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Write a positive movie review.

As a recreational golfer with some knowledge of the sport's history, I was pleased with Disney's sensitivity to the issues of class in golf in the early twentieth century. The movie depicted well the psychological battles that Harry Vardon fought within himself, from his childhood trauma of being evicted to his own inability to break that glass ceiling that prevents him from being accepted as an equal in English golf society. Likewise, the young Ouimet goes through his own class struggles, being a mere caddie in the eyes of the upper crust Americans who scoff at his attempts to rise above his standing. 

What I loved best, however, is how this theme of class is manifested in the characters of Ouimet's parents. His father is a working-class drone who sees the value of hard work but is intimidated by the upper class; his mother, however, recognizes her son's talent and desire and encourages him to pursue his dream of competing against those who think he is inferior.

Finally, the golf scenes are well photographed. Although the course used in the movie was not the actual site of the historical tournament, the little liberties taken by Disney do not detract from the beauty of the film. There's one little Disney moment at the pool table; otherwise, the viewer does not really think Disney. The ending, as in "Miracle," is not some Disney creation, but one that only human history could have written.
Garden State must rate amongst the most contrived and pretentious films of all time. The plot is a simple one, involving a young man returning home after his mother's death and discovering love. But really, the plot isn't important. What is important to Zach Braff - writer, director, and star  is that he is able to hang from the plot all the necessary accoutrements of an 'indie' or 'arty' film. We therefore are presented with endless cute and quirky characters and scenes that don't exist for reasons of plot or character development, but simply to give some artistic credibility to the film (à la Wes Anderson - or so Braff hopes). Unfortunately and somewhat astonishingly, Braff has not only fooled many on IMDb, but also some critics who really ought to have known better.

Of course, Braff's gratuitous use of the quirky alone does not make Garden State a bad film. What really makes Garden State a stinker is Braff's script. He simply does not have the writing skills to carry this film off, and the dialogue and characterisation are abysmal. Braff often has to resort to blunt devises and symbolism to achieve what he can't achieve through the writing. For example, the numbness of the Braff character is shown to us by his indifference to an impending plane crash (this can't be worked into the plot, and so has to take place in a dream!), later he is shown fighting back against his circumstances by screaming into a bottomless abyss (life = a bottomless abyss, very clever Mr Braff). Those two scenes must rank amongst the most ludicrous and contrived ever seen on a cinema screen.

On the plus side, the acting is passable despite the lack of material for the cast to work with (by which I mean a script), and I do admire Natalie Portman for her efforts as the love interest - a character so badly written and implausible that she is little more than a mindless doll that Braff moulds into his fantasy woman.

It apparently took Braff 3 years to write the script for Garden State (3 years to write a script this bad - he really is inept!). Hopefully therefore it will be some time before he makes another film.
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To judge a movie just for the landscapes,decor,costumes....it is just not right , you are missing the core : THE STORY

A movie has to narrate something , to tell a story something that impress you . Yes , I was pleased by the sea , cliffs , clear water and all that but ... There is the plot ?

They are more interesting movies with mad people , such as : FLIGHT OVER THE CUCKOO"S NEST...etc...etc. This one is about a crazy woman who is more attached to dogs than his children or his husband. Just a clear psychiatric case !!!! Nothing extraordinary.Unfortunately a waste of time . And there is all that rage coming from ? Fish smell ? Sea ?
It used to be that video distributors like Sub Rosa and Brain Damage Films would release low-budget, shot-on-video horror films to a select market of gorehounds that ate them up with glee. That's acceptable to me, because you could see these movies from a mile away with their shoddy box art and cheesy titles.

Now we have Lions Gate getting into the mix, only they have decided that it'd be better to sucker in poor saps by putting a "professional" looking cover on it and charge the same price as one of their higher-budget, professionally made features. Do not be suckered in by this! Granted, if you've seen Dark Harvest 1 or 2 than you already know what to expect with 3 but there is a place for movies like this and it is not on a video store shelf beside professionally-made features.

I am a fan of independent cinema and have watched several low budget, shot-on-video productions that were still a worthy rental but this was one of the worst movies I have ever seen. The "acting" (if you can call it that) was abysmal. It was amusing to laugh at the horrible line reading for a minute or two, but eventually it was too much to take and became unbearable. The story is bad, the dialogue is worse, the acting somehow manages to be even worse. The only possible saving grace to this would be one disemboweling scene that still manages to be awful but is an award winning effect when compared to the blood splatters after a girl is slapped or the mannequin decapitation.

It took me three tries to make it through this entire movie and I only did so because I paid good money to rent it and felt like I should at least finish it all the way through. Stay away - stay far, far away from this one.

