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My first Mamin film, saw it on IFC long ago, and LOVED it. It seemed absolutely artistic, original, fun and hilarious. Not a moment in the film let me down or made me bored, and i was laughing a lot or had a smile on my face. I mean this movie is truly funny. But here's the catch: it's also very artistic and creative - if you don't know Yuri Mamin (probably, sadly, because so many of his GREAT films aren't available here) he has a very original style like no one else's, and for me this isn't even my favorite film of his (right now it's the insane ("Saideburns/Bakenbardy"). Also, i have to say as a Russian, this film is great because you really do see what Russians are like. And this is possible because this is a true Russian film to me, NOT a foreign film trying to be American or trying to appeal; Mamin did not sell out (nor has he since, Gorko (1998) was as good if not better. This is true Russian style filmaking that came out of communist Social realism.

If you liked this film, i think you have a very high chance of loving Mamin's other films, in fact i like quite a few of them more than this one. I guess this one is his most accessible film. A similar film is Fountain, taking place 6 years before during perestroika, it has the same actor in the leading role, and more of Mamin's regulars who you will recognize from Window to Paris; this one has one supernatural twist in the end but is mostly a realistic comedy, a great one. Viva Mamin, hopefully Criterion will hook all of his movies up one day, he's still working, and his catalog is so great! See any of his films if you can.
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Please tell me the sentiment of the following review: Flockhart's performance is very disappointing. It seems she is trying to make up for her lack of emotion by substituting obscenities. Why the R rating includes 'sexuality' is beyond me. There is no nudity or steamy love scenes. The plot is old and tired.
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Linda Lovelace was the victim of a sadistic woman hater, Chuck Traynor. I don't understand how having sex with a dog (which is animal abuse, as well) can be found to be entertaining or funny. Linda Lovelace was a virtual prisoner who was coerced into making these films. I know some people will criticize this comment but I feel strongly that these types of films fuel the fire of hatred and further misogynistic feelings towards women. This society continues to portray women as sexual objects as opposed to human beings. We call ourselves "civilized" however I feel we have a long way to go before we can ever scratch the surface of being civilized.
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Larry Donner (Billy Crystal) has a crazy life: His wife (Kate Mulgrew) stole his book and left him, he has a new budding romance with a girl named Beth (Kim Greist), he doesn't know how to start his book, and his students of his screen writing class are stranger than most. However, one student (Danny DeVito) is extra strange. He lives with his evil Momma (Anne Ramsey) and he can't get up the courage to kill her. So than he goes to Larry for help, making his life go from normal crazy, to extra crazy! 

Stu Silver should have done more! The dialog, the characters, the whole script is near perfect! And Danny DeVito has proved to me he's more than a great actor: he's a great director! His kid's movie Matilda is among my favorite family movies and now this is one of my favorite comedies.

It's a black comedy, most jokes are about murder, but it's damn funny! All of the actors are doing their full potential, whether they're main characters (Billy Crystal) or just one-bit minor characters (Olivia Brown).

If you like comedy (Who doesn't?) than you'll like this! 8/10 stars.
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In the dusty little town of Furlough in Texas, an animal is slaughtering the cattle and the locals. When the teenager Tommy (Michael Carreo) is killed, their friends Anna Furlough (Erika Fay), her Mexican-American boyfriend Miguel Gonzalez (Gabriel Gutierrez), Jill Gillespie (Sara Erikson) and Rosie (Martine Hughes) finds that a Mexican werewolf Chupacabra is the killer and they plot a plan to kill the beast.

"Mexican Werewolf in Texas" is an amateurish crap and among the worse movies I have ever seen, if not the worst. Nothing works in this movie: the screenplay is laughable, with some of the most terrible lines I have ever heard. The direction does not exist and the camera follows the "style" of "The Blair Witch Project". The amateurish acting seems to be a prank of high-school students or a high school play. The "special effects" are gruesome and extremely poor and the "werewolf" is the cheapest I have ever seen. Ed Wood movies are cult, but this "Mexican Werewolf in Texas" is pure garbage. In the end, Jill says that no man can resist her teats (actually the most beautiful thing in this flick). But I believe the correct quote should be "no man (or woman) can resist to watch this movie to the end". I was driven by my curiosity to see how bad a movie can be and I lost 88 minutes of my life, but I believe most of the viewers will stop seeing with less than 20 minutes running time. My vote is one (awful).

