: the lollipop sucking Daby-Doll Lolita, the 'ornery old coot prospector, the crippled vet and his Asian wife, etc...

Kerwin's character witnesses the crashing of 'something' into a hillside and shortly after strange things start to happen as pieces of weird blue rock are scattered around. The temperature starts to rise, all the water in the area vanishes, people start to act weirdly, things explode. Kerwin's character gets in and out of his car more often than is humanly possible in one movie. The film develops no sense of place, no character development, no humour, no tension. Everything that made the Jack Arnold's original a creepy little Cold-war paranoia classic has been abandoned. It just runs through its minimal hoops and then just ends.

The special effects aren't very special - the interior of the ship looks like bits of cling film wrapped round some ropes which were then dangled in front of the camera to frame some of the most uninspired and clumsy wire-work ever put onto the screen. The script is repetitive - everyone says everything at least twice, Kerwin gets to say "let's get out of here" at least three times during the movie, twice in one scene. Loads of things are left unexplained at the end - why do the aliens need all the heat and water for example? - not that anyone watching would care; if the film makers didn't care why should we?

The acting is adequate - better than the script, which at times, has an under-rehearsed improvisational quality, deserves. Though often the actors look like they just want to get the thing over with as quickly as possible - a notable example of this is when Elizabeth Peña registers the briefest, token moment of "frustrated despair hands to face gesture" before following sulking son Stevie outside to watch him do "angry sulky teenager smashing something off a table" gesture. 

Continuity errors include the (GB) sticker on the back of Kerwin's jeep appearing and disappearing, a double action of the gas in the exploding car, a towns-person being in two places simultaneously - once in the Alien Stevie's POV shot then immediately afterwards in a reaction shot, Elizabeth Peña appearing to shut a car door twice... you can tell I was gripped can't you? The movie commits that greatest of errors. It's boring.
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Fun bad movie which should amuse. One of Joan Crawford's last performances as the driven successful editor vs. all those young beautiful eager beavers fresh out of the elite Seven Sister Colleges. Great '50's ambiance of New York. Wonderful period costumes and hairdos. Terrific art direction. Trite story, but rousting tearjerker. Interesting cameo by Robert Evans as a rich cad.
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It is by far the most definitive film on the police force which I have seen. Although not directed by Ram Gopal Varma, it has all the elements of an RGV film. Dead straight dialogues, blunt treatment of the subject, brilliant direction, and superb performances (even by those with little job to do in the movie). The chemistry between Nana and the Don, even if they are professional rivals, is amazing. And so are the small events like an insider not giving information to Imtiaz even while he is being bashed up in the locker, but only to Nana when he is out. The change in working conditions with the change of the senior is dealt wonderfully. The first half keeps one absolutely engrossed, moving like a documentary with Nana acting like a mentor to Jatin explaining to him the intricacies and philosophy of the work.

Overall one of the most brilliant films on cops in Indian cinema. Definitely not to be missed.
Florence Vidor stars as the daughter of a strict bible toting father who throws her out of the house when gossip taints her name. In the big city, she finds the dying wife of her own brother (the two had secretly married) and raises their child on her own. Years later, she goes back home to confront her family.

This old melodrama is heavily larded with fascinating feminist themes (circa 1921, but sounding remarkably modern). Some of it is laid on with a trowel (as the father, Theodore Roberts gives his eyebrows a real workout), but it's well put together dramatically and lovingly composed and shot by cinematographer Henry Sharp.

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I loved this movie! It was adorably touching and funny. Finally, here's a story about a group of people who meet some challenges, flounder a bit, and then decide to just be themselves and end up happy for; when was the last time you saw that in a film? Dealing with the fluidity of life, love, and sexuality, the characters are faced with real problems (albeit in often ridiculous situations like the men's group camping trip, and the explicit realatory liaisons) and manage to learn and grow without the movie getting preachy, darkly desperate, or too unrealistic. You'll love and care about the characters who, far from being hollow stereotypes, portray real people with just a touch of the truth behind their would-be labels.

