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This film is a brilliant retelling of Shakespeare's classic love story, complete with "kinky sex, body piercing, and dismemberment". It does follow the same spirit as all the other Troma movies [except Combat Shock...That sucker was depressing] but it's not only for Troma fans. Anybody who appreciates lowbrow visuals and a hilarious script will without a doubt fall in love with this movie.

Don't expect pretentious, artistic-wannabe crap like the version of R&J with Claire Danes and Leo DiCaprio; this one knows its a silly movie and draws its humor from that. The acting is also surprisingly good, and you can just feel Sammy Capulet's pain as he tries to put his brain back into his head.

The soundtrack, which contains many original and high-energy bands like The Wesley Willis Fiasco, Supernova, and The Meatmen is also four-star. This movie should be viewed by all, because it remains faithful to the original story while still being jam-packed with Troma's trademark gore/sex humor.
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Like other movies from the worst director ever, Ed Wood, this movie is very bad but because of that it is also very funny. May be not for everyone, but I laughed a lot. It is a strange thing when you enjoy a bad movie. How do you rate it? As a movie very low, as entertainment at least a little higher.

The movie tries to explain what a transvestite is and it does this through a scientist (Bela Lugosi) and an inspector (Lyle Talbot) who talks to a doctor (Timothy Farrell) who knows about these things. The doctor tells the detective two stories and that is what we, and apparently the scientist, see. The doctor tels these stories because a dead transvestite is found, suicide, and because of a headline in the news paper about a sex-change. The first and longest story is about Glen (Ed Wood himself) who is in love and about to marry Barbara (Dolores Fuller) but he has never told her he like to dress as a woman, when he is named Glenda. The movie tells the same thing over and over again, especially the fact that a transvestite is not necessarily a homosexual. The movie almost says that being a transvestite is not a bad thing, but being homosexual is, since it keeps telling us the fact that a transvestite is not a homosexual. The second story is about a transvestite who really wants a sex-change and not just wants to dress up as a woman, but it is much shorter and less interesting.

A couple of things make this movie very bad, and therefore laughable. How the story is presented is the first thing, the way the same things are told over and over again and the conclusion of it all are others. This is not where it ends. The acting is very bad, especially Dolores Fuller seems to be reading her lines directly from a little screen somewhere. Every thing she says is funny. The whole dialogue actually gave me quite some laughs.

There is also a sequence where someone walks into a room. The door stays half open and we see something hanging on the wall, not completely straight. Then the door, in what seems to be the same shot although we know it is not, is a little less open and suddenly the thing on the wall hangs straight. Ed Wood didn't mind to leave this kind of continuity errors in his movie. May be a good thing, because basically it is just another laugh for the modern audience. I think you understand that it is a bad movie and I think there is a good chance you will laugh at the ridiculous mistakes as well.
On monday, earlier this week, sometime in July, I happened to be under the influence of the sweet leaf, and me being a horror fan, wanted to see something scary. I was thinking of The Ammityville Horror 2, but I got something way better. I was at my friend's house, and he had the VHS Evil Ed. No cover or anything, he didn't even see the whole thing himself, but he told me it was about "A guy who goes crazy and kills a lot of people." Well, this movie was very shocking,I've never seen the actual brutal nature of sadistic violence until this movie, It buries Ted Bundy and Ed Gein both! It is pretty funny too, with references to The Evil Dead trilogy( and plus the Evil Dead 2 poster is everywhere in the movie!) The movie is about Edward, a obsessive-compulsive, nice guy, who happens to be a film editor. He is then lent to another department in the building, and he is sent to the posh yet violent world of Sam Campbell, the Splatter and Gore department. Sam Campbell, Eddy's new boss, is telling Eddy about the big break on his movies, the gruesome Loose Limbs series, and he needs Eddy to make the movie somewhat less violent so they can be shown all over Europe. Eddy has his regrets soon, as the images and scenes that are displayed to him from the lonely suburban house he is sent to work in, and then, what happens from there is truly nightmarish. Imagine yourself in his place! The acting is great, the overdubbing is little funny (Sam Campbell's voice is often found funny, same with the other actors). However, the overdubbing job was done pretty good, I give this movie a 10/10, and it's a good introduction to the Gore sub-genre to Horror. Very good, Nightmarish, bloody.......You just have to see it for yourself.

quote from movie: "Where in the f**k is my Beaver rape scene?!"

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Please tell me the sentiment of the following review: This is my first "awful" rating ever on IMDb and I couldn't think of a more deserving film to honor it with. I hoped for entertaining trash and found trash of the saddest, dullest kind. I found a film which no one can possibly have cared a bit about, including its creator.

