cindermond/bento huggingface dataset:
This is not the kind of movie that really merits critical attention. It's not going to win any Oscars - it's really not a very good movie at all. Heck, it's not even really a movie - just a string of short disgusting, gross-out skits strung together in an effort to make entertainment. And as much as every critical bone in my body cries out to give this movie a failing score, gosh darn it, I'm going to give it a much better score. The kind of people who are going to enjoy this movie are not the kind of people who really care what critics have to say, so I'm not going to give some snobby critique of Jackass's quality of surreal existentialism that permeates and commentates on how our society....oh forget it.

What's to say? There's no plot development, no character development - no real beginning - there's a semi-enjoyable end that's not nearly as funny as the skit that precedes it, and everything in between reeks of improper, bathroom humor that junior high kids laugh at. It's actually pretty funny.

Leave at the door all your preconceptions of a good movie. Jackass: Number Two is just gross-out crap. That's really all it is. I do give the filmmakers this, though: they come up with some pretty imaginative stuff. You'll probably cringe several times throughout, want to throw up a couple times, wiggle and shift uncomfortably as the people on screen do death and vomit-defying stunts. Vomit, crap, urine, semen....virtually every bodily fluid can be seen in Jackass: Number Two. There's nudity, sexual humor abounds, and so on and so forth.

It's entertaining. If you're the kind of person who finds this stuff enjoyable, then you will probably really like Jackass: Number Two. I laughed several times. Like I said, it's pretty imaginative stuff. I never once wanted to vomit - though I do have a pretty strong stomach. Just accept the movie's premise: a bunch of idiotic guys do weird crap for fun. Once you get past that, accepting it and going with it, you'll enjoy it. The only flaw in the movie is the sheer excess of all the weird and disgusting stuff. There are several very imaginative, very disturbing skits, but it drags in many places as they do ones that are less interesting. Towards the end things pick up, but in the middle of the movie the drag hurts the overall film's quality. In a half hour TV show this isn't a problem, but with film length celluloid, it's inevitable that boredom will ensue at some point. After awhile the gross crap just becomes desensitizing.

On the whole, though, Number Two is an entertaining, imaginative, and above all, disgusting comedy that will leave you with a feeling of pain, nausea, and hilarity. Go see it if you must, but hey, if you know you don't like this kind of stuff, don't bother. You'll just be disappointed.

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While Disney have been THE animation studio for the past 70 years, there have always been rivals to their supremacy. When this review was written in 2009, for example, companies like Dreamworks and (to a lesser extent) Warner Brothers and Ardman, were bringing out animated movies that could be said to challenge the Disney dominance. Back in the beginning, in that late '30s and early '40s heyday when Disney was serving cinematic banquets like Snow White, Dumbo and Fantasia, the competition was provided by brothers Dave and Max Fleischer. Despite releasing two very commendable films, they never quite cornered the market  many attribute their downfall to the commercial failure of Mr Bug Goes To Town, released the same week as the attack on Pearl Harbour (which gave the American public something more significant to think about than going to the cinema to watch a cartoon!) That this film has faded into relative obscurity is a travesty.

In a patch of overgrown garden in the city a bunch of bugs are in dire danger. Humans use the land as a shortcut, discarding litter and cigars, and other hazards, right on top of the bugs' homes as they go. Honey-shop owner Mr Bumble (voiced by Jack Mercer) fears that the future is bleak, and wonders how he will ever be able to raise his daughter Honey (voiced by Pauline Loth) in more secure surroundings. A highly unscrupulous creature, Bagley C. Beetle (voiced by Tedd Pierce), offers to provide her a safer place to live if she will accept his hand in marriage, but Honey is much more interested in her childhood sweetheart, the perennially cheerful and optimistic Hoppity (voiced by Stan Freed). Hoppity believes that everything is about to be resolved for the better, but is left looking foolish when Bagley Beetle and his pair of comical sidekicks manipulate the crisis to their own devious end. Only at the very end, as their patch becomes the foundation for a huge new skyscraper, do the bugs switch loyalty back to Hoppity as they look to him to lead them a new, safe home away from the destructive influence of humans.

What really works in this film is the delightful characterisation  all the bugs are cleverly developed and designed for maximum audience appeal. The bumbling villains Swat the fly and Smack the mosquito (hilarious names, if you stop to think about it) are particularly memorable. Equally admirable is the storytelling drive  even the youngest of children can enjoy this story, while at the same time it skillfully conveys a message for older audiences about the way human carelessness can impact upon the survival of wildlife. Time has inevitably dated some aspects of the film, and when viewing it the audience needs to accept (and forgive) these occasional signs of general age and wear. But on the whole Mr Bug Goes To Town is an accomplished, funny and very slickly presented animation with a worthy message to boot.

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Following on directly from the last episode of the previous series Yes Minister.

Jim Hacker now finds himself inside Number 10 Downing Street as Prime Minister of Great Britain, instead of a Cabinet Minister and a member of the government, he is now leading Her Majesty's Government.

All this after some scheming maneuvers by Sir Humphrey Appleby after the previous Prime Minister resigned at the end of Yes Minister. 

Sir Humphrey Appleby is now the head of the Civil Service.

