cindermond/bento huggingface dataset:
My wife and kids was and still is the best comedy series on TV ever made.I really enjoyed it and everyone in the u.k still watch the recaps.The Wayans bros. should all somehow be featuring together in a comedy show.My wife and kids was a comedy the whole family could watch and you don't get that very often.Isn't there anything we can do to make it happen again??We would do anything to have that comedy show on again!1 Damon Wayans should make a come back! I would really like Damon Wayans to star or make another comedy like this one of course with the help of the whole Wayans family.I was really sad when it ended that way and I hope they will be more to come in the future.Brilliant comedy,excellent stuff! yours truly, DezMo

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Purportedly made back to back with 'Erotic Nights of the Living Dead' with the same cast and setting but for certain this one does not have Laura Gemser. Much derided by all I rather like this movie. Sure enough the storyline and dialogue are codswallop, but this is so beautifully filmed in such a marvellous setting and I actually like the hardcore. I find it at once naturalistic and exotic, and that doesn't just mean there is a black girl and some limp penises! I find the numerous and varied sex scenes very believable, even if two are set upon a tree trunk at the edge of the ocean with the waves constantly splashing around. The creature does not deign to appear until half hour before the end and is, it has to be said, a disappointment. Still, in the time remaining he manages to kill off all but two of the expedition and in the case of the girls having sex with them first (or afterwards in at least one case!) and this film is not as slow as some maintain. Moreover there are some fine moments of sexploitation, not least the lady scientist and her urge for two 'natives', and the glorious finale when the two survivors speed off in their boat, gaze back at the island they have escaped from, and find there is still time for one last act of copulation.
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This film starts with a pedestrian setup before blundering into the standard sort of suspense action where an office worker keeps beating up trained secret service men etc.

I couldn't say the acting was bad - there were some good "surprised" faces by Hamilton and Sheen - but then I really wouldn't have to. 

Risible finale did at least give me a good laugh for my pains. Still, if my life was flashing before my eyes, I think I would fast forward this 90 minutes.

I have to write two more lines of text just to get this thing published. Yes, very resistant suit that sheen wears. I made a special promise to myself never to watch a film this bad again.
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Like many others, I counted on the appearance of Dennis Hopper to make this not a complete waste of time. I was sadly mistaken. Everything negative said about this flic is more than true. What takes the cake however, is the horrible, horrible storyline for the main character.

Here's why: The planet might be destroyed, the ONLY way to recover from it, for the ENTIRE human race to be saved trough it, is to get as many smart, capable, nice, competent people into an underground hide-out. And Dennis Hopper is the lone seer/scientist with vision who was prepared for the worst, and who has realized this. But what's the main motivation of Stevens (Sonny D'Angelo)?? He's angry because Dennis has decided who is to be saved or to be doomed! While it clearly explained to Stevens that Dennis' character has done everything to warn people of the danger but that he was laughed at. The Hopper-character was the boy with the finger in the dike, and now Stevens is blaming him for 'picking and choosing'??? And if that isn't enough, he wants to stop everybody from entering this hideout, because "it isn't fair!?" AND.... he's responsible for the death of the one guy who is humanity's saviour! OH MY GOD, how stupid can you get?

What's also maddening that IMDb forces one to write minimal ten lines about this piece of crap. I mean, TWO MILLION in budget, what could have been done with that? Think Clerks, Blair Witch, and lotsa other movies who have been made for under 100.000 dollars and were still better. AAAAARGH! I count myself lucky that I didn't pay one penny to see this crap, and to sit through the end of this utter, úber-crap, is one the most heroic things I've done this year. It's no wonder that the writers of this pile of dung had jobs as camera operator and title designer before ...
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A wildly uneven film where the major problem is the uneasy mix of comedy and thriller. To me, the unusual premise is clearly a comedic one, and they should have gone for an all-out comedy. For example, Rock has some funny lines but occasionally he is too unlikable for a comedy. The scene where Betty's husband gets scalped is too nasty for what should have been a less violent comedy. An even better example is the Hollywood leftist writer preaching to us tritely through Freeman's character, early on, about the plight of the Indians; I mean - yawn! They should have given Freeman something funny to say in that segment, but that is of course much more difficult than to simply write him a boring PC speech.

There is yet more New Age PC-ness in the form of the ending: the girl not only doesn't get the boy - she gets no boy at all; in fact, the message is that the girl needs no boy at all! Bit of a feminist statement there. The first half-hour is weak, but the movie gets better - ironically - once Zellweger gets to Kinnear. I say "ironically" because I'm not much of a fan of Kinnear's, though he's solid here. Zellweger is very cute, as usual; she has the sort of all-American cute looks which should appeal to almost every guy, and I have to wonder why more of such women aren't "represented" nowadays, instead of the dogs who inexplicably became stars, such as Diaz, Roberts, Aniston, Lopez, or Barrymore.