"Hell Ride", directed, written by and starring Larry "Friend of QT" Bishop, has a simple plot about a hidden treasure and a trio of keys, two bands of bikers and a gruesome murder in 1976 which has yet to be avenged. Larry seems fiercely determined not to tell this story, focusing instead of putting his swaying, strangely grimacing main character into situations where he can fondle women who pretend to like it. He also has a dialog containing enough horrible fire puns/metaphors to put one off the word "fire" for life.

Dennis Hopper escapes complete humiliation, others are not so lucky. Sometimes they hit the road on their bikes, making one feel even more sorry for Michael Madsen, since his high handles seems to add insult to the injury of having to appear in this film. There is plenty of silicon-enhanced nudity, but fairly little action and no humor whatsoever, making one wonder just what kind of an audience they had in mind.

My guess is that most people who watch this film, including fans of trashy 60s biker movies, will feel cheated. Do yourself a favor and revisit the real stuff instead.
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I was very impressed with this film from newcomer Dir./Writer Jose Reyes. The cast was excellent. "Jorge Cordoba" executed a powerful

and shocking performance as the lead character of "Rafa". It's inspiring to see independent films with this level of talent. 

It takes talent, courage, and determination to go out and make a quality film.

I admire anyone who can take an idea from concept to conception and go the mile. 

It's easy for people to judge young filmmakers more harshly, but I applaud "Jose Reyes" 

and the talented cast for their successful efforts.
Out of the 600 or so Spaghetti Westerns made this has got to be in the top twenty somewhere. Can not believe this hasn't received any reviews! Gemma is excellent in this. Van Johnson is good too though his dubbed voice is a little off killter but that's the charm of the Italian style. Beautiful photography and some excellently staged action. All the supporting characters are well played. The severity of the racist streak in the bad guys is pretty tough even by todays standards which creates an emotional depth to Gemmas character in some of the situations that take place. Absolutely FANTASTIC score by Luis Bacalov. See this is in the wonderful Wide screen DVD from Japan. A spaghetti must have.
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I was expecting a lot from Mr.Amitabh Bachan's role of SARKAR, but am disappointed. Being a Ram Gopal Verma's direction i was not ready for this kind of a movie. Sarkar is supposed to be a strong character, but the movie shows that Amitabh is too dependent on others power rather than his. There is a movie in Tamil called Nayakan based on the theme of GOD FATHER and Kamala Hassan has played the lead. The movie is well directed and the power till the end remains in the hands of Kamala Hassan, not his son. Amitabh Bachan seems to be too helpless in the movie and he just accepts everything instead of changing things. The movie fails to show the strong impact of God Father.
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Another movie from Swedish hillbilly country, which is always the Northern part. If black people were shown this way, there would be shouts about racism and for good reasons.

This is a farce and you are supposed to laugh at the "clever" farce clichés. But it's mostly tiresome. A gangster comedy, with the bad Russians (as always) and the bad (and stupid) Finns. And most stupid of all is of course the Norwegian, according to Stockholm prejudice.

Andreas Wilson is the only one who tries to make a performance reminding us of reality. This is not funny. This is not even exciting. A burlesque too raw to make you interested in any way.
I have just seen a very original film that I would recommend to everyone including `the young & the restless.' However, I guess some of the profanity, violence, and sexual innuendo in the movie are not suitable for `all your children.' Anyways before the sand fills up the hourglass, let me tell you the name of the film: `Nurse Betty.' Renee Zellweger stars as Betty. She is a Kansas waitress who falls under a trance, and thinks she is a real life character of her favorite soap opera. Because of this, she goes on a journey to Los Angeles to reunite with her supposed soap opera character lover Dr. Rubell. To add fuel to the fire, she is also being chased by some ruthless `one life not to live' hitmen who think she has stolen their drugs. You could say that is how Nurse Betty spends `the days of her life' throughout the movie. This very `ungeneral' situation eventually leads her to the `hospital' set of her beloved soap opera. However, the only problem is that Betty thinks this is all real. It is like her mind is in `another world.' Ok! Enough! I will wipe off my mouth with soap and not mention any more soap names. I have already registered my vote for Renee as a best actress oscar nominee. Also, Greg Kinnear's performance as Dr. Rubell was as good as it gets in his acting biography. To sum it up, my final diagnosis is that everyone should call in for `Nurse Betty.' ***** Excellent
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This film may be great, but it is a complete ripoff of Bill Forsythe's Comfort and Joy. c&j is one of the sweetest films I've ever seen without becoming diabetic.

It's OK if you do like it, but realize that EVERYTHING in this film is a direct rip-off.

