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Dashing Errol Flynn brings his usual flair for drama in this historically flawed but entertaining film of the life of George Armstrong Custer. The dashing, jovial Flynn essays Custer from his days at West Point as a reckless, headstrong cadet, through the Civil War years in an extraordinarily generous and partisan interpretation of history, and finally as the nonpareil Indian fighter whose blunder at the Little Big Horn is excused as a sacrifice by Custer of his command as a way of exposing the corruption of government officials and post traders as well as a protest of the unfair treatment of the Plains Indians. Olivia de Havilland, Flynn's co-star in several other films, scores as the devoted, adoring Libby Bacon, and Anthony Quinn looks the part as the fierce Sioux chief Crazy Horse. The film's battle scenes are excellent. The Civil War battles are brief and are shown as several vignettes in which Custer, seemingly supported by just a handful of troopers, hammers the Confederate army into submission. Custer's last fight against the Indians is a grand spectacle, a savage clash between red men and white, with no quarter given in a wild mix of military might between determined fighting men. Great direction, cinematography, casting and wonderful music by Max Steiner make this film a Hollywood classic.
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For some inexplicable reason, Jerry's movies often seemed to come in for diatribes from certain quarters although they were rarely box office disappointments. It's one of life's great mysteries to me because his films have always had a 'feel good' factor about them for me. But this film is not only not bad: it's an exceedingly good and clever comedy. To those who may be tickled by 'modern' crude or cruel humour, don't see this film: There's nothing in it like that and you'll be wasting your time.

I've only seen this film once on the television. I've waited ever since to see it again and that's been quite a few years. You'd think the idea of an arrogant millionaire businessman heading off to win the war against the Nazis with his own small private army of subservient employees would be boring wouldn't you? Well only Jerry Lewis would dare try such a plot for an out and out comedy and it works, I have to say, brilliantly.

I think that, as with 'The Nutty Professor' and most of his other films, this movie is testimony to his comic genius, both in concept and execution. I think Buddy Love might have said, "You know, true comedy can not only make a six year old hysterical, it'll do that for his Dad too." Maybe a few nutty Nazis generals with monocles and a limp would dislike this movie, honestly. If you only see one more comedy in your life, see this one. Be careful though, you might die laughing. And I'm not joking!

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I bought the DVD a long time ago and finally got around to watching it.I really enjoyed watching this film as you don't get the chance to see many of the more serious better quality bollywood films like this. Very well done and but I would say you need to pay attention to what is going on as it is easy to get lost. When you start watching the movie, don't do anything else! I would actually advise people to read all the reviews here...including the ones with spoilers, before watching the movie. Raima Sen gave her first great performance that I have seen. Aishwarya was easily at her best. All performances were strong, directing and cinematography...go watch it!

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I watched this film not knowing anything about it. I had presumed it was a sci-fi b movie of some sort. How wrong I was. The plot is enthralling and intelligent, the cast are all charismatic and the whole film just makes you think for a change. Some of the riddles stumped me completely but in the end the answers were rather simple. I am quite baffled at the low scoring of this film as I thought it was quite unusual. If you liked the film Se7en (Seven) with Brad Pit or The Matrix then you will like this. There is no major special effects or fancy gimmickry here at all. It is all about the plot, about building the characters and building an atmosphere. It is a film however than ultimately provides no answers which may irk some people but I thought the ending was great. I am still not sure if the film is based on an true story or not.......
Please tell me the sentiment of the following review: The best thing about Shrieker is the dialogue. Like Scream and I Know What You Did Last Summer, this movie is cognizant of the conventions of this type of horror movie and manages to come up with a few good lines and scenes that play on those conventions. Unfortunately, Shrieker is just boring. The plot is your basic Ten Little Indians whodunnit with a monster controlled by one of the suspects/victims. You know from the beginning that each of the characters will get bumped off until only the hero(ine) is left to defeat the evil. And this is exactly what happens. Absolutely no surprises and no tension. Production values and acting were ok, but I had no motivation to watch to the end (although I did) because I already knew how the end scene would play out. The ending did surprise me a bit, because it managed to fizzle out, literally, instead of throwing out a bucket of special effects. Maybe the special effects budget had been spent up by the end.
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One of Warner Brothers best and highest grossing films during the Thirties was this charming family drama about a widower who lives with his maiden sister raising Four Daughters. But not four every day type daughters. All of them have been trained by their musician father on instruments and one as a singer. They do make some beautiful music together even if it is for the long haired set.

You can watch the infinite variety of roles that Claude Rains played over the years and still marvel as he shows you yet another aspect of his creative personality. The opportunistic Vichy Captain in Casablanca is as different as the scientist gone mad in the Invisible Man, as the patient and wise Job in Mr. Skeffington. All the same man and all so incredibly different.

