cindermond/bento huggingface dataset:
Got this off of usenet, so I wasn't prepared for the heavy (and I do mean EXCEPTIONALLY heavy) religious theme. Not that I'm one of Satan's disciples or anything, but it was very heavy handed.

On top of that, the acting stunk. It might be because they had to get good little boys to play bad little boys, but it didn't work.

There was some pretty cool filmmaking involved, so any fan of directorial style might want to check it out, but be ready with the fast forward buttons.

There was some sloppiness to the editing. In particular, a black Mustang (probably a representation of Satan?) squares off against a white 240Z. Wheels spin, camera changes, and whattya know, that white 240Z is transmogrified into a white Civic.

I gave up early on, so I can't vouch for the moral impact of it. But I would like to point out that this sort of film is totally preaching to the choir. If the director/writer/producer was trying to bring religion to the unwashed streetracing masses, they went about it all wrong. I think I'd rather watch an adult diaper commercial than listen to a steely-gazed bible thumper rant about Jesus' dying for us. Yawn.


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It really is a great film (after being able to ignore Blake Edwards Pink Panther references which he appears to be obsessed with and are hugely unfunny). Julie is, as usual, wonderful - singing and acting brilliantly. I remember seeing it at the Odeon Cinema in the Haymarket, London on its release. However Julie's non-appearance at the UK premiere of STAR! was most unfortunate and (apparently!) due to filming the aerial shots for Darling Lili over Ireland. A reasonable excuse if she had appeared in any of these aerial shots but she did not. Two box office flops in a row ruined her film career for quite a few years. But Darling Lili,just like STAR!, deserves much more public appreciation.
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Dark Harvest 3: Scarecrow: 1 out of 10: In Einstein's theory of relativity time is of the perspective of the one that views time. (Or so I've heard) In other words this movie feels a lot longer that an hour and change. Even on fast-forward (And you will be reaching for that fast forward button) it clocks in somewhere around eternity.

If you are familiar with Lionsgate's own version of Project Greenlight (This is where they buy a home movie but a fancy cover on it and sneak it into the horror section of your local Wal-Mart) you will not be surprised by the complete and utter lack of entertainment value contained within.

The line reading (I refuse to call it acting) is uniformly awful. This is a collection of deadbeat dads and strippers pretending to be in a movie between cans of Schlitz. The camera work is drunken father shooting vacation film quality and while the special effects are okay the scariest effect is the breast augmentation scars in the nude scene.

The story is awful, the sets are from a haunted Halloween put on by ADHD middle school students and once again the line reading (remember this is not acting anymore than sinking to the bottom of a pool is swimming) is distracting beyond mere words. Avoid.
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I'd give this film a zero if I could. How anyone could rate it any higher is beyond me. Until I saw Rollerball, this was my pick for worst film ever from a major studio with a real budget (claiming Mangler 2 or Leprechaun in the Hood as the worst ever isn't really saying much, those are supposed to be bad)

Tim Curry's mom must have needed surgery or something for him to agree to this non-sensical garbage. I'm really not sure what happened here. The novel was great, the director Frank Marshall had a solid track record with Alive and Arachnophobia (perhaps they should have changed the title to 'Africa'), the cast was good and the budget was there. You'd think someone would have bothered to read the script.

You'd be better off watching Battlefield: Earth again than wasting your time with. Congo makes you long for the return of MST3K

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I must have seen a different version than the first person on the user comments section.

It's really, really good...Steve Zahn and Karl Urban are great together. Val Kilmer's character is much like he was in the novel, although the emphasis is on Gus and Call and the Comanches. We get to see what happened with Call and Newt's mother as well. I won't spoil it, but it gives a lot of insight into Call's character.

All the actors did a really convincing job. Steve Zahn had the biggest challenge, I thought, to follow Robert Duvall! There's a lot of action, humor, tragedy. It's got something for everyone. I can't wait until it airs, my family are all jealous I got to see it early!
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One of the most boring,pointless movies I have ever seen. The title character is self-centered, self-absorbed and wholly distasteful. The secondary plot line is incomprehensible and its relation to the primary plot line is mystifying. Hated it.
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Oh how awfully this movie is! I don't know if it is a horror film or a drama, cause the story and the both genres are not established very well! The story is not moving, it is slow, boring, and sleepy from the beginning to end. This movie really bores me! But I really liked the camera work, it is authentic, fresh and clear, the acting is great too, the little boy was the great performer in this movie, but it hasn't made me to jump from my seat. But this movie makes me grab a pillow, lay on the bed and sleep until the credits roll...

Boring! Not worth watching! I tell you, this movie sucked!

