cindermond/bento huggingface dataset:
Not having seen this film in quite some time, we caught with it not long ago in the nicely transferred Criterion DVD. "Le cercle rouge" is a film that owes a lot to other movies, as it keeps reminding us about "Rififi", "The Asphalt Jungle", among others, because they all deal with capers that take center stage in the movie and reproduce it in great detail. Unfortunately, one knows that old adage that crime does not pay, and from the start, these men involved in it are doomed from the onset.

Jean-Pierre Melville was a director of few words. He didn't fill his pictures with a lot of dialog, as it's the case here. Yet, for not being "talky", they had a style of their own as proved with "Le Dolous", "Le Samurai", and his masterpiece, "Bob le flambeur", among others. Mr. Melville had a sense of style that comes across in everything he did. In this film, working with his cinematographer, Henri Decae, he takes us along for a ride through the streets of Paris that shows the vibrant city mainly at night and the bleak winter in France. The score is by Eric Demarsan that emphasizes a jazzy music that accompanies most of the action.

Although the film shows Alain Delon, as Corey, at the center of the action, it is however, the smart inspector Mattei who is the real hero of the movie. As played by the great Bourvil, he is a man that shows a lot of patience because he has figured from the beginning how to catch Vogel, and in the process he gets involved in the investigation of the jewel heist in which he knows the escaped man he is tailing looms large behind it. Bourvil gives an enormously satisfying performance as Mattei showing equal parts of determination and tenderness, as it's the case with the three cats he adores.

Alain Delon always responded with interesting performances his appearances in Mellville's pictures. In here he is Corey, the man who is first seen leaving prison and promising himself he won't go back, but he cannot pass a good thing when he decides to go ahead and participate in the robbery. His association with Vogel and Jansen, pays off in the way they get the job done, but it will also prove a mistake in the way they will not be able to dispose of the loot as the fence they have relied on has a change of heart.

Gian Maria Volonte and Yves Montand are seen as Vogel and Jansen, respectively. They were excellent actors who blend well in the action of the film. Both actors were at their best moment when they took the roles in the film and it shows. Mr. Montand has the more complex character to play as we witness him in his first moment in front of the camera as a man with many demons inside his head.

Jean-Pierre Mellville got wonderful results from his cast and crew in a film, that although feels a bit longer, but still succeeds in showing his style in one of the most memorable pictures from the director.
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Having recently seen Grindhouse, I was browsing in Video USA looking for some movies that might have played in real grindhouse theatres in downtown areas during the '70s. The Hong Kong action flick Five Fingers of Death seemed just such a picture. The cartoon-like sound effects and the quick jump cuts seemed a little distracting at first but after a while I was so involved in the story and the characters I didn't care. Parts of the music score sounded like the "Ironside" TV theme song that was subsequently used in Quentin Tarantino's Kill Bill movies. Some scenes involving the hero's fiancé seemed to border on parody but they were so brief that they didn't ruin the film. The most exciting parts involve the tournament and some revenge segments after that. Well worth seeing for kung fu fans!
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This movie has good intentions, at least in the message "don't be afraid, no matter how tough it can be. Fear will kill you in the end" It's a good message, but the container is so flawed that the message gets squashed by bad acting, complete lack of credibility in the feelings, dialog that's delivered as if it were read out loud, stereotypes instead of breathing, living people.

It abuses from effects such as slow-motion to compensate for a complete lack of credibility in the acting and thus, a lack of emotional force...

The suicidal part of it still reminds me of a low-budget film from the pre-90s, when lesbians seemed to have (at least on celluloid) an utter incapacity of live good, happy lives, and a tendency to get caught in over-the-top dramas that often involved separation, death, or prison. 

Had it focused on the rewards of living life according to how we feel it (and not according to how others think we should live it), it would have being less dramatic, more inspiring. But it doesn't, it focuses of pain, on loss and leaves the message at just a theoretical ideal.

I can't see how this movie can be an inspiration to anyone to come out or overcome fear and rejection. 

If you're looking for a really good movie that talks about overcoming fear and daring to live what you feel, go back to the magnificent "Desert Hearts" (even better: read the novel!)
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This is a really mediocre film in the vein of "Buckaroo Banzai." The cast runs around like "Mad Max" wannabes, and they seem to be sharing a joke that they do not want to share with the audience. Wheeler-Nicholson is one of the those guilty pleasure actresses you are delighted to stumble across in films, but she isn't worth the price of rental. Space Maggot starts an electrical fire, and burns a vote of 4.
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The SF premise isn't unique (although it pretty much was back then), but the focus is a completely different one than in other artificial reality films. Especially during the first part it is an elaborate crime picture, that uses the SF premise to tell an unusual crime story in which the forced detective tries to solve a mystery with the obstacle of vanishing characters and unhelpful witnesses who don't have to lie to be unhelpful. Instead of an unreliable narrator we have an unreliable world.

