cindermond/bento huggingface dataset:
Being a fan of bad movies, I was thrilled to find a 3 pack of cr@ppy horror at Best Buy today. The set was cheap and included a terrible film called "the Dark" that I actually remember seeing in the theater.

The remaining 2 were equally as bad. "Creatures from the Abyss" being probably the worst of the bunch. Since they were all bad that isn't saying much. But its stupidity, bad acting, terrible effects and retarded storyline actually made this one a lot of fun to watch. I was rolling on the floor with each new plot development. The discovery of the abandon ship, the missing crew, the realization that there was something terribly wrong!!! It was great!!! Of course, everyone's favorite scene seems to be the sex scene. OMG!! I almost lost it!!! Between that an the "monster cam", I have to say I enjoyed this film a lot.

I am a fan of bad movies so I enjoyed it but in all fairness, I did have to give the movie a 1. IT WAS AWFUL... But if rubbish is your bag, at least rent this one... (YES the BAD pun was intentional)
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Don Wilson stars as Jack Cutter (Ooh real tough name!)a vampire slayer who goes up against a vampire army, you see the story is a little different because vampires can't be killed with silver, crosses or sunlight but rather through snapping their necks (How convenient as it cuts down on the budget) and it's here Cutter runs into a reporter (Melanie Smith of Trancers III fame) Night Hunter's action sequences shake for no reason during the fight sequences and although it's meant to emphasize the mood, it just makes the movie more jarring. What is worse is that these fight sequences are botched beyond belief as Wilson's martial artistry is disguised by disjointed editing. Of course the most interest comes from the fact that indeed this predates Blade, however the problem is that this was done on a small budget and that it had Don Wilson in it. It's from Roger Corman and basically this turkey is a movie most people would pay NOT to see. I unfortunately am a bottom feeder and I cater to the section of the store looking for gems, in this line of work you always run into turds. With Night Hunter, I just may have the world's stinkiest turd.

1/2* out of 4-(Awful)

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go get your camcorder, your little brother, and the disturbing neighbor next door who throws boiling water on raccoons; and you got yourself a film! well, that's what these guys thought anyway. it was so bad i can't even remember the majority of it except for flashbacks comparable to someone who toured in 'Nam. despite the really corny title, the horrible quality, the terrible actors, and the cliché writing, i think this movie isn't the worst i've ever seen. i'm saving that slot for everything with steven seagal, chuck norris and jean-claude van dam. anyhow, if you are out of options when it comes to finding new "horror" films that you haven't seen 1,000 times already, (as i was) and you are debating this one, i would still skip this. it had absolutely no redeeming qualities. this mock serial killer thriller was a weak, puny attempt at an even B film. if they're really lucky it might make the wal-mart $4.50 bin. but, i highly doubt it.
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True, there are some goofs, for the one who wants to find them. They're not important, though.

The primary feature of this film is watching veteran expert actors do their craft. Kristin Scott Thomas is beautiful and plays well the part of a strong woman, but one who has been hurt. Same for Harrison Ford, who, for the ladies, is just as beau as Kristin is belle for us guys.

Their hurt at the hands of their adulterous spouses brings them together in an awkward manner, but one in which they find support in each other. How they evoke their hurt feelings and their humanity within on th screen is why these are such sought performers. The viewer cannot help but feel what they feel, nor can one help wanting to cheer them when they're together.

Yes, there are several action scenes involving angry corrupt cops, but they only spice it up a little, and are not a significant part of the movie.

For the lover of music, Dave Grusin provides a superb Jazz based background, featuring trumpeter Terrence Blanchard. Like the actors, Grusin shows why he is one of the most sought musical consultants in the movie business. Blanchard shows why he's one the premiere trumpeters on the scene.

Not a movie for the lovers of guts, blood, and gore. But for those who want to see a lot of what makes us feel inside, watch a beautiful English actress with big expressive blue eyes who can act, like Harrison Ford, to the endless soothing accompaniment courtesy of Dave Grusin and Terrence Blanchard, this is a move to watch with someone you love. Preferably in bed.