Here he raises the four girls with love seasoned with a little grouchiness at their willingness to accept modern music. The Lane Sisters and Gale Page may know Beethoven, but they're hep cats as well and can beat daddy eight to the bar every time. And if Rains gets a bit too testy than Aunt May Robson can put him in his place.

With Four Daughters unmarried at the time you know that's going to change. All the sisters develop romantic interests in Dick Foran, Frank McHugh, Jeffrey Lynn, and John Garfield. Of course the mating process does get a bit complicated and one of the sisters suffers a tragedy, but it does promise to work out as the film ends.

Four Daughters is also known as the debut film of John Garfield. Other than a tiny bit part in Footlight Parade years earlier, Garfield had no other film roles. But he'd been acclaimed on the New York stage for his performance in Golden Boy and Warner Brothers signed him and found the perfect film debut role as the cynical musician who just can't quite get a decent break in life. It earned him a Best Supporting Actor nomination in 1938, but he lost to Walter Brennan for Kentucky.

This film was so popular that it practically spawned a small cottage industry for Jack Warner. Sequels with cast members like Daughters Courageous, Four Mothers, Four Wives all cleaned up at the box office before World War II. And Warner Brothers remade it with Frank Sinatra and Doris Day playing the parts that John Garfield and Priscilla Lane originated. Now those two made some beautiful music.

Still a timeless mold was created in Four Daughters and the film holds up 70 years after it was first seen.
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I first saw The Couch Trip (1988)on late night television years ago and instantly fell in love with it. The funny thing is I usually catch all the comedies made but have never even heard of this one until I saw it. Dan Ackroyd is plain and simpley hillarious period. He has made a couple great movies with Belushi and don't forget Saturday Night Live. But I think the Couch Trip is probably his best and funniest. With a good supporting cast of Charles Grodin, David Clennon, and Walter Matthau this piece of cinema shines with comic gold. Ackroyd's wife Donna Dixxon even does a fine job here. My favorite moments of the film involve Ackroyd and David Clennon's charachter Lawrence Baird. Those two played well off each other. So if you haven't seen a good comedy in awile take a trip back to 1988 and rent or buy The Couch Trip. I just did, Amazon 78 cents. What a bargain, too bad I got hit with a 2.50 shipping fee. Oh well still well worth it. Any guy will love this flick check it out.
Please tell me the sentiment of the following review: This is a nice movie with good performances by Paz Vega and Leonardo Sbaraglia . Of course Vicente Aranda is a legend in Spanish Cinema and surely one of the great directors in Spanish cinema but I don't think this is one of his greatest movies even if it's fine. The screenplay plays with the introduction of Merimeé as a character , it's a nice touch but it's unbelievable. The music is composed by Jose Nieto , National Spanish Prize in Cinema. I mean this movie is very good in all the technical aspects .There are very good actors in supporting roles like Antonio Dechent , Maria Botto and others . I give it 7 out of 10 cause I think this could be a better movie but as it is it is not boring at all.
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it's hard to tell the actors from the non-actors. Bad American movies can be spotted by all the youngsters prefacing every single line of dialog with "You know what?" Bad Canadian movies can be spotted by all the youngsters ending every single line of dialog with "Eh?" Have we learned nothing in a century of filmmaking? Cannot the entire weight of millions of wannabes descending on Hollywood with scripts and reels in hand rescue us from these horrible TV-movies-made-to-order?

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Just after watching the first one and it is very dumb. I happened to watch an episode of Bones first and then the Eleventh Hour. The 11th Hour should be embarrassed.

It is so weak. Stewart introduces himself as a Government Scientist. No mention of what kind of scientist just general sciency stuff. In a program about cloning they bring a caretaker, who was paid to dispose unsuccessful embryos, to a church and made him kneel before the statue of Jesus on the cross and ask forgiveness... and as well tell them where the bad guy is so as they can move the plot on. Now thats science at work :(

There is a dumb, not good dumb, bit where Picard rages at a TV that advertises skin scream that makes you look younger, shouting "It's a lie", as his randy female assistant gets groped by the local hot bobbie next door.

The end of the first episode is like a bad cartoon where the bad old lady, named after Pinnochios daddy in order to move the clunky plot along, waves at Picard from the street as she gets in a taxi. Picard is one floor up and he looks out a window wistfully going... she got away. He could like try to run down.. or maybe ring the cops... or maybe get the number of the taxi and ring it in or maybe had anything other than... I am waving and getting into a taxi now and there is nothing you can do about it until next week ending... mahhahahahah.

Pity it's so stupid. At one point a grieving father is convinced by Picard that even if a replica clone son was born it would never be his son as his son had a soul. Yes that's right folks. The general scientist argues against cloning on the basis that every soul is unique and sure why else would you want to clone. 

