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The director Godfrey Reggio must be a very charming and persuasive man for this dreadfully botched project to have seen the light of day. Reggio's message, so powerful and resonant in his previous two Qatsi films, is hopelessly jumbled here. Athletes, equations, oceans, keypads, laughing heads, etc, mingle without purpose. The parade of banal imagery is mostly generic stock from Getty Images et al, and the heavy-handed digital manipulations are amateurish in the worst way imaginable. Surely someone involved (Steven Soderbergh, executive producer?) could have pointed out that applying a solarizing filter to nearly every frame was a VERY BAD idea? The crude looping, layering, and distorting of images recalls a freshman Photoshop class. And to make matters worse, the computer animation sequences are more artless than a 1980's Wall Street pie-chart. This is not to say that improved aesthetics alone would have salvaged this film, but some meager effort in this direction may have made it tolerable as visual fodder for the accompanying music. I feel compelled to point out that the score by Philip Glass will certainly satisfy his fans. Not a radical departure, but rather a refinement of what Glass does best with lovely violin contributions by Yo Yo Ma. If you decide to see this film be certain to focus your attention on the brief opening sequence. While you may already be familiar with Detroit's once majestic but long abandoned Michigan Central Railroad Station 89 minutes later you will find yourself remembering this image of 20th century decay as the critical point when you should have headed for the EXIT sign/hit the STOP button, etc. You've been warned.

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Taken the idea out of a true diplomatic incident "The Wind and the Lion" is a very good adventure film set in the deserts of Africa.

El Raisuli (Sean Connery) head of an Arab tribe kidnaps an American woman(Candice Bergen) and her two children to obtain some concessions for his country out of American president Theodore Roosevelt (Brian Keith). Out of this simple plot John Milius gets a very complete and enjoyable movie in the genre.

The outdoor dessert locations, an impressive color photography, very well handled action sequences and perfect settings turn the picture in a sort of epic one with an undeniable sense of greatness. The musical score is also remarkable an fits accordingly.

Sean Connery is very good as the Arab leader and proofs he can handle almost any kind of role. So is Candice Bergen as the woman who shows strength under dangerous circumstances but deep inside is scared and has her weaknesses; she gets to admire Connery and even understand his complete different focus on life arising from their also completely different cultures. Brian Keith plays one of his best roles ever as American president Teddy Roosevelt.

Most entertaining and very good cinematographic sample in the genre. Give it chance, you won't regret it.
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I really enjoy this particular production of "The Mikado." The producers added a few touches throughout to make it more amusing for modern audiences -- for instance, "As Some Day It May Happen" (the "little list" song) is completely updated, and a few lines are ad-libbed throughout the play. Liberties were also taken with the setting. The costumes are not Japanese, but rather 1920s English (although some of the "Tittipudlian" girls wear '20s-inspired kimonos). This production is well-choreographed with some 1920s dance styles, and there are some extra dancing maids and bellhops to keep your eyes (as well as ears) entertained during the songs. If you're a Gilbert & Sullivan purist these changes may bother you, but I think they're fine -- and I love the costumes! 

Felicity Palmer (Katisha) is absolutely hilarious; all of her scenes make me laugh out loud (one of my favorite add-ons is when she first makes an entrance -- the dancing bellhops annoy her with their antics, so she screeches at the top of her voice, "STOP IT!!!"). All of the other main characters do a fine job as well. I particularly like Mark Richardson as Pish-Tush (that toupee!) and Lesley Garrett as Yum-Yum.

You must keep in mind that this is a stage production being filmed and set your expectations accordingly. There is no change of setting, although the filmmakers used some 1930s film techniques to add interest. If there is one draw-back to this production, it is that the stage makeup wasn't modified for close-up shots with a camera. Foundation lines are often visible and there seems to be a surplus of eyeliner, lipstick, and blush everywhere. I've seen this sort of thing happen before with films of plays, and it's a little jarring at first. However, I hope you'll get used to it and enjoy "The Mikado" for what it's worth -- a thoroughly enjoyable rendition of a classic!
Heather Graham is not just a pretty face,she is also an extremely talented actress. She adds a unique flavour to the movie. Overall,it's an intelligent and yet compassionate look at love,marriage and relationships.I thoroughly enjoyed it!