I thought it deserved at least an 8.
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I still can't describe what to feel when I received this by the fnac site. Such a rare movie, so little spoken and known, is difficult to find, even to fans, but the contrast betwen past and present is devastating: now I hold a DVD of the movie, with the finest quality possible. As I did in Atlantis, the other rare Besson movie I bought by the internet, I saw this one at home, with all the lights of my dvd and tv turned off, and marveled at the experience. I didn't know what to expect. Wickedly, I always searched some kind of disappointment when I saw a film by Luc Besson I never had seen before. But it never came. This movie was no exception. From the start, I understood that the person who makes a film like this as a first feature is destined to be big in the future. And so it happened. This won several prizes (including the highest prize in a film festival of my country, which makes me proud) and it shows that this movie is preparating many bigger things. This may be the most original after-the-war movie I have ever seen, beating Mad Max in originality and artistic feel. There is not a problem with this movie: its cinematography is genius, as well the perfomances of the actors. I am also proud to say that finally I saw all the movies of my favorite director, and have a copy of almost all of them (Joan of Arc is still waiting for me to buy the DVD). This movie is most of all a work of style and dedication, which makes clear why Luc Besson is a director of my choice: good taste, beautiful framing, excellent use of music (I also marveled at Eric Serra's first feature-length score) and the promise of great achievements. Gaumont did well to bet in its boy-genius, the man who would later change the face of France's and Europe's relation between movies and their public. Let's hope Besson starts working in a new directorial project. I will be the first to cheer it. Until then, I recommend this movie to anyone who need to learn a lesson of how good movies are made with little money. I loved the atmosphere of the movie, which, by its black and white cinematography, suggests us an even more depressed view of the world after the holocaust. This movie works by the sheer magic of movies: showing in pictures what we can't explain by words. And I'm with all the people who wrote comments to this movie and liked it: good choice! A great hug to everyone who sees this and feels that a little of their lives were changed.

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The Director of Kannathil Muthamittal directed the first Indian film I had seen "Dil Se" which led me down the path of buying well over 122 Hindi DVDs in the

course of four months. I can say I understood the total attraction, I was

somehow confused as to why the film would stop for "music videos". It was an excellent movie, I didn't know what to make of the dancing and the female

vocals were a bit shrill for my western ears, but somehow I found AR Rahmen's score hypnotic. I bought the soundtrack the following day and then Lagan, Kuch Kuch Hota Hai and K3G the following week and with the exception of "Ichi the

killer" a few other Korean films , I can't be bothered to watch much else. Kind of strange for someone who has only watched a strict diet of Hong Kong, Horror

and Action/Science fiction films for the past 30 years.

But I should get back to Kannathil Muthamittal, It is one of the Mani Ratman's latest efforts and I laughed, Cried, Got totally mad, terrified and most of all I didn't feel manipulated. The acting was superb, the photography was beautiful, I think you could stop the movie at any given time and would notice that any give frame would be worthy of painting. The music fit the movie perfectly and after the

credits rolled, I wanted to watch again... so I did.

It would be foolish to discuss the plot for fear that you may miss the pleasure of watching the events unfold and the characters develop. This is what great film is all about! I stood and applauded in my home theater when it was over!

My wife is watching now, and I can't wait for her reaction, I can't expect it will be anything less than mine.

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i'm not going to ramble on about it but i'm just going to make it brief. basically for those who don't know how prue actually died........... the first time round the demonic assassin comes hit piper and prue with an energy ball they fly through the wall blood everywhere. phoebe the third sister comes down the stairs, says the spell which send him away but not vanquished.(NEEDS THE POWER OF THREE)leo comes heals them both and so on. they get exposed along the line and the only way the can be saved is for a demon named tempus to turn back time. the only way he can do that is is phoebe stays in the underworld. she agrees, tempus turns back time. it now around 7:00 in the morning again. demon comes strucks piper and prue with energy ball. they fly through wall again. but this time phoebe isn't there to say the spell to fend demon off. demon kills doctor. doctor flies through window. he is dead. demon goes in a whirl wing type thing and glass on the doors shatter which is a great effect bye the way and there is and airy sound. thats where it ends. NOW.......... what the whole world doesn't know if they didn't pay attention to the next episode. although what i'm about to say wasn't shown its what happens trust me................ because this time there was no phoebe to call for leo this time he arrives later. piper survives because her injuries wern't as fatal as prue's and leo heals her first before prue so by that time prue is already dead. there mystery solved. ps calling for prue with a spell should have worked!!! and she should have made a surprise appearance in the last ever episode.OK i did ramble on

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I as a Christian am outraged after seeing just the first half of this picture. The film's website says they researched the movie before writing but I believe they forgot to consult the ultimate source THE BIBLE. I sat with two different versions of the Bible and could not find half of what happened or was said in this picture. It was like they made up what was not in the Bible and changed what was in the Bible to what they thought modern film viewers would want to see instead of the truth. I personally am too young to remember the 1950's Ten Commandments but it can't be any worse than this. I have written to the network and can only hope they publicly apologize for this travesty.
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This would definitely not have been my kind of movie, but my husband saw it on TV and said it was really good. So, on his recommendation, I bought a copy, since I didn't know if it would ever be on TV again. I had never heard of anybody in it except Armand Assante. At first I had a hard time getting into the story, because the first part of the movie is a jumble of images-- and it doesn't make much sense. It is only later in the movie that it all comes together. The scene-cutting- if that's what it's called, is a bit jarring-- it sometimes looks as if a few frames have been cut out of each scene, and the scenes are jerky--but I guess that was done to add to the unusualness (if that's a word). The story veers here and there, and just about the time you have it all figured out, everything turns upside down and you have to readjust your thinking as to who is the bad guy and who is not. Or bad woman. The acting is very good-- I kept thinking how much Norman Reedus looks like Leo Decaprio. The ending was a real twist, totally unexpected, which I liked. A good show.