Although the general scientist Picard finds cloning a bit gooey he's all up for stem cell research and goes as far as to say that calamity will befall humanity if it isn't allowed. He has a pretty strident rant about how important it is. Of course he doesn't mention a single example. That kind of sums up the show. Buzz words and tawdriness.
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For me this wonderful rollercoaster of a film bears repeated pleasurable viewings. Its about the tangled lives of three very different people. Holly Hunter is the obsessive workaholic producer. Albert Brookes plays the unprepossessing but brilliant journalist. William Hurt is the affable but dumb new kid on the block, news anchor.

The classical love triangle emerges with the stunningly witty and self deprecating Brookes in love with Hunter but she of course is attracted to Hurt.

This film works on many levels. At the very least it is a brilliant comedy with the one liners flying so thick and fast that each viewing bears a new harvest of ones that you may have missed last time. Its also a film about attraction and unfulfilled romance.

But perhaps most importantly the film examines the modern obsession with physical appearance and its ultimate triumph over intellect as a valued human attribute. This is personified by the meteoric career success of the Hurt character in contrast to Brookes relative decline.

Despite being fifteen years old the film has some startingly relevant messages about modern news values and the continuing decline in journalistic standards.

This film is a classic in every sense and it is difficult to understand why it has been so neglected
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This is one of the classic TWILIGHT ZONE episodes, where with the simplest of situations the viewer was drawn into a seemingly symbolic conflict, only to find the solution surprising and strangely acceptable. Five figures are inside a container/prison: a Major, a ballerina, a bagpiper, a clown, and a tramp. They are certainly an odd choice of types to be in this isolation chamber, but they are all in it (nevertheless) and they are trying to figure out why they are there. What have they in common? None can figure it out. But gradually the Major organizes them into working to bet out by standing on each other's shoulders. And the Major, going to the top of the line of figures does reach the entrance, and .... I'll leave it like that, although one of the other critiques on this thread actually gives the story away.

The title seems to be suggested by SIX CHARACTERS IN SEARCH OF AN AUTHOR, Pirandello's famous play. Whether the actual purpose to the show was to spoof that play is questionable: Pirandello's characters analyze their roles and relations with each other. But the five characters here, while they try to understand their situation, are totally in the dark - they are not in the situation of the six characters in Pirandello who know their current situations. This uncertainty of what is going on allows the viewers to think it is an abstract drama.

The actors, William Windon as the Major and Murray Mattheson as the Clown in particular, give good accounts of themselves. And the conclusion, whether planned as a spoof or not, is quite effective.
Absolutely, I agree with my previous commentator in describing this as a riveting,fascinating and certainly beautiful film. It's not necessary to see all the episodes,since the first ones are the best,while the last ones are a-bit tiresome,but for any person who likes German's and their good-natured ways,all episodes are worth seeing.In typical german fashion, values are constantly questioned,even it's murderous Nazi past is confronted in the last episodes, the rich dialogues are particularly interesting. These episodes are recommended for anyone who is about to live or travel in Germany,preferably in original language!!



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A lot of people are flaming this film for the presence of Paris Hilton, but this is not a fair reason to object to the movie. The reality is that Paris has a fairly minimal part, she spends the vast majority of the movie off screen. The film also makes fun of her on several occasions, usually involving a camera and at least once in night vision. For those who enjoy Paris Hiltons stage presence, this may be a movie to see at home when its released on video, because at the screening I was at, we all laughed at her misfortunes through the movie and she is portrayed as a "woman of questionable values".

The movie itself was pretty good (unlike the recent flood of weak horror flicks), it has everything a good horror should; a creepy villain, excessive violence, acts which make that average person cringe...this movie hit all the bases. It is definitely worth a watch.
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The headline describes it exactly. This dribble of a film was nothing more than the typical 'group of teens killed someone accidentally now that someone is haunting/killing them off 20 years later' crap that has been shoved down our throats for decades. The only twist is instead of an angry ex-classmate or lovable psycho/loser, it was a nun. Nun wants to eliminate the sin from the girls, blah blah, girls accidentally/purposely drown the nun, blah blah, nun haunts the girls, people die, movie ends. The only thing that made this watchable were the death scenes, which were pretty cool (especially the one with the elevator door ripping off this fat lady's arms) but even they couldn't make this a great movie. Brian Yuzna should hang his head for attaching himself to this refuse. I'm sure glad I rented it and didn't buy it, or I'd be furious beyond belief. If you want a nunsploitation flick to please the senses, go watch Demonia or something. Stay away from this garbage.