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Please tell me the sentiment of the following review: I love to see a female protagonist, in this movie her name was Rose. Rose brought out a lot of interesting questions in her journey of fulfillment.Is is possible to attain peace and internal fulfillment through external means? Does our society teach this? Can one be a victim of memory which may lead to victimizing others? Is one responsible for being a product of one's environment? To what extent can one control or take control of one's environment? How is a "typical" human alike or different than Rose? Lastly, would the outcome or story change if it were from another country like France or Italy? I loved that this movie provoked all of these questions in me, while it entertained, stimulated, and kept me guessing to the end! Every time I've watched it, I have learned more about the film and myself.
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I loved the original P.H. and was somewhat satisfied with Bloodwings (II)and Ashes to Ashes (III), then I saw part IV. Oh boy..... As a Pumpkinghead enthusiast, I did my best to give part 4 as much credit as I could, but it's pretty bad. The wedding reception fight right at the beginning of the film is a horrendous mess for one thing. The Hatfield and McCoy storyline is incomprehensibly stupid and cliché. How did the producers get away with using that tired family feud storyline? Wow, unbelievable. The acting, besides Henrickson, is below average. The plot and script are mind-numbing. The actual editing and cinematography are average, as is the directing. I mean, the movie isn't a total loss. As always: I really enjoy watching Pumpkinhead, I love seeing Haggis the Witch, and like watching Harley's ghost in action. But all three characters had WAY too much screen time. I thought Haggis and Harley would wind up going out to a supper club for an evening bite to eat and drinks, the way the were being so buddy buddy in her cabin. The bottom line is.... Is that I wanted all the characters in this puke fest of a plot line to be dead within 20 minutes of the start of the picture. Where does Sci-Fi get these so called "film production professionals" from anyway!? I could do a better job writing a script stone cold drunk. I'm sure there was a limited budget and everything, but come on! See it if your a fan of the other three, but just once. And then go back and stick to the original two. Shame on you Sci-Fi!!!!
"A young man, recently engaged to be married, is the victim of a traffic accident and dies as a result of his injuries. His father, desperate to revive his son, agrees to let a scientist friend try his experimental soul transmigration process to save him. After the young man returns to life, the father and fiancée notice a dark and violent change in the young man's behavior, leading them to believe something went horribly wrong in the revival process," according to the DVD sleeve's synopsis.

At one point, Edward Norris (as Philip Bennett) is asked, "What do you think this is, Boys Town?" Mr. Norris should know, since he was in "Boys Town". "The Man with Two Lives " is more like "Black Friday" minus Karloff and Lugosi. You do the math. This film might have been a contender, with a re-worked script; it does feature an intriguing final act. After a tepid "shoot out", hang in for the drama to pick up with a well-played scene between star Norris and pursuing detective Addison Richards (as George Bradley).

**** The Man with Two Lives (1942) Phil Rosen ~ Edward Norris, Eleanor Lawson, Addison Richards

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While researching Susan Harrison (The Ballerina) in reference to a Bonanza Episode, I was reminded of this gem.

This episode is the inspiration for Dylan's "All Along the Watch Tower" (Hendrix's cover is probably as well know and is one of his best) which is one of HIS best.

Thus this episode is responsible for several 'bests' - not bad for approximately 22 minutes of television.

But this is "The Twilight Zone". Further comment of the series is unnecessary.

'5 Characters' is typical Serling. Intense, dramatic, barreling toward an end that is as inevitable in hindsight as it is surprising the first time you see it.

This episode is spoiled in one sentence and is too good to spoil for any who have not seen it.

But you will feel ambushed. And you will never listen to Hendrix with the same ears again.

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Alfred Hitchcock made this comedy of mis-marriage in 1941 but his heart doesn't appear to be in it. Carole Lombard and Robert Montgomery are the couple who discover they were never legally married and spend the movie bickering their way back to true love. It doesn't have much of a reputation and it is easy to see why. The jokes are familiar from better films but here they don't gel. And the leads are uncharismatic. Lombard's performance is clipped and starchy and it's doubly sad to think she was dead only a year later. Robert Montgomery seems to know he's in a sow's ear and tries his damnest to make a silk purse out of it without much success. The best performance comes from Gene Raymond as 'the other man', (he has a lovely drunk scene). This is one of the few really bad Hitchcock films.
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The film is a gross misrepresentation of Orthodox lifestyle and practice. NEVER will a Jewish court enforce a divorce between childless couples. Although the concept exists in Jewish law, the conditions are too numerous for it to actually ever take place. Childless couples do find it difficult to cope with their childlessness in a community where children are a very important part of life, but nowhere are they "rejected" by their community as depicted in the film. They are treated with extreme sensitivity. In fact, many great Rabbis have lived their entire lives without children and never considered divorce.

The depiction of Yosef, a horrible human being, is meant to - perhaps subconsciously - show the behavior of a typical orthodox male. In reality, it is as typical as a violent drunkard rapist is typical of secular society. Both exist in their own worlds and both are despicable.