The original is http://us.imdb.com/title/tt0087072 I can recommend almost anything by forsythe - Local Hero, Gregory's Girl, That Sinking Feeling. I better go rent some tonight. Local Has a young Peter Capaldi, and an old Burt Lancaster.

Unfortunately he's given up film-making after some really crappy Hollywood treatment. Sad.
I had this DVD to watch, thinking that I would see a type of biography o painter Goya, but the movie was about everything but Goya. This movie is about a young woman taken away from her family by the Holy Inquisition, allegedly because she practiced Jewish rituals (only because the poor girl did not like eating pork!). The rest of the movie is about torture, humiliation, driven by a poor script (can't believe it is by JC Carrière as I could not believe this cr** is directed by Mr Milos Forman) centered on a religious man and that young woman and that is all. 

Ah, and there is Goya, I forgot, playing a completely peripheral role - that could be the role of John, Paul, Peter, Manuel, Joaquim, Jose or anyone. Very disappointing - one one these movies that will be forgotten for ever (if it has not had happened yet). Rent "The Name of the Rose" if you want a movie about the Holy Inquisition. And I don't know what you should rent, if you want to watch a movie about Spanish painter Goya. Maybe a director of a good caliber, not Forman, still needs to make it. PS: the Spanish painter, Goya - the title role who is lost in the plot - is portrayed by a Scandinavian actor, something that makes this film even more difficult to be taken seriously. Maybe next time we should send Javier Barden to play the biopic of Norwegian painter, Edvard Munch!

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i really wanted this to be good as i am from Liverpool where it is set but it truly awful. the acting from everyone involved is cringeworthy the script is terrible absolutly terrible. terrible
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This movie tries to say something profound; I'm just not sure what it was. Too much is left unresolved in the end for me to figure out the main point. A couple scenes really have me wondering what was left on the cutting room floor. I don't think the wall was very well developed I never got what was actually going on there. When the mother finally unveils it I just couldn't make any connection to the boy's silence. What was the point of the boy not talking? Was he just delusional or did he acquire some sort of power. What was the scene with the burnt girl all about? Another power the boy has or what? I don't understand how that developed any character or moved the plot. I got the bully bit but what happened to the dog? Did the dog come back or did mom get rid of Fido for good somehow? 

There were several additional plot elements that were more clutter than use. Like the radio talk show in the background discussing the Iraq War. I think that was supposed to create some sort of comparison to the grief and insecurity the mother and Addison were experiencing but for me it was distracting and strained. I didn't buy the link very much. I also found the teacher getting on Addison about not saying "here" for roll call a bit much. The mom seeing the doctor was pointless, how did it serve the plot? Was that to show how desperate the mother was getting, or was it something about the medicine that I didn't get? Was that the dad coming back in the last scene, or just some guy? So did writing on the wall work? What happened to the Dog?
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This movie is a real waste of time and effort. The film lacks plot and depth. The visuals are decent but nothing to write home about. There are far better films out there.
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This is really one of the worst movies i have seen in a while. It's not funny at all. It simply portrays a lower class Northern British setting. I find it a very sad film at parts, at others cuts are where they shouldn't be. One thing that really annoyed me was the close ups of pointless objects it really slowed down the pace of the movie. I only made it through the movie because i fast forwarded certain sequences towards the end.

This movie completely loses the attention of the audience. It's main problem is that it makes multiple reasons for one action, which in turn tends to weaken that action. However if there is one reason for one action it makes it more passionate. All in all this movie is all over the place. I didn't learn enough about the characters to care about them because of the shifting plot lines and stories where as i would have maybe enjoyed exploring the life of one character.

For example at the beginning when the guy meets God in the bar, God seems like a cool guy. The movie could've elaborated on that moment and I think it would've been a lot funnier.

Anyway, enough if's. Watch it if you want, but I'm warning you this film is crap. I respect the makers for trying to pull it off with such a low budget but they could've done a much better job. I guess it all lies in the camera movement and editing, the acting was decent. But then again, that's just my opinion.
Before the days of home video, Stan Laurel's pre-Hardy comedy 'Kill or Cure' was known -- to the extent that it was known at all -- only because a few sequences were included in Robert Youngson's compilation film 'Laurel and Hardy's Laughing 20's'. Youngson knew what he was doing: the best gags in 'Kill or Cure' were brought intact into his compilation, while the rest of this only mildly funny comedy remained on Youngson's cutting-room floor.