Since the movie tries to be very serious at times, I have no choice but to criticize Freeman's character which is the gangster's equivalent of the movie world's hooker-with-the-heart-of-gold. There is also absolutely nothing in the relationship between Freeman and Rock to suggest even remotely that they were father and son.

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Please tell me the sentiment of the following review: I'm aware that there are some fans who might like this movie. I'm aware that the idea of 'searching for god' might appear interesting to some, to me, however, it's really boring.

The movie is simply boring. When it does get a little bit interesting, it gets stupid. Come on... Kirk fights against god and wins? How low can we possibly get? The only good part in the film is the camping scene at the first 5 minutes, which is truly great, but after that, the movie becomes boring, irritating, with nothing more than a good music.

Thank god we have Star Trek VI. (Oops, Kirk beat him).
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Please tell me the sentiment of the following review: Obviously with this film going straight to DVD I wasn't expecting a lot but this film is so unfunny it is unbelievable. The only part of the film that you actually may find remotely funny is before they even get to the island, where Eddie's son is blasted out of the bathroom by a jet of water and then that's it! Why do they bother at all? The first Christmas Vacation with Chevy Chase was brilliant and hilarious. This is not. They rely on jokes concerning a dog with flatulence, and a character called Uncle Nick who is about 80 and keeps trying to get his way with beautiful women. When they approach the island on the boat, the island in the background just looks so fake and Randy Quaid although funny in the previous film, just overacts and seems like he's trying too hard to be funny. You have been warned!
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I used to think that it couldn't get worse that "Army of the Dead" but this load of crap makes the afore mentioned movie look like "The Godfather"!! The special effects are HORRIBLE (Makes the original Nintendo graphics look like HDTV). When it comes the acting, put it this way, I went to a play with my 6 year old niece in it and she gave an Oscar worthy performance, when compared to these D-List (and that's being kind about it) actors and actresses. So basically, if I had a gun to my head and head to chose between watching this movie again or chopping my own arm off with a dull knife, that's a tough choice!! You know what, who needs two arms anyways??
Apparently re-cut episodes from the Gangbusters TV show on the big screen. While this was frequently done in the 50's and 60's because people didn't have a TV or a color TV and producers wanted an increased return on their investment (big screen ticket sales or if it went to the small screen resale of a series that isn't in syndication), the results were usually less then the sum of their parts. The only time I've ever seen it work were where multi-part stories were put together (Ala Rocky Jones or Man From Uncle) or in the case of horror anthology (The Veil and 13 Demon Street). Here the effect is to have stories of American criminals in the 20's and 30's (Dillinger, Pretty Boy Floyd, Bonnie and Clyde, etc)inter-cut with each other as a narrator talks about how the FBI hunted them down. Its a weird concoction that doesn't quite work because its clear that there are things here that don't belong together. More than once I looked at the TV oddly because things didn't seem right. In fairness I won't describe the cheapness of the production since this was what early TV (and the series) was like. Its not bad, but its not very good either. To be perfectly honest the episodes of the series that I've seen work better a single episodes where we're not expecting as much. Given the choice I'd rent dvds of the show instead of this movie.
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Leos Carax is brilliant and is one of the best film and camera guys in the business so it should come as no surprise that Pola X is an almost perfect filming of the most gut wrenching story ever. Seriously. If I could have figured out some way to climb inside my video monitor, I would have thrashed Pierre to within an inch of his life. No one has the right to be that self absorbed and that stupid, both at the same time, except maybe Heathcliff in Emily Bronte's Wuthering Heights. After spending 134 minutes with Pierre, I need a large glass of brandy. Never have I been so angry at a main character. Ok, having said that, Pola X is a stunning movie with one of the few totally honest sex scenes I've ever seen in any film....which means another piece of brilliant filmmaking....and I'm talking graphic here, by the way. Pola X will beat the hell out of you, though, so make sure you're up for it if you decide to watch it.
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I am surprised that this, well above average 80's comedy scores only a 5.2 from all the IMDB voters. Dan Ackroyd does his usual satirical turn as a con who seizes a great opportunity to steal a contract from his prisons physician. He retreats to California to start his work giving advice on a radio show pretending to be the infamous Dr Lawrence Baird. The only person that knows he's an imposter is the drunken priest (Walter Matthau) who comes along to be pampered by Ackroyd's new found wealth having blakmailed him. Charles Grodin throws in a good supporting performance too. For its genre I think this film deserves the same crediblity as 'Ferris Bueller' or 'Trading Places'. 7.5 / 10
This is the best show ever no matter what you say!I have been watching this show since cycle 1.This show is never boring its wonderful how you see peoples dream come true of being a model.Tyra is trying her best to help young women not be ashamed of their bodies and make them believe that they are beautiful in their own way and that you don't have to feel beautiful by being anorexic.And just as Tyra says on the Tyra show so what if your curvy so what if you have a big round booty so what if you have a big nose so what if your not as beautiful as the people in magazines you are beautiful to her.SO WHAT...............................