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This is a superb game for the N64 with superb graphics and a great one-player story-line and even better multi-player game best played with 4 people.

The many levels and options for weapons mean that this is one of the best games around for years.
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A mix of 70's drug humor along with parody of medicine and classic story line. As I've often said about this flick - if you don't get it - you're way lame..... Classic lines such as (parapharsed) "I've got this erection and it won't go away no matter how many times I do it. You're a nurse, what can you give me for it?" Nurse replies "all I have is 5 dollars and my wedding ring..." Great sound track.The classic "Hyde's got nothing to hide". Stays surprisingly close to the original plot - not that the original stays in the way of a joke..... Haven't met anyone with an IQ over 115 that doesn't find it hysterical.



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This movie is a desperate attempt to ride the skirtales of the success of the Star Wars movies. The film uses recycled footage from "Battle Beyond the Sars" which is another Roger Corman Sci-Fi Turd, but atleast this one is better than "Battle Beyond the Stars" - there is no real acting in this film (but its a Roger Corman film-What did you expect)again the entire soundtrack was done on a Keyboard/Synthasizer, the sound effects are recycled from "Battlestar Galactica" - there are no special effects because they were recycled/rearranged space scenes from another movie, the costumes look like something right out of 1981 salvation army salvage. --ironicaly, the little boy in this film gives one helluva performance, and he'd resurface again to star in the Sylvester Stallone movie "Over the Top" - I give this movie 3 stars out of 10
This movie was terrible. It was so very terrible.

Most annoying was the way the trial was conducted. The defense attorney is allowed to ramble on and on when questioning a witness without the prosecution making any objections. He attacks the children brought to give testimony with cruel ferociousness and repeatedly yells at them that they're lying. These just aren't things that they subject children who have been sexually abused to. The trial is silly and it ruins the whole movie...(Law & Order has spoiled me for courtroom accuracy-ness).

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This depiction of forlorn Japanese forces in the Philipines is a tour de force in the utter meaninglessness of war. It is an effective representation of Japanese pacifist views after WW II. In the movie, Japanese soldiers have been left to fend for themselves in the jungles of the Philipines. Faced with impending starvation they resort to cannibalism and gradually lose what little humanity they have left. To call this film depressing would be something of an understatement. The viewer is left with an utterly despairing sense of life's lost value in modern combat. The final scene is almost too nihilistic but the film is a worthy statement none-the-less. Highly recommended.
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Here's another entertaining Clint Eastwood action-suspense film. I am not a particularly fan of his but I have to hand to him: he knows how to make entertaining movies. This is one more example. It didn't hurt, either, to have John Malkovich as his co-star. Now there is an intense actor! In this story, Malkovich plays an assassin, and he is fascinating to watch, thanks to his different disguises and the terrific dialog he was given. He also has a interesting voice.

Rene Russo is fairly low-key (for her), but that's fine and Eastwood plays the usual loner-cop role, not appreciated by his superiors but showing them all up in the end. I guess he couldn't stop playing the "Dirty Harry"-type figures, but he played them well.

There were some negatives this film, however, namely: credibility in parts as there were a couple of times, had this been real-life, the killer would have done away with Eastwood. The climatic scene, in particularly, had too many holes in it. There also were too many abuses of Lord's name in vain in here.

Overall, however, this is good, escapist fare.
What a joy to watch this family grow up and see the same children acting in this series eight years later. Anna (Lexi Randall) is a beautiful young lady, working for a physician in town. She is in love with his son Justin, who went away in the army and was injured in war. And the newest daughter of Jacob and Sarah, Cassie, is an outspoken cutie, so transparently honest she often is embarrassing.

On a cold winter day a stranger shows up at the farm. He is slow to reveal his identity. When they find out he is Jacobs father, John Witting, thought long ago dead, hard questions about the past are difficult to get answered.

Glenn Close is magnificent as a loving mother, who wants only the best for all her family, and is constantly wrestling with the forces that tend to separate them. Sarah talking to Jacob said, "It's all so fragile, this life. Anything can happen in the blink of an eye. I could have died in that blizzard. Think of Justin, and John. probably more ill than we know. Time moves on. The moment passes, then it's too late. It's a shame, don't you think?"