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The only reason I bought the DVD was to satisfy my curiosity about the scene when Liz (Kim Basinger) strips to the music of Joe Cocker: You Can Leave Your Hat On! That was the best part of the whole film. Not because the scene was any good; only the song. I am not saying it was a terribly bad film just not that good. Disappointingly so!

Especially when the exploration of male and female sexuality could have been expanded upon. Instead of expanding on the dangerous side of lust, obsession and infatuation and where it can lead to it drags its heels obscurely from one idea to the other. For example when John (played by Rourke) is able to leave her on the top of the Big Wheel, Liz (Kim Basinger) is unconvincingly rattled at the bizarre experience courtesy of John's sense of humor but less rattled at his sexual exploits involving the ever willing Liz; and like one reader mentioned, that for a woman to enjoy sex she has to experience the dangerous side is unconvincing. This "dangerous" side is not exploited enough in the film and one gets a sense of anti-climax from the view point that it all could go horribly wrong. The theme of bondage makes an appearance often but only just takes one to the brink of danger and then all goes well.Is the film sending the message out that this kind of "foreplay" is FINE! If the film was making a point about the pitfalls of bondage and by extension the ugly ramifications of sad-masochism then maybe it would make a good moral point. Instead the film awkwardly jumps from one "sizzling" scene of Rourke feeding Basinger and blindfolding her to another. In a film that could have been good it falls flat on its face because it does not expand and extend the themes the film is MAYBE trying to relate; thus for me it doesn't have a plot nor a theme just a mixture of ideas.
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I'm writing this as I watch the DVD. I grabbed for the laptop and went to IMDb during the first song. I didn't know anything about the movie except that a friend said that the show was supposed to be good. It has a decent Netflix rating too, so here I am.

Maybe on the stage this worked. But I have to say that the sight of chorus boys dancing and singing completely naked just seems silly. And the lip syncing to a prerecorded score adds to the strangeness.

Most of the songs and routines are about aspects of male nudity. This is my idea of nothing, sorry. The score, so far, is generic show tune music. Nothing memorable, or particularly melodic. Everything is to serve the lyrics. Which, I have to say, sound like they were written by a committee. Each song is essentially one extended joke. If the jokes were ten seconds, they might work. These single several-minute-long jokes don't.

I'm now watching the movie by chapters--a few minutes until I get the gist. Kind of in the hopes that one of them will be different, or entertaining enough to keep me from going on to the next scene. Nope.

Okay. I'm finished. So here's what I think. If you have any experience or long-standing appreciation of musical theater, avoid this--it's just not quality. If, however, you're a gay twenty-something and have never seen or heard a musical comedy, you might be entertained. Or maybe this would hold your interest if you've never seen a lot of attractive naked men. 

I have.
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I normally like Casper in his movies, a real credit to STARSHIP TROOPERS. But the box cover on this video SSOOOOO mi-sleds the renters. At my local video, people rent it expecting a (PERHAPS) Borg like vampire, and instead they get a bad re-make of Lon Chaney. It had great potential, and fell very flat. Ireally think I could have written a better story line and screen play. Why is it in EVERY science fiction movie, they (the cast) constantly refers to a solar system as a galaxy? Didn't any of these screenwriters or authors stay awake in science class? It is a pet pevee of mine, but a solar system is a single star with planets, a galaxy is a WHOLE bunch of solar systems. It is like referring to a can of coke as a gross of six packs. Makes it sound even dumber.
I have to say that I really liked UNDER SIEGE and HARD TO KILL.

watching Seagal doing his funny martial arts on people. I have

been always looking forward to Seagal-Movies and, unfortunately, I was first disappointed by GLIMMER MAN, which I found really bad. THE FOREIGNER is probably one of the worst Seagal has ever

acted in. Horribly boring, badly edited, wrongest soundtrack and so on! Dear reader, do yourself a favor an stay away from this!