A good romcom for a Saturday afternoon, and the only movie I've ever seen where sexual fluidity ends happily, and no one is forced to be anything they don't want to be. Far better than Kissing Jessica Stein, a good choice if your tired of watching gay movies that have some painful lesson and bitter lesson. Or, maybe you just like a good British romp? James Purefoy looks dashing as always, and Tom Hollander is deliciously funny. So go forth, watch, enjoy; you won't regret it!
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"Tumbling Doll of Flesh" by Tamakichi Anaru is a Japanese shocker about three thugs who sexually abuse,torture and dismember a young woman whilst filming their horrible actions.Typically twisted Japanese porno sickie that offers plenty of sadistic sexual violence and grisly gore.There is no plot to speak of,just plenty of hard core sex scenes(optically censored again)and lots of blood.The special effects are quite impressive-the dismemberment of Japanese porn actress is shown in unflinching detail.The tongue cutting scene really made me squirm.Her arm is also chopped off and her stomach is graphically sliced open and finally one of the sickos is having sex with her intestines."Psycho:The Snuff Reels" actually reminds me "Guinea Pig:Flowers of Flesh and Blood",but it's not as memorable.So if you're a fan of ultra-depraved Japanese sickies like "All Women Are Whores" or "Raping My Virgin Slave" give this one a look.8 out of 10.
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simply i just watched this movie just because of Sarah & am also giving these 4 stars just because of her,on the other side This movie was easily one of the worst movies I have ever seen. Theacting was horrible. The script was uninspired. This was a movie that kept contradicting itself. The film was sloppy and unoriginal. its not like I was expecting a good film. Just something to give me a jump or two. This did not even do that.

he worst thing is that, the more I think about the overall plot, the less sense it actually makes and the more holes we keep finding. A real shame really, as I'm fairly sure that there was a good idea lurking in there somewhere...

I'm perhaps being a bit harsh giving the film a 4/10 but given the actors involved and again SARA obvious writing talent, this film really should have delivered far more.

This movie is just crap, I cant put it differently. Since the very beginning one knows is going to be crap.

The story, dialogue, acting, special effects, make-up, pretty much EVERYTHING sucks. I like vampire movies and I know they will never be Oscar winning movies but this one is not even worth seeing, I can't believe how somebody produced this thing.

It's not even about vampires, it's more about a dream/reality experience. The development of the movie is incoherent, the motivation of the characters is... Doesn't exist, everything seems like a big joke. Maybe that's what they tried to do, but I sincerely doubt it. I wish I knew what they tried to pull but it just backfired, it's definitely one of the worst movies I've ever seen in my life (and I've seen many bad movies, but nothing compared to this) Please, make yourselves a favor and do NOT watch this.

P.S. It's also full of clichés! P.S. 2 Bad Script, Bad directing, Bad cinematography. P.S. 3 I bothered commenting on this as a favor to everyone.
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There is a bunch of movies that we say must be seen twice. In most cases this is mainly a recommendation: you understand the movie anyway after the first viewing, and watching it for the second time helps you catch the plot twists you just did not notice. However, for Mulholland Dr. this is different. The sequence that worked for me was: see it first time - spend a day in Internet trying to figure out what this was all about - and then see it second time. Otherwise most likely you will not be able to enjoy this film to the full extent. Then you start to understand that this piece is ingenious, camera work is stunning, and the aftertaste follows you for weeks.

9/10
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positive
Please tell me the sentiment of the following review: Oh boy! Oh boy! On the cover of worn out VHS has a picture of Sandra Bullock and her name written on top. I think only reason they had chance to sell the movie in nineties, was because of Sandra Bullock's name. Bullock's fans don't have to disappoint. Sandra is only thing to watch in this movie and her performance is the only you can call acting. Rest of the movie It's fun to watch in first fifteen minutes because it's bad but after that it's going worse. Much worse. Directing is awful. Acting is awful. Script is awful. Dialog is awful. Action is awful. Music is quite good actually. Typical score for eighties action movies. This movie is so bad that it goes close to anything Andy Sidaris has ever produced. It's so bad that there isn't proper word to describe this poor attempt to be a movie. But still, there was Sandra Bullock. And super cool (sarcasm) Jake LaMotta who tried to be Marlon Brando. 