Life lessons on honesty and forgiveness make this a meaningful evenings entertainment.
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Please tell me the sentiment of the following review: I like Christophe Lambert as an actor. He has played in several good movies (Highlander, Subway, Greystoke, ...). But I can't even think he has played in that movie. The story is nearly nothing, the special effects are very bad and the actors also. To resume the movie, I have only one thing to say : it's the first time that I go to watch a movie and want to leave after 10 minutes.
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I saw the film yesterday and stopped it at half time because I felt it was a waste of time. The idea to make a film through the eyes of a headsman - one of the "evil guys" throughout most fantasy and medieval films - is great and offers plenty of possibilities but... the film couldn't catch one of them. I was not feeling for any of the characters, the plot was all too predictable (to the point that I followed it)and the second leap of time in the storyline made me quit. Those who expect a deep insight into the emotional situation of a headsman in the middle Ages, a social outcast to that time, might be disappointed.
Ever wonder where that episode, "Tuttle," came from in the middle of the first season of M*A*S*H? Well now the cat's out of the bag: they got it from this Soviet film, a satire on how dumb the Tsar is, due to the slip of a pen (rendering the phrase "the Lieutenants, though ..." into "Lieutenant Kizhe" which has no meaning) and nobody being honest or gutsy enough to contradict him and just tell him the truth -- Kizhe doesn't exist and never did. So they make up an imaginary life for him and eventually kill him off. And 40 years later, David Ketchum and Bruce Shelly borrowed this zany plot and gave us essentially the same story, only on the other side of what had become the Cold War, proving that people in high positions can be equally dumb no matter what their loyalties may be!
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As a helpful warning for others, I believe "Skeleton Man" is actually worse than "Raptor Island." I have been using RI as an example of the worst original movie presented on the Sci-Fi channel, but SM is the most laughably incoherent and wretchedly designed movie I have yet seen. Yes, I did watch almost the whole thing, coming into it about 35 minutes into it. It drew me in with its pure ineptitude. What was Sci-Fi thinking? Once Skeleton Man and the surviving platoon leader (or whatever he was--I'm not good on military unit terminology) reached the chemical plant, the movie moved into a zone of impossible nonsense that was almost mesmerizing. I had the same idea as another viewer who wondered if more than one movie had someone been edited together to make one terrible whole.

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I did not like this movie. I rented it hoping it would be something like the 10th Kingdom. I was disappointed when I discovered it wasn't. I also found it just plain nervracking. The acting was bad, the characters where unbelievable and the time jumps were crazy. I only recomend this film if your in the mood to see a crazy dude running around, but I'm sure there are better films with the same thing. I can't believe I wasted my time on this one.
Despite the apparent structural similarity with The Simpsons - loud fat dad, housewifey mum, 3 children, a pet, typical suburban home, Family Guy is actually functionally and stylistically opposite to The Simpsons. Its avid use (and sometimes too much) of cutaway gags has been its main stay since the first season. While some hit the nail on the head (The Rhea Perlman and Danny Devito bit in Season 5 is spine-snappingly hilarious), others are less successful, coming across as contrived. And they can be annoying, especially when they don't advance the story line. (The Jesus bits are entirely unfunny and insulting)

The chemistry between Stewie and Brian Griffin lends itself to pure comedy gold, so much so that Chris and Meg only manage to fulfill the role of the obligatory teenagers in your typical dysfunctional family.

However, the feature film Stewie Griffin: The Untold Story, is MINDNUMBINGLY horrible. Thank goodness it went straight to DVD.

Contrary to tiresome comparisons with the perennial Simpsons, Seth Macfarlane's approach with Family Guy is actually very different - it's much more politically incorrect, and amazingly, a lot more brazen.

Creator of Ren and Stimpy, John Kricfalusi, famously criticized Family Guy for having "extremely low" graphic standards from a cartoonist's standpoint. I don't think it looks that bad though, the detailing and accuracy of some of the spoofs are quite successful.

All in all, a great series to go with a great big bowl of chips smothered in ranch sauce and ass jokes.

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This Showtime cable film features a talented cast and weaves together several storylines involving the darker side of New York... from the naive and innocent tourists' nightmarish adventure to a pair of undercover cops on the streets... to an old friend's betrayal, it has it all.

Well worth a look, as is its sequel.
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I wonder if I could take sitting through a whole musical comedy from Russia or East Germany or other countries that for decades put out almost always propagandistic film, anti-fascist films, anti-war films (as this documentary points out) that just reflected the dark, grueling times under Stalin and life behind the Iron curtain. It's fascinating then to see the other side of the coin, the sorts of clowns and rebels with music at their side to try and please the masses more often than not stuck in the Socialist walk of life. One film actually seemed rather impressive, called Jolly Fellows by the pioneer of the very small group of musical filmmakers, Grigori Aleksandrov. From the clip(s) I saw of that film, I'd wager that it was one of the only works to actually step out of itself and go into just wild, manic, make-you-laugh kind of mode. But as this film shows, if you were a filmmaker looking to entertain, it better be with a 'message'.