Honestly: Stay away!
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I rented Dark Harvest (the first one) because it looked like a cheesy monster-on -the-box type of thrill ride. Scarecrows also freak me out. The movie had an effective title sequence, but what followed was pretty lame (flat, bad lighting, acting, editing, direction...). Recently, I noticed that DH 2: The Maize had a pretty extensive ad campaign. I thought maybe the first one was marginally successful, so they upped the ante on this one a bit, possibly delivering some bigger budget scares and fx from the killer scarecrows. Well, there are no scarecrows in the video... Not a problem. The problems start in DH 2 with a title sequence that looks like an unfinished concept, with strange shapes and bars wiping away titles and whatnot. As far as the actual photography... every time the sun shines in a shot, you'd have all these blown out whites, confirming that you're watching some ultra-low budget mini-DV project that some Midwesterner filmed at his Uncles farm. The acting was not acting at all. The cheap rip-off of The Shining twin girls was below freshman film student standards. The editing was extremely amateur and lazy. The sound was jarring and choppy. (e.g.- every time the editor would cut to a new shot, you'd here the sound change perspective with it). It's as if someone gathered their friends and family (actors), took a video camera out in a cornfield for three days, put a light on top of it for the night sequences (no joke - that's what they actually did), burned through some tape, stuck the footage in their computer, cut a (very) rough version, tossed in some music, bypassed any imaginative sound work or mixing, burned it directly to DVD, and threw it on the video store shelf. Any horror fan should be insulted by this type of direct to video work that is void of ANY skill or style. Just because a person owns a video camera and is able to get somewhat of an image on tape, doesn't mean it should be released to the public. If I could give this a rating lower than a ONE, I would.
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We don't know if Darlene loves all three gentleman, certainly they are wary of one another, yet they live together. Viewers might surmise that the feelings of rivalry between the gentleman and the feelings of all of them toward Darlene might make for an unbearable home life.

In the eerily beautiful rural Brazilian landscape (emphasized by the frequent use of polarization and the use of Kodachrome stock), anything might happen, and the alternatives for any one of them. save perhaps Ciro, may not be alluring enough to encourage them to change their circumstances. They seem to bear the intolerable because it is familiar-the unknown frightens them into complacency toward a fate which is more challenging than their characters can utilize. Thus it crushes them, rather than strengthening them. The web in which they are caught is made of the sanguine filaments which bind us all. Perhaps the sadness I felt after watching this movie has to do with it's portrayal of the inevitable fading of our youth's bright colors in the unforgiving light of time. The three children will enter the world fated to relive their parents lives to one or another degree. Well filmed and portrayed, the story is tragic in it's essence. Walt Disney it ain't
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Please tell me the sentiment of the following review: The film begins with a dandy gunfight, where three bandits are quickly gunned down by a bounty hunter--a bounty hunter who bears more than just a superficial to the Man With No Name from the Clint Eastwood trilogy (FISTFUL OF DOLLARS, FOR A FEW DOLLARS MORE and THE GOOD THE BAD AND THE UGLY).

Immediately after, you see this man in a gold train filled with Union soldiers. Naturally, the shipment is attacked and the soldiers all fight like blind guys, so they are quickly neutralized. However, in a twist, one of the bandits cheats the gang leader (Gilbert Roland) and rides away with the gold. Soon, Roland catches up and is about to find out where the gold is hidden. But, just at that moment, the army turns up and kills the traitor....bummer. However, the Man With No Name wannabe thinks Roland knows about the treasure and perhaps a medallion given to Roland by the traitor holds the key. A strange banker, also is thrown into the mix. All three want the gold and all three seem pretty macho.

Overall, this is not a particularly distinguished Western. Much of it is the plot, some of it is that George Hilton (a Uruguayan despite the American sounding name) isn't as interesting as Eastwood or some of the other premier Spaghetti Western stars but most of it is because the soundtrack simply sucks. So often the music doesn't even come close to matching the acting and it seems almost randomly added. Plus, it just isn't very good stuff as well. This clearly isn't the work of Ennio Morricone--music master of the Spaghetti genre.

Overall, just a time passer--and not a particularly good one to boot.
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Following up the 1970s classic horror film Carrie with this offering, is like Ford following the Mustang with the Edsel. This film was horrendous in every detail. It would have been titled Beverly Hill 90210 meets Mystery Science Theater 3000, but both of those shows far exceed this tripe. This film was scarcely a horror film. I timed about 3 minutes of gore and 90 minutes of lame high school hazing and ritual. Wow, what a surprise, Carrie's weird friend commits suicide! Wow, Carrie misconstrues her love interests affections! Wow, the in-crowd sets up Carrie! Wow, the jocks have a sexual scoring contest! What this film needed was way more action and far less tired teen cliches. This film is totally unviewable.
Please tell me the sentiment of the following review: I'm not bothered by the sleazy hosts, nor am I bothered by the cynical, self-righteous stance the makers of this crap take.

What I AM bothered about is that the vast majority of the episodes are fake. I wouldn't even be surprised if ALL of the episodes were staged. Hence this isn't a reality show but something far worse even than Oprah: garbage television with zero comma zero appeal. Like daily TV soap opera but with more action and fighting and less plot.