I think they can now bring the film out on DVD. It could be cool! And they should write on the cover: ACADEMY AWARD WINNER SANDRA BULLOCk IN HANGMEN

1 out of 10
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negative
The main problem with 9th Company (9 Rota) is that it is not sure whether it wants to be Saving Private Ryan or Full Metal Jacket. The attempts at Spielberg sentimentalism are embarrassing, such as the burley sergeant crying in a field of red flowers!!! The training sequences have none of intensity or realism that Kubrick gave them in his masterpiece.

A further bone of contention is that the Afghan fighters are called Ghosts because they strike and are hardly ever seen. Here they attack a Russian strong hold almost in formation with no attempt to use cover. I am sure tactics have move on since Waterloo.

Every scene in this film has been seen before in other war movies and done considerably better. 

I have to ask: Why do all talented marksmen need to chew on a match?

Finally, I am always suspicious of a film that starts with no narration yet needs to qualify the end.

"We won!" ...errrr....... no you didn't.

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This is what they came up with for prop comedian Carrot Top's first feature film.

A stupid surfer (carrot dude) inherits an R&D enterprise from an old kahuna (Jack Warden). Things go less than swimmingly, but get much worse when the company is threatened with a hostile takeover attempt by corrupt corporate raiders. The most implausible thing about this movie is that smart-girl Courtney Thorne-Smith would find this red-headed step-child fascinating in the least (but then, he just inherited millions). 'Classic' moments include comic Larry Miller drinking sweat from a plastic cup.

Funny comedy? Try UN-funny toilet humor, and that's exactly where this belongs - in the toilet... flush twice.
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André Roussin was a specialist of what the French call "Theatre de Boulevard" : plays where you find the eternal triangle:man/wife/(male or female)lover .Many of his plays gave Elvire Popesco some of her best parts on stage....and the great actress was the main reason to watch them,for Roussin is not Sacha Guitry ,by a long shot.The French audience remembers "Au Theatre Ce Soir' .

Still with me? Roussin's plays were not made to be filmed.And this one is pretty mediocre material ,even if the screenwriters call Lewis Carroll to their rescue .I like Stewart Granger and David Niven ,and Ava Gardner is eye candy .But this might be their worst film ,being crude, predictable -even the native's (Bola -Bola )intervention is ludicrous- a knockabout farce around a Menage à Trois on a desert island where Granger would be some kind of Robinson,Niven ,his Friday and Gardner his girl Friday.
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One would think that with all the lavish care and expense that went into this made-for-TV movie, it would reflect something of the taste and manners of the upper class couple--Wallis Simpson and the Prince of Wales--instead of being a mawkish, unappetizing historical romance.

Nor is it helped by the fact that JANE SEYMOUR and ANTHONY ANDREWS give stiff, rather uncomfortable to watch performances in which the events move much too slowly to hold attention.

It's hard to understand why a star of OLIVIA DE HAVILLAND's caliber would wish to play the supporting role of Aunt Bessie since the role is so colorless she just about fades out of sight. At this stage in her career, Olivia was appearing in so many "nobility" roles requiring a regal presence but nothing more.

A trivial movie best left forgotten among all the made-for-TV movies of that era.
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Having watched the show for about four weeks, which is enough to get a feel for the show, I think it shows potential. Whilst much is borrowed from other shows (what sci-fi doesn't these days), and the characters are stereotyped, I like what they are doing with the stories. There is some continuity with plot development and character interaction/relationship building, despite the essentially modular nature of each episode. There have been some science related topics explored as well as character secret/weakness revelations. These have also added some comedy to the show, something I would gladly see more of in "serious" sci-fi. In all, this makes for good balance, such that can appeal to larger groups of people, unlike the Star Trek vs Babylon 5 debates I've been numerous participant and witness to. The visual aspects of the show are more than adequate, and well budgeted for a first season. The acting is acceptable, and I am curious to see how well the actors manage to grow their characters out of their scripted stereotypes. I see enough positives and potential to remain interested in seeing where the show wants to go...