Through interviews, some occasional quasi-dramatizations (of Russia/Germany/etc's sort of motion picture association) at the censorship table, and clips, one gets the full picture of what it was like- both behind the scenes and on the screen- to just make sheer entertainment for the masses. Some of the films (well, most of them, as apparently only 14 screened over 40 years in the countries mentioned) made a good chunk of change, but for what purpose really? One also gets drawn into the culture of it all, how it differs greatly from the American way of 'if it works, make em while they're hot' attitude. But at the same time, perhaps out of this repression, some interesting, funny, and (from what I saw) up-beat films were made. They might've been fairly typical of what was asked to be shown to the masses, under Stalin's fond but demanding terms, like life with tractors. It gets to be even juicier a story though as we get shown what it was like in the 60's, the last wave of musical comedies, as rock and roll and pop tunes finally hit their airwaves.

In short, some good stuff...but only if interested, really. I was shown the film in a class on documentary films, and half the class fell asleep. So be warned on the one hand, though on the other if looking for it, it can make for a really rewarding trip into European film history.
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"The Planet" is an astounding piece of film making. For a mere £8000 Stirton Production have turned out one of the most original sci-fi films for a long time.

Starring the physically intimidating Mike Mitchell, the film is a mix of great special effects, strong storytelling and well planned action. From the opening space battle, to the pounding finale, everything about this film appears well above it's budget.

To start with the special effects, while certainly not "Revenge Of The Sith" standard, they are on level, if not above, the likes of Babylon 5 and Farscape. And for a snip of a price as well. The detail and the movement is superb, and captures the imagination from the off. The design of everything, ships, weapons, entities is second to none. The imagination and creativity involved is a real surprise for a film of this budget.

Another surprise was the strength of the story, and the arc it takes. There are a few twists and turn, most of which are well written into the script, surprising and well played out. I was surprised that, two years in the making and first imagined 15 years ago, how relevant some aspects of the story are to today's society. With the happenings around the world, there may be a certain resonance with the lengths the mercenaries are forced to go to in order to survive.

Even the sounds effects are spot on, as is the atmospheric music. The use of light and costume add further to the professional look. Balmedie Beach in Aberdeen looks a desolate and lonely place.

In all honesty this film looks 10, if not 100, times the budget spent, and that's testament to a creative, hard working team of people, from the director, to the cast, to the effects via the producer and sound team. Wonderful effort, I recommend you get your hand on a copy ASAP

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I found the Movie very interesting. I really enjoyed the film the actors were great. It was entertainment. Benny the uncle was wonderful He was real at his character. The ending took a wonderful twist. I would recommend you seeing it. Eddie Mores girlfriend reminded me a little of sandra bullock she was sharp as a nail. I also like the little girls acting in the movie she was very convincing. Benny reminded me of a friend of mine who really lives his life growing up in Brooklyn. I loved the scene where he tasted the sauce in the pot because thats how most people cook lol. I actually watched the movie 2 times and learned more the second time.
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This son of a son of a sequel was terrible to say the least. You would think that production would be better 10 years after the original was released, however Retro Puppet Master was not directed by or written by the original writers and contained poor story, lack of any emmontional connection to any characters, and dragged out slowly scene to scene. No build up of strong plot, very weak climax, you will find yourself slowly getting antsy throughout the movie, if you can sit through the whole reel. I never could understand why a horror movie continues making sequels after the release of their "final chapter." I hardly suggest watching this flick, but if you must I wouldn't recommend making anyone else sit through it with you.
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The authors know nothing about Russians prisons, the movie is absolutely cockamamie, has nothing common with the reality. They also don't that the foreign prisoners in Russia have a special prison so the foreigners NEVER live together with Russian criminals. The uniforms in this movie look if they were stolen somewhere in Latin America. Prisoners in Russia also don't work outside the prison. Each kill in Russian prison is a subject of investigation so the prisoners kill each other only if there some very important reasons. Playing soccer is also forbidden in the prisons, contacts between the prisoners are very restricted, no chance for bloody combats etc etc etc. So this movie has Nothing common with the reality.
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I thoroughly enjoyed Gabrielle Burton's story of a mysterious gift and how it effects it recipients in the past and present. The talented Burton family of five film-making sisters, an author mother, and dancing dad offer a charming plot, respectfully edited for clarity , memorably chosen songs, and a beautifully filmed piece that made me laugh and cry as the characters' vulnerablility invited me into their predicamant. There was a farce-like attitude about this work with touching undertones of innocent wonder. Fanatastic
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Please tell me the sentiment of the following review: This film marked the end of the "serious" Universal Monsters era (Abbott and Costello meet up with the monsters later in "Abbott and Costello Meet Frankentstein"). It was a somewhat desparate, yet fun attempt to revive the classic monsters of the Wolf Man, Frankenstein's monster, and Dracula one "last" time.