It is surprising that so many people form their opinions about a society based on a MOVIE (by someone who is personally biased against a community). I have always thought that it is only the Orthodox, because of their narrow-mindedness and insular lifestyle, who judge all secular people based on the violence and immoral conduct they read about in newspapers or see in the movies.
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How can you make a joke about Mafia? It is not the kind of subject to laugh at! A near movie cannot make me laugh, because I am comparing it to Jane Austen's Mafia!. Mafia! wasn't a good movie but Hoods is really worse! In Mafia!, there were some good jokes but in this one there are maybe two or three...that make you smile. Not too bad actors but very bad scenario!! We sure prefer something serious like The Godfather. I give it * out of *****.
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Having finally been able to get the DVD of this 1997 HBO film, is at down to watch it. By the time I finished it the old saying "those who can not learn from the past are doomed to relive it" was echoing in the mind. First shown four years after the first bombing of the twin towers (and four years before the events of 9/11) Path To Paradise reveals the series of close encounters, blunders and official in-decisions that led to the first bombing of the twin towers and the lessons we should have learned from them.

Path To Paradise features a nice cast of believable actors. Peter Gallagher and Marcia Gay Harden lead the cast as FBI agents John Anticev and Nancy Floyd who face not only the threats of terrorism but the lack of official interest from their superiors along with their NYPD counterpart Lou Napoli (Paul Guilfoyle). Art Malik, Andreas Katsulas, Shaun Toub and Tony Gillan are among those who plan and carry out the attack all of whom play their roles not as potential clichés but as real living people and make the film all the better for it. Of special mention is Ned Eisenberg as Emad Salem the man whom, if it had not been for skeptical FBI officials, could have potentially informed on the plot.

The film is also well produced. Despite being made for cable this film doesn't feel like a low-budget film at all with its production values particularly in its sets and New York City locations. The film's fascinating cinematography gives the film an almost documentary style at times. When all of these elements are combined with the script it all helps to give the film a sense of reality which makes the events taking place all the more disturbing.

The most disturbing thing about he film is its script. The events of the film are true (minus some dramatic license which is always necessary) and in hindsight are made even more shocking then they must have been when the film was first shown twelve years ago. The film reveals just how a group of men were able to smuggle a bomb into the World Trade Center. They did so thanks to the lack of Arabic translators, government agencies failing to pass information to each other, the FBI ignoring leads from a source and police departments being unable to pick up on clues. Worse then investigators inabilities to connect dots is the fact that many of these same things not only allowed the 9.11 attacks to take place but in some cases (such as the lack of translators) are issues that continue even today. Even more chilling is the ending which really did happen and looks all too prophetic today.

Path To Paradise is a film that should be essential viewing today. The film is not only well acted and produced but teaches us a lesson we should have learned sooner. The lesson of the film? That those who can not learn from the past are doomed to relive it. If you can find this film then watch it and learn from it.
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This showed up on a DVD a buddy of mine bought for me. They had it listed as "The Savage Guns" which was an entirely different movie. Obviously the folks who packaged the DVD never bothered to look at what they were burning on the disk.

Anyway, this movie is about as bad as they come. The sound track is a combination TV Batman/Early James Bond/Spaghetti western. Lots of galloping around to this music. It appears that the guy has to gallop between scenes to burn up some time and give the sound track folks something to do.

English is dubbed over the Italian and it really shows. I wish it had been just a little bit worse and then it would have had some of the campy feel of the Ed Wood films. AS it is, it is just plain awful.
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This was the first Mickey Mouse cartoon released and the first cartoon with sound. In the cartoon, Mickey does not yet wear gloves. He does not yet speak either. All he does is whistle and play music. The song that he plays is "Turkey in the Straw" using several farm animals as musical instruments. For example, he plays the teeth of a cow like a xylophone and pulls nursing piglets like an accordion keyboard. I taped this cartoon off of the Disney Channel and I think it is wonderful. It was based on a silent film starring Buster Keaton entitled "Steamboat Bill, Jr."
Set in the near future a dark stranger walks into some southern American city plagued by zombies. Settling with a group of friendly face inhabitants our stranger learns the harsh realities of city life. There are two groups of people; the upper classes who dwell safely behind the concrete walls of the city being provided by, at the right price, the state police. Then there are our friendly face inhabitants. These lower class folks live along side the zombies. There only means of survival is to trade goods, which they forage for during the day, with the police in exchange for tins of food. Our stranger discovers why his world is plague by zombies. A new dietary pill that suppressed the craving for carbohydrates was the foundation. The human race's desire to shed fat caused the down fall of society as we know it. These pills increased the desire for protein i.e. meat, even the pet poodle. However, there was one more grave side affect, after death people became reanimated with an even stronger craving for protein namely human flesh.