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It may have been inevitable that with the onslaught of "slasher" movies in the early 1980's, that a few good ones might slip through the cracks. This is a great "rare" film from Jeff Lieberman, who insured his cult status with his memorable 1970's films "Squirm" and "Blue Sunshine".

Five young people head into the Oregon mountains (this movie was actually shot on location) to do some camping and check out the deed to some land that one of them has acquired. Before long, they will predictably be terrorized by a bulky killer with an incredibly creepy wheezing laugh.

"Just Before Dawn" is noticeably more ambitious, "arty", and intelligent than some slasher films. Lieberman actually fleshes out the characters - well, two of them, anyway - as much as a 90-minute-long film will allow him. The film has genuine moments of suspense and tension, and actually refrains from graphic gore, save for one killing right at the beginning.

There is an above-average cast here, including Oscar winner George Kennedy, as a forest ranger who's understandably gone a little flaky from having been alone in the wilderness for too long. Jack Lemmon's son Chris, future Brian De Palma regular Gregg Henry, blonde lead Deborah Benson (it's too bad she hasn't become a more well-known performer, judging by her work here), Ralph Seymour ("Ghoulies"), Mike Kellin ("Sleepaway Camp"), and Jamie Rose ("Chopper Chicks in Zombietown") round out the cast.

Some of the shots are interesting, and the early music score by Brad Feidel (now best known for his "Terminator" theme) is haunting and atmospheric.

This is worth catching for the important plot twist at about the one hour mark, although a moment at about 75 minutes in involving the heroine and a tree and the killer is almost comical; it may actually remind a viewer of a cartoon! One of the most clever touches is the final dispatching of the killer, which I'd never seen before in a horror film and probably won't see again.

I didn't give it 10 out of 10 because I can't honestly that I was that frightened. Still, it's an interesting slasher that is worthy of re-discovery.

"That deed don't mean nothing, son. Those mountains can't read."

9/10
When I went to see this documentary on Communist bloc musicals, I was expecting something totally demented, along the lines of a Communist "Cop Rock." Some scenes did deliver, including a rousing clip from a Soviet film called "Tractor Drivers."

You'd think that moviemakers given the task of making ideologically correct musicals that sing, dance and espouse the Party line face insurmountable odds. And yet, one of the surprises of "East Side Story" is that some of the films presented actually looked promising. One was a mid-1950s East German effort called "My Wife Wants to Sing," in which, as the title implies, an unhappy hausfrau seeks to launch a singing career over the objections of her traditionally-minded husband.

Another genuinely interesting-looking movie, also from East Germany, was called "Midnight Revue." In this film-within-a-film, the producers spoof their own creative plight with the story of a group of filmmakers under Party orders to make a musical. (The on-screen filmmakers themselves get to do a musical number about avoiding "too hot" subjects very reminiscent in tone of the 1957 movie "Silk Stockings.")

The documentary is marred by somewhat insipid narration, but it's still a lot of fun to watch. (Look for the closing dedication to the person who made it all possible.)
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This was the stupidest movie I have ever seen in my life. It is a complete waste of money and time. I went to see this movie with my friends and when the movie was over not a single person in the movie theater- not that there was a lot of people there to see this terrible movie- said "wow what a good movie." Someone actually walked out! It was absolutely terrible! It was disgusting and I hated every minute of it. My friend was putting her head in my shoulder towards the end because after the scene with Rick on the ceiling peeing, she had had enough. It was not funny at all. Believe me I went with 11 other girls and not one of my friends liked it. It was ridiculous! I've seen many movies but this was absolutely the worst! I mean a scene in the movie is with an old man making out with a dead person in a coffin. I just can't make up these things.
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This is by far my favorite action movie. But what makes it work is not the elaborate Renny Harlin explosions and shoot-em-ups. It's the Shane Black script and its deft delivery by Geena Davis and Samuel L. Jackson.

The chemistry between the two principals merited a sequel. Thank God it was never made. Too much danger of marring the original.