I say desparate, because in the previous film, "House of Frankenstein," both Dracula and the Wolf Man are killed according to how the vampire and werewolf legends say they should be (Dracula by the sunlight, and the wolf man by a silver bullet). Yet somehow they return in House of Dracula with no explanation. This movie could have played as a kind of prequel to House of Frankenstein if the Frankenstein monster plot wouldn't be continuing chronologically into House of Dracula from House of Frankenstein, and if the wolf man didn't get cured. Then there'd be no plot holes. But since this is not the case, the plots of Dracula and the Wolf Man make no sense.

However, ignoring these plot holes, House of Dracula is a classic atmospheric horror film that's fun to watch. It has many high points. Especially seeing the wolf man get cured. I know I just said that this shouldn't have been included, but it was nice to actually see him get cured after all this time. And the scene with the lady playing "Moonlight Senada," on the piano then all of a sudden playing a haunting melody when under Dracula's spell was very eerie. Dr. Edleman's transformation into the "Dr. Jekyl/Mr. Hyde" type character was also done very well.

And it's great to see Dracula, Frankenstein, and the Wolf Man together, one "last" time.

*** out of ****
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I was into the movie right away. I've seen the other Coen movies, with the exception of Raising Arizona, and I've noticed that each of their movies has a color. Fargo is gray/white, Lebowski is bright orange, and this movie is a pleasant yellow.

The bright pleasant qualities of this movie start right away. Soon the look is accompanied by the great, great music. It's the old folk sound, the kind of music that was written during a time when music was enjoyed as a part of day to day life. Enjoyed by everyone, chain-gangs, church choirs, and even prison escapees.

Now, about the prison escapees. I don't know what crime their characters could have possibly committed, as they are a very very friendly group of guys. Clooney is fantastic, completely nailing his role.

Go see this as soon as possible. I believe that it can be enjoyed by anyone at some level. For some reason, the theater I was in was full of old ladies and old men, and they loved it.

You'll love it too, I promise. I was compelled to get my hands on the soundtrack right away.
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The problem with other actors cast in the rôle of Dorian Gray is that they either looked too old for the part (Hurd Hatfield, Helmut Berger, Josh Duhamel, David Gallagher, Ben Barnes) or that they were unable to pull off the English aristocratic manner without being stilted. Dorian is the perpetual 19-year-old (or so), all milky skin and honey'd locks, as described by Wilde, so the challenge is finding an actor that has the maturity and range for the part (i.e., who can portray the naivité, callousness, and manipulativeness), but at the same time looks like someone in his late teens. And Peter Firth pulls it all off in this excellent British TV adaptation.

Gielgud as Henry Wotton, while considerably older than what Wilde had in mind, does wonders with his scenes--Wilde's aphorisms have never sounded so natural and unforced. Especially George Sanders in the 1945 version was pretty feeble by comparison (and his costume didn't fit).

Finally, Jeremy Bratt plays Basil as the most masculine and at the same time the most gay of the trio, again a fitting interpretation. In general, the film includes enough gay subtext without turning Dorian himself gay--he's all things to all people and supposedly there's no drug or sexual perversion he hasn't tried in the 18 years covered by the story, but that makes him more narcist than homosexual. He seems to equally wreak havoc on both sexes here, as he should according to the novel.

Of course the budget of this production was not very large, so everything feels a little stagey. Particularly Dorian's encounter with Sybil's brother suffers from the obvious studio look. Also, the final shot of Dorian (a puppet I suppose) in his white toad-like make-up is more hilarious than convincing and Basil's death scene is inadvertently funny. (Also, as far as I recall, Basil should have been killed seated at the table.)

But all in all, this is a very worthy adaptation. I'm sure Wilde would have liked it. The only thing missing is the sensual side. Not so much sex scenes, but Wilde's decadent world of fragrant flowers, luxurious cloths, and precious gems isn't really explored here, i.e. the aestheticism is completely missing. But like "I, Claudius", the excellent acting makes one easily forget these shortcomings of production values.
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At first glance of this mini... I was a bit disappointed that Tommy Lee Jones and Anjelica Huston didn't return to the cast. Both John Voight and Barbara Hershey did commendable jobs replacing very important characters for the continuing saga of this legendary Epic Western. 

Cherokee Jack Jackson (Haysbert) played an excellent bad guy, and Louis Gossett Jr. was, as always, true to form with his excellent acting skills.