The premise would have turned out great - if only it had been executed without cheating the viewer. If only this idea were free of all the legal complications/trappings that would most certainly ensue due to what would happen with real people, and what is eventually aired. Hence the only way to create this """reality show""" was to get some rather desperate actors and make them improvise (and what pitiful and unconvincing improvisation it is most of the time!). Shouldn't this be obvious to anyone who finished grade school? Most reviews I read here don't even mention that any of this is fake, let alone that all of it might be. Wishful thinking or just boundless naivety? 

The actors hired in this pathetic show are the kind of bottom-of-the-barrel unemployed actors who are miserably waiting on tables, waiting eagerly for a call from a talk show (or this crap), which is when they finally get a chance to make several hundred bucks. I even recognized one actress (in the role of "cheater") that I saw years earlier in "The Jerry Springer Show". And I only saw 6-7 episodes of "Cheaters". How many more of these loser actors are there that appeared in Springer and "Cheaters" that I don't even know about?

However, to compare "Cheaters" with Springer isn't fair to the latter. The Springer show is not all fake; a bulk of the episodes are unstaged - hence often highly entertaining. There is no value to be found in "Cheaters", unless you're a struggling actor and want to get tips on how NOT to act in front of the camera.

The producers use various (very cheap, transparent) tricks to create the illusion of realness, to give their footage that elusive documentary feel. But it's all in vein. In the end, the more intelligent train-wreck-seeking viewer is left with absolutely squat. "Professional wrestling" has more credibility than this.
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Please tell me the sentiment of the following review: Saw this movie at a Saturday matinée with a friend. Theater was about 70% full.

Although there are quite a few funny lines, it is more of a drama/suspense with humor sprinkled on top. Robin Williams gives a decent performance as does Laura Linney. Being a Daily Show fan, Lewis Black is pretty good in this. Christopher Walken gives a good performance also. 

The movie starts out slow and remains that way for about the first thirty minutes, then the suspense part kicks in and starts keeping you a little on edge throughout the rest of the movie. Suspense in a supposed comedy movie? I know that I, as well as everybody else in the place, was struggling a bit with this. A character would crack a joke during suspense sequence and you would hear just one or two laughs in the theater. 

In all fairness, after the movie was over there was smattering of applause. So, definitely, some people enjoyed this movie.

I gave this movie a four out of ten, because I believe the comedy aspect doesn't work very well in a suspense/drama movie and the actors performances, while not bad, were just decent. 

Again, this movie isn't what was advertised.
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First, let me confess that I have not read this particular Balzac novel, so maybe I am directing my cavils unfairly at director and editor. Still my experience with Balzac in other stories is that he writes as a realist, not an obscurantist. This is most certainly a film worth one's while, but one is left sorely puzzled at the end. Was the Colonel a fraud, used by the lawyer for his own ends (or for whose beyond himself); or was the Colonel not a fraud, but used as aforesaid by the lawyer; or did the lawyer truly try to serve the honest Colonel? The director and/or the editor appear to me to have deliberately obscured these questions, which doesn't seem like Balzac, the realist. At the same time the film does an excellent job of delineating the characters, if not their motives, and the cast and production is superb. That opening battlefield scene is bound to haunt one's dreams. Still, one wonders at the all too common penchant among contemporary film makers to favor ambiguity above all else. Weren't the problems and motives of all these characters complicated enough for Yves Angelo?
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i found the story to be just enough of a thriller that the wonderful henry mancici music didn't lull me. julie andrews was excellant and i sure don't understand why this movie had problems at the box office when it came out because it just makes me happy at the end to have everybody singing. and i do like happy ever after endings which i think you can say this movie has along with some traditional blake edwards humor...
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Please tell me the sentiment of the following review: If You can watch a film without worrying about the plot, or corny acting, then Backdraft is definitely the one.

However, if, like me, you like watching films that you can believe, then Backdraft has some serious flaws. It doesn't offer anything new, and there are hundreds of 90's action films that follow identical formulas, whilst not being quite as clunky.

After two firefights, i'm thinking, this has got to go somewhere else, i mean, how many big fires are there in one city? Surely firemen do other things, such as getting cats out of trees? Well I was wrong, and the repetition continues again and again, up until the end.

A good aspect of the film is the fire itself, well filmed, and I must say i felt quite hot while watching it, which suggests that two hours of watching fire without a story or acting would have been more suited to my taste.
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In the spirit of the Great Space Coaster, but a few years earlier.

Hot Fudge was one of the psychedelic kid's shows that I grew up on. Seymour was a big, fuzzy, green puppet, with a crescent smile of enormous teeth which nearly split his head, I recall him wearing a variety of Elton John-type shades.

He "played" piano, and had a Jesus looking dude in a white tux, sitting next to him. They would have a moral discussion and then do a song about it.