1/10

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I have seen nearly all the films of Kurosawa and dozens of other Japanese films as well. Compared to these other films, this is a rather average to poor film. The plot features two warring brothers--neither one of which I cared much for--and it is very confusing keeping up with who is allied with who. The music and cinematography is pretty good, but the special effects, at times, are terrible--rubber heads flying off with about the same realism as the average high school play! On top of these complaints, the ending of the movie completely DESTROYS and UNDERMINES the entire picture. It turns out that the end isn't true but was completely "fudged". What's the point of this, then? If you HAVE seen this film, understand that there are MANY better films out there, so don't give up!
The thing with Ali G is that he takes the mick out of himself and his character. 

The humour is very much a 'like it or love it' brand of totally politically incorrect, irreverent and self effacing type.

Personally I totally love this film, and so has everyone i have met who has seen it. You can watch it several times and pick new gags up each time. The humour is both aural and visual, and the timing is impeccable. The humour is probably very English, and specifically London, so its possible that non-English viewers may not get some of the humour. Think of yourself as a teenager and you will love it - especially if the likes of Kevin & Perry Go Large tickled you!
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This movie is so mild! I tried not to expect anything greater from this film, but still it was a big disappointment. The basic idea of the story is interesting and potential. This could have been so much better. The characters are really simple, no depth at all. It's a shame that previously talented performers Tiina Lymi and Petteri Summanen didn't make the already poor characters any better. The director just don't get the watcher emotionally involved at all with this piece of cr*p.

And the the chase sequence at the end of the movie. That's hideous!!!

Why there had to be so stupid and old solution for that situation?

It's too much used element with even more terrible way of filming it. OH NO!
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From the makers of Underworld, we have, by far, the worst werewolf movie I have ever seen. It is basically a reconstructed version of Underworld, yet lacking vampires (not a big deal), cool effects (a BIG deal), and generally just about everything that can possibly be done right to produce a decent film dealing with lycanthropy (the biggest deal of them all!). A twenty-something lycanthrope chocolate maker named Vivian is currently residing in Romania ever since her family was hunted down and executed in front of her years ago in America for being werewolves. There, she belongs to a small society (or pack) of werewolves and is apparently chosen to unwillingly wed the pack leader, Gabriel, whose son - some toad with a British accent - takes it upon himself to hunt outside of the pack. They have apparently been discovered in other countries prior and want to remain settled in Romania by avoiding negative attention, so of course, such activity is considered forbidden. Vivian ends up falling in love with an American artist who is oblivious to her involvement with the group of blood-thirsty predators. When they end up discovering the secret relationship, things get messy when someone is killed and the human is forced to participate in a deadly tradition in which he is set loose in the woods and is hunted - giving the pack a chance to transform into their "wolfy" selves. All this really consists of is a big leap before they light up and land as a wolf. Very cheezy effects. The entire movie is like a tamed down Underworld with some drippy, romantic montages and very little action. Watching this in the theater, I could not wait for it to end. A devastatingly boring disappointment. Avoid!
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No matter how many times Wile Ethelbert "Famishius Famishius" Coyote tries to get Road "Burnius Roadibus" Runner, we always know what's going to happen, though our sympathy always remains with WEC. The highlight in "Hook, Line and Stinker" is a Rube Goldberg-style scheme that WEC hopes will finally finish off RR; but of course you know what happens.

So, Wile E. continues hilarious engaging in fanaticism (defined by George Santayana as redoubling your effort after you've forgotten your aim) while Road Runner pretty much never becomes aware of the potential danger - or lack thereof - in which he could find himself. A real classic.

And yes, the coyote's middle name is Ethelbert. I learned that from "Jeopardy!".

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I only comment on really very good films and on utter rubbish. My aim is to help people who want to see great films to spend their time - and money - wisely.

I also want to stop people wasting their time on garbage, and want to publicize the fact that the director/producer of these garbage films can't get away with it for very long. We will find out who you are and will vote with out feet - and wallets.

This film clearly falls into the garbage category.

The director and writer is John Shiban. It's always a bad sign when the writer is also the director. Maybe he wants two pay cheques. He shouldn't get any. So remember the name - John SHIBAN. And if you see anything else by him, forget it.

I won't say anything about the plot - others have already. I am a little worried by how much the director likes to zoom in to the poor girl's face when she is crying and screaming. These long duration shots are a little worrying and may say something about the state of mind of Mr. Shiban. Maybe he should get psychiatric help.

Enough already. It's crap - don't waste your time on it.
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OK, so I know better than to watch movies on SciFi . . . er, sorry . . . SyFy. Or shifafa. Or whatever it is now. So sue me. I spent my whole Saturday doing advisory-board brainstorming for a nonprofit. I can be forgiven for flopping into my armchair and wanting to watch some movie I'd never seen, rather than read Proust in the original or learn how to play the oud.