Title (Brazil): "Um Lobisomen Mexicano no Texas" ("A Mexican Werewolf in Texas")
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I watched this movie for the first time the other day and was bored to tears. I guess I just was looking for some flashback to the wonderful series that I remembered. I watched The Mod Squad television show religiously back in the day and it was fantastic. It was action packed and the relationship the 3 had with Greer was endearing. There wasn't any of that here. When Greer was murdered you get the idea that these 3 could have cared less. The actor who portrayed Pete is a really good actor but they wrote his part like he was mentally challenged. Pete in the television series was quiet and serious but had a funny side also. They had this guy acting like he was either on drugs on the time, drunk or just plain ignorant. I wouldn't recommend this movie at all. Especially if you were a fan of the TV series. It will be a complete letdown.
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While I understood, that this show is too weird to please everybody, I don't get where all these bad reviews come from, and I'm most surprised over the bad reviews, that it has gotten from fans of the movies. I liked it and got hooked on it since the first episode I watched. It's a little messed up though, that Kuzco was put into school. And it seems to be High School rather than College. But I guess he's only eighteen, right, so it's not like he's too old to get educated? And haven't the royals always had to get the best education avaible to them? So the "Kuzco has to graduate, or he won't become emperor" thing doesn't sound too weird for me. And I guess his education was neglected before, so that's why he has to be educated now.
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Normally, I wouldn't even stoop to viewing trash like this, but since role-playing is a dear hobby to me, and such was the subject of the film, I did. It was garbage in so many ways that I do not know where to begin. I would rather sit through the "Plan 9 from Outer Space" marathon than watch another minute of this vomit. At least Plan 9 didn't have an agenda. How the media could capitulate and irresponsibly represent extremist agenda as fact is beyond me. It is a scary time when a whole group of people can be unceremoniously trounced with no defense and no real facts presented. I know this commentary went more social, but it couldn't be helped, as this movie begged it. Imagine a pro-nazi film being reviewed strictly on film merit. Won't happen. As it sits, the people who made this film are facists themselves, and should perhaps move into a communist enclave where propagandizing is accepted.
when i was a child this was the movie i watched. i think it is a great movie for the kids to watch and parents don't have to be afraid of any violence or obscene images. rainbow brite is a cheerful young girl and she is trying to make the winter go away. she finds that something or someone is trying to steal the source of life and keep it for themselves. i love this movie and i think that even adults can enjoy this movie.
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What-ho! This one is jolly good. I say jolly good, ol' chap. Or should I say "ol' bean"? My mastery of British terminology is a little dusty. Anyway, my biker boots and I walked into this screening with no prior viewing experience of Wallace and Gromit. I'm happy to say that my boots and I walked out pleased to have made their acquaintance.

While not as adult-accessible as Toy Story, W & G still manages to be clever enough to provide the grown ups with a little humor that will most definitely soar over the heads of the young 'uns who are too busy guffawing at the Were-rabbit's belches to have any clue that something is amiss. I highly suggest that you pay close attention any time you see books or words on the screen because there are quick glimpses of puns that you'll miss if you aren't paying attention. My favorite is a book of monsters that refers to the Loch Ness Monster as "tourist trappus." If you've ever been known to say, "I can really relate to Kevin Federline," or if you're just illiterate then not only will you miss out on these jokes, but you probably should be spending your time learning to read instead of going to movies. Consider this a public service announcement.

The most impressive aspect about W & G is its clay animation. Thanks to the tedious process, it took FIVE YEARS to finish the film! According to the press notes, there were some days when the optimum goal was to merely accomplish 10 seconds of completed film. Folks, I sometimes have trouble finding the motivation to finish responding to a handful of emails or adding captions to pictures for my reviews (a point that is proved by a lack of pictures in this review); so I can't even imagine having the required patience for that.

I really like the rough, hands-on quality of the claymation figures. The fact that you can see fingerprints in the clay is a nice, personal touch. How can you not be impressed with clay characters that show more expression and emotion than Paul Walker and Keanu Reeves combined? The Curse of the Were-rabbit is, as director Nick Park calls it, the world's first vegetarian horror movie that should entertain both kids and adults alike. Relying on (and as a male who prides himself in his shaggy-haired, cool-bearded masculinity I hesitate to use this word) cute and (oh man, I probably shouldn't use this word either) lovable characters rather than outdated M.C. Hammer references, W & G is proof that DreamWorks can create entertaining animation when it chooses cleverness over the cheap joke.
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I believe anyone who enjoyed Eisentein's Ivan the Terrible movies would enjoy this well crafted movie. This movie played out like "Lord of the Ring: Return of the King", but without the special effect but as good and better drama.

We have the German, who dressed like KKK, conquered Novgorod of Russia. The Russian summoned Nevsky to lead them to fight the German to save Russia. Nikolai Cherkasov, who played Ivan in the Ivan the Terrible films, was charismatic as Nevsky. The first 10 min how he handled the passing by Mongol was captivating.