In part two we follow the main character's struggle for sanity and it turns more into a psychological examination of a character in an extreme situation. He knows his very existence is nothing more than electrical impulses, how does he deal with this knowledge? He knows that there is a world that is more real than his, but he is trapped in an artificial world, a world where nobody can understand him. The problem of thinking of knowing something essential about the world that nobody else knows or wants to believe is a very real one that many of us can identify with. For me the film transports this hopelessness very well, with its dreary, artificial atmosphere which also supports the factual artificiality of the film's world.

Other than 'The Matrix' or 'The Thirteenth Floor' it's little concerned with evoking a sense of awe for its artificial reality plot, instead it very much focuses on the psychological aspects. Philosophy is only in so far interesting in that certain philosophical concepts are essential in how they shape and alter the character's perception of the world.

Arguably it is longer than it has to be (which isn't a problem if you are as captivated by it as I was) and part 2 runs pretty low on steam.
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A pointless cash-in with nothing to contribute except nastiness, this is a definite case of sloppy seconds for Robocop. Irvin Kershner's numbing, plot less and tired mess of a sequel is watchable and even mildly entertaining in a dubious, unpleasantly trashy way, but it has virtually none of the original's flair, emotion, intelligence or excitement. Instead we have just another empty spectacle of a blockbuster whose only reason to exist seems to be to nauseate the viewer with relentless violence, which is far more brainlessly gratuitous than anything in the original. Omni Consumer Products, who made the original Robocop cyborg, have turned into more of a totalitarian force than ever second time round, what with the suspicious Nazi-esquire banners, stormtrooper guards and tanks for hire at the end; as for the anonymous Old Man (Daniel O' Herlihy), he's less of a benevolent protector and more of a hideous Mr. Burns type, surrounding himself with moronic lackeys who genuinely believe that putting the brain of a murderous psychopath into the body of the all-new Robocop 2 is a good idea. Oh, and the first Robocop gets a look in somewhere amidst all of this mess, though you wonder what on Earth a fine actor like Peter Weller saw in the script. The droll Tom Noonan has nothing to work with as the villain, while Nancy Allen is badly wasted as Robocop's partner. There are some hilarious moments throughout; the opening 'Magnavolt' commercial, for instance, but this is a poor follow-up to the truly great original.
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I sort of liked this movie, not a good one, but not the worst ever made. Though, everyone else says it is one o the worst movies ever created, I thought it was okay. There are a lot of immature jokes. It wants to be funny sometimes, but fails.

The story is OKAY. It may be a little hard to follow for the younger audiences, though.

The acting is pretty bad. Jamie Kennedy is a horrible actor at most times. At some times, it is even laughable. Alan Cumming is probably the best actor in here. He is funny when he is supposed to be, but some of his lines are god awful.

Oh, and the main bad thing about this movie that I hated was Tim Avery's voice when he is possessed by the mask. The voice is HORRIBLE. Also, the scenes that he is in are so unfunny, that they are almost unbearable. I am sure they could have cut him out, and it wouldn't affect the movie at all.

Overall, you can live without seeing this. It is a nice movie to watch if you have nothing else to watch, though. They definitely could have gone without making the sequel, but it is a decent effort. 4/10
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This is truly, without exaggerating, one of the worst Slasher movies ever made. I know, it came out in the 80's following a tendency started by "Friday the 13th". "The Prey" copies the fore-mentioned movie in many aspects. The woods setting, the killer, the dumb teens, the gore, etc.

But "The Prey" is as bad as you might expect. I didn't even remember about it if it wasn't for coincidence.

Well, the killer is in fact human so don't expect a supernatural killer in the likes of Jason. The situations rather boring and lack of tension, gore, violence, etc. It just does not works for a slasher flick.

The acting is simply horrid. The score is horrible! a combination of boring instruments with cheesy 80's tunes?! I won't even mention the technical aspects of the movie because believe me, it seems that it cost only 20 dollars.

Please avoid this one like the plague. It's one of the worst movies I've ever seen, and that's something to say. Thank God it seems to have vanished from earth.
This film is about a deadly poison that is contained in small glass globes that is used to kill. This is apparently done to hide an espionage ring intent on stealing plans for a new American bomber. Now much of this plot was repeated in other Chan films, THE JADE MASK and THE DOCKS OF NEW ORLEANS. Additionally, it was first used in MR. WONG, DETECTIVE--all had the exploding glass globes--a plot element that obviously has been overused. It was interesting in MURDER OVER NEW YORK, but by these later films it was rather passé.