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The amount of hype and the huge success this film has encountered is evidence how desperate our people are towards a good independent Saudi film. In fact the huge success of "Tash ma Tash" is also an evidence.

I'm not going to start of how important film making is, as it is obvious to those with half a brain how films have changed the world.

And I'm not going to say how much our society needs a bunch of films to clear out a lot of issues we have in our country. Religion, politics, women's rights, education, general health, terrorism, Law and many many more.

Along came news about the fist Saudi movie which should've been a remedy to some of the issues we have, especially towards the youth. Instead we experienced a bald movie for that matter.

The ignorance and naivety of the script was obvious. It was as if a 13 year old had written it.

Now I've heard that the budget for this film was huge. I would like to know where the money went, huh? The effects were really ugly, the editing was poor. The script was "kharabeet". You really don't know what the story is and what the director aims at from this film.

A note on the actor who played the religious brother, his performance was good but with bad direction. Another thing with the role of the religious friends he had, that is not how religious guys act here in Saudi Arabia! They are not "Evil" as this film intends. In fact they are some of the nicest people you'll ever meet with some really uncommon way of living, and that is what should've appeared in the film.

The youth are following the religious here because of a reason, and that is the youngsters are the most passionate and sentimental. And with the well formed principles the religious live on, the youngsters follow them. Again, this is what should've appeared.

We need another "First Film" with a Saudi Writer, actor, director, composer, even cameraman. So that they all work with passion towards their experiment, not just for the money!

And we should do what Shakespeare did hundreds of years ago, we should include phrases from the Qur'an in the script of the movie. As the people in our society still see art as a form of sin, the challenge a Saudi movie maker is facing is changing the mentality in that angle.

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CAMP BLOOD 

Aspect ratio: 1.33:1 (Nu-View 3-D)

Sound format: Mono

Whilst hiking in woodland near the deserted Camp Blackwood - site of an unsolved murder ten years earlier - four young city-dwellers are targeted by a masked psychopath who kills their guide (Courtney Harris) and stalks them through the woods with murderous intent...

Low-rent time-waster, filmed on camcorder utilizing the Nu-View field sequential 3-D format. There's a plot, at least, but the script adheres closely to an established blueprint (with obvious nods to the likes of "Friday the 13th", "The Burning" and "The Texas Chain Saw Massacre") without adding anything even remotely new or interesting to the formula. Director Brad Sykes - also responsible for similar 3-D efforts like THE ZOMBIE CHRONICLES (2001) and BLOODY TEASE (2002) - cites the early works of George A. Romero and Sam Raimi as key influences on his career, but while those filmmakers challenged the mainstream with their no-budget efforts, Sykes uses video technology merely to imitate his cinematic heroes, resulting in a home movie with delusions of grandeur. Aside from the 3-D format, there is NOTHING here to warrant anyone's attention. Followed by CAMP BLOOD 2 (2000).

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In the midst of a documentary about his parents, the filmmaker's mother dies, but he continues making the documentary, discovering a story he did not anticipate. The result is an absorbing drama that has the quality of fiction in the best sense of that word, where a likable but unknowing narrator unwittingly privileges the audience. The narrative thus has a double weave, the story of the documentary and the story of the documentary-maker.

Our admiration is with the filmmaker, not only for doggedly pursuing his story though it risks his entire notion of his parents' relationship, but also for never giving in to sensationalism or melodrama. Although the stuff of Hollywood lurks in the details, Doug Block treats the story as he would everyday life. For those of us who have always speculated about our parents' life before we came on the scene (or after we arrived, but while we were too self- absorbed to notice they had a life independent of ourselves), 51 Birch Street gives fair warning: There are wondrous things back there in fatherland, but beware if you choose to enter there.