Laurel portrays a commercial traveller, hawking a patent medicine cried Professor I.O. Dine's Knox-All: that name is the funniest joke in this movie, which ain't sayin' much. I should point out that this movie dates from 1923, the shank of Prohibition. During Prohibition, quite a lot of Americans purchased patent medicine if it had (ahem!) 'medicinal' properties, so -- if Knox-All contains alcohol -- Stan's job in this movie is less desperate than the one which he and Ollie famously had in 'Big Business', selling Christmas trees in the summer. Too bad for this movie that it's not nearly so funny as 'Big Business'.

We see Stan (but don't hear him, in this silent film) delivering a spirited sales talk to a man who seems to be paying attention ... until we learn that they're standing outside a deaf-mute institution, and this man is deaf. A haughty woman emerges from the gates: Stan quickly tries to engage her attention by wiggling his fingers at her. Of course she's not deaf, and she promptly whacks him with her umbrella. I found this sequence offensive, NOT because it involves deaf people (the deaf aren't the butt of the joke) but because it abets the very widely-held misconception among hearing people that they can communicate with the deaf by merely waggling their fingers randomly and performing Charades without actually learning the highly complex grammar of sign language.

More amusingly, a spinster in this movie has a pet canary named Rudolph (as in Valentino), and there's a gag involving trick photography to enable a man to hide behind an object that's narrower than his body. I've seen this device in several cartoons and live-action movies but 'Kill or Cure' is, I think, the earliest movie to use it that I've seen so far.

Stan Laurel, an under-rated actor, does one bit of physical business here that's worthy of Chaplin or Keaton, in which he conveys his emotions -- and a change in his demeanour -- while walking away from the camera with his back to us. Still, Laurel never really became a first-rate comedian until he united with Oliver Hardy to form the greatest comedy team ever. 'Kill or Cure' barely rates 3 out of 10.
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I am a guy, so i was very hesitant to watch the movie because i know that Richard Gear likes to be in tear jerker movies. I would rather watch action/adventure/sci fi. I was right, the movie is definitely a tear jerker. Diane tended to over act a few times, as did richard, but they brought it around and made it work. The daughter was a suppressed teen with huge attitude, so you started out hating her. The movie is way too predictable, but for entertainment purposes, it was a masterpiece. Go rent it, see if you don't shed a tear.lol If you like the notebook, you will love this one. The beach scenes were immaculately shot. even though the hurricane scenes were a little off sequence, it was still a bit panicy to watch them react to it.
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This is the ultimate Kung Fu movie! This is the only Kung Fu movie! This is the only Kung Fu movie I have ever seen! I am giving this movie way too much credit! My best guess for the reason for making this movie is that someone wanted to show off someone else's martial arts abilities, but realized that you can't just film a guy fighting another guy and have people watch it, so he put a story behind the fighting... and people still didn't watch it.

This movie's story line was onion skin thin. That acting was goofy and stereotypical of any Kung Fu movie. The dubbing was literally the worst I have ever heard. It seemed if you played a small role in this movie, like the fat guy or the two guys trying to catch the main character with a net, it didn't matter who over did your voice. It could have been a dyslexic with a slurred stutter and nobody would have said anything. But beside all of this, the movie makes up for itself with the somewhat awesome fight scenes.

The fight scenes were definitely what this movie was all about. But the instigations of the fights were totally absurd! On most all instances, a guy either pops out of the tall grass, or glances at the main character from a distance, and then attacks him. But once the fighting started, things sort of balanced out. There were only two things that really hampered the fighting, though. Those constant "wooshing" sound effects that were added to every swing of a fist or foot or sword, and the poor editing that made 25 percent of the fighting VERY jumpy and choppy. Someone would be in the middle of a back flip and then suddenly be on the ground being kicked, and then instantly be back on their feet blocking a punch. But while the cut and paste editing was more of a nuisance than anything else, it didn't really affect the overall movie.

In the end, this was not a great movie, but I wasn't expecting a great movie. A great movie is not something you should expect when you see a box cover like this movie's. All I saw this movie as was a way to pass an hour and a half of boredom. I rarely say that, but this was just one of those movies you have no practical use for, so you watch it whenever you have some free time. Enjoy the movie if you decide to watch it! Good day gentlemen.

-Scott-
I am sorry folks, but I have to say I really cannot understand the overwhelming feelings everybody gets by seeing this movie...

When I saw it I looked at my watch to know how much more time I had to spend with this Kindergarten nonsense.

So why this verdict?

First of all: The movie tells a story that doesn't deliver any excitement! It is not even the amusingly distorted reality of a Quentin Tarantino we used to know. This story could have come out of every little kid's head. It doesn't have anything intelligent in it, neither anything inventive and it goes on for hours... the story has appropriate content for about 30 min. The rest is just awfully enhanced scenes that are supposed to leave a somewhat cool image. Doesn't work. Even the previously seen cutbacks that Tarantino often uses just confuse and are not in any way cool. 