Which is to say, I didn't deserve Open Graves. Of which I saw none, incidentally. Were there any? Did I fall asleep? Why is it called this?

Some icky visuals. Not many scares. As with too many films in modern horror films, no reasons are given--apart from shared humanity--to care about any of these people. Half a point, though, for the legless entrepreneur, who was clichéd but did have one good scene.

It all sort of plays like Final Destination delivered via a board game. The game does have an intriguing look to it, and it involves one of my favorite old conundrums. I'll give it that much. The drawback there is that the game possessed more personality than most of the characters.

As for the end, if you didn't see it coming, then I think YOU fell asleep. Somewhere back around the dawn of the genre.
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French Cinema sucks! Down with all these psychiotric visions with their my-God-am-I-cultivated distinguished attitudes! Pestilence to conceited symbolic film-language and impervious chiffres! I'll no longer have a mind for that! Léos Carax, did you ever think about, that a dialogue in a film could be natural and vivid??? Maybe I'm too common to understand you? Or had it been your task to confirm all the clichés of a Frenchman the world can have? Guillaume the to-be-guilliotined comes to his home-palace, Mme. Deneuve, not in the picture, plays the flute: "Here am I, darling!" In this moment, I knew, that she's in the bathtub, and we`ll see her lying in there soon. Don't misunderstand me, I'm not prudish, and the incestous sex scene was the climax of the film. But this is, in Berlin, we say "etepetete", what means something like "être-peut-être", a snobistic, self-satisfied, and, the worst, seen that often in French movies I can tell! Other example: She, beautiful and willing, is looking at herself in a mirror, combing her hair, and her wild-bearded, dirty young guru rushs into the room, breathless shouting: "There's no escape, there's no escape!" Forty years after existencialistic Sartres and consorts- what's new, what's exciting about? My God, there's that woman and she loves and admires you, what would be more natural to be happy with your life? And when you're not, please explain much better, why!! Born French means you have to live a life in extravaganza, no escape, is that the point?
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If "Love Me Tonight" is "the musical for people who don't like musicals", it has to be said that "The Gay Desperado" is definitely not a musical for people who don't like opera. In fact -- despite apparently being based on a comic operetta -- it is not really a musical at all but a spoof bandit story with interpolated unrelated arias to show off the voice of one character; and what a voice it is.

Nino Martini, as the young singer Chivo who joins the bandit troop to get a spot on the radio (no, the plot doesn't make a lot more sense later on either...), has a glorious golden tenor whose style hasn't dated a day since the era when it was recorded. The trillings and warblings of some of his musical contemporaries belong to a bygone fashion, but it's very easy to picture Chivo belting out "Nessun Dorma" to a World Cup crowd and topping the charts in the process. Unfortunately, while he has an engaging grin and a decent dramatic range, he is completely incapable of acting and singing at the same time. The result is that the otherwise rapid-paced film grinds to a shuddering halt every time Chivo lays his hand on his breast and starts to declaim, and the viewer's tolerance of the result is likely to depend on his appreciation of operatic performance.

Aside from this drawback, the film is an enjoyable broad-brush satire on Hollywood conventions and the Mexican bandit stereotype in particular, which achieves the vital goal of all such spoofs in making its characters engaging enough in their own right to hold the viewer's interest when the joke would otherwise have grown stale. The bandit chief and his sidekick have the traditional double-act relationship, there is an enigmatic peon with a carved-teak face, and a spirited heroine (a young Ida Lupino) who performs the generic "you say you hate me but you love me really" routine with a refreshing twist.

Overall the film is entertaining and pretty funny, and I feel I did get my money's-worth -- but it can't be denied that the musical interludes, while admirable in their own way, introduce severe pacing problems.
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This is what Disney Channel shows to kids who are dumber than posts. It suits them well. It's not funny, the acting is the worst I've seen in many years, there are more stereotypes than there are actors, and everything about this show makes you groan and roll your eyes. Wanna know why? Not only is this show a waste of airtime, the lead "actress" Selena Gomez looks like a pig. Jake T. Austin's character needs some Ritalin. David Henrie's character needs to visit a strip club and get wasted. Also, the writer of the show is inconsistent. In one episode, the security guard is called "sir" by one character and referred to as a woman by all else. 

Hello? It's called proofreading and editing. Do it sometime, Disney. 

Has anyone seen the promo for the new "four part bloodsucking saga"? Disney wanted their own version of the Twilight vs. Harry Potter thing. Except a million times lamer. The Wizards of Waverly Place Movie?? Think about it for a minute. Family goes away on vacation and 16 year old daughter wants independence from parents. SAME PLOT from The Proud Family Movie etc...