Don't remember much else except the opening theme, Seymour and the Hippie.

No one else I know remembers it at all. I grew up in Jersey, so if it was produced in Detroit as a previous post said, it wasn't just local. Seymour reminded me a lot of Sherlock the Squirrel from the Magic Garden (another psychedelic kids show if there ever was one.) People always talk about LSD's effects of music and movies of the 70s, but it seems kid's show writers got a dose as well.
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This timeless summer love story is a classic and will never be dated. I can't even count how many times I've seen Dirty Dancing. This is one movie that I could probably watch every few weeks and still love.

There is something timeless about this movie. I have loved other "blockbuster love story movies" like Pretty Woman and when Harry met Sally. I think their up there but there is something about Dirty Dancing that just makes it absolutely perfect. The characters, the chemistry between Swaze and Grey, the movie's direction, the INCREDIBLE dancing, the warm summery atmosphere, everything about dirty dancing is absolutely perfect. It is an instant classic and I've never really seen a movie like it either before or since.

I don't think there is one particular element that makes this movie so loved but many things, a lot of which are mentioned by numerous reviewers. Dirty Dancing has a nostalgic, languid, summery mood, realistic characters, a relateable honest message coupled with incredible music and dancing, and the one of the best dance sequences cinema has ever given us. 

This movie is always on TV and I will continue to watch it as long as they show it. But I WILL mention I have no interest in seeing "Havanna Nights", this one they should have left alone.
"The Falcon and the Snowman" is the story of two young men, a CIA employee and a drug dealer, who become disenchanted with United States foreign policy and sell state secrets to the Soviet Union. The events of the film are based on a true story.

Timothy Hutton and Sean Penn are convincing in the lead parts and develop interesting characterizations. The supporting cast also performs well, notably with a performance from David Suchet of Hercule Poirot fame as a seasoned Soviet agent.

The film is generally effective at setting out its premise and developing it and giving a sense of two boys caught in something they did not properly understand going in. However, it does seem overlong and cumbersome at points in the middle. The ending, however, is tense, stunning and effective. There are some catchy rock songs included in the soundtrack, but also unfortunately a repeated mellow synthesizer track that doesn't fit with a spy story. There are other spy films more worth seeking out than "The Falcon and the Snowman", but it is a decent film none the less.
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I described Woody Allen's Manhattan as perfect to someone the other day, and she thought that it was an odd way to describe a movie...

I have seen only a handful of movies that I would call perfect. Manhattan is one, McCabe & Ms. Miller by Robert Altman is another and Once Upon a Time in the West by Sergio Leone is also another film that I think achieves perfection. There are a few others, but aside from the fact that I find no faults in the three I mentioned, I must also admit that all three directors are acquired tastes.

If there is one film that I could stand behind and bet the house that anyone I would show it to would find it flawless it's Shoulder Arms.

City Lights, The Great Dictator, The Gold Rush and even the Pawnshop are 10's but not only did Chaplin do everything right in this film, everything he did is hilarious and touching to a level beyond explanation.
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Bill Paxton has taken the true story of the 1913 US golf open and made a film that is about much more than an extra-ordinary game of golf. The film also deals directly with the class tensions of the early twentieth century and touches upon the profound anti-Catholic prejudices of both the British and American establishments. But at heart the film is about that perennial favourite of triumph against the odds.

The acting is exemplary throughout. Stephen Dillane is excellent as usual, but the revelation of the movie is Shia LaBoeuf who delivers a disciplined, dignified and highly sympathetic performance as a working class Franco-Irish kid fighting his way through the prejudices of the New England WASP establishment. For those who are only familiar with his slap-stick performances in "Even Stevens" this demonstration of his maturity is a delightful surprise. And Josh Flitter as the ten year old caddy threatens to steal every scene in which he appears.