The drama that seemed true to life in many scenes, including one of the best, where the valiant shoot-out ended with Ranger Walker being killed made me feel that I was actually in the film. Return to Lonesome Dove was to me, almost up to the quality of the first of the series. The next 2 follow ups with James Garner as Call just didn't make it for me. And that Lorena marries Pea Eye? How the heck did that get in their? That was a total mismatch of characters. The first 2 of the series made the Epic story, the next 2 in no way were of the same quality.

Now, if the first 2 could be remastered in Dolby Digital and an Anamorphic presentation, the films could be where they should have been like the movies of today.

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_Saltmen_ is a long film for its genre, and quite often the pace is much slower than that expected by Western audiences. That being said, I enjoyed it thoroughly both in terms of interesting subject matter and the magnificent images this film contains. Some of the scenery is truly breathtaking, and there is enough of interest that most should be able survive _Saltmen_ with minimal use of the fast-forward.
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Love and human remains directed by Denys Arcand is an abysmally pathetic film as it is completely different from the kind of films he has been making all through his career.Making a different film is not an objectionable matter,what is troublesome is the fact that if a film from a master is complete out of tune then it is a really bad event. The film begins on a good note as there is some suspense created. However as the film progresses what is shown is just a futile attempt at creating something meaningful as Arcand shows us half a dozen oddball,whimsical characters whose lives are intertwined with each other.Homosexuality and Lesbianism are not of any consequences here. What is even more bothersome is the feeling of guilt related to the characters who are rather in a fix regarding their feelings towards each other and sexuality.Such a film would be of interest to some who wants to see a different Denys Arcand film.All in all,there would surely not be many takers for this film.
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At what point does a film become so bad it's good? Compelling in it's awfulness, Darkhunters stands out as a shining example of c**p cinematography and for that alone, probably deserves some kind of award.

The plot revolves around the age old battle of Heaven and Hell for the unclaimed souls of the recently dead. In the case of Darkhunters, the representatives of good and evil manifest themselves variously as a herd of cats, a hooded Grim Reaper figure with a face of flickering flames similar to a coal effect electric fire, a Philip Marlowe-a-like with a seriously bad manicure and a female psychologist who appears to be on day-release from Kwik-Save.

The protagonists are competing for the soul of a newly dead teacher who spends most of the film running around a foggy field and bizarrely, a boarding kennels in an attempt to evade his pursuers.

The plot is spread thinner than a dieter's sandwich with no character development or attempt to build suspense. The acting is laughable, comparable to a school play - although that would be an insult to many educational establishments. And the dialogue .......... oh, how my sides ached! With the unclaimed souls of the dead being described as "life's unwanted gherkins" by the flame-glow demon, you wonder whether Hell really is a McDonalds.

But is is bizarrely compelling, you find yourself watching just to see how bad it can get - at just over 80 minutes, it's worth the time spent for the unintentional giggles.
Tycoon will never be listed as one of John Wayne's better post Stagecoach film. It's good in spots, has some fine action sequences in the cave in and also in the flood at the climax. But the plot leaves a lot to be desired.

What we have in Tycoon is two men who thoroughly dislike each other and that dislike prevents them from working as a team. Multimillionaire Cedric Hardwicke has hired John Wayne and James Gleason to build a railroad. But then he refuses to give them the needed funds to do the job right.

Things get really complicated when Wayne falls for Hardwicke's daughter, Laraine Day. After a night when they have to spend time alone in an Inca ruin, by convention in South America, Wayne and Day get a shotgun wedding even though nothing happened.

What should have happened is these two should have been locked in a room for 24 hours together to work out their differences one way or another. Their petty spites cause some fatalities among Wayne's crew.

But what Tycoon is most known for is another piece of pettiness. Laraine Day was married to Leo Durocher the manager of the Brooklyn Dodgers when this was being filmed. He was a constant presence on the set, insanely jealous of John Wayne who he thought might be having an affair with his wife. Nothing to it, but he made his wife's life miserable.

Not one of the Duke's better efforts.
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The dead spots and picture-postcard superficiality of "Out of Africa" just about buried any interest I might have had to read Isak Dinesen. So when my brother bought me "Babette's Feast," and knowing it was based on a Dinesen story, I didn't exactly race to the VCR. But as the titles rolled, it became clear that this was no ordinary movie. Jutland (where it's set) is not Africa; the chill mist that collects on the camera shots is not inviting. The cold, forbidding sea; the heavy, gray clouds; the pale, icy green cliffs--translate to hardships that show on the faces over which director Gabriel Axel draws the curtain. The craggiest is Bodil Kjer's as Philippa; amid the myriad merits of this movie, the most memorable is that face. It stands like a map laying before us the cherished wonder of her minister father's apostolate; like a maze of long-overlooked fjords where the complications of her congregation's perseverance and commitment hang like gleaming escutcheons.