What's worse is all the Emmies and ALMA'S it got. And most of the audience are some-what age's 4-13 (And no life teenagers). how many more years? before selena gomez is showing her tits?

and Disney shows are all crap..hack writers..hack shows..destroying the minds and wallets of today's youth..
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Robin Williams shows his stand-up talents and boosts up his status as a comedian in this movie of "what's wrong-in American politics and how can Hollywood try to make an influence without boring people". Of course Hollywood uses movies with hidden or not-so-hidden agendas. I think this movie is for people who likes stand-up and political discussion. And the trailers of this movie were for everybody just to make sure as many people as possible will see this. Everybody knows Hollywood is more liberal/democrat than the bush&co so they have to make these movies every now and then...but this one was perhaps too obvious, at least I thought so, for making any real change.

Still, great stand-up and fresh political issues and talks...I enjoyed it and thanks to IMDb.com ratings I was positively surprised when I walked out from the movie theater, and yes, I laughed many times. Sometimes you just have to let it go and forget all the seriousness....see this movie if you like good and clever stand-up or politics and you will not be offended by the several references of how things are not good right now. Rent it if that doesn't match you.
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I have to confess that I know some of those involved, I was in the forerunner to The Planet, Evil Unleased, however this was more than 10 years ago and I had since lost contact with them. I happened to be watching BBC Scotland News and a piece regarding Scottish Cinema, this mentioned and showed clips from The Planet and comments from it's director Mark Stirton, this prompted me to order a copy of the film on DVD.

Now to the film, the level of acting, writing, directing and sfx is up there with some of the best around, OK it's not Star Wars but I've seen many a Hollywood product that is far inferior. It is very strange watching a film spoken in my local North East Scotland accent but that soon passed.

^Mild Spoilers^

The Planet draws on several sci-fi classics; Star Wars, Alien, Pitch Black, Forbidden Planet and Predator, a handful of the merchant crew of a deep space transport ship survive their craft being attacked and destroyed by unknown ships, they escape onto a deserted desert planet, one by one they are killed by invisible attackers, the ships only passenger, a mysterious prisoner also makes it to the planet, a battle ensues as the crew fight to survive.

The Planet is a brilliant piece of sci-fi film making that certainly hides it's limited budget, well done to Mark, Mike and all those involved, I look forward to your next work.
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Here is a movie that was so pedestrian for 90% of it that it had no right to become so challenging and frustrating at the end. Did the director decide to become auteur suddenly, 80% through the making of this movie? Yeesh. SPOILER ALERT Thing start out typically enough for 50's youth-gone-wild; there are drifters, good girls, bad girls, gangs, the kindly old diner manager, and the town creep. Things follow the expected path until about 15 minutes before the end, when the only likable character is killed off and the anti-hero is blamed (this would not be so unexpected if this were the main plot of the movie... but all this stuff starts happening and unravelling during the final reel! Major curve ball). Then things get weird; the kindly old codger forms a mob and beats the hero to a bloody pulp. The mere presence of the hero's friend somehow drags a confession out of the real killer - the leering, creepy town nut (which in any real universe, he'd have been the prime suspect to begin with, even if the anti-hero was found with her body).

We're left with a somewhat feeble "happy" ending, which is about as out of character with the rest of the movie as the events of the 10 minutes preceding it.

Even more odd is this film's insistence on playing homosexual innuendo to the hilt, but constantly presenting the two male leads as straight. Maybe this was on purpose - perhaps Bix's resistance to settling down with the girl was more because of his sexuality (which in the 50s would have to be kept quite repressed, and thus not discussed or even admitted by him) than his need to be a "drifter". If the director's intent was to spin this as a sexual yarn - that the drifter drifts because he feels he's an outcast sexually; that his paternal regard towards Danny is not, in fact, paternal but spousal; that his inability to remain with Carrie is rooted in a sexual revulsion that even he does not quite understand - it could have been made more clear. Instead, we get this very bizarre alchemy of homoeroticism and behavior that is completely heterosexual.

These young men sleep next to each other even when they can get some room to spread out. When Danny is propositioned (and once even in bed with a woman), Bix flips out and takes him away. Danny pays Bix's way (sure, there is another explanation for it, but it still strikes a chord every time you see Danny buy Bix's lunch). They end up living together at the end. Not since Hitchcock's "Rope" has homosexuality been so blatant but denied.