With what I feel is an imaginative introduction I felt that this film many realise some inventive material. What better way could explain the cause of the zombie race than by a contemporary idea of people's desire to make any sacrifice to change their body without the hard work of the gym? However, the imagination of this film soon stopped after this exposition. This film falls into the old trap of 'I can not imagine what the world will be like when society collapses'. When you watch this film you do not escape to a different world as you do when you watch Planet of the Apes (original), Alien, Mad Max or Texas Chain Saw (original). In this film the alternate society is define by people with hair dyed orange and green. Face paint and charity shop leather jackets. There is no harshness about life in this alternate society, just healthy faces and over made-up zombies. Films should allow you to escape not remind you that you need to clear out your wardrobe and take your old cloths to the charity shop.

Forget about some of the pitiful acting, or the over made-up zombies. This film fails because it is too polished, too congenial and too predictable. I have watch films like this since the early eighties. If you are going the make a film of this nature I suggest you need to watch again such films as Dawn of The Dead (original and remake), Threads or Fulci's Zombie to see and experience that feeling of desperation in a devastate society.
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Aparna Sen's 15 Park Avenue is a film about nature of reality. 

A young delusional girl, prone to imagining things and hearing voices, possibly out of sheer boredom, is taken to be schizophrenic by her educated father and control-freak educated elder step-sister. Controlled, pitied and treated like an invalid (even if out of love and affection), she has ghost of a chance to develop as a normal person. When a boy offers to marry her, her father and step-sister passionately try to convince him against taking such a step. A traumatic experience, caused primarily due to her sheltered existence, finally takes her across the line of no return, and she lives full time in a delusional world of her own. 

The family and society around her are intolerant of her delusions,and want to suppress them with medicines, electric shock therapy, anything, even though they all have delusions of one kind or other of their own. 

Her mother doesn't see the irony in allowing a ghost-buster to treat her of the delusions. Her step-sister is a professor of Physics, teaching among other things Quantum Mechanics, a subject in which a stream of experts accept parallel multi-universes and many more dimensions in space than the 3 we see. A friend recounts with admiration an experience with a holy person claiming to hear hallucinatory voices. Far away, George W Bush has real or fake delusions of Saddam's weapons of mass destruction, and is allowed to invade Iraq. 

As some viewers have already pointed out, Aparna Sen shied away from attacking the mother of all delusions -mainstream religions, which is a pity. 

In other words, accepted reality is what a majority or an influential minority believe in. That's been the case since the beginning, and lot more powerful people than Mithali in the film, among them Bruno and Galileo, have suffered as a consequence. 

The film's controversial and difficult ending was necessary to show it's a film about nature of reality, and not the case study of a schizophrenic girl. 

All the cast have given great performances, but Shabana Azmi and Konkona Sen Sharma have excelled. Aparna Sen has produced an outstanding philosophical film.
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Without a doubt, the biggest waste of film of the year. This movie is poorly structured, sadistic, cruel and filled with unlikable characters. On top of that, and maybe the worst crime, it's uninteresting and vastly predictable. As soon as Bill Pullman's character doodled on the photo changing the word from "evidence" to "violence," I had the entire plot figured out. There are no surprises and there is no compelling reason to watch this trash. The only redeeming feature for me is that I saw this thing for free on my HDNet cable and didn't waste any money. I would truly be angry if I had paid to see it in a theatre.

Anyone that labels this thing a thriller really needs to get out more. An awful, awful film in every way that matters.

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Too much added with too much taken away from a great western that was written by McMurtry about the Texas Rangers vs. the Indian. This screenplay takes that away only to fill this mini series with a lot of warm fuzzy relationships that in truth were secondary to the main storyline. It ends with a totally unbelievable and detached ending not written in the book that makes you question how we are to be transported to Lonesome Dove.

The series main characters were in truth cast very well, the filming locations were excellent, but this mini series should have stayed true to what is a great book.
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Missed it at the cinema, but was always slightly compelled. Found it in the throw-out bin at my local video shop for a measly two bucks! Will I now give it away to anyone who wants it? Probably! No purposeful plot, one dimensional characters, plastic world ripped off from many far better films, no decent dialogue to speak of. You know that empty feeling when you come down off ecstasy? Its that feeling right here. Sad thing is, the Australia I know is heading in this direction, minus the melodrama and simple answers. Interesting only to see the older Aussie actors (who had to ACT back in their day to get by) vs the newer Aussie actors (who have to LOOK GOOD to get by). Like some horribly garish narrative introduction to a film clip that never actually starts... Poor Kylie, started her career as an actress as well...
I saw this in a theatre back in 1982. I expected a stupid T&A movie. That's not what I got.

It's basically about three teenage boys trying to have sex. We get the expected sex jokes and scenes--but, for once, they're actually pretty funny!

Yeah, they're stupid but I enjoyed them anyways. Also, there was a surprising amount of male nudity.

