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Pitch Black is a survival story. It's about how to survive in an hostile, alien world against even more hostile enemies. The task gets even more difficult when the nearest enemies can be found within your own surviving group.

The plot of Pitch Black is quite usual and has been seen several times before in different variations. But what makes this movie shine above others, is it's well-written characters.

The group consists of very different people with few more interesting than the others: Jack, a boy with a secret; Fry, a pilot having hard time with her own conscience; Johns, a bounty- hunter with a drug-habit; Imam, a holy man facing the fact that God is sometimes cruel and Riddick, a convict and a murderer learning to value others, not only himself. Characters start to live in the movie. They aren't only paper like in many other movies of this genre. You start to care for the characters, especially for Riddick though that feels quite odd. He is supposed to be the bad guy. In this movie, the line between light and pitch black is very thin. All characters are familiar with both.

Other thing that works in this movie is the casting. Rarely do actors fit to their roles this well. Radha Mitchell is suitable for Fry. Cole Hauser brings the right amount of cruelness and sense of responsibility for Johns. But the most impressive work is done by Vin Diesel. He does great job as Riddick. In his hands Riddick is quite creepy, definitely very dangerous and also deep character, just as he is supposed to be.

So, how do you survive in Pitch Black? Keep your friends close and enemies even closer.
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positive
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This film was my first acquaintance with the talents of Chris Cooper. I was deeply impressed with the character he played. I knew when I saw the film that more great things were to come from this gifted actor. He plays a Union Captain who, along with a couple of enlisted men, are foraging in Eastern Kentucky. They happen upon the farm of a "Sesech" woman whose husband has chosen to go off to the Confederacy. 

The portrayal of Eastern Kentucky, and its seriously divided sentiments during the War, is so very accurate. If you are looking for a war film with a lot of blood and guts, this would not be it. If you are looking for a drama that explores the psychology of peoples at war, actually and philosophically, then this is the best study of how divided loyalties affected the interaction of peoples in the border states during America's Civil War.
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This forth film in the "Angel Guts" saga, which at only a few minutes above an hour (it just feels much longer) , is also the shortest, which is perhaps just as well as it's also the most uninvolving of the series.Nami, a department store clerk, is interested in another part time job. Her fellow worker at the department store introduces her to modeling for a porn mag called 'red porno'. But when her other employers found out about her naughty pictures they decide to fire her. And she gets some unwanted admirer. Oh yea and she likes to masturbate ..ALOT. Using various household items. The wall to wall sexcapades masks a lack of discernible plot and pushes this one far too much into exploitation territory, not unsurprising though given that the Director of this one is Toshiharu Ikeda ("Evil Dead Trap", "Beautiful Prey"). Perhaps his sensibilities just weren't suited for an Angel Guts film.

My Grade: D 

DVD Extras: Commentary by Jasper Sharp; Bio/Filmographies; a 36 minute interview with Toshiharu Ikeda; Original Sleeve art; and Trailers for this and 4 other Angel Guts Films (High School Co Ed, Red Classroom, Red Vertigo, & Red Porno) all available in Artsmagik's Box-set, but for some reason the 6th film "Angel Guts: Red Flash" is not in the set
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A conversation about how Jan-Michael Vincent is a lush led me to foolishly re-visit this mid-90s DTV entry. A kid is traumatized when he sees an Ice Cream man gunned down in the 1950s and he grows up to be a psycho Ice Cream man (Clint Howard). Something happens and people disappear and end up in the ice cream. Blah, blah, blah. 

Director Norman Apstein (credited as Paul Norman) made a career of doing porn before this and went right back to it afterward. That is what you get for having all murders happen off screen. And for casting a skinny kid as a fat kid and making him wear a fat suit. Just cast a fat kid! Also, there is a scene where Vincent stoically reacts to a group of escaped loonies surrounding him. He was either totally drunk and was frightened for his life or the filmmakers captured his "Have I really sunk this low?" shame full on. Despite being low budget trash, this did line up a few good names including David Naughton, Olivia Hussey, David Warner and THE PEOPLE COURT's own Doug Llewelyn. How you can make a boring slasher with that cast is beyond me.
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...the opportunity it gave me to look at Ireland's past was invaluable.

I had the benefit of seeing this with my Mother who hailed from Cork, and in watching, we talked and I learned a lot from her about how things were back then.

Stuff like how Deasy and Co. was a Cork soft drinks company; how rain truly could destroy a harvest; how farmers used to have to collect the crop; how in dance halls the women and men did really have to stand along opposite walls before the men walked forward and asked the woman to dance; about the bellows that kept the fire going; how priests really did call out the list of church donators and their donations and a bit about the currency back then (which my Dad helped by showing me a case displaying the pence, shillings and crowns that were used back then (which were legal tender in England also)).