MST3K did the right thing by taking this one on. Aside from Jack Elam, there is little to commend the film.
I remember seeing this a long while ago, and I knew most of the concept, but no detail, so I'm glad I watched it again, from director Frank Oz (The Muppets Take Manhattan, Bowfinger). Basically new star Cameron Drake (Matt Dillon) has just won the Academy Award for his latest, where he plays a gay soldier, and he does the usual "thank yous", he even mentions his past school English teacher Howard Brackett (Golden Globe nominated Kevin Kline), and he outs him as gay! Howard is determined to clear his name, and get out of the media spotlight as a denying gay man, especially as his marriage to Emily Montgomery (Oscar and Golden Globe nominated Joan Cusack) is on the way. So it comes to the wedding day, and when it comes to Howard saying yes or no, that is when he outs himself, and admits to himself and everyone, that he is gay. This of course gets him fired as a teacher, but everyone stands at the graduation day to out themselves (in support), and Cameron even shows up to clear things up, so that everyone, especially school head Tom Halliwell (Elf's Bob Newhart) knows it's okay to be gay. Also starring Tom Selleck as Peter Malloy, Debbie Reynolds as Berniece Brackett, Wilford Brimley as Frank Brackett, Gregory Jbara as Walter Brackett, Glenn Close, Whoopi Goldberg and Jay Leno. The highlight of the film has to be when Kline can't help dancing to Diana Ross's version of "I Will Survive", that must have been what convinced him of his sexuality. Kline is always good, Cusack is a surprise Oscar nominee, and all supporting cast members do their bit too in this very funny comedy. Very good!

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This movie is absurd. Absolutely terrible. Michael Keaton and Andy Garcia must really have needed the work to do this movie. The plot is totally not believable! Michael Keaton agrees to donate bone marrow to the dying son of a detective, but then escapes. He manages to elude the police throughout the hospital - not believable that he would have so much knowledge of the hospital. He takes an extremely convoluted route to get out of the hospital, blowing up the power generators and a pedestrial bridge (why?). And to top that Andy Garcia (father of the dying boy) and a doctor help the criminal so as to get the bone marrow. The plot is such baloney! Maybe the worse movie I have ever see.
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This turned out to be more of a women's romance-soap-suspense film than what I hoped it was....simply a tense thriller. Yes, the final 20 minutes were suspenseful but much of the previous 75 bordered on being just plain tedious.

Ruter Hauer was a little too subdued, not playing his normal intense character. Natasha Richardson sports somewhat of a dumb look most of the time and her character was very unappealing.

The story is so-so. It's not as bad as I'm making out, but it sure isn't anything I'd watch again, and the back of the VHS describing this movie was misleading.
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This is one of the worst movies I have ever seen. I could hardly stay awake. The acting and the plot were horrible. I like B-movies, but this movie has nothing that could make me laugh or think about. OK, there were two or three funny moments at the beginning, so I have to give this movie 2 out of 10. If you really want to watch it, watch the first 10 minutes. After that you will get more and more disappointed while the movie runs.
This is the first Woody Allen film I've found not worth watching. I think Woody has tried many different genres to interest results but this movie just left me irritated and bored. The music is lovely but don't bother watching this hopeless mock-umentary.
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I was happy to find out that at least now this movie is beginning to get the appreciation it deserves (just view those votes). Not top-class action like "Die Hard" or "Lethal Weapon", but still something like a solid 7 out of 10: fine script, good actors with working chemistry, and a director who knows what he wants (sadly, this was director Harlin's last good film. "Deep Blue Sea" managed to reach 'an OK rollercoaster-ride'- status, but "Cutthroat Island, and especially, "Driven" are well-deserved flops!) Personally I think the turn-off at the box-office might have been the "Woman as an action star"-theme. Well, give her a chance, because Davis does deliver a performance above par. And, after all, this film doesn't concentrate so much on the "feminine"-side, but instead on good ol' action, buddyism (Jackson as a sidekick is given a lot of room in here, plus his share of action- and about a thousand killer wisecracks!) and on the plot (from Shane Black, the writer of "Lethal Weapon" and "The Last Boy Scout". The latter of which as a movie is on very many levels much like this one...the theme, the clever plot, also as good and as underrated!) Overall: if one hasn't seen this one yet, don't forget to rent it for the next quiet Saturday night!

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Oliver Stone is not one to shy away from a movie or theme for that matter. He is eager to confront people with their fears or show them their ugly faces in the mirror. Look on his CV for proof! This movie is not an exception, quite on the contrary, it is another gem, that unfortunately not many have seen.