'The Long Kiss' checkerboards from quotable scene to action scene to quotable scene and back again. Never a dull moment. 

This has to be Jackson's funniest role ever, and the amazing thing is that he is playing one of the most normal characters of his career. No quirky Tarantino hit-man, super-cool Shaft, or borderline psycho soldier. In TLKG, Jackson is the everyman we identify with. The poor schmuck gets dragged along on this crazy woman's odyssey to uncover the dangerous secret of her past.

Though the story claims that Davis's character, Samantha Caine is suffering from amnesia, the writer and director treat her condition as if it were a multiple personality disorder.

Samantha Caine is not just a new identity taken by the amnesiac Charly Baltimore -- she is a separate, fully-developed personality. The traumas suffered by Samantha in the first half-hour of the movie help the submerged dissociate personality of Charly to emerge again.

The materials of her past life excavated by Jackson's detective Mitch Henessey facilitate Charly's resurfacing. Good timing, too, considering the target Samantha makes of herself.

But Charly has to fight herself to remain the dominant personality. One gathers from bits of dialogue that the warrior personality (Charly) developed after her father died and she was recruited by the "Chapter".

In the eight years Charly was buried in the psyche, though, her Samantha identity developed into the dominant personality. (She's even funnier that Charly.) This was probably due to becoming a mother, because it's the reunion with her daughter that breaks Charly's struggle to suppress Samantha, leading to their apparent integration by movie's end.

It's impossible to choose a "best quote" from this film:

"Now you're a sharpshooter?"

"I saved your ass. It was great!"

"Continue dying. Out."

"I sock 'em in the jaw and yell 'Pop goes the weasel'".

And a couple of dozen more, many too raunchy to quote here.

Geena Davis looks great, and comes off as an action hero without glossing over the fact she's turning forty. (Listen to Charley's history, do the math).

Fantastic soundtrack, too. Santana, Muddy Waters, Elvis, LaBelle, Marvin Gaye. 

I give 'The Long Kiss Goodnight' a 9, only because I don't believe in a perfect 10. Seen it a dozen times, and it still stays fresh. Nice twisted holiday flick to place on your shelf next to 'It's A Wonderful Life.'

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Ok, so there's always people out there that seem to make it a point not to like movies because they're good, but instead choose to like movies based on how depressing or boring they can be, or whether they're from a foreign country. All that aside, One Crazy Summer is the perfect example of what a great American teen comedy should be. The jokes are a good mix of slapstick (a la Bobcat Goldthwait), surreal (Bobcat under the inspired direction of Steve Holland), and dry (John Cusack, one of the most morosely dry and funny actors in American cinema), and there is no character in this movie who does not deliver at least one funny line (ok, except Demi Moore).

Yes, it's immature, yes, it's screw-ball, yes, Bobcat dresses up like Godzilla and trashes a scale-model of a seafood restaurant. It's also funny as hell. Watch it.
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If there's anything worse than this movie I don't want to see it. I remember so many amazing things--a nun dropped out of a coffin to make a raft for a little blond boy; the little blond boy himself adored as a god; lots of stock footage of Peru as an ideal vacation spot. Shining Path and Alberto Fujimori should blast away any notion that Peru is a vacation paradise. The whole thing is so awful that Plan 9 or even Robot Monster is an aesthetic treat by comparison. This film should be bombed and strafed and bombed again.
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Please tell me the sentiment of the following review: didn't sound like it was from a fantasy film. The film is dark, with dark overtones. The soundtrack way too uplifting to the point it intruded on the visuals. I'm sure they were aiming for something militant, but it just didn't work. The scene when Astin is attempting to escape is a perfect example. Why does it sound like the Goonies? There is no comedy, there is no brightness to this!! 

The idea of the movie is great, and the acting is very good as well. I enjoyed everyone's performances. It's available on Netflix's online viewing. 

Definitely worth a viewing, but write your own soundtrack!!
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Having seen Rush live, I'm able to appreciate the awesomeness of this. Others may complain of sound problems, but it's sometimes over dubbed by the overwhelming screams of 60,000 Brazilians and it goes to show the band's territorial gain of attention