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Barbet Schroeder's "Murder by Numbers" starring Sandra Bullock is solid work, though not particularly compelling. I am a big Sandra Bullock fan, and she is effective here as forensic detective Cassie Mayweather, who is not very likable and a broken person too. However, there is a sense of detachment inherent in the story structure. It's about the perfect murder executed by two spoiled sociopath teenagers, Richard (Ryan Gusling) who is the cool one, and Justin ( Michael Pitt) who is the sympathetic geek. Basically, Richard and Justin kill a young woman, because they have nothing better to do on a school night. They are very smart and very arrogant which is normally not a bad thing, but it just doesn't work here. Tony Gayton's script does a great job of detailing the investigation of a puzzling murder, and it is truly by the numbers. We have these two punk kids flaunting their superiority, and we just want them to take a fall. 

This is not a great exploration into the dark side, like Schroeder's "Reversal of Fortune" about Claus von Bulow. There are interesting turns in "Numbers". The movie is not so much a thriller, but rather a character study of Cassie. Sandra Bullock balances the bravado of Cassie, her fear of letting people get in with her, and her secret past. Bullock brings courage and strength to a suffering character. Her partner and sort of love interest, Sam (played by Ben Chaplin), is more a plot unconcealing than a real character. Though Chaplin does the bewilderment thing very admirably. The other nice touch is having Richard and Justin involved a strange sexual attraction. The most interesting thing about "Numbers" are Pitt and Gusling. 

There are many entertaining twists and turns throughout the movie. Everything is done very competently. I saw the movie about a week ago, and in retrospect I like it a little more than I did when I saw it. However, it is just not inspired work. Sandra Bullock and Barbet Schroeder deserve a lot better, and so do we.
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THIS REVIEW MAY CONTAIN SPOILERS! The Decline of Western Civilization......what a great title eh? And of coarse a great movie. This is the best concert film I have ever seen. A close second being the Talking Heads movie "Stop Making Sense". I first heard of this movie when Waynes World came out in 1992. I looked at the director's name Penelope Spheeris and thought cool name, what else has he directed? I thought the first name was pronounced like envelope. After some time looking in movie guides I came across the critically acclaimed Decline and realized Penelope was a woman.....my Mom corrected me. I spent 8 years of my life trying to track this down. I finally saw it on VHS in Vancouver, where I currently reside. It was worth the wait. This captures the LA punk movement very well. This is teen angst at it's best folks. My favourite is the band the Germs who need subtitles for the lyrics because Darby Crash sings so crazy, you cannot understand it. I laughed when I saw this. The band Black Flag live in an abandoned church and the band X are a very intelligent bunch. Also laughed at the letter some idiot writes in to Slash Magazine about how we do not need to save the whales, there are countless miles of ocean for us to pour toxins in! I became a huge Penelope Spheeris fan after this, and saw all her punk movies-Dudes was OK, and Suburbia is a cult classic! I own both of these on VHS. She is a true underground film maker and I love her stuff. I would have loved to have seen this movie in 1994 when grunge was so popular. I was a big Nirvana fan then, but alas I saw this in 2002 and by that point I had grown out of grunge and now I listen to Crystal Method/Fatboy Slim. Quite a change of pace, I know, but what can you do? But if you want a true depiction of the punk movement this captures it better than anything. Much better than 1991: The Year Punk Broke. This is a tough movie to track down, but if you get your hands on it, rent it, even if you don't like the music it is an excellent piece of work. Now days it might be easier to find with DVD's being so popular. By the way Penelope produced a little known Albert Brooks movie called "Real Life" which I also own. Very funny stuff in todays reality TV craptacular! Rent Decline......Highly recommended! Thanks!
There's no better way to describe the HORRENDOUS experience that's to watch Mamma Mia: Hitler must be looking up, saying to the pseudo-director Phyllida Lloyd 'You monster, what have you done?'

Everything about the movie is wrong. Just Wrong! Even its success, which is unexplainable. I can understand when those crappy parody movies, like Epic Movie, make their minimal share of money and turn profit just because they're cheap (of course they are!). But when something like Mamma Mia makes 450 million dollars worldwide, you think 'what the hell is wrong with the world?'

And to think we have Meryl Streep, one of the greatest alive actresses of the world, in it? What was she thinking? 'I need the money', she could say. Well then, sell one of your grandchildren, even that would be less embarrassing. It's not that Meryl is good in a disastrous piece of, err, 'movie'. She's also disastrous! When she sings, even though she's got the vocals, it's ridiculous. Worse than her only Pierce Brosnan. He used to be James Bond. Now he's singing Abba in a purple spandex during the credits of the worst movie ever. Really? And when I mention Abba, not that I have anything against the band and their music. Though it doesn't help them when actors started singing (badly), dancing (worse) and the extras join then (They pop out of nowhere! Frequently!) to present one terrible musical sequences after the other. You wanna cry when the music starts. And I love musicals! But this is the first in the genre where you PRAY for actual silence.

I could keep going. The list goes on forever. You could write a Stephen King novel with the complete list of mistakes in this movie.