Many of the scenes were beautiful even in black and white. The anticipation of War did not require any dialogue such as "how many enemy we will be killing", etc. Except for a few speeches, the film can basically be played out as a silent film. The fighting scene can hold up to those of the Civil War fighting scene of The Birth of a Nation.

Another strength of the movie is the great musical score, by Sergei Prokofiev. The music gave an epic feel to the movie in those scenes without dialogue.
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This movie was clearly an early attempt for a new director, but still succeeded in being original and entertaining as well as in some moments thought-provoking. However, I have to say the story would not have come across as well without the stellar performance of Paul Anthony as Pip. He made the well written parts very believable and affecting, and the more weakly written parts much more bearable. Also, I have to mention the performance by Alan Cumming. It was refreshing to see him in a part like this. He brought a weight to his role that provided a very grounding element to the film. As for Paul Anthony: Who is this guy? Why haven't I seen more of him? Someone give him more roles, please!
Dear reader, Watch out! This movie is not really a movie, though its creators have the impertinence to call it so. If you have not been warned about its content, here it goes: the film is simply a sequence of imagines which flow continually and are trying to transmit a certain feeling, concept. They could be called, therefore, symbols. The images are accompanied by a soundtrack, it's purpose being to create atmosphere as well. However, the images the director has chosen can only transmit feelings to an American audience, because they are, in an overwhelming number, American icons. Though the film is intended to express the idea of "civilized warfare", it fails to do so not only because of the general chaos, but also because it is far too long and tiresome, and I strongly felt that a lot of the scenes have not to do with "war", in whichever conception. To conclude, I was greatly disappointed by a documentary which is not a documentary, a movie which is not a movie, a "something" whose only strong point is the extraordinary use of technology in image processing.
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Fata Morgana is an absolute masterpiece. It's Werner Herzog's most unconventional film. It doesn't have a plot or story. Instead of a story, we're given a collection of images, words and music that work so wonderfully together. It's not a documentary either. Some of the people in this film are directed and given lines to read. It has some of the most beautiful and haunting images. Herzog shoots real mirages and we see cars and people floating around in the middle of the desert who aren't actually there but hundreds of miles away reflected like in a mirror. The use of music in this movie is so brilliant - from Leonard Cohen, Mozart, and the Third Ear Band. Imagine Stanley Kubrick's 2001: A Space Odyssey in the desert; that's what this movie is like. This film is so hypnotic that it has the ability to make you feel as though your spirit has left your body. A must see. It will change the way you view films. Rating: 10 out of 10.

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The core issues at play (God & Satan / Good & Evil) can be & should be tremendously compelling (as demonstrated through thousands of works of art/music/literature/film). End of Days, unfortunately, is nothing but a 2Dimensional Cartoon. Byrne's acting ability stands so obviously in sharp contrast to Arnold's corresponding lack of ability and is further underlined by a plot filled with nothing but stereotypes.

The single compelling scene occurs at the very beginning with the transformation of the Gabriel Byrne character and his subsequent interaction with his wife? girlfriend? It is both erotically charged & repellent -- modernizing the vampirish themes, the seductive power of evil.
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this is one of the stupidest movies ever, not THE stupidest mind you but one of the stupidest. This is 96 1/2 minutes of sleep inducing material. Probably Jim Varney's worst movie ever. The last 30 seconds of the film is the best and funniest part but hardly worth sitting through the whole movie for. On the other hand, if you are a die hard Jim Varney/Ernest fan, then like me, you must add this film to your collection. It does have brief, rare moments of humor, although they are few and far between. The mere fact that this movie is so hard to find makes it a collectors item and a must have for your ernest collection. I was lucky to find this film online at a dirt cheap price a couple years ago. I believe I paid 1.99 plus shipping for it. And it was the only copy I could find anywhere. Even though this is a truly all around horrible movie, it is still a must have if you are a Jim Varney fan and an Ernest movie collector such as I. On a scale of 1 to 10 I give this movie a 2 but thats only because I've never seen a 1 before ;)
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I'm a pretty tolerable guy, when it comes to movies, even B movies. I routinely watch some B movies for fun, and they can range from surprisingly good, to just downright awful. I usually set my expectations really low before watching these types of movies, and even after doing that, Descent was just downright awful. I really didn't mind that they were ripping off the Core to some extent, but they did absolutely nothing interesting with the material. Some scientists are worried about the earth's seismic activity, and must travel into the depths of the earth in order to stabilize the mantel. So what we get is a monotonously long set-up in which two dueling scientists played by Luke Perry and Rick Roberts have to work together on a top secret mission, named Project DEEP. The man in charge, General Fielding played by Michael Dorn, is secretly withholding vital information from Assistant Marsha Crawford, played by Mimi Kuzyk. Rounding out the cast is Natalie Brown who plays Jen, a mission specialist who created the "Mole" a drill which is used plunge into the depths of the Earth.