Then the movie, about halfway through, takes a sudden dramatic turn as one of the boys (winningly played by Lawrence Monoson) falls in love with a girl. Then the jokes stop and things get very dark. I'm not going to give away what happens but I was very surprised at the sudden turn in events. The movie brings up some very important subjects and treats them realistically and with intelligence. And it has a real heart-breaking ending.

I'm giving this a 10 because this is probably one of the best teen sex comedy/dramas ever made. It mixes fantasy and realism together and works! What more can you ask for? Also it has a GREAT soundtrack.
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I truly despair for womankind when they discuss this joke of a programme as if it's intellectually engaging and promotes female liberation and independence. This show is the biggest insult to women next to all those libidinous hip-hop videos. If talking like a bunch of reckless teenage boys over $100 lunches in swanky restaurants, indiscriminately shopping for unnecessary fashion and jumping into bed with the nearest male in site is considered empowering, the fate of western women may be doomed as we speak.

Aside from the damage it does to the female gender, Sex and the City is NOT ENTERTAINING. Not once has it been funny, captivating, exciting or original. The episodes play out monotonously. Each character are factory produced mannequins who behave in the same manner every episode. Not once have any of these shallow, unattractive women evolved. Perhaps the worst is lead character Carrie Bradshaw. Aside from looking hideous, her penchant for over analysis of relationships is cringe worthy. On top of all this, the show portrays men as a bunch of empty headed slobs who are unable to commit to healthy relationships. Even when there is a decent man, he is somehow painted as a villain. The utter lack of empathy for men is clearly the work of some "progressive" pseudo feminist.

Saddest part of the whole show is that these women live unfortunate miserable lives. Any intelligent woman would never envy them. It is a banal show with even more banal characters. The NYC tourist board must hate the way this garbage is showing up their otherwise fine city! Thankfully this train wreck is over! Desperate Housewives is seen as the fitting replacement for SATC. While DH can be quite far-fetched, at least it explores women in more multi-faceted ways. Plus it treats men more respectfully and it's actually entertaining!

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I was invited to view this film at a small art museum screening. I had no clue what to expect. I was initially optimistic in the opening credits to see Judd Nelson, Bill Paxton, Wayne Newton, James Cann, Rob Lowe, and Lara-Flynn-Boyle listed. However after some very disturbing grossed-out scenes (that did not add much to the story advancement), this film quickly became a weapon of torture. The gimmick of the vestigial growing arm storyline is never really developed. I patiently kept waiting for this film to cash-in. There was a small payoff in the end, but having to invest and sit through the the endless gross, crude, sexually-perverted, in-your-face screaming, unfunny gore cost too much for me (even for a free viewing). What were these established actors doing in this awful film? The art direction was very convincing and creepy. At the very minimum, it should only be a 75-minute film. This is a film that Dick Cheney and Donald Rumsfeld would embrace.
The most striking feature about this well acted film, is the almost surreal

images of the era and time it was shot it. I could sense the time and moments were stark and very real. Even the language was so well chosen. It's all too often when colloquialisms of today's world are carelessly used in movies about

another time and place

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In the 1980s in wrestling the world was simple. Hulk Hogan would take on Roddy Piper, or Bobby Heenan's cronies or Ted DiBiase and come out victorious more often than not. Occasionally he would get an ally like Randy Savage in 1988, but mostly it was all about Hulk Hogan vs Bobby Heenan, and that's the way it should be.

But on this night that was about to change, a new champion, a man who the WWE thought would be their man for the 90s was crowned. It didn't work out. But the WWE was right about one thing: Hulkamania was finished and a new order needed to be established.

This historic Wrestlemania, the first to be held outside America, kicked off with Rick Martel defeating Koko B Ware. Koko never really had a lot of luck at Wrestlemania and was taken down in short order here.

Next up the Colossal Connection Andre the Giant and Haku put their tag team titles on the line against Demolition Ax and Smash and lost. New tag team champions crowned.

Next match saw Earthquake defeat Hercules. Hercules was another fellow who didn't really have a lot of luck at Wrestlemania. Plenty of luck for Brutus Beefcake as he ended Mr Perfect's undefeated streak. Well, I guess someone had to end it.

Roddy Piper and Bad News Brown fought to a double count out in a slow but fun match, next up the Hart Foundation defeated Nikolai Volkov and Boris Zhukov in 19 seconds. Not really a match, unfortunately. The Barbarian then defeated Tito Santana in a short match.

The American Dream Dusty Rhodes and Saphire then defeated the Macho King Randy Savage and Queen Sherri in a messy mixed tag match. This was the only female wrestling really going on in the WWE at this point of time.