But that caution is for the audience to go slow wandering about in the details of their parents' past. It is not a warning for those offered a glimpse into the life of Block's parents. The film is a marvel at making the mother come alive as a vibrant and passionate yet introspective person who makes her own conscious decisions during the 50's. The filmmaker's particular success is to make the viewers actually see the young woman behind the elderly parent and grandparent. We all know our parents were once young and vigorous, but in 51 Birch Street, the mother is. The father who has been distant while the filmmaker and his sister were growing up ultimately remains distant in the film, but that is due more to his own elusive nature than to his portrayal. This biography turned autobiography is dramatic, intense, and unforgettable, sure to send viewers scurrying for a closer look at their own family albums but more hesitant about looking at the backs of those photographs.
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A team of tough rogue New York cops led by the rugged, hard-nosed Buddy Manucci (superbly played by the always excellent Roy Scheider) go after a group of nasty mobsters involved in a kidnapping ring after one of their number gets killed by them. Director Philip D'Antoni, the producer of "Bullet" and "The French Connection," ably creates a potent, gritty, starkly amoral no-nonsense tone, maintains a steady pace throughout and stages the action scenes with considerable rip-roaring vigor. Don Ellis' rousing string score further pumps up the raw'n'rattling intensity while the scrappy Big Apple locations and Urs Furrer's rough, grainy cinematography both greatly enhance the overall grungy realism. Moreover, the fine line distinguishing cops from criminals gets chillingly blurred in this picture: the titular squad use harsh, brutish and morally dubious strong-arm tactics as a means to an end for enforcing the law and there's certainly no code of honor amongst the thugs and thieves who populate the seedy urban underbelly that's vividly depicted in this movie. Nice supporting performances by Tony Lo Bianco as wormy, sniveling snitch Vito Lucia the Undertaker, Richard Lynch as vicious psychotic hoodlum Moon, Bill Hickman as Moon's equally coldblooded partner Bo, Jerry Leon as funky flatfoot Mingo, and Joe Spinell as a parking garage attendant. An extremely wild and exciting protracted heart-in-your-throat mondo destructo car chase qualifies as a definite highlight. The climactic shootout likewise delivers the stirring goods. A real bang-up little winner.
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I was a junior in high school when "Flesh" hit the big screens, but had the good fortune to see it at midnight movie houses in NYC just two years later.

Flesh is the first part of a so-called "trilogy" of films, featuring Joe Dallesandro, as an object of desire. It bears the "Warhol" name, but is more the work of Paul Morissey. Essentially the story concerns itself with the exploits surrounding one day in the life of a street-wise male hustler (played by Joe Dallesandro). Joe is young, beautiful, and a bit naive... but he manages to bring home the bacon to his wife, for reasons which should not be explained to appreciate the film fully.

Of special note to film buffs is that this film (along with the remaining two of the trilogy), had no script, per se. Warhol's superstars were given simply a premise... and the words and actions which the viewer sees are quite natural (even at times ridiculous or non-sensical). But all in all it works... "Rolling Stone" noted in its review that the film was better than "Midnight Cowboy", a film of the same year, more polished by Hollywood (An Academy Award winner for Best Film) , with big name talent (I equally admire the film)... but FLESH, being improvised, was somehow more gut wrenching and realistic, without the need for complex sub-plots and any "cause de celebre" .. or for that matter any cause at all!

The film grossed more than $3 million dollars and was an absolute sensation, particularly in the German market (which, ironically, thought they were given a "censored version" of the film because of the post-editing....see note below).

Curiously, the film is very much "cut and paste" with "pops". "clicks", "flashes", and dialogue literally cut off mid-sentence. It is almost as if Warhol/Morissey are stating a simple truth that it is a "day in the life" of a superstar, snippets for your voyeuristic tendencies. Far better than earlier Warhol works of 8 hours of sleeping, and the statue of liberty as a 20+ hour movie.

FLESH, in my opinion, is the first of the Warhol films that actually is digestible (given a wide pallette) and Warhol's/the Factory's first legitimate response to the Hollywood phenomenon of "stardom".

As the first of a "trilogy", it portrays a young, desirable male icon, naive, sought after, responding to invitations to please his family. Subsequent films would show the "same character" with a differing set of values. (See "Trash" and "Heat")
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I read the comments about this movie before watching it and wasn't expecting much, but as a B movie it's a curiosity. I guess you have to be a certain type of person to enjoy this kind of thing, but I seriously thought it was awesome. People should watch it just for the experience because it's totally one of a kind. Don't expect much of it. The acting is poor, transitions were obviously done on a PC, etc. Definitely a B movie, but nonetheless really worth checking out. Very funny. Mild gore, and some questionable themes, so probably not something to show your Gran, but for the more adventurous viewer I'd say it's a must see.
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I wish Depardieu had been able to finish his book and see it become a dazzling success. At least he'd have wound up with something.

The film struck me as pointless, rambling, and very stylish, like some other recent French films. Not to knock it. Most recent American films are pointless and rambling and have no style whatever. We should be grateful, I suppose, for photography that evokes a European city in the midst of a wind-blown Continental winter, and for elliptical conversations that challenge our ability to understand what's up.

But there can be too much of a good thing. Golubeva is found stumbling around near the sea in the middle of the freezing night, carrying on in a bad accent about dreams and such. (There are a few sequences of dreams that include things like swimming in a river of blood. You'll love it if you're Vlad the Impaler.) Lots of people die. Catherine Deneuve dies in a suicide by motorcycle. I don't know why. Golubeva's young girl dies too, and I don't know why she dies either. She gets slapped in the face, falls to the pavement, and dies.