Other than some pretty good special effects, and set designs, nothing about Descent is worthwhile. The movie starts out fairly entertaining, but it gets bogged down quickly in a tiresome story about uncontrollable seismic activity, which has been done to death in other movies such as the Core. Descent also has a poor script, with useless, forgettable dialog between the characters. To make matters worse, there is literally no action, no real threat or danger. The attempts at comic relief are painfully unfunny. The plot has gaping holes and some of the subplots are left untied at the end leaving a bad taste in your mouth. 

In closing this movie was just a cheap way for everyone involved to get a paycheck. There was no thought behind this movie, no innovation, it's just there. Other than some nice looking special effects, and set designs, this movie fails on every other level. The story is from the garbage can of Hollywood, and the characters are uninteresting to boot. Descent will simply descend you into boredom, and frustration. Avoid at all costs.
Please tell me the sentiment of the following review: This movie starts by showing you a map and then explaining radar and it is quite awhile before you ever see the deadly mantis. Probably a better movie in the 50's this dated piece is a bit to slow moving and the pay off in the end isn't very good. Though it has its moments like when the guy from Perry Mason argues with an old man and when he says "I have narrowed the possibilities to one" excuse me, but when you narrow something down you have a couple or more possibilities not one...if you get it down to one you haven't narrowed it down, but you have in fact figured out what it is. The monster is standard 50's sci-fi fair, better than say the grasshoppers in the Beginning of the End. Acting is sub-par and the heroine is the most unattractive...in fact in some shots she does look like a guy in drag. You see plenty of fighter plane stock footage and other things, but you won't see much at all of the deadly mantis.
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this is one of the finest movies i have ever seen....the stark scenery...the isolation...the ignorant bigoted people hiding behind their religion...a backdrop for some wordliness and sophistication...the acting is completely natural...but for me as a"foodie' the best is the actual choosing and preparation of the feast..i have spent time in paris and know the cuisine well...whether or not the cafe anglais really exists i don't know but i do know of similar establishments and babette's menu and choice of wines are authentic...and of course the end where despite themselves the perfect meal mellows them back to friendship is the only ending there could be..this is a 10 out of 10 film and should be seen by anyone with enough brain and taste to understand it

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Recently I borrowed a copy of this mess of a movie, which took me three sessions over three days to get through. That's another comment in the making.

But what I wanted to comment on first was the carelessness on the special features of the DVD. It included a game of memory, which asks the player/viewer to match up pairs of animals in order for them to board the ark. However, every time it reveals the chosen animal, the screen prompts the player to find (or congratulates the player on finding)"it's mate." This is a spelling error since it should be "its mate" as possessive pronoun, not a contraction for "it is." It is an annoying error to keep repeating 16 or more times to finish a game. Of course, it's a kid's activity really, but teaches kids incorrect spelling.

And, oh yeah, the game never changes. It is the same game with the same locations of the same animals each time. Plus it doesn't keep score, like the number of moves it took to solve the game. So there is no lasting value or challenge to it. It's just a feature to list on the packaging.

Simply put, there could have been more thought and care put into this "special" feature, just like there could have been more thought and care put into this muddled film.
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After a somewhat slow start I thought this movie about the Italian occupation of a Greek island during World War II picked up and became a quite enjoyable watch for a couple of hours, from primarily two points of view. 

The love triangle is an interesting one and strikes me as believable, because I know it happened in various places under occupation. Penelope Cruz played Pelagia, a young Greek girl engaged to be married to Mandras (Christian Bale). I had questions about the depth of their love from the start, but their future was torn apart when Italy invaded Greece, and Mandras went off to fight. After German intervention, Greece is conquered and the island Pelagia lives on comes under Italian occupation, during which Pelagia meets and begins to fall in love with Captain Corelli (Nicholas Cage.) This, of course, was a dilemma that came to many young women in occupied lands. As they got to know their occupiers, they started to see them not as the enemy but as real people, and sometimes fell in love - often to the disapproval of their neighbours. I just finished reading an interesting book about the German occupation of Britain's Channel Islands in which this was a major issue. Once Mandras returns to the island, Pelagia is torn between them.

The second background issue is the Italian occupation itself, which I thought was quite realistically portrayed. First was the contempt with which the island treated their Italian occupiers. Greece defeated Italy (quite true from a historical perspective) and was really conquered by the Germans. The refusal of the town to surrender to the Italians and instead to insist on surrendering to a German officer struck me as something that could well have happened (and was quite funny in fact. I loved the line, "we would rather surrender to this German's dog than to you Italians.") The portrayal of the Italian troops also struck me as believable. The Italian Army was never enamoured of their German ally, and never enthusiastic about fighting with them. Although Hitler and Mussolini were close friends, their soldiers tended to treat each other with contempt. Here, the Italians are more interested in singing than fighting (which the German troops on the island simply can't understand,) and are ecstatic when Italy makes peace and withdraws from the war - until they discover that this may well make them prisoners of the Germans. It was all quite well done, I thought.