Next up was a fun match as the Rockers Marty Janetty and Shawn Micheals defeated The Orient Express in a fast paced encounter. There were a lot of good tag teams at this point in time. Jim Duggan then beat Dino Bravo in a nothing match.

Next Ted DiBiase put his most cherished possession, the Million Dollar Championship on the line against Jake Roberts. Roberts was distracted by Virgil and counted out allowing Ted to retain his title in an entertaining match and one of the longer matches on the show.

Next up the Twin Towers collide as the Big Bossman defeats Akeem in short order, this is followed by Rick Rude winning a short match with Jimmy Snuka.

Finally we come to the main event with Hulk Hogan putting the WWE Title on the line against Intercontinental Champion The Ultimate Warrior. This is an entertaining back and forth match won by the Warrior after Hogan missed a leg drop. The crowd was extraordinary and the match was a great spectacle.

And so the torch was passed, but would the Ultimate Warrior prove to be the Champion the WWE hoped he would be?
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What. Uh...

This movie is so dissociative and messed up that I literally lost a bit of my sanity after it was over. I will never be the same person again. I'm trying to put my finger on what, exactly, is so completely insane about it... It's not just the hilarious techno music, or the "outside of time" medieval/Blade Runner/wild west/Highlander setting, or the weird CGI "Grendel" monster that looks like a man made out of animated sausages, or even the "Grendel's mother" monster, which looks like some Alabama table-dancer who grew claws and tentacles when she stayed in the tanning bed too long. All of those things are weird, but what's really the strangest thing in this movie is the acting. I simply can't explain. This script is obviously, hellishly silly, but the actors exude deadly seriousness through it all. Lambert is always weird, and usually kind of boring, but for this one he's gone into Dolph Lundgrin territory: I can't help but just start laughing every time he talks.

I will give this movie some credit for being completely scatter-brained and crazy as opposed to conservative and boring. I'll always take a bizarre disaster of a film over an utterly mediocre one.

Warning: if you are planning on watching Christopher Lambert as Beowulf, be prepared to spend several hours thereafter wandering the streets in some kind of nightmarish, hyperactive-catatonic daze. It's true. When I was done with my Beowulf spirit journey, I woke up in the middle of the Siberian tundra in a puddle of blood and milk. There was a dead wolf lying next to me, and I later found I had a handful of human teeth in my shirt pocket. My VHS copy of Beowulf was sitting on a hastily-constructed stone altar nearby, enshrined with candles and wilted flowers. The tape told me to walk. I rose and I walked.

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I picked this movie up because it sounded like a pretty decent flick, and I've always been a fan of Foreign films. However, for someone who likes movies, I was surprised at how much I hate, hate, HATED this movie.

Although it does aim to expose the lives of young, lowerclass men in Lima, and to an extent it does succeeed, the characters are hopelessly shallow and the audience winds up having absolutely no feelings whatsoever for them.

Although the story chiefly revolves around M, he rarely ever speaks, and his dialouge is, at best, amazingly dry and dull.

*** Warning: Some small spoilers ***

Basically, the story revolves around a young man named M who has been searching for jobs, but without success (He does gain employment twice, but quits because they're "not for him", when you're poor, the last option you have is to be picky). Some amount of time is spent with his friends, who's idea of "fun" is to rape a little 14 year old, steal crappy tires off a piece of shit car for a dime sack of weed, and several other slightly retarded activities.

M's friend comesup with a plan to make $25,000 a piece and move to the US by running Cocaine to Miami. When the drug lord gives them a job, we're treated to an extremely lame scene of the three friends buying clothes at the mall with some music playing in the background. We see them trying different clothes on like little girls given $200 to shop, get there hair cut, and then strutting off looking like slick gangsters (one character, Carlos, will from this point on wear sunglasses ALWAYS... even at night).The day before they leave, the leader of the group leaves to speak with the drug lord, leaving M and his friend to be dumb. They party up, take several samples of the drugs they're suppose to run, and break into thier old school, acting like animals and smashing everything in sight.

The movie ends when M tries calling his girlfriend, who hangs up on him. The friends then proceed to set the pay phone on fire, which brings out a bunch of kids and some old man with gun. M and Carlos' friend in charge of the drug run shows up on his motorcycle and wants them to leave with him now. Then he takes off by himself, and gets shot by that old man. The police show up and arrest M and his friends (but not the man who shot the guy) and cover thier dead friend up with newspapers as music plays and it fades to credits.

**** End Spoiler ****

I even watched this movie a second time, hoping to see some subtle, redeeming factor for it, but I did not. A complete waste of 102 minutes. Although I must give it credit for being straightforward and not shying away from disturbing elements, the casting, acting, and overall direction still leaves much, much, much to be desired.