I didn't pay that much attention to how good the movie was, but I was very grateful in having this opportunity to look back on a period of time that for some is Irish History, but for others including some of our parents and grandparents, is just their childhood.
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positive
Please tell me the sentiment of the following review: A couple are split apart during a vacation. Early scenes lead us to believe Barney, Jeff Bridges' character, has kidnapped the girl in an unexplained but premeditated abduction. The film plays out some years later where, despite a new love interest, Jeff (Kiefer Sutherland) is determined to solve her disappearance.

The storyline is definitely intriguing but there have been some really bad decisions made during the making of this film, culminating a pretty shoddy piece of work.

OK here we go. The abduction scene - aside from two major continuity errors there is a point where Sandra Bullock and Kiefer Sutherland are made to perform a little signed-pet-love-ritual that's drowned in over-sentimentality to the point of nausea. We know they're in love; the "I do solemnly swear never to leave you" speech only moments prior was ample thank you. Jeff Bridges' robot accent is another example. What is that for? Starman is back and it seems after a decade on the planet, he's turned nasty. The entire plot is then able to be resolved by the introduction of a needless character who, by a rather fortunate twist of fate, has quite miraculous powers of observation. The climactic sequence itself has essentially been done before only much, much better. It's riddled with further annoyances and another blinding continuity blunder. I could go on but something positive needs to be said. At a stretch, Kiefer Sutherland is the only one to save face with a fairly decent performance.

The 1988 original of the same name (changed from the Dutch title 'Spoorloos' for English speaking audiences) was recommended to me, only for an online rental company to send me this later Hollywood version by mistake. I was surprised to find both having been Directed by George Sluizer and would be interested to know his motivation for the remake. I am reliably and thankfully informed it is of a much higher quality in all areas including plot. Horah for that, but it really doesn't take much doing.
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It's one of my favorite movies as much because of the location and music as the story line. Don't matter how many times I watch it, it doesn't seem to ever get old. I can almost say all the lines along with the characters now. The movie is supper funny and really sweet.
The movie shows many feelings and emotions that are very strong and personal. The atmosphere in the movie is very tense and sad. You can really get a clear picture of what the main character is going through, and how he is responding to the world around him. I think it is a great movie, and that everybody should see it.


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This movie is truly unbelievable, in every sense of the word. I couldn't believe what I was seeing, and hearing, and I didn't believe it anyhow. Hepburn is probably my favorite actress, but this was ridiculous. Being a hillbilly myself, I know what it should sound like, and it's not Kate's Back Bay accent. The only thing I found funnier was the fact that the guy who played Charlie Chan so many times, Sydney Toler, was cast as another one of the hillbillies, with accent to match. Maybe this was a practical joke, come to think of it. I can think of no other reason for such peculiar casting. Well, maybe this. I noticed that Natalie Schaefer, Lovey Howell on Gilligan's Island, appeared in this play on Broadway. Can you imagine what part she might have played?

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Tamara Anderson and her family are moving once again, as her itinerant painter father chases his next landscape. Fifteen years old, she is in her rebellious stage. Already angry at her father for their frequent relocations, her anger is exacerbated when her mother is suddenly confined to a sanatorium for tuberculosis. Her mother's absence causes Tamara to lash out at her father and seek comfort in religion, the boy next door, Rusty, as well as the spirit of the dead teenager who used to live in her rented house.

The story is modest to a fault. It's oddly paced, and even during its emotional scenes there isn't any tension. The actors portraying the parents are fine. Alberta Watson is incredibly charismatic as the sick mother, and Maria Ricossa is particularly effective as the guilt-ridden mother of the dead teenager. But Katie Boland, as Tamara, is too amateurish to carry the movie. The dialog is very natural and Boland can't quite pull it off. She has her moments and when she hits them she can be good but there were too many times when she came off awkward. One can see her thinking 'ok this is what my line is and this is the face i'm supposed to make' rather than actually reacting to the other actors. She's not the only one, Kevin Zegers as Rusty and Megan Park as his sister Brenda also suffer from stilted delivery but at least they're in fewer scenes.

If done right, the screenplay could have made her an affecting movie. And it has it moments but much of it is bogged down with an amateurish lead performance and flat directing.
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This sequel is brilliant and is the last film Donald Pleasance (Dr.Loomis) worked on before his death. I loved the new direction the film took with the story instead of just Michael Myers wanting to kill his family. I love this whole series and apart from the first and second movies this is by far the best.
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My god how bad this is. Who is this impostor pretending to be Ali G? Avoid this at all costs. It replaces the smart multi-layered satire and humour of his show with down and out toilet humour.

This was obviously an attempt to get him known in the States before he released his show there on HBO.