It falters a bit at the end with an all too predictable finish, but still deserves praise.

7/10
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I saw this in a preview screening and have to say that this documentary style movie is the biggest load of tripe I have ever seen.

Completely unfunny, low budget, boring, rubbish script, terrible acting - The entire audience (young and old) sat through the film comatose without laughing for most of it... there were literally only about 2 places you will laugh in the entire movie

Many people left halfway - Can't blame them... I stayed thinking that the film would pick up, however, it never did and I wish I'd left. 

The humour was really lame and I am surprised that this ever made it on to the big screen. I am not someone who is offended by the adult content of this movie at all - It just wasn't funny. The people who made this movie really don't deserve your money, so please don't pay to see this film.

This isn't even funny enough to be shown on TV, let alone cinema...

I wanted to give it 0 out of 10, but the system won't allow it...
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This is a harrowing movie, and it moves relentlessly. Still it is utterly unique among war films in that it focuses exclusively on the civilian experience, the loss of humanity ordinary people undergo during wartime. The two young, married musicians undergo a slow, battering process of degradation at the hands of both sides of a civil war. Utterly stripped of sentimentality, the film offers a bleak vision of the modern world, and one I believe particularly recognizable to many Europeans. With brave, intense performances by Liv Ullmann (never better) and Max von Sydow (likewise). For my money, the most indelible film Bergman ever created.
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I must say I didn't expect much about this movie, but it turned out not to be bad at all. Most striking of course, was Aidan Quinn's performance. I would never expect to see this fine actor as an action hero. The great thing about it is that he really builds up his character (Annibal). I mean, it was not like Mel Gibson or Bruce Willis would do it, he was sensitive and modest. For example, he's really upset when he kills someone. I also noticed that some clichés were avoided. When Annibal gets his training, you would easily expect him to be a rebel and act like any average American would do in such a situation, ask what the f*** is going on and refusing to cooperate. But Annibal is a professional marine officer, he doesn't give up and he tries not to lose his courage, in which he succeeds pretty well, except for a brief break-down on Christmas Eve, which I think was very realistic. I'm glad that Aidan Quinn got this opportunity to show another side of him (in fact two, because he plays the villain as well), even although the film wasn't that successful.
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A skillfully directed film by Martin Ritt where a drifter and anti-hero, John Cassevetes lands in N.Y. to escape a tragic incident in his life, where he killed his brother in an automobile accident as well as going AWOL from the army.

Cassavetes, always an intense actor, shows grit in his portrayal of a film. Am surprised that Montgomery Clift didn't get this part.

Ruth White is his mother and does remarkably well in two scenes on the telephone.

Once in New York, he befriends Sidney Poitier as the two work on the docks. Immediately, Jack Warden, a bully and villain in this film,takes a dislike to him and tragedy ensues when Poitier tries to defend his friend.

Ruby Dee, plays Poitier's wife in this film, and is brilliant in a scene where she urges Cassavetes to reveal the killer of her husband.

This is definitely an interesting film of moral values and the loner in society. With the backdrop of tenements, the right mood is depicted in the film.
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Bad bad bad....

This is another stupid movie. still don't know what is the language of this movie? is itEnglish or french or German!?!! you have to be speaking all 3 languages ( at least ); preffered Italian too to understand it. poor quality translation with very hard to read font. showing a very stupid way of ending this movie!! in the mid of the movie you will lose interest in this movie and start to think why am i watching this?! brad pitt is proving that his acting talent is going down.

Maybe this is the movie number 1000000 that talks about Nazis. is there any other subjects that Hollywood can produce?! I think this movie is another American propaganda to show super heros American. I expect next Hollywood movie is American hero will save Jesus!!!
This movie treads on very familiar ground -- the confusion of art and reality in the life of actors. It does not have anything particularly novel or interesting to say on this subject and is in fact rather dull. The final scene in particular is interminably tedious. Seeing the audience crying at the "moving" acting they are seeing on the screen made me ask "who do they think they are kidding?"

Nevertheless there are some good performances and interesting scenes, particularly from some of the minor characters. Ben Gazzara plays an old and slightly touched actor, who gets a whole posse of policemen clapping his performance when they come to arrest him.

Christopher Walken again plays an over-the-top wacko. Remember his character "The Continental" on Saturday Night Live; an aging eurotrash satyr chasing a young woman around the furniture and trying to get her into bed? He does an identical turn in the film, chasing his young (male) prey around an antique table and plying him with champagne.