To sum up: go watch it! Really! You've got to witness to understand!! And since it's already a huge success, who cares if it makes a few more dollars from you? And it's not liking you're selling your soul to the devil. Meryl did that before. For the whole mankind. And now the world must end, because we've committed the ultimate evil and we must be destroyed.

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This is absolutely nothing like the WWF and the 'Attitude Era' of the WWF. I have always been a dedicated WWF fan and I never took a glimpse of its competition. Now, I rue the day that I wanted the WWF to take charge. At the least the WCW would try something new and radical all the time instead of keeping up as a mask of the actual intentions of the show and this holds true to ECW as well. The WWF has always been about Hulk Hogan, Andre The Giant, and other old wrestlers like so and the 'Attitude Era' only happened to catch up with the radical ideas of the competition. The WWE is the same trash as it was before the Attitude Era only dumbed down and demoralized. The wrestlers are terrible, the brand split is mind scrambling, and the story lines and stipulations are non-existent. The WWE is so bad that it ceases to even be a former shell of itself by pushing characters and wrestlers into the main event suddenly and by retaining barriers of creativity. Sure, the show shakes the brains of sweet, innocent, and easily brain-washed children and meager, lousy, pariah, stupid people of the Internet Wrestling Community that actually consider the company anything good. Anybody that even shudders and rests on the thought that this show and product is good can go straight to hell.
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A fantastic musical starring Gene Kelly and Rita Hayworth. He owns a nightclub where she dances. She's no star yet, but she gets a big break when she's chosen as a cover girl for Vanity, whose owner was actually in love with her grandmother. When he sees the resemblance, he picks her right away for a contest his maganzine is running. Hayworth's newfound fame at first works wonders for Kelly's club, but her star rises so quickly and so high up that his grasp on her begins to falter. This isn't the most original of plots, but the two leads really make it work. It also helps that the screenplay is great. Kelly's not yet at his peak, especially his peak as an actor. His dancing, however, wow. Hayworth is the star, but Kelly claims the film's most memorable moment as he dances passionately with his own reflection. It's obviously a take-off of Fred Astaire's shadow dancing in Swing Time, but I think Kelly one-ups it, which is hardly believable. In fact, this has got to be the most amazing dance sequence in film history, save perhaps the finale of An American in Paris several years later. The rest of the songs are also excellent, and the musical numbers are even better. Too bad Rita didn't sing her own songs (well, she may have a couple of them, as her singing voice seemed to be different sometimes). Her dancing is wonderful, as is the rest of her acting. It's hard not to love her in anything. She's really one of the few truly beautiful women from the classic era. Not plastic like many of them; no, you can really see the warmth in that woman. Her smile is so disarming. Phil Silvers has the role as Kelly's best friend, and he is also very funny. The trio of Kelly-Hayworth-Silvers is obviously the kernel which became the Kelly-Reynolds-O'Connor trio in Singin' in the Rain eight years afterwards. One of the biggest musical numbers in the film seems almost completely pilfered with the "Good Morning" number in Singin'. I do think Singin' in the Rain is the better film, as Cover Girl is a little rough around the edges. This roughness, though, just adds to the charm. There are aspects of this film that beat Singin' in the Rain, and even An American in Paris. For instance, the central relationship is more emotionally involving. Instead of the dominant older man chasing the little girl (Leslie Caron and Debbie Reynolds were just teenagers, after all), we have a very nice relationship with two people who seem more like equals. There is no chasing around - an aspect that does unfortunately turn a lot of the best musicals a little sour, you have to admit. Kelly and Hayworth are a couple from the start, and when that begins to fray, I really felt it. 9/10.
Bronson and Ireland, in their last film together, make a likable pair. He is more restrained than usual and she has become a winning actress. But as a thriller the film is totally worthless. Its premise is downright silly and its pace is much too rushed.
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This is the story of a maniac cop who, for some reason, has it in for a young college stud and his mates. After they report him to his supervisor who in turns suspends him pending psychiatric evaluation, he finds an opportunity to psychology torture them when, on a bet, the kids hack into a department store's security and unlock the door. Only, they get locked in the store, along with the weirdo. Murder and mayhem are afoot, and the kids are running around trying to survive until morning when they may be able to escape.

'Dangerous Game' would have been a successful cat-and-mouse psycho thriller probably if it was set in a different location. The thought of psychotic cop chasing around a bunch of innocent teenagers in a department store just didn't work. Especially when he comes face-to-face with his flinching prey quite frequently and yet, does nothing serious quite often. There was no real confrontation as would be sufficient for this kind of story, and may've worked better if say, for example, the teens were loose in the neighborhood and left to fend for themselves against this weirdo (especially if that took a few days while he makes them increasingly paranoid...although granted, even that is clichéd).