There is supposedly an explicit sex scene too. I'll have to take their word for it because, although it is stylishly photographed, it is stylishly photographed in almost complete darkness. Don't worry about the kiddies being shocked. They'll probably be asleep by this time anyway.

Depardieu isn't a bad actor. As we see him deteriorate from a carefully groomed handsome young man -- well, handsome except that his nose can't seem to get out of his way -- to a limping, murderous, hairy physical wreck, we feel sorry for the guy. Golubeva has a wan pretty face, with enormous half-lidded eyes and wide cheeks, like a doll. Her next movie should be a remake of Lewton's "I Walked With a Zombie." Then there is this mysterious guy who leads a band. I guess it's a band. As far as I could make out, the band is made up of about a dozen drummers and a dozen musicians playing electric guitars. Every viewer will find the resultant sound interesting but uncultivated listeners fond of "easy listening" might not enjoy it. If you don't like the music, there's a payoff involved because the sinister composer and leader gets whacked over the head with Depardieu's walking stick.

I must say, I found it barely worth sitting through. (And it's a longie, too.) At times it was like waiting in your car at a railroad crossing while a long long freight train rumbles slowly by, sometimes stopping entirely. I wish it had had a few jokes.
Please tell me the sentiment of the following review: The movie had no excitement and does not have anything to hold your interest. The movie had nothing exiting,funny,dramatic or romantic about it!!! How can a movie be romantic if the girl never gets a the right guy until the last seen in the movie, than the movie ends??? Maybe part II will be romantic, but somebody else will have to risk wasting their money! I have nothing else to say other than do not waste your time!!! The movie had nothing exiting,funny,dramatic or romantic about it!!! The movie had nothing exiting,funny,dramatic or romantic about it!!! The movie had nothing exiting,funny,dramatic or romantic about it!!! The movie had nothing exiting,funny,dramatic or romantic about it!!!
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Dooley and his canine partner, Jerry Lee are together again in this 2nd sequel (?!!?) I sincerely had no clue that they made one sequel let alone two. And for a film that was only slight better than "Turner & Hooch"? This time after Dooley retires, he has to mate his dog (with other dogs, people) and wait around for Jerry Lee to poo. Real classy stuff. I mean come on now. The original had at least a few good laugh. This one has nary a one. Jim Belushi just looks old and worn out. Both Belushi brothers were great in the '80's. If John hadn't died, would he be so bad today like his brother? That thought makes me sad for some reason.

My Grade: D- 

Where i saw it: USA network
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Please tell me the sentiment of the following review: If you have plenty of time to kill and the DVD was given to you by your friend for free but still it may require lot of courage to watch this film which does not have good script or humor for that matter.

On the acting front imran is frozen in time/acting, Tushar Kapoor was slightly better than Imran in this movie Paresh Rawal was good at comedy was usual. 

The story revolves around a college campus where Imran is a bad boy n Tushar is the good one, they pretend to be the opposite of respective nature and so the story goes on.....

Watch it only if you don't have any thing to do and the film is running on your local cable TV.
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I watched the first episode and I found it to be a very wooden performance.

I have watched the original from it's early days on Big Girls Blouse to the last series on Channel seven. Kath and Kim was a great Mocumentary and it's humor is something that most people get.

However in this American version I found it to be dull, Molly Shannon is to fashionable to be Kath Day, Kath's wardrobe is supposed to be stuck in the 80s with her frizzy perm. While Selma Blair's figure hugging clothes isn't as good as what the original Kimmy wore. I also found that Selma seemed to be puffing her belly out a lot, she is obviously a (Australian) size 12 where Kim should be (Australian) a size 16/18.

The exchanges from Molly and Selma is obviously so scripted and there is pauses where there shouldn't be pauses or the pauses are a bit long, as someone suggested there could be a laughter track in there during those pauses. It's like Molly and Shannon are not used to each other, there is no Mother/Daughter chemistry.

Phil was okay he had the eccentric air around him like Kel. However Craig was to handsome and not the sweet plain humble Brett from the Aussie version.

I found watching this was like watching a very bad stage play. The acting was pretty much wooden and the exaggeration of Selma's expressions wore the funny off after ten minutes. Especially her sulking scenes.

To sum up, I find this show to be a waste of time, the script obviously has been dumbed down for Americans which most on the board say they prefer the original. If NBC wanted to show Kath and Kim why not pay the producers the money to screen the original.