One commentator here pleads that we not judge the movie on the merits of the show due to the difference in the mediums. While it is true that the standard format of the show could never have been transferred to the big screen Mr Sacha Baron Cohen could have ensured the smart use of his comic style in a more conventional movie storyline. Instead we have this mess, which in all honesty has nothing at all to do with Ali G except for the packaging.

Terribly disappointing. Go seek out the DVD's of Innit, Aiiii, or Bling Bling for some real Ali G.
8 points for take on probably what really kinda maybe more what it was like back then. American Indians probably stole more than killed. Who really knows? Nice slower odd pursuit means it has a pace and... interesting and unique. Thankfully not another mindless shoot em up. I thought this would suck at first, I wound up getting wrapped up... nice treasure... good job! I have hopes nobody dissects this film. When the entire movie unfolds you have many unique twists, impossible to determine what will be next. The characters are human and have either honor or not... passion or not... forgiveness or not. Wound up loving the White Horse, the Indian, Sheen even the damned desert. All good.
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OK, so it's a silly movie, but I think they knew that when they made it. And there are some neat little twists on the otherwise tired, overdone "Godzilla"-type genre. Borrowed a tape just because I knew someone in it, but I did loan it out to a couple pals, who also kinda liked it.
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Lance Henriksen got paid something to appear in this. I hope it was a lot.

Former US National Champion gymnast, Kristie Phillips starts as Charlie Case, a gymnast-turn-secret-agent (because it's very common that munchkin gymnasts become government spies...)

There's a truly hysterical opening scene where Charlie's uneven bars routine is sabotaged by an eastern-bloc competitor. What follows is one of the most ridiculous stunt scenes I've ever witnessed....and they want you to take it seriously! Don't worry...she sticks her dismount.

Everything after that is just a messy, dreck of a spy movie. Watch the first fifteen minutes for the campy-gymnastics stuff, then run for cover.
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negative
I've got as much testosterone as the next bloke, and Raquel Welch at her finest is certainly worth a look; but the fact is that a cardboard cut-out could act better, and an hour and half of Ms. W showing off her considerable assets does not a movie make.

Considering the cast, it's surprising that it's as bad as it is. I've never been a big fan of Wagner, and his tough guy Harry is about as convincing as a 9-dollar bill. Godfrey Cambridge and Vittorio de Sica, both of whom I usually enjoy, seem to be sleeping through their lines; and as for Edward G...well, I can only assume he was there for the paycheck.

This film is a mess: from non-existent plot, through stop-start action and unfunny script to puerile slapstick and annoying 60's 'caper' music. If it weren't for Miss Welch, I'd have given it a 0.

That said, she is a treat to the eyes - even better than her delicious cameo in 'Bedazzled' - and for that reason alone I gave it a 3.

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And that's saying a lot. Rent this if you want to be staggered by oddness, blown away by one of the most bizarre scripts, direction, and casting in the history of films. I'm staggered. I can't believe I watched it. I'm a big Bernadette Peters fan, normally- but this tested my resolve. Don't read any more reviews here, it's best if you know nothing about the plot. Just rent it. You won't believe what you're seeing.......
Growing up in the late 60s and 70s I could not help but become a fan of science fiction. With America's space program in top gear, sci-fi books, movies, TV shows, and comic books fueled my imagination and opened my mind to the possibilities that exist in the universe. Farscape is so unlike any other sci-fi show yet it has all the ingredients that made shows like Star Trek, Battlestar Gallatica, X-Files, and Deep Space Nine personal favorites. One of the criticisms of Farscape is that the casual viewer can't just jump in and watch one episode and understand what is going on. There have been other very successful shows that used multiple episode story arcs and complicated characters. This for me is one of the charms of the show. I don't need or want to have the story all tied up neatly at the end of every episode like the various incarnations of Star Trek have done. All in all, Farscape has wonderful and funny characters and a running storyline that says that although humans may be the least evolved or advanced intelligent species in the universe, they still have unique qualities and abilities.

Unfortunately, the shortsighted people at the Sci-Fi channel have canceled Farscape's 5th season. They have stated that the cancellation was based on sagging ratings. Yet just a few years ago it was their top rated original series and a critical favorite. It's a shame that all of the artists who help create this show will be unable to continue their labor of love because of the fiscal problems of the very channel/company that made it all possible in the first place.