As controversial movies go, this is one that you should be thankful for. A movie that should encourage you to think about you, the people next to you. The prejudices that do exist and that everyone of us has in one form or another. Either we like to admit it or not, but it is easier to categorize people and be like "Ah he's 'xyz', yeah he must be like ...". Now I might be reading too much into it, but I don't believe that. I believe that Oliver Stone is a very intelligent filmmaker and that he was aiming for those things. And if that's something you want to explore (as a movie or within yourself), than watch this film and be excited!
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The unfunniest so called comedy I've ever seen

Not a patch on the naturalism of the hilariously dare Twin Town

Vegas I ;like normally but this script is so dire so predictable so well English in the worst way (In recent years the English films have been awful all of them) Ireland at least produced the commitments, Scotland with Braveheart and Trainspotting 2 stand out great movies and Wales had Twin Town, Zulu, Last Days of Dolwyn , Torchwood, Doctor Who and Under Milk Wood etc

The comedy is paint by numbers, the actors are dead men walking because there is no characterisation and no originality and it's just so unfunny

England is falling behind no matter how many grim up north movies they produce. It's the old class system that destroys English films. The Oxbridge graduates spewing endlessly clichéd scripts about working class people they've never lived with. It is pathetic. Monty Python wasn't funny, neither was anything from Oxbridge.

Let guys like Jonny Vegas and Peter Kay, Rob Brydon, Billy Connolly or write their own dialogue and forget the archaic failed class system let the working class people and the real talent that comes through the system properly take over the writing and the British and English film industries will rise again what next prince Edward to write a modern day Oliver Twist?
Please tell me the sentiment of the following review: This movie was rented for free, I had no misconception about this being a very bad movie. I rented it for Thanksgiving because we eat turkey and then the family watches an awful movie. So you ask, what makes this movie so bad you gave it only 2 stars? Dialog. The lack of dialog makes this a movie perfect for a deaf audience. In fact if you rent this, just turn the volume down to zero and pop in any heavy metal CD from your favorite artist. I know you will enjoy it better. The plot of this holiday turkey was so encumbered with tech and geek speak you need a translator for the narrative. Now for all you people who enjoy good sci-fi effects... eh, they are not much better than video game trailers or cut scenes in cases worse. The actors, um both of them, are not much to look at either. They say nothing much through out the entire movie. Many of the technical aspects will make you laugh like the scene where the hero straps herself to a missile and fires it at the city 70km away (it never showed how she landed). The scene before that we see a robotic sentry fire at her with a cannon from 12 feet away and he misses multiple shots. Also we are told that the political division between the antagonist and protagonist is bio-tech (genetically enhanced humans) vs cyber-tech (machine enhanced humans) but both seem to be cyborgs or enhanced humans. What told me this was a bad movie at the rental store was the cover that looked like a video game cover art and there was only the one copy, good new releases have many copies available.
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The intertwined points-of-view can come up as a good idea in some movies. Here it is a total mess.

But the total mess begin with the story: a video-clip bummy wants to shoot a light comedy with a pernicious noir-like female character. She is gorgeous and no men could resist to dive and crawl and suck her toes. She is all the more materialist, looking as if butter wouldn't melt in her mouth.

The movie does melt away in its own pretentiousness: being smart/funny/good-looking. Phalocretinism at his best. White trash only, please.
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When I watched L'Appartement with my girlfriend, she sighed: "How complicated!" And she is right, of course. When you are used to simple, one-linear plots, especially violent hero vs crook schemes, L'Appartement is hard to follow. A couple of the negative reviewers here also have missed one or more important points. Other whine about the confusing flash backs. Come on! This is not the kind of movie from which you can leave to visit the toilet, come back and get hooked again within a few seconds. This one demands full concentration and a keen eye on details. Then it is really not that hard to figure out what's happening and when. The director has left more than enough clues in all scenes.

The first 3/4 of the movie centers about the question: why did Max and Lisa split? The film, as my girlfriend remarked, begins as a romantic lovestory, suggesting that two lost lovers will find each other again. Having experience with French movies, I predicted that the story pretty soon would get a sick twist and I was right. In the end of the first part it becomes clear, after many twists and turns, that Max and Lisa were manipulated by Alice. Max did not know, that Lisa had left and why. Lisa did not know, why Max did not contact her in Rome and left her without a trace, when she returned to Paris. The only one who did was Alice and she had her own reasons to keep her mouth shut.

After both Max and Lisa have found out the truth, the question of course becomes: can Alice's manipulations be undone? Well, of course not, time has passed by and things have changed.

Many European movies use a story telling technique I fully enjoy. There is no exposition of the basic conflict in the beginning, after which two (or more) interested parties try to decide in their own advantage. Instead the spectator is gradually fed with bits and pieces of the plot and hardly knows more than the main characters. L'Appartement is a fine and subtle example of this technique. In the first half Alice seems to be a side character; slowly it becomes clear, that she is key figure.