All I can add is Magda you are one smart cookie for not letting the producers use your character of Sharon.
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With so many horrible spoof movies, this is sadly a breath of fresh air to the genre. Compared to classics like Airplane or the Naked Gun, this is awful, but compared to recent spoof movies like Meet the Spartans and Disaster Movie, this is very clever and original. Don't get me wrong, though, this was not a good movie in any way. I laughed a few times, and there are a few inspired gags, but any pop culture reference falls flat on it's face, as does most jokes in the movie.

Lambeau Fields (David Koechner) was a bad coach in the past, but now he's brought back to teach college football, and this time he'll do a good job. His wife (Melora Hardin) is feeling distant from him and his daughter is dating a football big shot to spite her father. Spoofs of various recent movies come into play, as do a lot of sight gags and nonstop stupidity.

The best parts of the movie are the gags not relying on reference to recent movies. Spoofs of Radio, Rocky, Dodgeball, Friday Night Lights, Invincible and many other sports movies are not funny in the least. It's mainly the smaller gags that get a few laughs, like a bizarre crotch scratching scene, or a chewing tobacco spitting joke. These little throwaway giggles cannot carry the movie, and by the end, it's hard to watch. The last 20 minutes are grueling to sit through.

The characters are surprisingly developed for a sports spoof movie, however, I'm sure the characters were built on clichés from the genre. Nonetheless, they're not too bad. David Koechner can pull lead actor in a movie off. Too bad they gave him so much crummy material to work with. Matthew Lawerence has fine comedic timing in a not always so comedic role as a ballet dancing football player with a cross dressing father. Carl Weathers rounds off the cast, once again playing in a sub-par sports movie (Not the Rocky movies...Happy Gilmore!) Overall, this is a goofy comedy. At times, it's funny, but more often than not, it's just very annoying and predictable.

My rating: * 1/2 out of ****. 90 mins. PG-13 for language, sexual humor and drug humor.
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This movie was a waste of the celluloid it was printed on. It is a disastrous scene, much like a particularly gruesome train wreck.

Watching this is like trying to explain the meaning of life. The main plot point is that the character played by Steve Guttenberg is a party animal who's not supposed to gamble, because that would violate his parole. The kids he befriends refuse to play with him as coach for a while, because he gambles. BUT... a few minutes later, after they've won the championship, a large sum of money saves their shelter. And where did they get the money? GAMBLING!!! Add this to the creepy scenes at the funeral home (why exactly are there BEDROOMS in a funeral home?) and the useless peripheral character
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This movie is based on the series Street Fighter Alpha (or Zero)! It is placed in an other setting than Streetfighter the animated movie! This movie is all about Ryu who is accompanied by Ken and Chun Li. I recognized Rose,Zanghief and Birdie! There weren't any other characters used from the video game (that i could discover)! The fighting scenes were OK but nothing really spectacular! And there were not many of them! To me this is odd! Isn't Streetfighter about fighting! Streetfighter the animated movie (1994) is far superior to this movie. It tries to be more than it really is! The use of the "Hada Power" and other supernatural elemnents have nothing to do with skills the characters have in the video game! And in this case that is a bad thing! The story is so boring that you don't really care what is happening! The action is toned down considerably! Why? And what happened to the other characters from the video game! Surely they are more interesting than the villain in this story! The main attraction of the video game are the characters with their own special skills! In this movie it is all about Ryu! That is why this anime fails!
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I normally don't try and second guess a crime thriller, but Cleaner was just entirely too predictable. Samuel L. Jackson playing the character Tom Cutler, along with his profession created an interesting twist in the beginning of the film, however, that was about it. Without even thinking I knew where the plot would be taken and within 30 minutes I had already figured out who the killer was. Rather then trusting myself and having seen several films that make a turnabout, I watched to its completion. What a disappointment, I was right from the beginning.

The casting of characters was a good, as well as the acting from Jackson and Harris...except for Eva Mendes. From the starting gate she didn't play a believable character in correlation to the script and this ruined the entire plot too soon. Maybe this was a directing mishap or just weakness in the story itself. Her role as Ann Norcut should have shown more emotion and distress for the situation that was building around her. This would've made the build-up a bit more compelling and the ending more dramatic. Nevertheless, Cleaner is watchable, not memorable. I've seen episodes of CSI that were more thrilling then this.
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The film is really good, it doesn't use violence or sex etc to sell itself like other films but instead just uses a really decent plot(based on the original by Michael Caine) and some great actors to make a fun, action packed film which i thoroughly enjoyed. One thing which made me enjoy this film even more was that it had some actors which i really like such as Edward Norton(who i last saw in 26th hour, which i enjoyed also), Jason Statham(transporter, enjoyed that also) and Seth Green who i think is great, his role as Shawn Fanning's roommate dubbed "The Napster" is hilarious and his hacking skills play a great part in the main heist which centres around a large traffic jam in LA. The car chases are really decent and the high tech equipment used by the thieves is interesting and very impressive. I haven't seen the original so i can't really compare the too but i liked this a lot and would highly recommend this film to everyone, it isn't a film where you need to like that specific genre, it will suit everyone, i felt good after this movie, it had a really good ending and was overall really fun to watch. I give it 8/10. Go watch it!
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This had the promise of being an interesting film. The subject matter was certainly a promising one - the excesses of the Catholic Church during the counter-reformation. However, not only was this not developed (other than a two paragraph introduction), many things were not explained - i.e. the gypsies, the Anabaptists, the inquisitors and their relationship to the one true church. Nor were the politics of the time explained, i.e. the relationship between the Catholic church and its supporters like the Holy Roman Emperor. Though these may have been apparent to an Austrian audience, the lack of explanation makes it confusing for Americans.