Second: Some guys go to Germany and kill Nazis. Ah really? Do they? The only Nazis they killed were a handful of guys, one of them being man enough to rather die than betray his companions. Is this the ugly face Tarantino wanted to give the Nazis? A brave soldier that is more valiant than any of the "Basterds"? Certainly not --> fail And what happens to the terrible Nazi-killing Basterds? Well they all get killed by Nazis except two who are taken hostages --> wow, what terrible revengeful monsters they are...

Third: Any characters? Yes one! The only role and the only gleam of hope for the entire movie is Chritoph Waltz who is building a truly deep and very detailed character here. Great acting! Brad Pitt really sucks and is completely out-acted by Waltz. Never seen a such a weak performance by Pitt... And the rest? Well, some Germans you've never seen before and will never see after. When the movie started and I saw the group of the seven Basterds I hoped to see something like the "Magnificent Seven": A group of extraordinary guys, each one with a distinct character, making their way to their destiny fearless and knowing... I was then very disappointed, when I saw the "inglourious Basterds". No details at all, no characters, no real men, just some random guys you won't remember who were not given any chance to differentiate themselves... But in fact you don't even need to differentiate, cause the "Inglourious Basterds" except Pitt hardly play any role in this movie...

So I was really disappointed, and seeing this movie on place #40 of the greatest movies of all time is the only thing about this, that leaves me with my mouth opened...
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Please tell me the sentiment of the following review: This is a new approach to comedy. It isn't funny.

The joke is that this, in and of itself, is supposed to be funny.

The story is based on a French short story, located in Paris, and the characters have French names. Louis Aubinard, for example ... played by ... Bob Hoskins? The movie also stars the equally French Jeff Goldblum and Natasha Richardson. The situations are similar to and the characters perform as if in those Carry-On movies from years back.

I believe these are also jokes - to cast these actors who make no attempt to act French in any way, to have them cavort in the manner of broad English dance hall comedy, and to leave the whole bloomin' mystery unexplained to the audience.

In the humour department, this is practically the Algonquin Round Table, isn't it?

The movie tries to be charming and quirky, and I guess these characteristics are sort of funny. Not as funny as Duck Soup or Love and Death, perhaps, but funnier than The Deer Hunter or The Battleship Potemkin.

It is an example of personal filmmaking. It makes no real effort to reach out and share with the audience, but stays true to its premise and its internal logic. Although all the situations are unbelievable, they are logical within the film's own bizarro world.

I generally like this kind of eccentric movie, but I found this one to be paced too slowly, to be dull-witted, tedious, and to provide too few pleasurable surprises or genuine wit. It just kind of meanders in predictable and sophomoric ways, and wastes some wonderful talents along the way. It has to be the low point in the career of each of the major stars, who are all otherwise distinguished players. I found it to be the biggest waste of talent since The Betsy, and I wish I had never seen Goldblum and Hoskins in this thing.

So, call it an interesting miss, and pass on it as a rental unless you really have a lot of time to kill.


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You know, as you get older, you somehow think the movies you did not like when you were younger, might have been because of your youth and inexperience. Case in point, when I saw The Godfather at age 14, I thought it was boring. 20 years later, its an incredible movie to me. In other words, I grew up and began to appreciate great movies.

So I rented Dirty Dancing with my girlfriend last night on her request, as she loved it at age 14 and I hated it at the same age. But I hoped, because I was young and stupid at age 14, perhaps this would be a new experience for me. So I sat down with her to watch, hoping to be enlightened.

Well, the night after watching Dirty Dancing, I feel a violation. I feel like someone reached into my soul and robbed me of 2 hours of my life from watching this cheese fest.

First, Patrick Swayze plays a 20 year old, but he looks like he is 35. And the premise of the movie is him seducing some underage teenager, wooing her with his dance moves. Really Creepy.

Anyway, the movie is the cliché plot where the "wrong side of the tracks" guy and the "rich smart girl" accidentally fall in love with each other. Of course, their romance is fueled by the fact the "rich girl" can't dance a lick, so the "poor hero" teaches her in a week to become an expert dancer for the big end of vacation show, or something like that.

But you guessed it: The disapproving father soon enters and forbids the two to see each other, and the movie progresses to secret meetings of dance lessons and love making. This all culminates into the final scene where the entire resort rallies around the two young lovers while the once antagonistic father accepts the 35 year old dancer as his teen daughter's new man.