Fortunately, the rest of the film was fresh and the plot worked out very well--with a nifty conclusion where, of course, the culprit reveals himself. However, no plane could fly the way this one did--especially in 1940. Such extreme dives and rapid ascents were pretty silly out of this already obsolete plane.

By the way, in a small role as a porter you'll see Frank Coghlan Jr.--the same actor who played Billy Batson in the CAPTAIN MARVEL serial. According to IMDb, Mr. Coughlan is 93 years old and retired from the film industry.

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I'm a Christian, and I have watched pretty of Christian movies, but this one is too bad. They try to make this good, but it's too hard for them I think.

- You can see the film is badly dubbed in many places. - You can almost think that the mainpersons in this film was the only ones left behind. I think there will be a lot more of them.

- The quality is poor, and the acting could have been better too. The story is not so very bad, but could've been better. The only plus I give, is to the story in this film, but totally I can't rate it more than 3/10. Watch "Left Behind" instead!
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This show is actually pretty good. Like all shows on TV, it has its good episodes and its bad ones.

I have read where people compare this show to Married with Children, and I suppose it is a similar show for the new generation. However, because of what was expected and allowed on TV in the days of Married with Children, that show was taken to great extremes to show that it was in fact, a television show, and not meant to be take seriously.

The War at Home has the luxury of being a bit more realistic. The parents talk to each other like real life parents often do, telling their children one thing, when they will turn around and do the opposite.

Sure, some of the content can be considered controversial. But I find this show really tries to maintain a sense of honesty. Like it or not, there are a lot of families out there just like this one.

Every episode does teach a 'valuable lesson'. Its just that sometimes the lesson is that you will not find a perfect solution for every problem that a family may encounter, and sometimes the solution is to pick the lesser of two evils. We all know that in some cases, as a parent, the only goal you can have is to keep your kids out of really big trouble, and hope that they learn right from wrong.

I respect the writers for attempting to keep the show true to life, instead of having some magical ending like the Cleaver family always had.
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"Yesterday" as a movie, is hard to rate. The cinematography is excellent and deserves a 9/10. The story is gritty and real and does not compromise. But the translation of the story to the screen through the actors did not match the camera work.

As a person who was born and raised in Central Africa, I appreciated the authenticity of the film's look and the honest depiction of daily life for the Zulu. But this and the camera work are not enough to recommend the average viewer should see this film. It takes an appreciation of true cinema and not just a love of movies to see the purpose and strength of "Yesterday". 

Unlike the 1980 film "The Gods Must be Crazy", which was a comic look at one African culture encountering modern technology, "Yesterday" has no intention of appealing to any crossover audience. The movie simply is not fit for the common western mind - and I doubt it was intended for the western mind. The scenes are long and slow, the editing is not paced for a 60mph+ instant gratification world. The dialog is not cleaver or witty, it is real. Movies about health crises do not make the best entertainment and this movie is not entertainment, it is education.

This movie is best viewed by those who know, appreciate and love the way of life and the culture in sub-Sarah Africa. If you lack a broad enough world-view to understand other cultures, especially African cultures, should skip this film. Do not waste you time with it. Go see "Talladega Nights" or "Larry the Cable Guy" instead for your cross culture viewing.

I give it a 4 for most who might want to see the movie but have no accurate understanding of African cultures. For the viewers with an appreciation for films about the human experience anywhere in the world, I would give it a 7.

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An introspective look at the relationship between Hawking and the space/time contingent. This film expores the Gallilean and Newtonian laws and there relation to Einstein's Theory of General Relativity.

The film is methodically directed, exposing details of the man (Hawking) as well as his work (Black Holes). Interviews with his family are a little too long so sadly there is less development of his theories and ideas. 

A Philip Glass soundtrack superbly compliments the film. Only one other man could compose such haunting instellar melodies (Jean Michel Jarre).

Overall I would highly recommend this movie on the basis of Hawking's 'nuggets of wisdom' and his adequate explanation of an Event Horizon!
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Combine good casting, bad writing, good orchestral scoring, bad dialogue, and good story idea with lots of potential but is never realized then you have Slipstream. 

Just bought the movie for a buck, it is worth it, but not much more. 

Good to see Mark Hamill act again. 

There should be a decent sequel made to remedy the damage from the original. Or at least give it the proper attention it should have received in the first place. 

Berstein's score gave demanded your attention from the opening credits, however, the long shots of slipstream planes and the even longer revealing of interesting plot points mutes his attention getting score. 

It is really easy to dog a movie like this, after all it is by the producer of STARWARS and the director of TRON and a tremendous cast but it is what it is. And that ain't much.