But perhaps it's a good thing that they didn't emphasize the history since what they showed was pretty inaccurate anyway. Instruments of torture, bloody executions, witch and heretic burnings, big shiny swords and pretty golden reliquaries are the stars of the film. It could have just as easily been one of those Conan-type sword and sorcery movies, only with period costumes...
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This short was director Del Lord's last and only Shemp short. The problem: It was quite weak and the cafe scene was pretty much a carbon copy of a Curly short "Busy Buddies" (1944). The interrogation scene was pretty funny, and the beginning part of the cafe part. But there are a lot of plotholes in this short. For example, why are the stooges hiding in the garbage can when the police come? In the remake, "Of Cash And Hash"(1955), director Jules White fixes this and the reason for the stooges hiding in the garbage can is because there is a gunfight between the police and the armored car robbers. The scene in which Moe is having trouble with the oyster was done before with Curly in "Dutiful But Dumb" (1941). The spooky house part wasn't all that great except for the hilarious scene on the outside of the spooky house. To top it off, the ending had no sting to it. Rating: C-
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I can't disagree with a previous comment that "Driving Lessons" is more than a little twee, but one man's indictment is another's endorsement, I suppose. In my book this film succeeds on pure charm, no small feat in itself.

I can't help but wish the story was a little less conventional given the amount of acting talent in it, but by the end the plot seems more like a backdrop for the character interactions anyway. Julie Walters' Dame Evie is a gloriously over the top and over the hill actress. Though Evie hasn't had steady work in years, it's unclear the last time she visited reality, if ever (think Edina from "AbFab" at 65, at one point she is even forced to come to grips with her kitsch-factor). Some may find her annoying, but I think that's the point, to emphasize just how much she pushes the reserved Ben's (Rupert Grint) buttons to force him out of his shell. Ben is equally isolated from reality, living his whole life under the thumb of his overly dependent mother, who Laura Linney manages to breath some life into, despite being a fairly one-dimensional character (ye olde overbearing religious mom). I was rather impressed with Rupert Grint who I found to give a very honest and believable performance (not to mention sweet as all get-out), I can't think of many teen actors today for whom I can say that.

The heart of the movie is what happens when Ben and Evie's worlds collide. At first Ben is understandably tentative, but also intrigued, as Evie is essentially the exact opposite of everything he's ever known. With the combination of Evie's persistence and Ben's helpful nature a genuine sweetness develops between them, culminating in an unlikely road trip that gives Ben his first real taste of independence.

The tone is consistently light even through a few brief melodramatic bits, but there was still a surprising amount of emotional resonance, a credit to the main actors. All in all I'd say that if you're willing to sit back and let yourself be charmed by some lovely performances, "Driving Lessons" shouldn't disappoint. However, if "cute" is not in your movie vocabulary, best to stay away.

One other minor note, the soundtrack features the music of Sufjan Stevens prominently, a nice touch.
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I've seen some terrible book-to-film adaptations in my day, but this one tops them all! The bizarrely unattractive cast detracts from the story, which is, in itself, untrue to the book. Mr. Tilney is nothing like handsome; as for Catherine Morland, a rat-like appearance makes this heroine a difficult one to sell to a sympathetic audience. Isabella is nothing like the Aphrodite one reads about in the original text, and James Morland appears in the film far too little to leave the viewer with any understanding of his important role in the story. Also, as others have pointed out before, this novel was intended to satirize the Gothic craze prevalent in Austen's time, but it appears that this "soft horror" film was designed and meant to be taken seriously. I'm sure Jane Austen turns over in her grave each time one of her fans is disappointed by this awful interpretation of what was supposed to be a joke.
Please tell me the sentiment of the following review: Can the intensity of a husband's love for his wife lead him to cover up a crime,despite betrayal on many levels? Tom Wilkinson is no brutal Othello, in the setting of modern day England. So, gradually a web of deceit begins to be woven. And, we witness cycles of jealousy and drunkenness and guilt and fornication. And so the web of "separate lies" begins to fail and then hold together again. And life (and death) goes on, despite the bright flame of the husband's love and the deep despair and guilt woven into so many lives. How many webs of deceit are to be displayed in this growing tapestry? The impulse is to prop up sterling reputations and careers and relationships in this most civilized corner of the world. Wilkinson gives an emotional performance, full of grace and discretion and decorum, and yet humanity, of those who have much to hide. Those who desire clarity and openness on the way to justice will be disappointed with the wickedness of so much deception. And yet, who among us, has not something similar to hide about his loved ones? Nevertheless, the viewer may wonder if this web is fated to crumble some day.
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positive
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The final entry in the On The Buses trilogy sees the usual wasters go about their business in Wales. I feel sure the franchise could have continued, but Harold Pinter complained that the screenplays made him look bad in comparison, and so no more were made. 