Even my girlfriend whimpered at the end of the movie as she admitted it was not anything like she remembered. I didn't press her, but I did smirk a little, and put the Godfather part II in the DVD player.
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A SUPERMAN Cartoon.

When America unveils its colossal new bomber, the JAPOTEURS, an elite force of Japanese spies & saboteurs, strikes. Stealing the behemoth, with intrepid girl reporter Lois Lane aboard, and the destination either Tokyo or destruction, it's time for Superman to get involved...

This was another in the series of excellent cartoons initially created by Max Fleischer for Paramount Studio. They feature great animation and taut, fast-moving plots. Meant to be shown in movie theaters, they are miles ahead of their Saturday Morning counterparts. Bud Collyer is the voice of Superman; Joan Alexander does the honors for Lois Lane.
This is an excellent film. No, it's not Mel Gibson in "Braveheart," but then, it's not trying to be. Actually, "The Emperor and the Assassin" probably has (thankfully) more in common with a Shakespearean production than a Hollywood blockbuster.

In the third century BC, the King of Qin is attempting to unite (in other words "conquer") the seven kingdoms of China. He has already overthrown the Kingdom of Han. Now he needs an excuse to invade the Kingdom of Yan.

This is where the Lady Zhao comes in. She and the King have been friends since childhood. They are obviously very much in love, but cannot marry for political reasons. Together they devise a plot. She will pretend to have fallen into disfavor with the King and escape to Yan. Once there she will convince the Prince of Yan to send an assassin back to kill the King. When the assassination fails, the King will have his excuse to invade Yan.

Once in Yan, however, Lady Zhao begins to reconsider. Hearing and seeing more and more examples of her old childhood friend's ruthlessness, she begins to wonder if the King may need to be assassinated for real.

One sure sign that you're not watching a Hollywood production is the final encounter between the King and the assassin. Unlike a Hollywood movie where the hero and villain are clearly defined and the final outcome already predetermined, this is a fight that could truly go either way.

This is a well crafted and well acted story of a tumultuous time in Chinese history. There is a mixture of both incredible beauty and incredible ugliness. Most beautiful of all, however, is Gong Li as the Lady Zhao. I grow more and more convinced every time I see her that Gong Li is the most beautiful woman in the world.

I must say, however, that she does have one unintentionally funny line in this film. Early on Gong Li asks one of her servants "Do I have a beautiful face?"

Duh!!!
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Please tell me the sentiment of the following review: As always Joan Hickson is wonderful as Jane M. Subtle, sharp and aware. I do not wish to dwell on her acting skills as they are praised enough on this site. I would like to criticize some of the smaller parts as the rest of the cast seemed to be hand picked by director David Tucker.

Liz Fraser's performance as Mrs. Bent (the mother of the missing girl Nora) is a joy to watch. Subtle and deeply moving as the alcohol-depending grieving mother who loves and misses her daughter desperately. A good long shot of her monologue (thanks Tucker!) so she can be enjoyed to the fullest. I was moved when I saw her the first time when it was broadcast and I am moved again, now I have it on DVD. Brava.

Joanna Hole as Madge the tour-guide I find highly amusing. She is on the edge of over-acting but her role can have it. She is SO funny as the over-organized guide who wants to do good with everyone on that bus, I find her hilarious. Her reaction after she boarded every-one on the bus is great... As always: to perform comedy one has to take it very seriously, and that's what Ms Hole does.

I do hope those two ladies have good careers (as I live in Holland I do not know if they have, not all theater productions can be googled...) -their performances on the screen deserve it.

Pieter
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I really liked the idea of traveling between dimensions, and I even liked the Wade/Quinn tension in early episodes. Some of the worlds they created gave the main characters extremely interesting backdrops for their stories. However, as the show went on there were more silly disputes among the friends and less of a true bond. There was less wonder and excitement when they were involved in other worlds and more condescension. And every world had one of the characters falling in love. The writing just got boring and everything was way too over the top. Too bad it would've been nice to have a closely knit band of friends (a la Star Wars) traveling to different dimensions on TV for several years, rather than a tired band of knit pickers.
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You Belong To Me was the final teaming of Henry Fonda and Barbara Stanwyck as a screen team and it was a loan out film for Fonda to Columbia Pictures. Fonda had signed a contract with 20th Century Fox in order to get the Tom Joad part in The Grapes of Wrath. But after that it was usually his loan out films that were good while he was cast in mediocre things at Fox.

But the rule was broken here. Though the character he plays bears some superficial resemblance to Charles Pike from The Lady Eve, this film isn't anywhere near as funny. In fact feminists would probably be aghast at it. 