What a shame, too, that it could not have been a better thriller, considering a funky cast of young Australian characters. Even a light hearted adventure despite the madness of the villain interspersed through the picture might have even made it a more satisfying picture. Instead, it started out fresh, and sure did have plenty of action sequences, but wound up verging on the ridiculous.
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This show has to be my favorite out of all the 80's horror TV shows. Like Tales from the Darkside, also from the same creators, this show is a rare gem. If you agree with me, PLEASE sign this petition I started, to get the word out for Monsters and get it out on DVD. Here is the petition address: www.petitiononline.com/19784444/petition.html Some of my favorite episodes would have to be Glim glim, and Rain Dance. I also loved the opening intro with the monster family. That used to creep me out! One of the things I would have to ask the DVD creators to include would be the organ sound heard right before where the commercial break would be. I don't know if any of you remember that part but that's one of the main things that brings back memories to me. I mean, come on! War of the Worlds the TV series already has been released on DVD, so I say Monsters, and also Tales from the Darkside, and Friday the 13th the series should be released too! We the fans need to speak our minds! We need this awesome show on DVD so PLEASE spread the word!!!
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The story has little to do with Jack London's original novel. I thought the acting was very unnatural, the dubbing was done very sloppily and the story itself contains a fairly large number of inconsistencies and loose ends. Apart from that, the pace of the movie was horrendously slow at some parts.
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What we know of Caravaggio suggests a strutting brawler with a healthy sense of entitlement who lived amongst whores and thieves and hustlers and put them on canvas. His works' themes were sex, death, redemption, above all, finding the sacred within the profane. He lived at a time where homosexuality carried a death sentence and political intrigue normally involved fatalities in a society defined by the maxim "strangling the boy for the purity of his scream".

You can't fault Derek Jarman for his cinematography, nor his recreations of Caravaggio's paintings and you certainly can't accuse the man of shying away from the homosexuality. But frankly, Jarman never strays beyond 80s caricature. Italian patronage becomes the 80s London art scene complete with pretty waiters and calculators. Sean Bean is a sexy bit of Northern rough oiling his motorbike. Tilda Swinton performs a transformation worthy of a Mills and Boons ("Why, Miss Lena, without that gypsy headscarf, you're beautiful..."). Jarman provides Caravaggio with a particularly trite motive for the murder which left him exiled.

This could have been a visually stunning treatment of a man whose life was dangerous, exciting, violent and decadent but who nonetheless elevated the lives of ordinary people to the status of Renaissance masterpieces, looked on by Emperors and Kings. Instead, what you get is Pierre et Gilles do Italy. The pretty bodies of young boys are shown to perfection, but never the men who inhabit them. Jarman appears to satirise the London art scene, showing it shallow and pretentious. To use Caravaggio and Renaissance Italy to make the point is to use a silk purse to make a pig's ear. In fairness, this film remains visually stunning, but ultimately as two dimensional as the paintings it describes.
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This movie was horrible and corny. James Agee is rolling in his grave.This movie was nothing at all like the book and made a mockery of it. No one should see this movie unless they want to gag.
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This movie was thoroughly unwholesome, unsettling and unsatisfying. Apart from a few nice shots of Italy, there's nothing to recommend this movie. As usual, Hollywood draws the wrong conclusion from a fractured existence--the _next_ guy you meet, whom you sleep with after knowing for a few hours, _he_ must be Mr. Right. As for humor, there is some in the movie, but I can't see how anyone could possibly label this a romantic _comedy_ since about three-quarters of the movie is totally depressing! My recommendation? Skip it in the theaters, wait till it comes out on DVD, then skip it there also. I want someone to give me back the two hours I wasted watching this dreck, drivel, dross.
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Prior to Airport 79' these movies were rather good. They had decent special effects, all-star cast, and good acting. This movie destroyed the franchise, and there are many reasons for it. Lets talk about the special effects WOW!!!! they are horrific, what was the director thinking about. I know it's only 1979, but lets look at other very good special effects movies such as Star Wars(1977),and Moonraker(1979). I like the idea of the Concord and this could of been the best Airport movie, but they did too much with it. How about Joe Patroni(George Kennedey) shooting a flare out of the cockpit window, to prevent a heat seeking missile from hitting the concord. Also he is doing 90 degree dives and loops. This completely far fetched, and unrealistic WOW!!!!!! Believe me the special effects don't help this scene, and really are beyond poor.... They almost look like a cartoon, and this is how the whole movie is!!!Finally lets talk about the acting which in my opinion is extremely poor to fair at best.... Over acting is a major issue in this movie, especially George Kennedy.. Which I really like as an actor, but just doesn't cut in this movie. The full blame has to go on the director, who did a very poor editing job, and really whacked out the Airport Franchise. Too bad the Concord isn't still used today it was a marvel of Air travel...
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Crossfire is a fantastic film noir that is both a product of it's time and a timeless classic. This film achieves this by addressing issues that haven't been brought to the screen before its 1947 release, and by being a high quality film that holds up to this day with a good script, great look, and fantastic performances from it's actors. The first American film to take the issue of anti-Semitism head on, Crossfire is cemented in classic standing. Set in post-World War II America, a lurid whodunit develops after a Jewish man is found murdered.