Overall this film was both enchanting and irritating, but mostly irritating.

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James Aaron, a chubby actor living in Chicago, is a man that loves to eat things that are no good for him. That is made clear early on, as Dick, a friendly store clerk, advises him to stay away from junk food. Aaron, an actor working at Chicago's Second City, is a loving man with not much luck in the love department. He still lives with his mother, a spunky lady who encourages him to go out and enjoy himself. James has another job in a sort of gross "Candid Camera" where people are set up for unusual situations, such as surprising a mechanic and telling him he is the father of a daughter he never knew about.

On the day he meets his friend Larry he gets to know about the casting call for the remake of "Marty", his favorite film. Being a large man, he clearly identifies with the character in the movie. In many ways, James' own life parallels that of the Paddy Chayefsky's creation in the picture. He wants to try for the part because he knows he can do justice to the role.

One day he meets Beth at a soda fountain. James takes a liking to the woman, who one day invites him to go shopping with her for intimate apparel. He ends up having sex with her, thinking they have a nice thing going, but Beth has a another surprise coming when she tells him the reason they went to bed was because she had never done it with a fat man. After being disappointed, James stumbles into an attractive elementary school teacher who seems to share his love for jazz. At the end, we watch James fulfilling his long dream of starring in a theatrical production of "Marty" in a nursing home.

Jeff Garlin, who is an affable character man, shows a talent for the type of comedy associated with his friend Larry David. Although both men differ in acting styles, his take on James Aaron is right on the money. As a director, he has done it before, although this is an original concept that he should pursue. 

One of the assets of the film are the people involved in the project. Sarah Silverman makes an impression for her take of Beth. Bonnie Hunt underplays her role of the school teacher to good results. Mina Kolb, is seen as his mother, a role she has played in "Curb Your Enthusiasm" with excellent results. Director Paul Mazursky is at hand also in a minor role. Joey Slotnick, Tim Kazurinsky, Richard Kind, David Pasquesi, Larry Neumann Jr, Gina Gershon, and the rest of the cast make valuable contributions.

Jeff Garlin is a talented man whose next effort will be welcomed by his fans.
Destined to be a classic before it was even conceptualized. This game deserves all the recognition it deserves. At a time when first-person shooters like Quake III Arena and Unreal Tournament are garnering all the attention of computer gamers, graphic adventures are a dying breed. With great pun and humour, The Curse of Monkey Island is a game that people of all age groups would enjoy. Life can only improve after playing The Curse of Monkey Island. *prediction* the sequel Escape from Monkey Island is already destined to be a classic too. I guarantee it.
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A study of one of those universally familiar, physical and/or emotional states: isolation. I think the film also comments on cultural displacement too.

The film presents the experiences of two Turkish men (cousins). One has money (and the comforts that come of having 'made-it' with a steady income); the other has none and goes in search of work. Neither are happy. Expect no celebration of life here - this is loneliness, warts and all.

The film succeeds in offering a powerfully bleak traverse across the 'low lands' of the human condition. Brave film-making. Well-acted and well-shot in my view (outdoor shots by the harbour being my own favourites). A film that should inspire gratitude in anyone who is not a stranger to happiness and fulfilment in life (not to mention employment); everyone else will find a companion in this film. A film with all the warmth and pace of an ice-floe. Expect a bitter pill, not a 'happy pill.'
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Obviously made on the cheap to capitalize on the notorious "Mandingo," this crassly pandering hunk of blithely rancid Italian sexploitation junk really pours on the sordid stuff with a commendable lack of taste and restraint: The evil arrogant white family who own and operate a lavish slave plantation spend a majority of the screen time engaging in hanky panky both each other and their various slaves. Director Mario Penzauti and screenwriter Tecla Romanelli cram this fetid filth with a teeming surplus of sizzling sleaze: we've got nasty rape, interracial copulation (one white lady makes wild love to a muscular black stud while he's tied to a cross), copious female nudity, brutal whippings, vile degradation, lots of lurid soft-core sex, and a severely twisted tragic surprise ending that mixes elements of incest, murder and miscegenation in a questionable attempt at making a statement about the horrid inhumanity of slavery. Special kudos are in order for foxy brunette actress Paola D'Egidio, whose lusty and uninhibited portrayal of depraved and lascivious wicked bitch Rhonda positively burns up the screen. Moreover, Marcello Giombini's funky, throbbing tribal score hits the groovy spot. Maurizo Centini's fairly polished cinematography likewise does the trick. A satisfyingly seamy chunk of slimy swill.
Every year there's one can't-miss much-anticipated red-hot big-budget title with the right combination of star, director and subject matter that fails miserably at the box-office. This year it was Superman Returns. In 1982 it was Blade Runner. In 1957 it was Billy Wilder's The Spirit of St Louis, a film that had everything - top director, huge star, best-selling true story about an American hero - except enough of an audience to cover its costs. Maybe the public still remembered Lucky Lindy's anti-Semitism and his loud admiration for Nazi Germany's achievements before the war (neither covered in the film, which ends with his arrival in Paris before the legend got too tarnished). Maybe because they thought they knew the story or that it was just going to be one guy stuck in a cockpit for two hours. Certainly Wilder and co-writer Wendell Mayes are aware of the dramatic pitfalls of Lindbergh's relatively uneventful flight, alternating between a well-executed flashback structure to key points in his life and the build-up to the flight itself. Once the film is airborne, it's both surprising and suspenseful, finding genuine drama in his attempts to stay awake and to navigate without proper instruments.