Favorite Line- "We're going to make it, ha-ha!...(BOOM!)"
People don't seem to agree with me that movies can be bad and good at the same time. The same type of people that see a movie with Carrot Top on the cover, surfing through a frickin office and continue to watch the movie with serious expectations. Is Carrot Top funny? Of course not. Was this movie anything special? Of course not. It was a dumb movie and everyone assumed so simply based on what they know about Mr. Top. Movies like this, or Kazaam, or Killer Klowns From Outer Space and pretty much any movie Pauly Shore has ever been in are not meant to be taken seriously and because of this, they really shouldn't be considered some of the worst movies ever made. You watch them either expecting a dumb movie that's hilariously bad or you are like six years old and genuinely think Carrot Top is hilarious.

Please people if you ready know Carrot Top is retarded and you want to watch a serious movie and bother writing a serious review....don't watch this. Picking on this movie is like picking on a 5 year old for not knowing the alphabet.

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Please tell me the sentiment of the following review: I have yet to watch STARCRASH (1979) - that notoriously cheesy Italian take on STAR WARS (1977) - but it can't be much worse than this misbegotten piece of junk which, suffice it to say, makes Mel Brooks' so-so SPACEBALLS (1987) look like a veritable work of art! In fact, the main reason why GALAXINA is remembered at all nowadays is because of the tragic fate which befell its leading lady - Playboy centerfold Dorothy Stratten who was killed by her insanely jealous estranged husband - before the film had even had its official premiere! 

Although Statten (who subsequently had two biopics made about her wherein she was portrayed by Jamie Lee Curtis and Mariel Hemingway) plays the title role, for the first half of the film she is reduced to being propped up in a chair ostensibly driving a spaceship on a 27-year journey to some planet or other; in fact, Galaxina is an all-purpose android who also serves the wacky crew their snacks, gets them all hot under the collar and even goes scouting for the Blue Star (cue choral music) once they land! Having said that, Statten certainly looks luminous in her white attire and, even if her role hardly demands much exertion of any acting talent she might possess, it's not exactly demeaning either.

Still, it's ironic that for a film which bears her name, she is overshadowed by the campy and would-be zany antics of her fellow crew members, especially the annoying Captain Cornelius Butt (which gives you the idea of the level of comedy on display here), a long-eared, wing-sporting colored guy, a pot-smoking, proverb-quoting old Chinaman and, best of all (relatively speaking) a foul-mouthed, rock-eating, hairy alien creature they hold prisoner. The villain of the piece is a metal-clad non-entity who does, however, have the best laugh in the film when, upon hearing the choral music following his every mention of the Blue Star, exclaims, "What is this s**t?" There is little point in listing the sci-fi classics which are mauled by this stinker in its ludicrous attempts at spoofing the genre since they are not only lame but obvious; incredibly enough, a chest-busting but ultimately benign alien is apparently played by diminutive Hollywood veteran, Angelo Rossitto!

For what it's worth, then, the scenes shot on the planet they visit (which looks more like a Western set than a planetary landscape) have a yellowish, sun-like hue and its inhabitants are 'human gourmets' (delicacies on their menu include Skin and Tonic, Scotsman on the Rocks, Thigh Pies, Baked Alaskan, etc), not to mention a motorcycle gang who serve their own particular deity (the Harley Davidson) and when our heroes escape on the back of it, they dare not shoot at them for fear of hitting their "Lord". God(awful) indeed...
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I received this movie as a birthday gift because all of my friends know I'm a big fan of low budget Horror flicks. Kaufman Studios have always made the cheesy gory flicks that delivered. I loved to watch their films at home on rainy nights with my family...until I saw Bugged...WHAT HAPPENED?

This Movie started out with a pretty good concept about mutating bugs and even added some slick comedy but overall the writing is just bad and that was mistake number one. Ronald K. Armstrong should learn to first be a better writer before becoming a filmmaker. After reading the Credits we discover he gave himself the most important role in the film!?! two words Mr. Director "Acting Lessons" OK? Mr. Armstrong joins the ranks of other writer/directors who cast themselves in their own movies and that's mistake number two. 

The only thing that I believed saved this film was the artistic camera work and the musical score, (let's hear it for the crew!) The cast of other actors who in the beginning of this production seemed a bit cold, really warmed up toward the middle and end of this production. Everyone pulled together and helped to pull this film off. Ronald Armstrong may lack the talent to ever become a decent Director or Actor but, I'll say this of him-He seems to know how to organize people to get them all to come together and pull his productions off.