Hey, don't take my word for it, watch the show, watch the re-runs and make up your own mind. Help save Farscape!
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positive
"The Cave" got released more or less simultaneously with the English film "The Descent", directed by Neil Marshall. Both movies share a similar premise; only "The Cave" is dreadfully unoriginal, unexciting and incompetent compared to the splendid horror adventure that is "The Descent". It feels like Neil Marshall realized that the basic story was too poor and instantly added ingenious ideas, depth and a personalized style, whereas "The Cave"-director Bruce Hunt simply went for the most rudimentary elaboration of the screenplay that was thrown on his desk. The result is an unbelievably mediocre film that features every single horror cliché you can think of and in which most of the violence happens off-screen. And we all hate that, don't we? The story introduces a clique of insufferable cave-divers that become trapped in a completely undiscovered Romanian underground ecosystem. Hideous winged creatures, that also happen to be parasites, soon attack them and escape seems impossible due to a landslide. The first half hour is still mildly entertaining if you keep yourself busy with spotting all the clichés and listening to the cheesy textbook dialogs, but the whole thing just gets too dire. None of the events are even slightly plausible and it looks like the entire cast is competing with each other to deliver the WORST performance. I've seen better special effects in anonymous B-movies already, the filming locations aren't used to the fullest and the ending downright sucks! Very much NOT recommended!
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Please tell me the sentiment of the following review: I had no expectations when seeing the movie because I was seeing it with a bunch of friends and had no idea what it was. Some parts were silly and some parts were lame, but overall the movie was worth watching. I like goth looking women; this movie has plenty of it. The fangs do look really lame though.
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I had read online reviews praising this obscure outing as a combination of gory horror, quirky black comedy and borderline art-house; the film has elements of all three, to be sure, but they are at the service of such a supremely silly premise (the title immediately gives the game away)  and amateurish production to boot  that its long-term neglect due to a lack of proper distribution  basically until Cult Epics picked it up for DVD release a full 30 years after its inception!  was no great loss to cinema or even the genre(s). The bed was apparently created for the purpose of accommodating a demon's dalliance with a woman; anyway, a dying man who had made use of the four-poster and even painted it ends up trapped in the wall behind the canvas(!) and provides intermittent commentary to the 'action'. Several people (from teenagers-on-a-fling to gangsters-in-hiding) supply fodder to the perennially-hungry bed; latest on the menu are a trio of girls  one of whom, however, recalls its mistress of long ago and, consequently, the bed seemingly fears her! Seeing various objects  from cigars to pieces of fried chicken  and people getting swallowed up (the belly of the bed is depicted as a vat of honey-colored liquid) makes the film mildly amusing at times (especially when a young man's hands are reduced to their skeletal formation, which he seems to take rather too easily in his stride!), but also awfully repetitiousso that, at even a brief 77 minutes, the whole pointless exercise feels strained and downright desperate.
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This film is a disaster from beginning to end. 75 percent of the movie is made from scenes taken from HERCULES & THE HAUNTED WORLD and HERCULES & THE CAPTIVE WOMEN badly edited together with original scenes that do not add up to anything but a complete rip-off. I'm a big fan of those two movies and seeing scenes taken from them, re-edited and re-dubbed with nonsensical dialogue made my head spin. These kind of cheap producers tactics to make more money by duping unsuspecting audiences basically killed the Sword & Sandal genre back in the 1960s.

There is one memorable scene in the new footage and it's the one when Hercules fights with the bad Hercules. The fight is albeit cool and Giovanni Cianfriglia, who plays Antaius, definitely stands out. He makes a memorable nemesis to Herc. But the rest is borderline embarrassing that was probably shot in a day.

Avoid at all cost!
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Lone Star Productions sure churned them out in the 1930's, and "Star Packer" has the feel of one of the more rushed ones. John Wayne is U.S. Marshal John Travers, investigating a crooked hoodlum known only as "The Shadow", responsible for stealing cattle, stage holdups and the like, and giving orders from behind the door of a phony wall safe. Yakima Canutt is Travers' trusty Indian sidekick, appropriately named as... well, "Yak".

Early on, we find out that Cattlemens Union head Matt Matlock (George pre-Gabby Hayes) is really The Shadow; the dead giveaway is when he offers to buy out his (supposed) niece Anita's half of the Matlock Ranch, since "this is no place for a girl". As Anita, Verna Hillie doesn't have much to do in the film, although in a comic moment, she gets to use a six shooter to blast the butt of one of the villains in a night time scare raid.

There are a few curiosities in the film - for one, Wayne's character alternately rides a white horse and a dark horse in the first half of the film. In what could have been a neat device, a hollowed out tree stump used by a henchman is located right in the middle of the street. And finally, the movie doesn't truly live up to it's name, as Sheriff Travers never wears a badge throughout the film, that is, a star packer without a star.

The horse chases, the runaway stage scenes, the stagecoach off the cliff (another curiosity, the horses conveniently get loose from the stage) are all pretty standard stuff. But John Wayne fans will want to see this one for the charisma he displayed early on in his career. For those more critical, the white kerchiefs worn around the forehead by the good guy posse could only mean that they all had a headache.
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It is sad what they are letting into film festivals these days. I had to sit through over twenty minutes of this dreary short that wasn't funny at all to get a good seat for a feature film that I wanted to see at a local film festival. The festival planners paired this horrible short with a great feature. I am just glad the feature was good, otherwise I would have not been a very happy camper!