It's actually less than two minutes before we get our first dollop of sexism - a woman running for the bus finds her breasts fall out of her dress for no reason whatsoever. Still, it does at least make Stan (Reg Varney) laugh - but then what doesn't? He and Jack (Bob Grant) spend the entire movie laughing uproariously with little or no provocation. You get the impression that they'd wet themselves watching paint dry. 

As before, the only funny element is the genuinely amusing Stephen Lewis, hilarious as Blakey. He's on his own, though, with a cheesy, dated script that even wastes first-rate talent like Wilfrid Brambell and Henry McGee. Yet it seems as if only Lewis understands how to time the shaky material, wringing laughs out of even the weakest lines. Describing how her daughter fell in a river, Stan's mum laments "I hope it's not polluted." "Well it will be now" Blakey quips. 

The plot - if indeed there is one - sees Stan lusting after a young girl, but being continually thwarted by her domineering mother. It's a recipe for side splitting hilarity I'm sure you'll agree, and whether it's on a storm-lashed boat or the swimming baths, Stan and Mavis's exploits always produce the same result... abject boredom. Later conquests include Maria, an Italian stereotype, and a staff co-worker. Even Stan's mum gets a one-night stand, with Stan considerately reminding her to "put your tin drawers on."

When one of the comic "highpoints" is Arthur Mullard overhearing Olive trying to locate a light switch in the dark ("I can't find it") and thinking she's talking about sex, then you can see why this work reaches the upper levels of literary sophistication. In fact, why it didn't get in the BFI's Top 100 movies is beyond me. 

Other rib-tickling shenanigans involve Olive (Anna Karen) breaking her glasses. I don't know what's more surprising, the lame predictability of the set-up, or the underdeveloped pay-off. The short sighted Olive follows a man in a kilt into the gents, thinking he's a woman in a skirt. The next shot sees her marched out by Blakey and redirected to the ladies. And that's it. Next, she ends up in another man's bed, and is ordered out by his wife. And... no, that's all there is to that scene, too.

When Holiday on the Buses was last screened on British television there was a breakdown in transmission. It actually came as blessed relief.
Please tell me the sentiment of the following review: Due to its predictable, second-rate title, (the one it was distributed under in Italy, at least) I didn't expect much from this movie. Thought it'd be another cheap flick about a haunted house ("LA CASA MALEDETTA" means "The cursed house"). Well, I had to change my mind just after the very first brilliant scene! The constant presence of priests and the creepy atmospheres, reminded me a bit of The Exorcist and some of its decent Italian rip-offs, but this was going to be something completely different... This is more like Hitchcock meets Italian thriller! Very well written and directed, good actors, interesting plot... OK, I've tried not to spoil the viewing of "7 Hyden Park" for you, which I'd highly recommend to everyone. 

P.S. Am I wrong, or when Joanna crawls or tries hard to stand (she's paralyzed from the waist down) her feet and legs move a little too much? (... And I'm not talking of the "bad dream" sequence.)
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positive
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Farscape totally rules! In my opinion it's very close to Babylon five although there are only 7 main characters in the series (spaceship included). The humour is excellent and the writers manage to keep the show interesting though pretty much everything happens on the ship.

What I really love and appreciate in Farscpae is,that they don't use CGI for the alien characters or if they do, it's unnoticeable. They use those lovable, crappy rubber animatronic puppets very similar to the ones used in the original Star Wars.

Farscape is something you definitely want to look into, if you already haven't.
The Muppet movie is an instant classic. I remember the opening scene with the bird's eye view of the swamp and Kermit starting into (in my opinion) the most loved song in the history of songs. At this point my mom would always sing along with Kermit.

Watching this title as a young adult it makes me smile. I can still sing along to my heart's desire. Like many Muppet films there are in jokes for adults that are( In my opinion) still funny today. My favorite line of all time is actually from this film, it's the last line spoken by my green, goggle eyed hero Kermit "Life's like a movie , Write your own ending". That's what I intend to do! Thank you Jim Henson.

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positive