This film, I have to say can be an inspiration to any young filmmaker who dreams of making their own movie because if Mr. Armstrong was able to pull this off, Any one else can too. If you get a chance to see this film, watch it for the sake of getting inspired to do "Better" in the future. Hollywood needs bigger and better Horror Flicks to keep this genre coming back from it's grave.
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I have waited for ages to comment on this programme, and felt it was about time some justice was done to it. This is one of Christie's darker, more sinister and engaging works, not simply someone being killed for money, this is a dark and thoroughly engaging tale of mystery, intrigue, love and murder, made all the better by the amendments made by the adaptor. The level of acting is utterly superb, Joan Hickson is sublime in the part, as always! The rest of the cast, including the likes of Liz Fraser, Anna Cropper and Helen Cherry all perform beautifully, but it's my opinion that the show is stolen by Margaret Tyzack, the closing scene between her and Joan Hickson is simply magical, the acting is as good as it gets, chilling, moving and totally brilliant.

Please let me know if you agree with my words. I am seriously looking forward to the remake to see how well Geraldine McEwan's version is. Watch and enjoy.
I just watched this today on TV. It was on ABC's Sunday Afternoon Movie.

This wasn't a very good movie, but for a low budget independent film like this, it was okay. There is some suspense in it, but there are so many bad qualities that really bring the movie down. The script is pretty lame, and the plot elements aren't very realistic, such as the way a 911 operator would laugh and hang up when someone is reporting a murder. I don't know what the writer was thinking when they came up with that idea, but it isn't very realistic.

I thought this movie was going to be a good suspense thriller, because there were a few scenes that seemed like they would lead to something good, but unfortunately, they never did. There were a few plot elements that have been used in other movies similar to this, and in the end, didn't prove to be very creative.

If there is something good about this movie, it is the cast. Every actor in this movie did good with what they had to work with. The terribly underrated actress Elizabeth Pena was great in this movie. She is very sexy, and has an incredibly sexy voice. However, if you want to see a movie of hers that is really good, watch the excellent animated movie The Incredibles. In that movie, she put her sexy voice to good use.

What can I say, this movie isn't really worth your time, but the actors were good. Unfortunately, they were all wasted on this movie, which is a real shame. This movie tried to be a good suspense thriller, but in the end, it fell flat. If you want to see a good movie that is similar to this, but much better, see The Hitcher. If you want to see something with the cast members of this movie, watch any of their other movies. You can real easily pass on this movie if you ever get the chance to see it.
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I am a huge Robert Taylor fan and I have been trying to find all of his films. This is one I did not have, but I watched it recently on Fox Movie Channel, and was very disappointed. I know he was a contract player with little control over his scripts, but the acting was as bad as the script. Victor McLaglen was even bad, and Brian DonLevy was almost unrecognizable. Considering the relations off screen between Taylor and Stanwyck, it was surprising how little chemistry there was on screen between the two of them. But the premise of the film was so ridiculous: that the President of the U.S. would order a Navy Lt to leave the service secretly to hunt down bank robbers, and report only to the President, that it made it hard to appreciate anything else about the film. The death row scenes were entirely unmoving. The only thing worse than Taylor's acting was Stanwyck's singing. She got better later in Ball of Fire-thank heavens.
After Matt Dillon's phenomenal performance in CRASH, most will probably rush to pick up a copy of FACTOTUM to see if Dillon is for real or simply got a lucky rebound from a great script.

Well, Factotum certainly has its moments, but the plainness of ...everything will most likely turn viewers off. However nothing should be taken away from Dillon. His performance is wonderful and full of excellent deadpan humor, proving he's a solid actor with significant chops; it's just a shame about the directing and script.

The story is about Henry "Hank" Chinaski (Dillon) and his refusal to conform to anything resembling normalcy. He quits or gets fired from jobs in mere minutes, only to find himself back in a dreary pub meeting even drearier women while trying to write a nonconformist novel. We never really know what the novel is about except that it involves "everything" (cancer, movies, you, me).

Skipping from workplace to workplace and constantly returning to Jan (Lili Taylor, THE HAUNTING), a loser girlfriend who's just as dispiriting as himself, Hank tries vainly to discover what his life is supposed to hold for him. Whether he ever learns what that is is up for interpretation. Some may say that he never does, while others might argue that his life is simply a path to obscurity.

Regardless, there's not much substance to Factotum even with Matt Dillon's fine performance. The story meanders through Hank's life without much thought given as to where to take the audience. And that's a shame. Dillon's performance would've shone even brighter if given a decent script.
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This is so blatantly a made-for-TV ripoff of Black Widow (1987) - even the insect titles are so similar.

If you want a better "marrying for money" movie, check out Black Widow, starring Debra Winger & Theresa Russell.