The story is great, its anti-hatred theme wrapped up in a dark multiple-character crime thriller, and along side the anti-Semitism angle is some great post-World War II dialogue and themes as well. Unlike other mystery thrillers, the audience is alerted to who the perpetrator is almost immediately. However, the film's story is still engrossing because of the struggle of all the great characters involved are going through while trying to make sense of the situation. Outside the great overall story and themes, the entire script is simply smart, complete with meaningful messages and razor-sharp exchanges between characters.

The film's captivating story is played out wonderfully by the its excellent cast. Robert Young is fantastic as Capt. Finlay, the leading investigator of the murder case. Finlay's my favorite character of the film, he's just a cool character - dry as bone and tough as a two-by-four and stopping at nothing to bring the killer to justice. Robert Mitchum is also great in the film, very vivid in his soft-spoken army sergeant character due to his superb screen-presence. Gloria Grahame gives a memorable performance in her small Oscar-nominated role; George Cooper also does a good job as the sick and distressed Corporal Mitchell; Paul Kelly gives an eerie portrayal of a bizarre character; and Steve Brodie, Sam Levene, Jacqueline White, and William Phipps also give strong supporting performances. Robert Ryan ends up being the most talked about performer of the film, giving a chilling performance as Montgomery and also being nominated for an Oscar.

Crossfire has a terrific look. Director Edward Dmytryk does an extraordinary job with the film's execution and cinematographer J. Roy Hunt does a masterful job with its black and white picture. Crossfire's picture is as dark and dank as its themes, covered in shadow with an almost glossy overtone, yet also very raw in parts. Ironically, the film's great look was not the result of hard work - or even intention. Dmytryk wanted to spend more time and money on the actors rather than the lighting - so that's what he did. Less lights, less preparation (around a 6 hour work day), and it resulted in a fantastic looking film. Not just a well done piece of cinematic art, Crossfire is also a great example of a cheap film that ends up a rich classic.
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I put this movie on not expecting much, other than a B movie gore fest. Thankfully I was presented with a very well made film, that built up the suspense and managed to maintain it throughout its run time. This was an impressive achievement. The acting was solid, creating characters that you cared about and related to; and although some may find the film slow, it did force you to think about what you would have done in the same situation. Added to this there was some fine camera work and the directors pulled it all together admirably. An excellent effort then, that is well worth your time if you prefer development and suspense over gore.
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Please tell me the sentiment of the following review: What is your freaking problem? Do you have nothing better to do than sit on your fat asses and blog about about how you find something in bad taste? Here's an idea:Go outside. That's right: Walk outside your mom's basement that you've been living in for 13 years and GO OUTSIDE. "But I can't leave! Star Trek is on in 30 minutes and I still haven't married that avatar on World Of Warcraft!" Oh my God, in that case, stay inside! Alright, I might have gone overboard there. I mean, Star Trek is okay but I don't really watch it that much anymore. Either way, do you really have to write crap about Mind of Mencia. It's A GOOD SHOW. Maybe you're just venting your anger because that girl dumped you on World of Warcraft. Or you're constipated. Try putting fiber in your diet.
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positive
Too much stock footage (almost one third of this 53 minute film) really slows this one down. Granted that the plot is that John Weston (John Wayne) is sent by Marshall George Higgins (George Hayes) to participate in a fixed rodeo (say "Ro-DAY-oh"), but character development and interaction are sacrificed. The relationship between the Bad Girl (usually a Latina-- even in the great "Duck Soup" [1933]) and the 'heroine' Polly Ann Young, a Loretta Young look-alike (hey! it's her sister!) could have benefited from more screen time. The happy ending is too abrupt-- although this time John Wayne actually kisses the girl.

The most interesting stock footage was the lengthy rodeo parade of real Indians, squaws, and papooses. But when the best part of the movie is the stunt work by the Mighty Yak, Yakima Canutt, who gives us jumping from one horse to another and several different running leaps onto a horse, you know we're in trouble. As noted by others, the final fight with the villain is very poorly done.

My copy, from 'Platinum Disc Corporation' featured an added,sparse, ill-fitting (pseudo-classical) stereo music track that ruins the authenticity of the original film.(The DVD box had 'enhanced audio 5.1' on it.) If you're going to modernize and colorize it you should add a 'western' sounding score with acoustic guitars, 'klip-klopping' hoofbeats, harmonicas, and an accordion. 