Acting is simply great. Vincent Cassel is perfect as the somewhat naive and impulsive character, who risks a secured life just to hunt a dream from the past. Monica Belucci is very beautiful of course, but also competent. Jean Paul Ecoffey provides the necessary comical touch. Romane Bohringer is very convincing as the neurotic woman, plagued by feelings of guilt and regret.

The only reason I did not gave it a 10 is the somewhat unsatisfying end. Of course it was necessary because of the desired symmetry. After all the events Max is exactly on the point where the movie begun, only wiser and sadder. Alice has paid for her sins. But still the little twists on the airport are a bit artificial. Max too easily exchanges Lisa for Alice; Alice too easily decides to reject Max, who has been her dream for so long; Max too easily returns to his fiancée. But then again, I don't know how how this could be achieved without sacrificing the elegant symmetry. I guess sometimes artists have to give up realism for beauty.
Please tell me the sentiment of the following review: Two of Hollywood's great child stars (Elizabeth Taylor and Mickey Rooney) are perfectly teamed to deliver one of the all-time family classics. The story of a determined 12 year old girl, whose adoration for horses won't allow her to turn away from her goal to win the British Nationals. Mickey Rooney is the newly orphaned drifter, looking to tie himself over until he can follow his own dreams.

A beautiful side plot reveals that the girl's mother had ambitions of her own as a young girl. Repeatedly overruling the father's decisions in favor of their spirited daughter, it is mother who seems to know best. The scene where the exhausted Taylor rushes to go to school is priceless: father protests "why did you let her go to school, she'll drop from exhaustion before noon!" - Not to worry, she'd be back within a half hour; it was Saturday! The brilliant Technicolor, the sumptuous music score, and those beautiful faces, all telling a bittersweet story. Here's a good reason for the old saying: They don't make'm like that anymore!
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Nynke is a classy filmed movie in the same style as the Oscar winning film Character (1997). But this comparison immediately urges me to add that the latter was quite more exciting...

Sure, Nynke is a beautiful historic & costume drama (with fantastic acting by Monic Hendrickx!) in which you witness the personal growth of 'Nynke van Hichtum' in her marriage to Pieter Jelles Troelstra. The subtitle of this movie is 'a lovestory'. So it starts, and ends with their marriage. 

But THAT is where the director makes a crucial mistake! Nynke's exciting, independent life started when the marriage ended. She wrote several children's books and travelled around the world. What a great life she has lived. But Pieter Verhoeff puts Nynke back in the trammels of convention that depressed her and that she struggled out of: the thought that her life extended just her marriage to Troelstra, being no one else but the mother of their kids.

Let's all hope for Nynke II!

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The worst movie ever made. If anyone asks you what is the worst movie you've ever seen - tell them Plump Fiction. Of all the movies I've ever seen this gotta be the most lame experience. Even the poorest sequels are pure masterpieces compared

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"What Alice Found" was a pleasant discovery. As written and directed by A. Dean Bell, this is combination of a road movie with a cautionary tale, as well as a voyage of discovery.

If you haven't seen the film, maybe you should stop reading here.

Alice is a case study of a young woman that wants to break away from the unhappy life she leads in a New England town. Her pretext for leaving is going to join her best friend, who is away studying at a Miami university. Alice is the product of a single mother's home, one that is struggling to make ends meet, in sharp contrast with the life of ease her friend seems to inhabit. In flashbacks we get to see Alice's life before going on the road.

Alice, like her namesake in "Alice in Wonderland", embarks in a trip to the unknown that life hasn't prepared her for. The highways of America are full of predators in search of the weak and innocent. Alice meets with disaster when her car breaks down the road and a friendly Southern couple come to her assistance when a strange man approaches in the darkness with the excuse he wants to help her. Sandra and Bill convince her to come along in their plush R.V. on her way down South.

Nothing has prepared Alice for what this couple turns out to be. After all, in her sheltered life, she hasn't dealt with what Sandra and Bill, her new benefactors do during the overnight stays at the rest stops in the American highways. It comes as a shock to her the realization that the kind Sandra is nothing but a prostitute that plies her trade among the truck driving populace one meets in those places.

Alice, brilliantly played by Emily Grace, is a study in how the young woman awakens to the new reality she can't escape. In fact, Sandra makes it seem so easy that Alice tries her luck at the oldest profession on earth in order to raise some badly needed money.

Judith Ivey gives a tremendous performance as Sandra. Ms. Ivey is perfect as the seemingly normal woman, one wouldn't suspect she is doing the nasty with clients she and Bill find along the route they travel. Ms. Ivey is amazing when she reveals the truth about her life to an accusing Alice. As the husband, Bill Raymond is good in his portrayal as the husband, that in reality is a procurer.