I gather it's Dinesen's point how the world is drawn inexplicably to Christian dedication, when Philippa is rejected by her only serious suitor (because he fears he'll never measure up to the rules and rigors of her small religious clique), and he returns to find her mistress of whom he regards as the greatest chef on the continent. I figure it's also her point that Christ answers the doubts and regrets of those who give up worldly success (Philippa's sister Martina rebuffs efforts by a visiting baritone (Jean-Philippe Lafont whose jolliness creates an uplifting counterpoint to the sparsity of spirit that surrounds his discovery) to turn her into an opera star; the title character leaves France and an enviable reputation and seeks sanctuary as the servant of two spinster sisters) to pursue artistic triumphs for only God and those closest to Him to witness. But it's Axel who weaves the asperity of these people's lives with the richness of Martina's voice and Babette Hersant's table and effects a sumptuousness you'd never expect from a movie about sacrifice, faith, and religious conviction.

What sets this movie apart from other religious movies is its sly humor. "Babette's Feast," that is, the banquet itself--a posthumous commemoration of the minister's 100th birthday--is a beautifully orchestrated clash of sensibilities that delivers comic moments by an ensemble of actors that are unparalleled in their subtlety. It's just this deft comedy that enriches the solemn sentiments at closing. Together they do something pious movies seldom do. They leave a believer tremulously hopeful and unexpectedly resolute and humbled.
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I'm so sorry, but I have to tell this film was the most terrible I have ever seen before. I thought that it will be a good film after 8mm. WHAT A SELL!!! There were nothing interesting in it, except the beautiful Hungarian women. Everything might be known forward. It's a miracle I didn't sleep trough all. I don't understand how might you let make it!! I'm so sorry, but I have to tell this film was the most terrible I have ever seen before. I thought that it will be a good film after 8mm. WHAT A SELL!!! There were nothing interesting in it, except the beautiful Hungarian women. Everything might be known forward. It's a miracle I didn't sleep trough all. I don't understand how might you let make it!!
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I`m in two minds about FOLLOWING , the film debut of Christopher Nolan . Part of me admires it for costing 6,000 dollars to make but part of me hates it for being too art house . In many ways it reminds me of the cult movie PI , a film I disliked , and I can`t get my head around the central plot of a man who wants to be writer following people around . Wouldn`t it be more logical for someone wanting to be a writer to sit in front of a keyboard and write ? 

Oh well I guess FOLLOWING gives indie film makers hope that just because they made a no budget movie costing $6,000 over two thousand IMDB members will vote for it and over five hundred members will comment on it , but you have to wonder if this movie would be so well regarded if it wasn`t made by the director of MEMENTO ?
imagination must of slipped Jim Wynorski mind when he wrote the script to this one. i don't mind when the animals scenes are almost identical but when the actors repeat lines from other movies is going a little too far. I did enjoy seeing Jay Richardson and Glori Ann Gilbert get eaten. Gloria brings nothing to a movie but her tits (my husbands sentiments). Jerri Manthey should of stayed on survival island her acting is stiff, unbelievable and she just a plain boor. liked the scene where the cobra comes out of the ocean eats the guy then for added flavor destroys the dingy. At least we know the next plot giant snake man slays komodo before becoming daddy to a nest of eggs. Jerri would be great as the mother cobra. sit back with a 6 pact or a couple of joints. it will ease the pain.

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This production, build on real danish crime stories, is a experience through excellent directing, acting on all levels and has a nerve not often seen in crime series. Every episode is a thrill because it's seems like the hole team believe that "this is my life right now - this murder or murders are MY responsibility to solve" and the output is brilliant.

As a viewer, you just have this wonderfully filling of being entertained cause it feels like their focus, on purpose or not, lie on that they WONT you to have a good time...:o) Don't miss this one, it's just right under 'Band of brothers' quality and is a "must have seen" experience - What a wonderful crime time !
Please tell me the sentiment of the following review: I must say that this has to be the best documentary I have ever seen in my life. I first say the movie at my friends house, and didn't get a chance to finish watching it. From that point on, I spent my free time trying to find the movie. I never found it, but on my birthday, my friend who knew I had the hardest time finding the movie,got it for me as present. Sean Penn does a great job of narrating the documentary. I loved how it told the story of each of the Z-Boys and the history of Dogtown. I have been to Venice and the surrounding area many times, and had never known what had taken place, until I saw the documentary. I didn't get a chance to see the actual movie, and I heard it was nowhere near what the documentary was. I don't know if I actually want to see the movie, but who knows.
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Why Lori Petty was cast as tank girl, I'll never know. Her acting performance is lack-luster. Her voice is grating. It's almost impossible for me to put into words how bad this movie is.