For a comedy short film it got no laughs. The title says it all.
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While all of the Fleischer/Famous Studios "Superman" cartoons are excellent, "Billion Dollar Limited," the third in the series, is probably the best of the lot in terms of overall animation, plot, and pacing. Why it wasn't even nominated for an Oscar as Best Animated Short for 1942 (Incredibly enough, only the first one was) in inexplicable.

Here, Lois Lane is assigned to cover the transfer of one billion dollars in gold to the U.S. Mint. Masked gangsters in their super-powered (for 1942) car take off after the train, determined to get that gold. Without giving too much away, what ensues is a thrill ride for both the characters and the audience, with truth, justice, and Superman triumphant at the end.

As they did in all the Fleischer/Famous Superman cartoons, Clayton "Bud" Collyer and Joan Alexander, who played Clark Kent/Superman and Lois Lane on radio, have the voice work honors here, and Fleischer perennial Jack Mercer gets a little to do as one of the bad guys, as well.
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positive
The movie, although not faithful to the original novels, succeeds in creating modern gothic vampire vision. Somebody tried to insult QotD calling it a 1,5h music video clip. Actually it is a complement. The everpresent gothic music combined with the music-video-like shots made the movie so moody - and "Queen of the Damned" is a mood-driven story.

I do not understand the die hard fans who complain on the modifications of the story. The plot has been modified to be less confusing for viewers who do not know the novels. The number of characters had been lessened and I have no problems with changing Lestat's maker or skipping Mekare's character. The biggest change - the romance of Lestat and Jesse - seemed a very nice addition to me.

Actually, I think that a faithful adaptation would be a complete failure. The slow and gloomy mood, that was perfect to XIXth century New Orlean and Louis's angst, wouldn't fit Lestat's rebellion and his music. And while the book can be slow, descriptive and combining multiple elements yet conveying them well, the movie simply cannot do it without turning chaotic. "Vampire Lestat" and "Queen of the Damned" can be split into at least three movies - the creators had to choose something.

Some of the special effects, like the flying or walking out of the flames were the only thing I actually didn't like in this movie. But Akasha's death was very nice. The cast was good, Stuard Townsend was convincing as Lestat, especially on the concert, but I preferred Banderas as Armand. I loved Jesse, Maharet and Marius though. And of course Aaliyah was perfect with her quasi-ancient-Egyptian accent.

So if you are into gothic music and vampiric dillemas of loneliness and eternity (and you don't consider books to be movie scenarios) "Queen of the Damned" is one of the few movies which show vampires as something more than blood sucking monsters. But please do not compare it to the "Interview" movie. It has a completely different style, precisely as much different as different were Louis and Lestat. Personally I find it thrilling first to watch a vampire's existence from Louis' "bottled hunger" point of view, and then switching to one devoid of all morals but surprisingly outgoing for a vampire, Lestat.

I'd give "Queen" 8 of 10 as it had some technical flaws, but I decided to give it 9 as it's vastly underrated by people who hate it simply because it didn't match their vision of the books, which can be clearly seen by looking at the votes breakdown.

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positive
As many of the other comments I have read have noted, I fell in love with this movie when I was a kid. My sister and I had a copy of the movie on Beta (before VHS) that we wore out. Of course it didn't help when our parents sold the BetaMax at a garage sale. Since then we have been trying to find a copy. I, like another commentator, did eventually locate a rental copy at a local video store. The owner would not part with the copy after any number of attempts to beg, bribe, and cry my way to owning the tape. GOOD NEWS! I bought a brand new, newly released, VHS copy of Midnight Madness for $9.99 on Amazon.com two days ago!!!! Finally, Disney has wizened up. Now, if they'll only rerelease Song of the South... If you love the movie, grab it. If you haven't seen the movie, it's worth a check - totally stupid humor but a lot of fun (Stephen Furst is hilarious).