A old fashioned movie in the best sense of the word: fine acting, clear directing and a great story that grips to the end - the final scene an affectionate nod to Casablanca is just one of the many pleasures that fill a great movie.
Please tell me the sentiment of the following review: It is a strangely powerful and moving experience to see "The English Patient" again after Anthony Minghella's death. Most of his body of work is dedicated to one shattering point. The endless moral struggle of those who, consciously, walk a very thin line. In "The Talented Mr Ripley" Minghella moves away from Patricia Highsmith's amoral Tom Ripley to give the murderer a conscience. In "Breaking And Entering" Minghella gives Jude Law's character the need to confess and the rewards are chillingly moving. Here, in "The English Patient", the characters in love are never too far away from their corroding feeling of guilt. Ralph Finnes and Kristin Scott Thomas are extraordinary. They strip their characters from every pretense in a compelling complicity with us, the audience. Juliette Binoche is, quite simply, spectacular and her scenes with the wonderful Naveen Andrews are filled with a "Minghellian" sensual innocence. Anthony Minghella gave us films that were,one way or another, that elusive mix of art and commerce. He was true to himself but thought about his audience. He knew how to push our buttons without betraying his own. There is something clear, honest and startling about Minghella's opus. I miss him already but I'm grateful for the reflection of his soul he left behind.
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I thought this was an extremely bad movie. The whole time I was watching this movie I couldn't help but think over and over how bad it is, and how that was $3.69 down the drain. The plot was so jumpy. They did an excellent job at the beginning of explaining who dated who in high school, but they never really explained anything after that. Was it a supernatural thriller? Was it a regular thriller? Apparently you can decide for yourself, because they didn't see the need to explain. I understood basically what happened, I think. What I got confused about was all of it prior, what was the deal with the bloody noses, phone calls, etc.? Was this guy coming back? Was the wife channeling "Carrie" or something? Who knows? You certainly won't after watching this movie.
For some reason my father-in-law gave me a copy of this tape. I think because my great uncle, Buddy Baer, was the giant in this movie and my father-in-law thought I'd like to see it. I had, years before as a child, and didn't like it then, either.

My son, then two, watched it and was hooked. Every waking moment in front of the TV, this horrid video played. I went to work with the inane songs stuck in my head. The two "leads" were worse than a junior high stage review. The dancers looked like rejects from an Ed Wood horror flick and Abbot and Costello phoned their parts in. Thankfully, I was able to distract my son long enough to lose this videotape. Frankly, I think it was the tape from "The Ring".

To correct another reviewer, Buddy Baer is the UNCLE of Jethro (Max Baer, Jr) not his father. 0 out of 10.
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Please tell me the sentiment of the following review: Classe Tous Risques (The Big Risk) is repeatedly recommended every time I look up a Jean-Pierre Melville film that I had to give it a watch as soon as possible. Since I've been discovering Melville and seemingly working backwards through his filmography, it would be easy for me to mistake this as one of his films, but it was made in 1960, by Claude Sautet, before Melville would come and stake his claim on french neo-noir.

Classe Tous Risques has two of the best lead men of the time, Lino Ventura and Jean-Paul Belmondo. Ventura plays Abel, a gangster exiled in Italy with his wife and two kids, who wants to come back to Paris because the police are closing in on him. After a roaring and fast paced opening with a big surprise, Abel eventually gets hooked up with Eric Stark (Belmondo) who wants to get into the criminal underworld. Stark becomes Abel's chauffeur and eventual only friend in an underworld that turns it's back on Abel after everything he's done and been through. The film shows the the duality of the two men, the older Abel at the end of his time after tragedy strikes him, and the younger Eric starting off the same way Abel did, falling in love with a beautiful woman who sticks with her man despite the world they are a part of. It never ends pretty for them, or their loved ones. Its one thing to see a individual criminal come to his demise, its different when he has loved ones he risks taking down with him.

Much like Melville's film, the seemingly simple story gets more subtlety complicated as it goes along. As usual, as what I feel with Melville's films, it left my head spinning (in a good way) and dying to re watch it again to pick up what I missed the first time. Classe Tous Risques is a definite keeper.
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Please tell me the sentiment of the following review: The only reason I rated this film as 2 is because Channing Tatumis beautiful however the whole film lacks emotion and was boring to watch. Usually I adore a good romance but this was just a waste of time, I didn't shed a tear despite it containing sad content it just wasn't acted very well at all. I'm no film critic but I just advise girls to avoid this really unless the only reason you're watching it is to see Channing Tatum lol the rest of the film is rubbish and if he wasn't in it (not that his acting was any good) I would have stopped watching much quicker. It's a shame really because if the right actors were chosen for this film it could have had the potential to be a real tear jerker. .. If you're looking for a good cry or a film for a girly night in...give this one a miss!!
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My Santa Lucia Choir was chosen to be in this movie. All 100 plus. When it came time to film the movie I was asked to chose just 10. Oh my goodness. We had a little gal who went early to have her tonsils out because she wanted to be in the movie. The choices were hard to make. The people of Georgetown are just a lovely as the people that they show in the movie. Gracious, kind, believers. The town sponsors an annual Christmas Market the first two weekend in December every year. I was there this year and it was wonderful. The town is lovely and the people work hard to make it magical. The town appears today as it did when the movie was made. Much credit goes to the Historical Society there that work hard to maintain the historical value. The principal of the school that has been turned into a Charter School was given an award by the Governor of Colorado for Volunteers.

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The film begins with Ingrid Bergman and her two freaky servants arriving in New Orleans from Paris. Apparently years earlier, her mother was involved in a scandal and Ingrid returned in an effort to irritate kin who would have sooner forgotten she or her mother existed. That's because she reasons if they are shocked enough, they'll pay her off to get rid of her. Then, with this money, she will leave New Orleans and seek out a millionaire somewhere else, as she poses as a Countess. Along the way, Gary Cooper shows up and looks totally out of place as a love interest.