Under the excellent direction of Mr. Dean Bell, the film is not afraid to go to places mainstream films dare not to go. Congratulations to this director who has written a plausible story and has gathered the perfect cast to play it for our benefit.
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I'll say this first...the film would've been a 70s sci-fi classic if it had been executed a lot better.

That said, let's examine the plot...it starts with Peter Graves (or is that Clarence Oveur?) running for President, then cuts to a goofy college campus-like environ full of authoritarians in goofy trucker caps and headsets and retarded athletes who all act like they're perpetually age 8. It then shows one guy apparently going to America, having a party, then taken to a medical lab where he is drugged, wrapped in a plastic bag and then prepared as if the doctors were bagging vegetables for steamers packs...okay, actually he's being put on ice so the doctors can extract the organs they need.

It then cuts to another dopey man thinking the place he's living in is a bit strange after a beer can (of all plot devices possible) he finds in a river makes him look suspicious (damn those beer cans!). He and some equally stupid love interest of his feel they need to get to the bottom of it all, so he makes her stay behind as he escapes through what is basically a large college administration building with some evidence he discovers on the way about cloning...and how he's a part of it.

He escapes his controllers after being shot some and an old reporter guy helps him find his 'father'--the man he was cloned from. It just so happens he's a clone of the brother of Peter Graves. After debate about what to do with him and his evidence, he goes back to the facility to find his girlfriend (who has been lobotomized in the meantime to be even more stupid, harmless, and ready to host a talk show according to the SOL crew). He is captured and put into cold storage just like his Nazi-build retard friend from the beginning of the film.

Meanwhile, a confrontation at Graves' brothers house results in several deaths, including Graves'. The reporter guy and his wife are killed in the middle of an exciting conversation by a bomb. It seems the conspirators have won to some extent...

Then, Peter Graves turns out to be able to survive being run through with a metal poker by the miracle of cloned parts, and giving another 'vote for me' speech just as reporters confront him about the cloning thing.

Definitely MST3K fodder, but on the low end of the spectrum as far as overall badness goes.

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If Family Guy offends you or you simply don't get the humor, unfortunately this show is making fun of you and the masses of overly religious, dull, and politically correct people in America. So put your morals aside and have fun with this show. FG is a hilarious mind opener on the reality of today's society. Whoever said this show is for a young immature audience is very mistaken. With all the references to old movies and politics 10-80 years ago, I couldn't imagine any young immature kid finding this funny. Family Guy is definitely for a mature open-minded audience who are not afraid to criticize American society. Hats off to Seth and the whole crew who were able to make this show happen.
What a strange atmosphere is being created in the streets and on the Golden Gate Bridge of San Francisco in this exciting action picture. Although the characters and the story are in fact bad, it still has a certain cult-flair.
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An excellent thriller of all time. Vijay Anand excels as Director and Editor. Performances by Dev Anand, Vyjayantimala, Tanuja and Ashok Kumar prove to be an asset to the film which has its screenplay worked out to the minutest detail. Cinematography adds to the mystery, glamour and other requirements of the story as it evolves. And to top it all, music by Sachin Dev Burman is unforgettable. "Yeh dil na hota bechara" by Kishore Kumar, "Raat akeli hai" by Asha Bhosle, "Rula ke gaya sapna mera" by Lata, "Aasman ke niche" by Lata and Rafi and "Hothon pe aisi baat main" by Lata, again reaffirm Burman Dada's unique stature as a top notch composer with a style of his own.
This film really used its locations well with some amazing shots, dark and disturbing the film moves very slowly, but constantly keeps you watching. Modern Love worked well in the Gold Coast Film Fantastic program this year offering audiences a glimpse at an Australian Cinema that is usually neglected. Most importantly it is refreshing to see Australian cinema not taking on the cliché Aussie characters and story lines we have seen done to death over the years. This film would compliment any festival and will open debate after its screenings. The performances and characters are well developed, and the cinematography is fantastic. An interesting exploration into family relationships, and environments.
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I gave this a 2, and it only avoided a 1 because of the occasional unintentional laugh. The film is excruciatingly boring, and incredibly cheap. It's even worse if you know anything at all about the Fantastic Four.

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For all viewers out there who have slammed John Waters for creating a film like Pink Flamingos, just stop. It's getting you nowhere. Has anyone ever cared to stop and think about the ambition and dedication Mr.Waters possesses. To gather your best friends up and to create a movie just to gross out thousands of viewers all over shows this man has a great deal of ambition inside himself. Just read his biography Shock Value. It discusses the lengths he went through to get this film finished. Maybe it wasn't just the fact that John made this film to gross people out, it was to prove that there can be something such as good bad taste>