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Guess a few upscale film directors were sitting around sipping their absinthe, grappa, aramangac or jungle juice some night in the 80's during the Cannes or other film festival and one said "Hey, guys let's do a movie where each of us creates a segment around a world class aria." Welllll...it kind of sort of worked. Clearly someone was smart enough to select some of the best recordings of the arias chosen, for example Bjoreling's Nessun Dorma, so if you were blind and lying on the floor just listening to the DVD you got more than your money's worth. Not every director succeeded but more did than not and the flick seems to improve with each viewing over the years. My favorite is the eerily beautiful love duet from Die Todt Statd; okay a young naked Elizabeth Hurley is eye candy but her husband singing to her, his wife's ghost, is incredibly beautiful with the love music second only to Otello and Desdemona's "Gia nella Notte Densa" in all the operatic repertoire. Could the flick been better, sure, what couldn't not have been but it's well worth a view especially of you're in a hyper-romantic mood.
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I've been a fan of Rachael's since the beginning of 30MM on the Food Network, so I have seen her grow over the years. The minute I saw her interact with Oprah, I predicted that this show would happen, because I saw how taken Oprah is with her, and with good reason: she comes across as very natural, and willing to laugh at herself, which is very engaging. The set is appealing, and there are some fresh ideas (I love the lazy Susan that the audience sits on). There's just enough of a celebrity segment, and she stays away from controversy and debate (there's enough of that on daytime TV). The show is a lighthearted escape, and she hasn't moved away from her strength (cooking), which is very good planning. I know there are people who hate her and hate her show; that's OK, you can't please everybody. And somehow, I think Rachael knows and accepts that. So just turn the channel; I don't think she'd mind.
The war in the East,as the Germans referred to the WW2 Soviet-Nazi conflict, was a war of annihilation on the part of the Germany. 90% of the German army were in the Soviet Union fighting. Their ultimate aim was to wipe out the so called "sub human (Untermensch)" Russian population and colonize the mainly empty country with German settlers after they had won.

Read "Hitler's Willing Executioners."

Here we have the German army presented as innocent victims and not as Nazi mass murderers. When are modern German film makers going to be honest and face up to the past?

Better see the Russian film "Come and See" instead!

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For a horror film, this is criminally dull. A few memorable, gruesome bits can't compensate for a really poor script. Very little coherence is achieved, and the movie relentlessly overplays its one basic idea (a killer cat), until it becomes repetitive - and things are made even worse by the constant use of shots from the cat's point-of-view. (*1/2)
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I only came here to check Terror Hospital for an alternate title so I'd know what not to pick up. Not only do I get the original title, but I come to find Terror Hospital is one of seven more aliases.This one is a real clunker. Movies like this can usually be forgiven for any number of reasons, mostly unintended consequences of the feature on every level of production that result in at least a mild form of entertainment, mostly amusement. This has none of that. Instead, the viewer is witness to redundantly unnecessary and way-too-convenient-for-the-situation exposition and drawn out scenes of characters warily moving from room to room, and all this is half of the film. Forget trying to figure out where anybody is (or who they are) during darkened or nighttime scenes, too; you probably won't care, anyway. There is also a random car chase sequence that seems quite dull when compared to some of the old driver's ed movies I slep... er, I mean sat through and watched way back in high school. Really, we're talking about mysticism, possession, and a killer on the loose here - not a bad recipe for trash cinema. Unfortunately, there's nothing here to make it even "good" trash; when joined to the aforementioned, the bad acting and not-so-special effects are just that - bad acting and not-so-special effects. This one's just trash, pure and simple. Leave it on the rack at the pawn shop or in that box at the yard sale. There's a reason its there...
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A train holding union soldiers is transporting $300,000 of gold, along with a banker Clayton, who's there to see it reaches its destination, but it's suddenly robbed by the bandit Monetero. However Bahunda nicks off with the gold and hides it, but when Monetero tries to get it out of him, he's killed by soldiers. The only clue is that of a medallion, but Monetero is captured and soon would be executed. A stranger dressed up as a priest comes by (who after the bounty of Monetero) and offers to save his life for half of the gold. In exchange Monetero gives him half of the medallion, but Clayton notices it and discovers something is up. Soon all three are crossing each other for the gold, but also the bank's insurance company and Monetero's gang are watching on, waiting for their chance to pounce.

Just watching the opening sequence you'll know you're in for a spaghetti western with a tongue-in-cheek style and a reliance of sprinkling many references (some nicely realised) from other films (largely the Dollar trilogy) of its sub-genre. Director Enzo Castellari's sprightly direction is sprawling and mostly lightweight, but there's potential in many of his grand, showy set pieces and smooth rhythmic pace. Largely there's a lot of tussles, fist-fights (and plenty of acrobatic stunts) taking place, compared with all-out vicious shootouts. However most of these stunts are very well done, and very enjoyable and when the guns are blazing there's energy to burn. The traditional story sticks close to conventional details, but since there's a lot of conniving and outfoxing going on, the spontaneous nature makes sure you're never quite certain how it's eventually going to play out between the three. This leads up to many effective suspenseful moments, clever twists, and plenty of wink, wink. The humour within the starch script is pretty sly. Worked in favourably amongst the light and zesty style, is Giovanni Bergamini's dynamically taut framing and Francesco De Masi's impulsively rousing music score. The performances are extremely well tailored and form a striking rapport. George Hilton's wry and scuffed turn is solid as the ambiguous stranger. Gilbert Roland brings class and intelligence to his formidable Mexican bandit Monetero. Edd Byrnes gives a poised performance as Clayton, that holds up well. Kareen O'Hara doesn't get much to do, but is a worthy looker. Gerard Herter, Pedro Sanchez and Ivano Staccioli provide able support.