It's amazing that this film wasn't the reason that Ingrid Bergman's film career plummeted--her performance and character were THAT bad! Instead of the classy and demure female she usually played in films, she is probably one of the most annoying characters in film. Her fake Contessa was shallow, demanding, unpredictable and stupefyingly dumb. How she was able to vamp ANY man seemed a mystery, as she seemed less vampish than just plain nuts!! I am not exaggerating to say that she behaved, at times, like someone with a combination of a severe mental illness and a personality disorder, and all these together make me think "who in the world would fall in love with this mess?!". Frankly, I couldn't stand watching her histrionics and narcissistic behavior and she looked more like a guest on "The Jerry Springer Show" than a leading lady! Confusing, awful and overacted are words that come to mind when I think about her role.

The rest of the cast is, frankly, overwhelmed by Bergman's ranting and hysterics. While Gary Cooper is generally an excellent leading man, he is dominated by her and just looks lost. And, oddly, they cast two total weirdos as her entourage--Flora Robson and Jerry Austin. Ms. Robson is best known for her portrayals of Queen Elizabeth I, but here, for some odd reason, they coated her in makeup and the end result looked much like the love child of a cigar store Indian and Aunt Jemima! Her face was very wooden, she sported odd eyebrows and she dressed like a slave. As for Mr. Austin, he was a dwarf and while this shouldn't be held against him, his role was written like he was a court jester--a very, very thankless role for someone who is "vertically challenged"! Overall, the rotten acting, writing and limp direction make this one of the big stinkers of the age--nearly as pointless and dull as such famous turkeys as PARNELL and SWING YOUR LADY.
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Gary Cooper is a cool headed guy. Always liked his easy going level headed characters. As some others have commented, there are some oddities in the script, such as a US Marshall who got his job and can't even hit a barn with a pistol. A rancher with about thirty hands but can't seem to keep his cattle from being run off.

But there is plenty of the quick thinking, straight shooting Cooper to keep you entertained.

This movie was made in 1950. People in their 20's and 30's have trouble understanding those movies were made for entertainment not Oscars. 

To expect Oscar material does this film injustice. It is about the good guys finding a way to round up the bad guys.

So rent, borrow, or buy this movie, pop some corn and enjoy the Coop one more time.
It's amazing what you can do with little money. DEAD SILENT being a low budget movie delivers its promises. 

Too bad we don't see Rob Lowe more often on the silver screen. Lowe is at its best in this riveting thriller . No wonder he went from DEAD SILENT straight to the TV mega hit The West Wing . 

DEAD SILENT 8 out of 10 

Sputtosi Toronto.

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I suppose for 1961 this film was supposed to be " cool " , but looking back now ( 45 years ) it's charm was just as silly as it's entertainment value ! Granted , the special effects do well on T.V. with the Series that started in 1964 , but for the BIG screen ?? I once had a fish tank that was equally as exciting ! I must agree about the Octopus scene near the end where it attached itself to the Seaview. Obviously not well staged...or trained ! Overall , it's pretty bad acting with shoddy special effects and I still do recommend it - for fun laughs sake. This was probably one of Irwin Allen's Biggest films and I think he thought a lot of it . Barabara Eden went on to play " Genie " on T.V. Micheal Ansara was her Husband . Now that is a cool part about this film ! I always enjoyed seeing real life Husband and Wife teams star in the same movie . Neat !
This is one of THE century's best tv-series ever with all the great suspense,story,and a cast of absolutely fantastic actors and love and grief that really gets you involved and captivated in front of your tv. If you have seen it once, you will go back to see it again. I have several times and still do it. The 20 th century's best drama.

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"Female Convict Scorpion - Beast Stable", the third in the series, is a magnificent piece of pulp sleaze. Closer in tone and subject to a Nikkatsu violent pinker than other Scorpion entries, it is stunningly photographed, directed with lurid enthusiasm, and populated with a rogue's gallery of villains and degenerates. Shinya Ito, the director of the first installment, returns for this surreal fable which begins with Scorpion (Meiko Kaji) cutting the arm off a cop she is handcuffed to and fleeing into the Tokyo subway with said arm still swinging from her wrist. She takes refuge in a red light district where she befriends a prostitute, who is first seen seen having incestuous intercourse with her brother (who ends up impregnating her). Scorpion's desire to protect this unfortunate woman eventually exposes her identity and all hell breaks loose. She is beaten, sexually assaulted, and locked inside a bizarre bird cage in the villain's lair. I loved everything about this hypnotic, nihilistic, and emotionally touching movie. It is the superior of the three first Scorpion films and features one great scene after another. I can't recommend it highly enough.