These movie is cheesiness at its best..! I just had to watch it entirely to see how it ended.
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German-born Turkish director Faith Akin captures in his film the endless variety of the different styles in music and songs in Istanbul, a city that is a bridge between East and West, a city that is uniquely located on both sides of the Bosporus, in Europe and in Asia. Kurdish dirges represented by Aynur, who performs her own brand of Kurdish gospel music, passionate and melodic. We are introduced to Romany instrumentals, to Orhan Gencebay, who has been called the Elvis of Arabesque music - sounds of music are heard everywhere in the city as Faith Akin takes us into underground clubs, to the street performers, and to recording sessions. German bassist Alexander Hacke who comes to Istanbul to play and to learn about Turkish music quotes Confucius, "To understand the place, you have to listen to the music it plays". Akin's fine documentary does just that - gives us 90 minutes of music that helps to cross the bridges. For me, watching the movie was especially interesting because I recently visited Istanbul as a part of my vacation and spent four days there. The city fascinated me by its images, colors, crowds, vibrancy and visual beauty. Now, I can add the sounds of music to the ever-changing portrait of Istanbul.
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Jean Claude Van Damme's movie career seems to have gone to hell in a handcart so how ironic to see him playing a character who meets the same fate in a literal manner at the very start of the movie ! It's also interesting to note how very , very similar the plots of his movies play out regardless of who the producer , director or screenwriter are . Van Damme usually plays a character who is living in France then due to a set of circumstances finds himself in another part of the globe where he has a brother who dies and it's up to Van Damme to get revenge helped by a character he's just met . Look at AWOL or LEGOINAIRRE or many other films that feature the headline " Starring Jean Claude Van Damme " and they all feature nearly the same type of story structure . This doesn't mean they're identical of course , just very similar and if you've seen one Van Damme movie you've basically seen them all . It's the same with MAXIMUM RISK
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"Witchery" might just be the most incoherent and lamentably scripted horror movie of the 80's but, luckily enough, it has a few compensating qualities like fantastic gore effects, an exhilarating musical score and some terrific casting choices. Honestly the screenplay doesn't make one iota of sense, but who cares when Linda Blair (with an exploded hairstyle) portrays yet another girl possessed by evil powers and David Hasselhof depicts a hunky photographer (who can't seem to get laid) in a movie that constantly features bloody voodoo, sewn-shut lips, upside down crucifixions, vicious burnings and an overused but genuinely creepy tune. Eight random people are gathered together on an abandoned vacation resort island off the coast of Massachusetts. The young couple is there to investigate the place's dark history; the dysfunctional family (with a pregnant Linda Blair even though nobody seems to bother about who the father is and what his whereabouts are) considers re-opening the hotel and the yummy female architect simply tagged along for casual sex. They're forced to stay the night in the ramshackle hotel and then suddenly the previous landlady  an aging actress or something who always dresses in black  starts taking them out in various engrossing ways. Everything is somehow related to the intro sequence showing a woman accused of witchery jump out of a window. Anyway, the plot is definitely of minor importance in an Italian horror franchise that started as an unofficial spin-off of "The Evil Dead". The atmosphere is occasionally unsettling and the make-up effects are undoubtedly the most superior element of the entire film. There's something supremely morbid and unsettling about staring at a defenseless woman hanging upside down a chimney and waiting to get fried.
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Strangeland seems to have a love/hate relationship with many of its viewers. I personally loved the movie, and everything about it.

The acting in some places could be improved upon, but the filming adds to the atmosphere where the acting can't. In some areas, the dialogue is a bit cheesy and over dramatic, but really, what do you expect from the late 90s? Over all, Dee did an amazing job in writing what I believe to be one of the most terrifying thrillers I've ever seen. It plays on the fears of many age groups--adult, parents, and children. Every parent fears that their children will get too involved with chat rooms and will meet strangers from the internet. And it *does* happen in the real world. And every child and adult fears being kidnapped and tortured against their will; that happens too in the real world. Which is what makes this movie such a sensitive subject for many.

My only warning is if you *know* you are sensitive to things such as strong violence, visible torture, and gore, then you do *not* want to see this movie. If you are unsure about if this movie will entertain you, then read as many reviews as you can, ask people you know who have seen this movie, and be prepared to turn the movie off at any time should you become disturbed.
First of all I have to say that I'm a huge Lucio Fulci and Dario Argento fan. Although I have not seen absolutely all of their movies, I really enjoyed almost every one I did see. I really like giallos and I thought Argento was the master of this genre, after seeing films like "Tenebre" and "Phenomena". But after I saw "New York Ripper" by Fulci, I found out that he could do pretty good giallos besides his graphic zombie movies and even outdo Argento, on a certain level.

I love Fulci's style, and yes I love gore, but this film I think, although it has a more developed plot and characters than his other films, is not his best one. What I don't like is that it can be confusing at times, especially at the end. And the fact that we go from one suspect, to another, and then another until we even suspect the retarded little girl for a moment, I think it goes too far. I know giallos are supposed to keep you guessing until the end, and the killer should be very hard to find, but this film plays a little too much with our minds. However I did like the scene when the witch is killed, I think it is very well done and gave me the chills. The acting is also pretty good and the photography is great.