A fun and worthy spaghetti parody/homage that throws one curve-ball after another and many fruitful down 'n' dirty antics.
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The good news for IMDb is that this movie was so very bad that it compelled me to register and make a comment. I should add here that I'm a film buff who rarely passes harsh judgment. But sometimes a movie is so poorly acted, poorly conceived, poorly edited, with a such a poor story line that it begs criticism.

I'm surprised by all the claims of how superb, brilliant, dark, and beautifully shot this movie was. I can only conclude that the cast and crew are active posters here. The acting was extremely thin. The pace of the movie was agonizing. I gave it new chances at every turn (mostly because I didn't want to feel like I was wasting a Saturday morning in NY), but with every new scene, it dragged longer, delivering characters in which I took no interest, with which I could not connect, for whom I could not empathize.

When I see negative reviews on IMDb of small independent films like this, I sometimes wonder if the poster has a personal axe to grind (something like. . he used to date the gaffer, she dumped him, and now he's going to trash everything she ever works on). But here, nope. I know no one who worked on this film. And I wish it would have been great. But the film wasn't dark (as some have mentioned) or depressing (as others have claimed). . . those suggest that I connected with the film . . . nope, Henry May Long was just too long, empty, and tedious. 

That's the Tomas Take on this one.
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1983 was a bumper year for Stephen King books making it to the big screen. Christine, The Dead Zone and Cujo were all released within a few months of each other. While The Dead Zone was easily the pick of the bunch, Christine and Cujo were both pretty bad, and it's a close-run thing as to which is the lesser of the two. If pushed for an answer I'd say Cujo - marginally - is the weakest.

Donna Trenton (Dee Wallace, fresh from success as Elliot's mom in "E.T - The Extra Terrestrial") is a mother whose marriage to husband Vic (Daniel Hugh-Kelly) is hanging by a thread. She's been having an affair with a local worker, and is now dwelling on whether or not to leave her husband. Dragged into the marital heartache is young Tad Trenton (Danny Pintauro), son of Donna and Vic, and a pretty messed-up kid with a chronic phobia of the dark which often leads to severe panic attacks. Donna and Tad take the family car to a nearby mechanics' yard for repairs, but as they arrive their car splutters to a halt. Things get a heck of a lot worse when they discover that the mechanic, Joe Camber (Ed Lauter), isn't there (he has been savagely killed by his pet dog Cujo, a gigantic St. Bernard which was recently bitten and infected by a rabid bat.) Soon, the dog has them trapped in their car and is trying everything to get inside the vehicle to tear apart these two hapless victims. The weather is swelteringly hot; not a living soul knows they're there; the car won't start; and the dog seriously wants their blood......

Cujo has potential to be a genuinely taut siege thriller, but it never really clicks into gear. I've read the book and it is quite disappointing - certainly for King - so it's hardly surprising that the film version amounts to so little. On the printed page, King was at least able to generate a degree of tension, but the film is critically hampered by the fact that a St. Bernard simply isn't very scary. The "visualness" of the film medium serves as a constant reminder that Cujo IS a St. Bernard. In the book, it was possible to forget this. In the book, Cujo sometimes almost seemed to assume the guise of a monster. Even with the relatively short running-time of an hour-and-a-half, Cujo becomes a tedious and patience-straining experience, occasionally unintentionally funny and certainly never as suspenseful as it would like to be. They've even omitted the book's cruelly downbeat ending and replaced it with an "all's well that ends well" conclusion so that audiences can go home in a cheerful mood!!! Chalk this one down as yet another inferior King adaptation.
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This movie was well done but it also made me feel very down at times as well. For anyone that is considering show business this is a must see as it shows the raw deal in what goes on for these struggling workers. The soundtrack was definitely cool and the acting and dancing complimented it nicely. Some of the student's attitudes might have been a little far-fetched like Leroy's especially because I'm sure someone like that would've been kicked out immediately for refusing to read and such if this was the real High School For Performing Arts. The Coco screen test is hard to watch for any people out there with weak stomachs, please heed my warning. While it's very gritty I know it's the truth on what happens so in this respect the movie is right on. Overall it's entertaining and even though some parts drag on the majority goes by really quickly.

Final Grouping:

Movies: Probably would've skipped this one.

DVD Purchase: Not something I'd need to see again and again.