IMHO, if you're interested in a movie that explores the issues this one was suppose to, go rent City of God (Cidade de Deus) instead. Avoid this trash at all costs! You have been warned!!
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negative
This show was rushed, and relied heavily on surprise cuts to commercials (When it came back from commercial, the noise or "surprise" was something simple like a mouse) This is a pure rip-off of Ghost Hunters and it attempts to go "beyond" them, and fails miserably. Also, what is with the Directors log thing? Is this star trek? It just ruins the novelty of this show, which wore off quick. The only reason it's been watched is that people want to laugh at the pure anti-climatic nature of it. They never find anything, and most likely never will. Funnily enough, they always point out something that is the thing they are "hunting" and guess what?! It's the local radio station's tower light that is blinking red!
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Well, that was sure a waste of Dave McKean's talents, wasn't it? Don't get me wrong: when it comes to graphic design, Dave McKean may be the best in the world right now. The layered, textured look he can accomplish with just a few pencil lines on rough paper make the efforts of people like Peter Greenaway and David Fincher look like what they are: hackwork. McKean has been the godfather of a revolution in the look of comics, film, even magazine ads which borrow the distinctive collage effect he has pioneered.

But this movie? It's junk. Complete junk. The story, from Neil Gaiman, is, unfortunately, exactly what Gaiman has been giving us ever since he ripped off Clive Barker for the first time: a pseudo-mythic, overblown dreamscape, populated by characters which have Titles in All Capital Letters rather than names. Everything is allegory, to the point that it is impossible to get any human drama, emotion, or empathy from anyone involved. People make pithy postulations, speaking in riddles which bring to mind what Rosencrantz and Guildenstern Are Dead might have sounded like if Tom Stoppard had suffered a debilitating stroke halfway through its composition. Really, Gaiman, get over yourself. You're not a prophet. You're a poser.

McKean's directing doesn't help - his pacing is poor, taking fully half an hour to actually rev himself up for the main picaresque plot, and then simply providing a disconnected sequence of events, none of them given any weight. The monsters don't menace because they're not foreshadowed, simply thrown at the screen. The plot doesn't engage because we don't really care about the rancid little protagonists. Half the dialogue, muttered into into shirt fronts and ubiquitous masks, is unintelligible.

Some of the visuals are pretty, and I'm sure the fanboys will lick it up. Pity. Think of the amount of really good work McKean could have produced if he hadn't been stuck with this lame project.

Grade: D/D-

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This movie was so poorly acted. What was with Jeff Bridges accent, horrible and unbelievable. Was it supposed to be French, Scandinavian?The script was lame. To have the heroine trip over the grave of her boyfriend while running from the Jeff Bridges character...are you kidding me? How convenient that Jeff brings his dirty shovel in the house after he disposes of bodies in his lawn. Do these people just not believe in calling the cops? Okay...I'll get into the car with you, why not? DUH! Why was Bridge's daughter obsessed with making her dad have an affair, is her mother that evil or just plain dull? I did not see the original, it would be hard to make myself after seeing this movie.
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Like the 5-year old protagonists of his latest opus, Hayao Miyazaki's "Ponyo" enchants with its unbridled innocence as though the anime-meister has become a child himself in weaving a narrative that relishes in its simplicity and emits an infectious charm in the process. Miyazaki, recalling his earlier works, paints a brightly-colored world obviously geared for the younger audiences and the raw effervescence gleefully strips off the grim thematic elements that distinguish its immediate predecessors.

Ponyo (voiced lovably by Yuria Nara), a fish with a young girl's face (making her look like a cuddly child in a pink overgrown Halloween costume), escapes away from her underwater home and her school of siblings to explore the surface. Stranded ashore, she is rescued by Sosuke (Hiroki Doi), a five-year old boy who, along with his mom Risa (Tomoko Yamaguchi), resides in a house on the nearby cliff. This initial encounter and, eventually, friendship, has a profound effect on Ponyo who now wishes to become human, but by becoming so inadvertently tips nature's balance and unleashes a maelstrom on land. With Sosuke's help, Ponyo must pass a test to lift this curse and completely become a human.

Despite the plot lacking the philosophical sophistication of, say, his most recent "Spirited Away," "Ponyo" is nothing short of an astounding follow-up, characterized by the extremely diligent attention to detail and masterful balancing of the real and the fantastic, and of the simple joys and great fears. It's a straightforward tale that, though at times stalled by its tendency to ramble like a toddler, keeps in tune with its youthful pedigree to magically enthrall. "I will protect you," Sosuke tells Ponyo matter-of-factly, a childlike assertion not unlike the manner in which Miyazaki endows his story with artful spirit.

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This film is about a mysterious love letter that turned 4 people's love life upside down.