It also builds up a quite remarkable sense of dread that's unlike anything else in Wilder's filmography, allied to a real sense of the epic: shots like the ominous storm clouds over the hanger the dark dawn before the flight carry a real chill of foreboding to them. Even the typically muted and problematic WarnerColor adds to the film rather than detracts from it. Along with the superb use of CinemaScope, there's a remarkable score from Franz Waxman: majestic, soaring but filled with understated menace, and cleverly used as part of the fabric of the film rather than mere musical accompaniment. The film does lose points for implying, though never actually saying outright, that this was a race to be the first to fly the Atlantic - in fact, Lindbergh was the third man to fly across the Atlantic after almost completely forgotten Brits Alcock and Brown's astonishing flight eight years earlier - but it's still a remarkably tense and engrossing adventure story that deserved the success it never found.

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This is a love story set against the back drop of television news. The three main stars, William Hurt,Holly Hunter and Albert Brooks create a love triangle whilst working at the Washington bureau of a TV network.

Tom Grunick(Hurt)is the handsome reporter who is being groomed to be a star.Jane (Hunter)is the producer who recognises that Tom lacks the intellectual gravitas to be a real journalist, but falls for him anyway.Aaron Altman(Brooks)is the man who shares her beliefs in journalistic standards is also the man who truly loves her.

Holly Hunter was nominated for a Best Actress Academy Award ,but lost out to Cher(Moonstruck!).She was robbed! This is Hunter's film.Her character Jane is smart,ruthless and totally driven. She is also hilariously neurotic. Her performance is perfect.Just watch her face when she watches the tape of Tom's interview of a rape victim. The scales literally fall from her eyes.

Wiliam Hurt's performance is less showy.He plays a man who is well aware that he is a himbo and a fraud,but is smart enough to know that his rise will be facilitated by people like Jane.He gives little hints of a man who is extremely calculating.

The film comments on celebrity, journalism,integrity and the commercial pressures on news in a medium that is focused on the bottom line. It predicted that news would be dumbed down, that standards would slowly be lowered due to commercial pressures.

Think about this:this film was released before the end of the Cold War and before rise of reality TV.Yet, it predicted the dumbing down of the news.Paris Hilton's release from jail was treated like a major news story! To see how prophetic this film is,just watch your evening news and note the set, the graphics and the presenters.Tom Grunick and his clones are well and truly alive!
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Cheaply pieced together of recycled film footage, music and ideas, this film cannot really be called "well". But for me, when I watched it as a teenager, it was quite amusing. (I didn't know BATTLE BEYOND THE STARS before.) In retrospect it has got something nostalgic, regarding the SF wave of the early eighties and the special effects of this time. Its trashy old-fashioned look and its naivety provide a certain attraction. To enjoy this movie I recommend to concentrate on the paternal relationship between the characters of Vince Edwards and David Mendenhall. In addition, I liked the idea that a bunch of scoundrels discovers its heroic qualities after been unwillingly confronted with the challenge to take care of a child.
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If it had been made 2 years later it would have been BANNED! The number one MUST SEE recommendation of the day!. The best Rouben Mamoulian film I have seen this far (have but have not yet seen J+H).

There's no wonder why this film got less than 200 votes. A bigger greyzone that could not care less about what's proper would not be seen again until the 60's. As morally ambiguous and dark as 70's grit but with a certain charm as well. Of course this had to lay low in the later 30's and sadly it does not appear to have been re-discovered.