There are several "modern-pop" references in the film, which I found to be very strange, given that the movie was supposed to take place far in the future. It wouldn't have been hard to make this premise interesting either. Some better writing would have helped loads.

Naomi Watts makes an appearance in it as a mild mannered techno-geek. I think they should have probably switched roles.

I'll never know why anyone would like this movie, unless they were a Petty fan.

Try not to see this movie. Total waste of time.
Seeing the title of this movie "Stupid Teenagers Must Die" made me believe this was a spoof of some kind. I discovered later on the original title was "Blood and Guts". Both titles are misleading, though. This is not a spoof, neither a serious splatter movie. This is something in between, failing in both areas. A group of teenagers is attending a séance at a spooky house and then the killing starts. Sounds over familiar, doesn't it. Well, this movies adds nothing whatsoever to the endless stream of similar movies. And it is badly made. Because of the lack of light the entire film is grainy. Now this effect can be highly effective, but it isn't in this case. The young cast isn't acting too badly, but the director has no clue as what to do with actors. In numerous scenes the actors are clearly waiting for directions, but these are given too late. It could also be an editor's mistake, of course. The characters are unrealistic and the story line just stinks. The sound is terrible at times: conversations are undecipherable, but when talking loudly or screaming the actors are very loud indeed.

This is not the worst horror movie I have ever seen, but it still is a bad one. For me a 3 out of 10.
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I had enjoyed the Masters of Horror Series until I came upon this infantile dung heap. 

This anti-Bush propaganda piece masquerading as a horror film comes off like an episode of the original Batman done by Michael Moore. Political satire should be clever, this however, pulls a ten on the simpleton scale with all the style and credibility of an L. Ron Hubbard film.

In its campy, inane way, it accuses the Republicans of stealing elections, going to war for absolutely no reason and treating servicemen and women as mere cannon fodder. It even takes a swipe at the Second Amendment and religion. All that was missing was Caesar Romero as the President cackling in glee about how he orchestrated 9/11.

I guess the ending was supposed to be the "we support our troops" moment, but I think they would be more offended than pleased with the entire endeavor.

I'm sure the Hollywood elites are sitting in their Malbu mansions patting each other on the backs for this "pithy" work while the misinformed anti-war drones hail it as genius. 

Time to get fitted with new tinfoil hats kids.
An extremely dark and brooding show with an excellent cast. One of the few shows that I try to watch on a regular basis. Glad to see Bebe Neuwirth in a recurring role, but feel Andre Braugher is underutilized. He is one intense actor! Hope CBS gives it a better time slot next season.

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Okay, I sensed that a film by Mormons, about Mormons, for Mormons would be a disaster waiting to happen, but little did I know how so very painful it would be. A little known fact is that Mormons have always made exceptionally fine propaganda films. The Church's official cinematic campaign has produced rare and lasting gems that transcend the Mormon community, including the wonderful short film "Cipher in the Snow" which ended up making the rounds as an educational film in the late 70's. Then there's Neil LaBute's disturbingly masterful ouvre....

However, the success of these films depended largely on the fact that they didn't focus on Mormons or any specific Mormon theology. Instead they opt to focus on a universal theme and deal with it on a basic human level. "God's Army" abandons any pretext of universality and runs headlong into the stilted and myopic world of the orthodox. While this might be enough to alienate anyone but the most devoted Mormon, director Richard Ductcher's ineptitude as a filmmaker and his juvenile approach to storytelling are sufficient grounds to judge "God's Army" unwatchable by almost any standard.

Dutcher's own appallingly wooden acting sets the tone for his army of the least interesting Mormons you're ever likely to meet. Of course the cast's sorry performances aren't helped any by Dutcher's pathetic script. He should be given credit for not avoiding some of the more controversial aspects of the Church, but, as can be expected, he conveniently frames these controversies in a sympathetic light. It should also come as no surprise that most of the answers to the Church's darker side are addressed with little other than faith. At one point an African-American missionary is scolded by a black couple for joining a church that was segregated up until 1978 (some ten to twenty years after nearly every congregation in the most degenerate parts of the deep South had already done so). Instead of addressing the Church's actively racist history, perhaps the sorest spot in Mormon theology which even Church leaders don't defend anymore, Dutcher's troubled character instead ponders Joseph Smith's murder--an obvious and perhaps outrageous allusion to lynching. Top off this syruppy milktoast with third grader leper jokes passing as comic relief and you have a strong case for the revival of silent films.

If you knew little about Mormons before watching this film, you might become prone to avoiding them at all costs. If you are Mormon, this film offers absolutely nothing to be proud about.