Rental: Worth renting at least once in your life!
I saw this superb documentary at the Santa Barbara Int'l Film Festival. It is extremely absorbing and very well crafted, drawing you into the life and career of Harry Nilsson, one of the most overlooked musical talents of the 1960's and 70's. While I was familiar with his better known compositions ("One is the Loneliest Number", "Without You"), I learned about this man's brilliant writing and beautiful singing. If you love music, you'll find plenty to draw you in to his world, which unfortunately spiraled out of control as his success increased and his past haunted him. However sad, he nonetheless was completely devoted to his family and you will find yourself so glad to have met this man. The profile is effectively told through Nilsson's own words and those of his friends and colleagues (a virtual Who's Who of Rock)who loved and respected him. Don't miss this!

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positive
Please tell me the sentiment of the following review: Heftig og Begeistret (Intense and Enthusiastic) is a documentary-like story of a male choir up in Berlevåg in the very northern part of Norway, where the weather is cold and hostile, the days are dark during the winter and the towns are faced with young people moving to the more populated parts in the south of Norway, where the climate is warmer and there are more opportunities.

The most beautiful part of this movie is the humans themselves. The people in the choir, who are aged from 30 to 95, all have unique, colorful lives and are very enjoyable beings. They are characterised by the harsh climate and the recession of the North and have adapted to the way of living required. Throughout the movie, we learn a bit about many people in the choir and we follow them through songs, some events in a church and on the harbour, and in the end, a trip to Murmansk.

The outside environment filmed in the movie is very beautiful and characterised by the Norwegian nature. The scenography is also natural and taken directly from the choir and from the peoples lives that we meet. Thei r livingrooms, the bathroom, the kettle on the oven; there is nothing artificial about this movie, not the people, not the environment, not their music and not their feelings. Everything is as real as can be.

It all loses out though when it comes to giving a story. It is very beautiful and real, but why do we see it? Is it because of the songs? Is it because of the nature? Or is it simply just to see a story about Berlevåg Mens-Choir, about their life and some of the trips they have. The message, if there is any, is that this small society copes with life through such social events like the choir. The choir have kept the people together for many many years.

It is all nice, but being as popular as it has been, seen by almost 200.000 in Norway, there is something wrong. There is no beginning or end to it. Nobody gains or loses anything, nobody reveals any message or tries to convince the audience of that this is good or that life up there is great. Why was this movie made?

I am sorry. It is a nice movie about good people, but compared to the average European, Scandinavian or Norwegian movie - this does not deserve a 9 out of 10. It is closer to 4 out of 10, and that is what I will give it.

If you see this movie in a theater, you should expect the average age on the audience to be around 55-60. It has reported to be consistently high in all theaters. Maybe this is also the reason for it receiving such very high praise in the news and good grades also on the IMDB: It is a movie about elders, for elders. It is a movie of "I regret nothing in my life", and a story saying that living in a small town like Berlevåg, might be a nice life too.
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negative
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David Bryce's comments nearby are exceptionally well written and informative as almost say everything I feel about DARLING LILI. This massive musical is so peculiar and over blown, over produced and must have caused ruptures at Paramount in 1970. It cost 22 million dollars! That is simply irresponsible. DARLING LILI must have been greenlit from a board meeting that said "hey we got that Pink Panther guy and that Sound Of Music gal... lets get this too" and handed over a blank cheque. The result is a hybrid of GIGI, ZEPPELIN, HALF A SIXPENCE, some MGM 40s song and dance numbers of a style (daisies and boaters!) so hopelessly old fashioned as to be like musical porridge, and MATA HARI dramatics. The production is colossal, lush, breathtaking to view, but the rest: the ridiculous romance, Julie looking befuddled, Hudson already dead, the mistimed comedy, and the astoundingly boring songs deaden this spectacular film into being irritating. LILI is like a twee 1940s mega musical with some vulgar bits to spice it up. STAR! released the year before sadly crashed and now is being finally appreciated for the excellent film is genuinely is... and Andrews looks sublime, mature, especially in the last half hour......but LILI is POPPINS and DOLLY frilly and I believe really killed off the mega musical binge of the 60s..... and made Andrews look like Poppins again... which I believe was not Edwards intention. Paramount must have collectively fainted when they saw this: and with another $20 million festering in CATCH 22, and $12 million in ON A CLEAR DAY and $25 million in PAINT YOUR WAGON....they had a financial abyss of CLEOPATRA proportions with $77 million tied into 4 films with very uncertain futures. Maybe they should have asked seer Daisy Gamble from ON A CLEAR DAY ......LILI was very popular on immediate first release in Australia and ran in 70mm cinemas for months but it failed once out in the subs and the sticks and only ever surfaced after that on one night stands with ON A CLEAR DAY as a Sunday night double. Thank god Paramount had their simple $1million (yes, ONE MILLION DOLLAR) film LOVE STORY and that $4 million dollar gangster pic THE GODFATHER also ready to recover all the $77 million in just the next two years....for just $5m.... incredible!