Although this is not a bad film, I think Lucio Fulci has made better films than this, and I think his best one is "The Beyond", a very different movie but a more atmospheric and visual experience.

I give "Don't torture a duckling" a 7 out of 10.


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I am insulted and angry over the idea that a sequel to 'Gone with the Wind' should EVER have been undertaken. Having expressed that, I have no problem with the quality of the acting or the actors in this film. The performers are talented people whose talents were wasted on this piece of garbage. The hype surrounding this book and film just happens to be an exercise in futility. I think it will go down as one of the misguided films of Hollywood. I don't believe that the beloved characters created by Margaret Mitchell should have been soiled by the ideas and interpretations of another writer. The film and the book should be on the list of worst ideas conceived in the world of publishing and film-making. The sad thing is that people actually made money off of this tripe.

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This movie is based mainly on the emotions and interactions of people. There are only three locations (the school, the store, and the coach's house) that are really used. It's primarily at the coach's house, however. A movie doesn't need special effects or amazing views to be amazing in itself.

Four friends who had bonded during their basketball days meet up. One is rich, important, and has no real love outside of money. One wants to be mayor again, but his competition is turning him sour. One wants to be superintendent of the school and take care of his family. One is a traveling alcoholic.

First off, I love the actors in this film. They've all been household names to me. They proved their worth here.

One of the most pivotal moments is when Tom, played by Gary Sinise, blows up on the coach. He yells and rants about how the coach cheated in the winning game. His blows the coach's whistle and yells back his catchphrases - "Forgive me Father, for I have sinned!" It's amazing to watch, with energy that just chills you.

Highly recommended to anyone who understands human emotion and doesn't need shiny effects to interest them.
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After seeing Meredith in "Beyond the Prairie" I had to buy another film with her staring. I cannot believe how she let herself into this teenage flick. It's best to watch this one with the sound off but just concentrate on Meredith as she moves across the screen. Save your money until the TV network comes out with a DVD on "Beyond the Prairie". It's worth it at any price, this one needs to pay you to see. 

This pretty lady needs someone to put her into a script that can use both her talent as an actress and her beauty as a woman. Perhaps some of her latest might fit but I haven't seen them. She has the smile of a Cathrine Bell and eyes of Dana Delany with a much younger body.
So many bad reviewers, it made me wonder, what people are thinking while watching a simple flick made by a quite bad director??? Did you all expected a super-hit flawless movie?? No way, you already can see, Raj Kumar Kohli loves multi-starrer movies... All of his earlier works where multi-starrers, but no one was flawless. Take the first Jaani Dushman for instance, so many flaws, but still good fun. Anyways sticking to the movie, the movie Jaani Dushman is a Hindi fantasy film about a snake, who can take any form (Armaan (Munish) Kohli) which takes revenge for the suicide of its lover (Manisha Koirala) on the people who caused it. Its quite good, with a great star-cast. But i think it could have been much much better. For instance, take the script, can't say its flawless. For example Take the ages:

Do 40-48 yrs old still study in university??

There are many many more, i won't list more, but there are dozen more. A solid 5.5 is good for this one.

**.75
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This movie should have ended as soon as the joke about Bebe's Kids is told in the opening. I liked Robin Harris and most of his comedy but the really funny routines were not meant to be something the whole family could go see. Liken it to taking the point of one of Jerry Seinfeld's jokes and attempting to squeeze the joke for as long as you can in order to turn it into a movie. This movie had to be self-serving because I can not find anyone who found the settings or antics familiar. Whats most funny about this movie is the gumption of the writers and producers to pass it off as something of value. 1/10 stars because there is no half star.
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oh man, where to even begin.....

dropping your gun to get in hand to hand combat w/ a zombie, while holding a bitten soldier down debating to shoot him b4 he turns, then he turns and bites the person holding him down, turning your back on a "fallen" zombie, continuously shooting the chest and seeing it doesn't work, so they shoot the chest some more, having the idea that a kid slumped at a desk w/ blood coming out of his mouth is still alright, walking along a football field like nothing is wrong then all the sudden noticing the zombie football team doing whatever in the middle of the field like they couldn't have been seen up to that point....

i could go one for a few more hours, but you get the point.....childish writing and dialog, bad directing, horrid special effects, truly sad and undeveloped storyline (zombie infested campus, must get the viral host then lose it....twice), the only plus i can find is that this one doesn't include clips of the actual game during the "action scenes"....