The idea of the film is interesting, and the film could have been funny. However, this film is simply what a romantic comedy should not be. The characters are inadequately introduced at first, so it gets so confusing. The supporting characters come and go without adequate reasons, as if they exist just for one particular scene and then vanish into thin air. The pacing is awfully slow, that it makes 90 minutes seem more like 180 minutes.

It could have been romantic and funny, but this film spectacularly failed to do either.
This is an Emperor's New Clothes situation. Someone needs to say "That's not a funny and original, (etc., etc.) film; that is an inferior film. Don't waste your money on it." The film is trashy, and the people in it are embarrassingly inferior trailer trash. They are all-too-realistically only themselves. They have no lines, they don't act. The American Dream is not to create shoddy no-quality films or anything else shoddy and of no-quality; it is to achieve something of quality and, thereby, success. Only people who are desperate to praise any film not made in Hollywood (it can't have been made in Hollywood, can it?) would try to impute any kind of quality to this film. It's worse than "Ed Woods," another film about a film-maker without standards. These films shouldn't have been made, and you shouldn't go see "American Movie."
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Everybody interested in Texas needs to have this DVD. It's just a good movie about real Texas with great scenes. It took a bunch of Texans to do this right. Hollywood never would have gotten it. There are so many subtle things that Tubb put in the movie and may not have even thought about, but it makes the show.

Guest cameos are not seen as cameos at all. Each star fits in perfectly and does not distract from the film. Many of the guests spots blend so perfect that when the credits roll you will go back through the movie to find the character. Strait's roll is dead on, it could not have been done any better in real life.

The second half of the movie is completely different from the first, it get's a little "hokey", but that's alright. Somehow the storyline works. The "hokey" stuff is like an after school special but it looks believable and natural.

I have never heard anyone use the Sonny Pruitt line before, other than locals that I grew up with. That was the icing on the cake for me.

Definitely a collectible, right up there with Pure Country, Sugarland Express, Jr. Bonner, Texasville, The Last Picture Show, Giant, and of course Hud.

Gig'em Aggies '86
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I saw this on a screener DVD a couple months before it was released.

I liked the main characters and the overall story but some scenes are pretty sloppy and confusing. The sets were fitting but a few just looked like left overs from Freaks & Geeks or reminded me of a cell phone commercial shot in a middle class home. Definitely not what the DVD cover claims, "Destined to be the next stoner classic", hardly.

Wardrobe and hairstyles are done well and yes, there are some really pretty girls in this, always nice to see a good looking cast.

Almost every scene contained guitar that just droned on and on. Sound design was a bit poor. I think less would have been best.

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Jacqueline Hyde is a good quality film and does manage to be likable because of what it is. Everyone out there will like it! Sandwiched between the amount of breast shots, the times Jacqueline rubs herself, the various times Jackie spends chatting to herself and the times spent heaving in the Magdelena Mountains, this could create one hell of a dishwasher if your career were to end.

Unlike most horror movies that take place in space or in some restless tranquility with ripe green apples, this one takes awhile to guzzle. The performing is good. Other than great acting by Dan the pizza delivery guy (must see), there are no standouts, but no notably bad outcroppings from my recent dinner either (and I do mean recent). Excellent acting overall because there are no typically dreadful actors which you'd find in movies of the four "Skin" related data fields or in the biological skimmer's found in any IBM shop. In addition if you see a female in this movie, the likelihood is that she will be butt naked by the next scene! Now that I think about it, there is quite a bit of action in this movie. Between the first and the second electro yank obtained from a hot chick and the time you observe her "buckets naked", keeps em' speculating. I loved it!
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I have always loved bad creations, rhetorical criticism and my film professor validated that for me in college. This is not as bad as The Star Wars Holiday Special, there is nothing bottom of the lunchbox than that mistake. This The Fantastic Four film, complete with the I-have-no-idea-why-hes-excessively-tweaking-his-fingers Doctor Doom, is high on the list of colossal mistakes. Doom's dialogue "Kill him!...Let him go!" is classic as it is staggering in its hilarity. The editing is good, and the director of photography isn't half-bad...those are the up-sides. I cannot, however, subject all my friends to watch in its entirety, but if I can get the chance I show them the "can Jonny and Sue come to outer space with us!" scene I do. I also include the final scene scene, where Redd Richards in his FF outfit for some reason, alongside his bride Sue in her wedding dress, get into the limo...the payoff is the extendo arm in farewell as they drive away. Most people are in complete disbelief that something like this exists.
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OK, yes I know I'm a Philistine, and I have no knowledge of, nor love for opera. I readily admit that I might feel differently about this film if I did. But I don't. So, for those of you like me, skip this one unless you want to look at the pretty (sometimes unclothed) girls. For what it's worth, I thought the first segment with Theresa Russell (who I didn't recognize) was the best of the lot.