In fact Barbara Stanwyck herself didn't like it at all. She liked working with Henry Fonda right enough, but thought this film was ridiculous. As well she should have.

Fonda is another millionaire playboy, who we would now call a trust fund baby who doesn't really do much with his life. He's sort of lovable lunkhead who meets Stanwyck on a ski slope and literally falls for her trying to show off. Turns out she's a doctor and they have a whirlwind courtship and get married. 

But it turns out Fonda has a jealous streak, especially when it involves Roger Clark, another millionaire patient of Stanwyck's. And he's not understanding as to her professional obligations.

Stanwyck, like Bette Davis and Katharine Hepburn, was and is a feminist icon. When she tells Fonda that he ought to go out in the working world and live on a salary and see if he can do it, Fonda goes out and gets a job as a salesman in a department store. She's so proud of him, that she actually is going to give up her medical practice and live with him on his salesman's salary.

Today NOW would be picketing the film. Stanwyck did not have too much conviction in her performance, probably because she didn't believe any of it. I certainly couldn't. 

I don't think even back then audiences believed it either. But the two stars and the rest of the cast tried their best, but this one was a Thanksgiving special.
This is one of the oddest movies I have watched in a long while. Usually if they are this strange I bail out early and rarely regret it. Luckily, I held on for this one. While I can't say that this is a great movie (it isn't), I can say that watching it is rather like a good acid trip - only a few really awful moments and the rest filled with "did I really just see that?" wonderment. Lots of laugh out loud moments. A great cast of characters with Meredith Eaton outstanding as the dwarf daughter-in-law with an attitude. Keep an open mind.

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I saw this movie on a fluke.I was standing on 42nd street waiting for a bus to go home and a sister started passing out free tickets for a preview of this movie.I gave it a chance not expecting much.The promotional movie posters I've seen on the subway station walls do not give this film justice at all.

The movie is about a young rocker who goes on a journey to learn the craft and art of heavy metal.I'll leave it there.The movie is a heavy comedy and lot's of fun.If your are old enough to remember when Heavy Metal dominated the music scene in the eighties you are going to love this film.Jack Black is an amazingly talented comedian and actor and assuming he really wrote and performed the songs in this film he is also a talented musician.

Tenacious D is definitely worth a look!
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Walter Matthau is best remembered for the long series of comedies he did with his equal comedy partner Jack Lemmon from THE FORTUNE COOKIE to THE ODD COUPLE II. But people tend to forget that in the late 1970s he appeared with another partner in two films - a female partner. This was Glenda Jackson, the English double Oscar winner, who demonstrated her comic abilities against Matthau's first in HOUSE CALLS and then in HOPSCOTCH. Matthau's role was slightly larger in both films, because his characters were more central to the plots, but the chemistry between them was quite good. If you ever want to see two pros demonstrating how sexual intercourse can be crazily funny watch Walter and Glenda as Dr. Charley Nicholson and Ann Atkinson experimenting to see if two people could have sex on a bed under the old movie code rule of the two parties each having one leg on the floor! Never has sex been looked at from such a clinical and mechanical point of view.

Matthau's Charlie has just been widowed before the film began. He has only had one woman in his life - his wife. So now he's the eligible bachelor. He also is the leading surgeon in the hospital he works out of, but the chief surgeon is Dr. Amos Weatherby (Art Carney). Carney is apparently senile (there are moments later in the film that show he turns his senility on and off - see the scene where he rams Richard Benjamin's car). Amos is up for re-election (Charlie is his closest competitor for the post - if he wants it). However, Amos manages to convince Charlie to let him keep the job for reasons of self-esteem.

One day Charlie notices Ann in the hospital. She has had a slight accident and is resting in bed, but Amos has put her into a cage like apparatus (which Charlie remarks has not been used since about 1920). He gets her out of the device, and soon is romancing her. She joins the staff of the hospital, but she is critical of Charlie's willingness to cater to Amos, and she is critical of certain selfish tendencies she sees among the doctors in the hospital.

Amos' bungling causes the death of a wealthy patron of the hospital (Lloyd Gough), who owned a baseball team (his greatest innovation being separate admission costs for double headers). Amos tries to calm down the young widow of the team owner, delivering the eulogy at the burial service (the line in the summary above is the peroration line of the eulogy). However she is still determined to sue (her lawyer Thayer David says the hospital is the most incompetent he's ever seen). So Amos suggests that Charlie romance the widow to satisfy her from that expensive lawsuit. But how will Ann react to this? The film is quite amusing, and was so successful that besides causing a sequel for Jackson and Matthau, it led to a television series as well.
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Please tell me the sentiment of the following review: 15 PARK AVENUE is the address "Mithi/Mithali" (Konkona) is in search for from the movies beginning. "Prof.Anu" (Shabhana Azmi)is Mithi's extremely caring and loving half sister from Mithi's mom's earlier marriage. The movie revolves around these characters and looks into the life of a schizophrenic patient (Mithi). The director tries to explain to the viewer the imaginary world of Mithi, through her continuous blabbering to Anu and others. 