id say don't waste your money, but id be more upset about the waste of time, i saw it on cable and wanted the 2 hours of my life back
Just what the world needed-another superficial cookie-cutter Mary-Kate and Ashley Olsen movie. This movie gives out horrible messages to girls everywhere, complete with stereotypical "junior high" experience. They make learning anything at all seem completely taboo. I can't stand the fake French accents, or those guys on the mopeds racing around who eventually "fall" for the twins. Why am I putting everything in parenthesis? Because its all stereotyped. The twins even complain about not having a stereotypical grandfather. They should be happy they even have a grandfather at all. How does this fit the Mary-Kate/Ashley mold? This one has them fixing up a single guy who (gasp!!) ISN'T THEIR FATHER!!!!! Yes, folks, they actually have a mother who appears for all of five seconds. I haven't even sat through thirty minutes of this and I can already tell how it will end up. This movie is so pitiful, it makes Miss USA seem like an academic bowl. Really.

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I have no read the novel on which "The Kite Runner" is based. My wife and daughter, who did, thought the movie fell a long way short of the book, and I'm prepared to take their word for it. But, on its own, the movie is good -- not great but good. How accurately does it portray the havoc created by the Soviet invasion of Afghanistan? How convincingly does it show the intolerant Taliban regime that followed? I'd rate it C+ on the first and B+ on the second. The human story, the Afghan-American who returned to the country to rescue the son of his childhood playmate, is well done but it is on this count particularly that I'm told the book was far more convincing than the movie. The most exciting part of the film, however -- the kite contests in Kabul and, later, a mini-contest in California -- cannot have been equaled by the book. I'd wager money on that.

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I've loved this movie since the first time I saw it lo these many years ago. I'm not sure how many times I've seen it, perhaps 10, perhaps 20. This last time I watched it I was struck by a detail that I hadn't noticed before.

Toward the end of the picture, the slain heroes are conveyed back to the town via sled. There are a couple of closeups of the dead men. The one that struck me most was a shot of the blond youth. All you see on the screen is his profile from head to hands. His hands are holding a flickering candle. The wind is blowing and his thick blond hair is dancing in the wind, in tune with the flicker of the candle flame. The contrast between death and the life he has lost is incredibly powerful. The moving hair and candle flame remind us of the life force that once inhabited his body.

Every time I revisit this film I see something new.
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I don't know why this has gotten any decent reviews as it could be the weakest horror comedy I've ever seen. Englund is just in it for a cameo and his performance is as unnecessary as most of the lame attempts at jokes (and scares). The direction is terrible and the acting is worse. It seems like every year producers are trying to make another Evil Dead but these weak unoriginal attempts are just stepping on the memory of a true horror classic.

Whether its filmmakers saying,"this isn't a remake but its an 80s throwback (which is just as unoriginal in my opinion - Hatchet) or people trying to plug this with other horror classics, Its still misleading and wont make up for the lack of scares, horror, comedy, or even a decent movie for that matter.

AVOID AT ALL COSTS!!!
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When I finally got around to seeing this film recently, it turned out to be exactly what it looked like to me at first glance... yet another Hollywood CG/live-action rehash of an established cartoon franchise. Nothing special or memorable whatsoever. Designed in every way possible to appeal to very young children and very immature adults, making heavy use of comedic devices such as farts, poo-eating, and the size of Theodore's butt.

This film would bother me a lot less if it weren't such an obvious step down for the Chipmunks. Even their characters I found were changed for the worse for this movie. While in the past each one of them had a very distinct personality, here they all behaved like immature, smart-alecky children with ADD, constantly bouncing erratically off the walls. It especially bothered me to see Simon portrayed in this way... He's supposed to be the smart, serious nerd who acts as the "straight man" to Alvin's crazy antics. But here he's pretty much a carbon copy of Alvin. One joke in the film even implies that Simon only *thinks* he's smart but really isn't... and honestly if I had never heard of the Chipmunks before seeing this film, I would have agreed.

In my opinion, this film is just another obvious cash-grab, and I'm more than a little sorry it was even made. The fact that it's a "kid's" movie doesn't excuse its flaws... To excuse a stupid movie that degrades a classic franchise just because it's for children is insulting to children, and any kid would deserve something more intelligent than this film.
This puddle of derivative drivel stole from every Soviet film of note and failed miserably. I was left with an experience of everything that is wrong with organized religion in general and the Russian Orthodox Church's particular shortcomings (mind you this comment comes from a person of faith). Even the outstanding cinematography left me uninspired. I spent its most beautiful moments very aware of the masterworks that it was poorly imitating. I would not recommend seeing this movie unless you have a deep passion for the Russian Orthodox Church, its monastic traditions, miracles in the face of Communism, and Saints of the Seventies. It is a meaningless film from (and about) a narrow perspective that did absolutely nothing for me.

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