Finally, we have to say this is one of the weakest Lone Star efforts.
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Writer & director Robert Downey, Sr., a pioneer of the underground film movement in the 1960s, satirized the New York Madison Avenue advertising world with his avant-garde comedy "Putney Swope." Downey doesn't confine his ridicule to advertising, but tackles black militant culture, the dynamics in Hollywood's portrayal of race, the elite white power structure, and character of corruption in any power struggle. As audacious and ambitious as "Putney Swope" strives to be, it qualifies as a terrible film, amateurishly made on a shoe-string budget with a no-name cast and humor that lacks hilarity. Everything about this movie reeks with improvisation. "Putney Swope" stirred up controversy during its initial release with its politically incorrect handling of race issues and consumer culture. Like most Marx Brothers movies, the plot is thin, providing an excuse for Downey's anecdotal gags, most of which are terrible.

The chairman of a prestigious Madison Avenue ad agency dies during a board meeting. Before the body has been removed, the board holds a secret ballot vote to determine who will replace him. Each member understands that they are forbidden to vote for himself. Sheer accident occurs when everyone votes for the token black member, Putney Swope (Arnold Johnson), since none thought anybody would cast a ballot for him. Swope pink slips all but one of the white executives, surrounds himself with black, pistol packing employees, and renames the firm "Truth and Soul Advertising." Swope decides to alter the face of American advertising. He refuses to accept clients whose products are alcohol, tobacco, or war toys. Swope's clients stage an exodus after he becomes the CEO, and grandstanding attracts a new line-up of clients that show up at his office lugging bags of money and prepared to suffer abuse from Swope's militant employees. Swope exploits his African-American staff, too, ruthlessly appropriating their ideas after he fires them and conjures up a number of offensive advertising campaigns, all of which are hailed as a 'new wave' of marketing genius. Incredibly, Swope's conservatism proves successful but the agency becomes the target of government operatives who argue Swope's advertising tactics constitute "a threat to the national security." The high point of this black & white, 85-minute comedy are the television commercials shot in color. Unfortunately, Downey doesn't know when to cut off these ads that consistently start out cleverly but wear out their welcome. The funniest part of "Putney Swope" involves our eponymous protagonist's dealings with U.S. President Mimeo in Washington D.C. (Pepi Hermine), a marihuana-toking midget with a Kissinger-like Teutonic adviser (Larry Wolf) spouting tasteless jokes while trying to convince Swope to come up with an advertising campaign for his new car, the Borman 6.
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i am an avid ff7 fan, for instance i have the game then sell it(bad mistake) but then buy it again (good mistake...erm)

anyways, yes this film is very good, the fights are very cool, music very good, and the cgi you cant falter.

only thing disappointing with the film i felt was the lack of other character involvement, it was almost all cloud which although is a great character, u cant beat a of cid and barret.

but despite that the film was great in my opinion, and a must watch.

overall a great film give and will give it 9/10 

squaresoft, make more films like this and you'll be worshiped more so than you already are!!!!
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positive
I can't get over the quality of the score, the book, and the performances. This is the first production I've ever seen of Sweeney Todd so I have no others to compare it to. But the impact is so strong, I just can't imagine anything better.

First, there's the music -- take "Johanna" (Act II), during which Sweeney, Anthony and Johanna sing an interwoven vocal line incorporating the melodies from three songs. It's like a Bach chorale in that sense -- just a masterpiece of composition. And the underlying chord structure and voicings are so perfect -- a little bit of melancholy, a little bit of contentment, a little bit of yearning, all expressing these three singers' points of view.

Then -- the lyrics. The rhymes are so clever. The rhyme schemes sometimes seem random but they always add up at the end. (The DVD, which I watched, has Closed Captions, and these are indispensable for appreciating the dialog and the lyrics.) Sondheim deserves a literary award for his poetry alone.

Finally, the performances. I can't imagine anyone better than George Hearn. Why haven't I heard of him before? His singing, alone, is masterful, but the range of his acting is simply amazing. Angela Lansbury totally surprised me. The song about "you and me down by the seaside" -- who could do it any better? Her timing is flawless, pitch is perfect, every beat of the score is accounted for; and overlaying this achievement in musicianship is her utterly delightful comic delivery.

It's a dark tale but I found it to be sweet at times; and the tune to "Johanna" continues to play in my head.
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This is one of the most satisfying of the book to TV adaptations. The actress who make us believe that a Borg could be sexy makes us believe that a spy and traitor can have some redeeming qualities.

The TV plot line does not follow Cornwell's story exactly but is both exciting and rewarding as a retelling of a darn good yarn. If you have a yen for romance in uniform there is a lot of sexual energy sparking between our man Sharpe and the lying hussy. Made me wish her role was closer to that in the books. But no matter there is enough hero wronged, hero redeemed, hero in rage, hero in flight and hero in battle to keep you clued to your DVD play.
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positive