Seriously. This got it all. Great actors: Gary Cooper, Sylvia Sidney and the this time not so lovable Guy Kibbee. And a mighty good director. This far I haven't been RM's biggest fans but I have liked his films a lot and with this he steps into a new league. One of the best 30's films I have ever seen! This is something I never thought even existed! 9.5/10
When you see Barry Corbin in the cast of a movie, you can never be sure if it will be a classic or trash. Guess which category SOLO falls into. Apparently derived from a popular sci-fi novel, WEAPON, SOLO stars Mario Van Peebles as a human-looking robot who decides to think for himself and is thus targeted for elimination. He hides out in a Mexican village, obviously to save money on locations and extras. Paying in pesos is cheaper than paying in dollars, I suspect. William Sadler is along for the ride, as one of the robots and soldiers sent to destroy Van Peebles. Van Peebles manages to beat them all with ease, of course, while Corbin watches all this with bemusement from afar. The movie is a horrible ripoff of the THE TERMINATOR and CYBORG series, and apparently has little to do with its source material. It is horribly written and acted, and the big fight at the end if downright comical. Van Peebles, a decent actor elsewhere, is a scream as he pretends to be a robot covered in synthetic flesh. He looks like he is doing the Robot Dance most of the time.

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One of the few comedic Twilight Zones that's actually really good. We have Floyd The Barber from Andy Griffith Show,The stock in trade Old Geezer dude from Many old westerns,and lovable old Frisby. It also has that cool spacecraft interior that I believe was used in the Sci Fi classic Forbidden Planet.Or else The Day The Earth Stood Sill.Plus the new guys in town are driving an exotic Renault(I think) sports car back in the days when European automobiles were known as "Foreign Jobs" in the U.S.. The whole idea of harmonica as weapon is a hoot.And the fact that Frisby's buddies love him despite being the fact he's a total BS artist is a heartwarming moment.
The 80s were overrun by all those HALLOWEEN/Friday THE 13TH slasher-style horror movies, so this is something of a relief.

Ten unbelievably annoying teenagers (would you want to hang out with these jerks?!) decide to throw a Halloween party at a local former funeral parlor called "Hull House". During a "past life séance" a demon is accidentally released, and each person becomes possessed and kills off the others.

This all sounds very EVIL DEAD/DEMONS-ish, but Tenney lends some directorial style to the proceedings, there are some good one-liners, the music is excellent, the Steve Johnson prosthetic make-up FX are scary and Linnea Quigley is quite fun as a boy-crazy bimbo who pokes out eyeballs with her fingers and does an amazing new thing with a tube of lipstick!

Great fun on a no-brainer level! After checking out the breakdown of the voting and the other posted reviews, I don't understand how this only received 4 out of 10 (?!)

I give it, 8 out of 10.
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Another 'good overcoming evil' story, but with a difference. This includes learning self-discipline. When Julie goes with her teacher to a Zen monastery, she learns about herself. She also hones her karate skills.

When the Zen monks visit the city, some awkward and comical moments ensue. Not uproarious, but entertaining nonetheless.

Next Karate Kid has much to say about looking within, and improving what is there -- as well as using what you have.

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When I first saw this film on video in a department store... it intrigued me. Considering the fact that I thought I was in love and I was the same age as the youths in this film at the time (although I realize they are now old enough to be my parents), plus the soundtrack being written by Elton John & Bernie Taupin just before they "made it big" here in North America... I figured I had nothing to lose in buying it. I was not disappointed.

So far, I have shown it to many guys I have dated since, and to my current boyfriend... obviously, they didn't find it as lovely as I do... preferring to call it a "chick" movie... but I still laugh and cry. This film was vastly overlooked. It's good to see it's available to rent at one of the local video stores around here so that other people can share the magic. 

So maybe it's a bit far fetched... but it gives you a lighthearted sense of innocence... and a renewed faith in love.

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When I went to the video rental store, back in the days when DVD was yet next to unknown to me, I had seen all the movies at the store that I was interested in. Or so I thought! The man behind the counter told me he had something for me that I definitely would like. He gave me "Plunkett and MacLeane". At first, I doubted it to be any good, but I trusted his advise and... man, I sure am happy I did take this jewel along! This is one of the best adventure movies in years, if you ask me! Of course, with Robert Carlyle as a major part, how bad can a movie get? Surely, Liv Tyler does once more what she's good at and nothing much more: being pretty. But still, you can very clearly sense that the cast apparently had a lot of fun, making this movie.
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Thunderball and Never are two of the biggest box office misses and Never is a surprise farce from Empire Strikes Back hero Irvin Kershner. Klaus Maria Brandauer seems to steal the show, when, in the midst of the unfolding plot, Bond's mission turns more to Hollywood romp (Sometime around when Basinger comes in). How about Klaus Kinski? I still think that the casting of Largo makes or, as is evident in both films, breaks the story. Worst of all is the attempt to pass off the aging and very hairy Connery off as the sex symbol he indeed was in the '60s. The '80s was a barren time for Bond flicks mostly, though For Your Eyes Only is a great title. At times, when I happen to need to waste some time over the holidays by watching this film in the often string of Bond re-run festivals, I think the best attribute of the film is its score, and I'm not into soft '80s 'jazz'.
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