Konkona deserves not one but thousands of awards (which I am sure, she will be getting)for this rendition of Mithi in this movie. You can see the look of a patient written on her face, by the drooping lips and sleepy eyes, from the first scene itself. Rahul Bose has done a good job, but has been reduced to one half of the movie in spite of his importance in their life.

Watch out for the intense relationships shown between the characters of the movie, Mithi & Anu, Anu & Anu's Mom and between Anu & Sanjiv (Kanwaljit Singh). Shabhana Azmi, as usual has done a riveting performance to be remembered as the sister, who sacrificed her life for Mithi.

The movie might not be your usual Hindi potboiler, but can certainly make people look at the schizophrenic patients in a different light altogether.

As usual, Aparna Sen brings the movie to a different ending rather than any clichéd ones, we might think off. Hats off to her, for this great movie!!!
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This movie is a great film. The movie shows so many themes all in one amazing film. Driving Lessons centers around Ben (Rupert Grint) a shy 17 year old who is coming of age. The movie goes on about how Ben is sick of his dominating mother and how he just wants to be himself. Ben then meets Evie, who he makes a very special bond with. The two take a journey and in the process Ben finds himself and what a relationship that he and Evie share. This is the movie that you watch by yourself, or with someone else. No matter what, you will all feel what Ben goes through in the movie. It is a very heart warming film that just makes you think whether your driving lessons were ever as emotional or as much of a journey as Ben's Lessons.
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Having finally caught up with this "masterpiece," it strikes me that it must have seemed terribly clever, in its day. It's French, arty, under-played to the point of agony, and ultimately downbeat. But viewed from the vantage of 37 years in the future, it's also just a bit vacuous, pretentious and unsatisfying.

Others have summarized the story, but I don't think anyone has pointed out the dramatic flaw at the heart of this film: the lead characters, Corey and Vogel, really don't deserve what they get. They play square within their code, never harm anyone who didn't ask for it, and show great courage and initiative. Moreover, Corey in particular is victimized by his former gangland 'friend,' who stole his girl and who repeatedly tries to have him killed, apparently just because he (Corey) dared to 'borrow' a few thousand francs. These are guys who really ought to be due for a break! Instead, things go far worse for them than they really need to, within the logic of the story.

One might contend that this is the whole point: that the real villains never get caught; that they collude with the police as needed, sell out their friends, and always come out on top. But that's not shown either. Corey's old gangster friend is not shown colluding with the police. Nor is he shown gloating over his victory. In fact, after materializing several times when he's needed, he's nowhere to be seen at the conclusion, leaving a dramatic tension (his feud with Corey) entirely unresolved!

Nonetheless, I'd say this film is well worth seeing for its beautiful photography, its slow, deliberate pacing, its great deadpan performances, its elaborate heist sequence, and its encapsulation of the art-film style of the late 1960s.
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Oh, Man, talk about the effect of advertising. Apparently, all that you have to do to enjoy box office succes is title your movie after a revered 19th century novel. Horrendous acting, directing, and cinematography in this sham of an effort.
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This is definitely an excellent show. I don't have cable, so I started renting them, because my friend recommended it. I thought it would be a teen soap, you know, who's dating who, that kind of thing. But it was not. It is surprisingly deep. It is also very witty. It moves at a very fast pace, and there are more and more jokes you catch every time you watch it. It is a comedy-drama, which is rare when well done. It is about Rory and Lorelai's relationship. Instead of the classic mother-daughter relationship it is a story of the best friend relationship-- about a mother and daughter. The characters are perfectly cast and all do a superb job. It is definitely the best TV show I have very come across.
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Having known and loved this book since I was eleven I was terrified to see it coming up as a movie - what if they'd made a dreadful mess of it? In the event I needn't have worried at all. Everyone was very well cast and the acting is terrific, it followed the story very well except for the strange addition of the scene in the prison, which to me added nothing at all. However it really is the most beautiful love story and I'm so glad I videoed it so I can watch it again and again. My only gripe is - why didn't they give Kester a green waistcoat 'which made him such a personable man'? Such a simple thing, when they went to so much trouble for everything else. If you get the chance, see this, it is excellent.
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positive