I thought that this series was better than the first series, or though it did not last as long as the first series unfortunately.
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Not an easy film to like at first with both the lead characters quite unlikeable but luckily the heart and soul of the film is Paula Sage's touching performance which drives the film into uncharted waters and transcends the rather awkward storyline. This gives the film a feeling of real truth and makes you think you've seen something special.(7/10)
Please tell me the sentiment of the following review: when I know that Walter will never grace another set.I was in my 30's when I first saw this sweet,endearing and unabashedly romantic film.I loved it from the first scene,and all the way through to the end.Art Carney was his usual daft self; Glenda matched Walter step for step in the witticisms;and Richard Benjamin supplied the sarcastic voice of reason that he does so well.Along the way there were many actors whom we all recognize,doing their usual brilliance. There are a couple of lines in the movie which my SO and I have used throughout the years,but I won't say anything about them here.I'm pretty sure you will know which two I am talking about. Just get this movie.Make some popcorn,grab your squeeze(if he is as sappy as mine is,for which I am thankful),and enjoy this standout romantic comedy from the 70's. You will not be disappointed. However,I have the feeling that I am preaching to the choir here because anyone who loves Walter will already own it.I'm very glad it's out on DVD now,finally.
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Three children are born at the exact same time,during a lunar eclipse.Just before their 10th birthday they embark on a killing spree."Bloody Birthday" is a typical slasher from early 80's.It's a pretty average stuff with plenty of nudity.The evil children never generate any menace and there is almost no suspense.There is also no gore or scares in "Bloody Birthday",but the film is mildly entertaining.Unfortunately no real explanation is provided for the kids sudden homicidal mania.The murder scenes are quite gruesome for example we've got death by handgun,baseball bat,skipping rope and shovel.So if you're a fan of early 80's slasher movies give this one a look.

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The Book of Life was rather like a short snack, whetting the appetite for Hartley's next full length movie.

This movie doesn't need to be seen on the big screen, watch it with a few friends who are Hal Hartley or Wayne Wang fans, or better still, try to convert some newbies.
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This is really the only chance to see the magic of James Joyce's writing brought to life. His novels are all unfilmable (in any real sense) and this is the only long story he wrote. It was John Huston's last film and did not reach the screen until after he had died, and it is easy to see his touch of greatness. The Dead is poetical in its approach on the screen, telling us more about Ireland than any modern movie on the IRA and "the troubles" could ever hope to tell us. Hopefully more people will watch this film and get to experience the finest of both John Huston and James Joyce, and perhaps visit this story in your local bookstore (and discover that it is probably the greatest short story ever put on paper).
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I got hold of this film on DVD with the title Evil Never Sleeps, it gives front cover billing to Carrie Ann Moss, but she plays such a minor character that I didn't really notice her in the film.

I'm afraid that I consider this one of the worst purchases I have ever made. The dialogue was stilted and the delivery wooden, I found the acting to be disconnected from the plot. Graham's performance to me was of someone who's wondering whether she's left the gas on at home.

All in all both my wife and I found this film painful to watch, and it is not a valuable addition to my collection, watch it at your peril, but spending 90 minutes having your fingernails pulled out would probably be a better way to spend your time.
This sickly sweet and laboriously paced 5-reeler is definitely not among Harold Lloyd's better films. Gags are sparse and mostly uninspired. Saccharine melodrama is abundant. The setup takes forever, as Lloyd, the unconventional, but impossibly kindly, country doctor makes his rounds, bringing a little sunshine into the lives of children, the elderly, and puppies. It's like a 1922 version of Patch Adams. Ugh. 4/10.

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I would probably say this was on a par with films like "Devil's Rain" and that sort of film, although this is probably a bit better made. I love 70's horror and this has most of the elements that make up other movies I like so it was pretty easy to enjoy. A family on their vacation stumble across a small town where the people seem to be gripped by some sort of hysteria. Seems like the children have been disappearing. After an initial attempt to flee this place, the family is somehow stopped on the edge of town and find their way back, but not without first finding a house where the kids are gone and mommy and daddy are dead. Seems like we have a different kind of twist on a senior citizen community center in this town, they're all Satan worshipers and they need the kids to renew their lives so they can continue on in their service, I guess. Not that anyone seems too keen on giving up their kids for this enterprise. This is fairly classy considering that it's scary and creepy without buckets of gore or the loud startling events that try to make people jump in films today, which seem to have replaced actual scares. We have Hank Kimball (Alvy Moore) from "Green Acres" as Tobey, a sheriff's deputy that reads UFO magazines, and LQ Jones as the sheriff, and a very familiar character actor as the dad of the stranded family. And Strother Martin plays the doctor who seems to be doing double duty unbeknown to his fellow townsfolk. This is pretty good stuff but a tad on the confusing side sometimes, but overall works pretty well & is recommended for fans of 70's horror. 8 out of 10.

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There is not much to say about this one except that it is probably the worst of the early spate of zombie movies (I may get to watch another one, REVOLT OF THE ZOMBIES [1936], before the month is out). For all star John Carradine's intention of building an army in the service of the Third Reich with them, they are not seen to do much at all!; James Baskett (Uncle Remus from SONG OF THE SOUTH [1946]!) plays their leader, who also serves as Carradine's manservant. Black comic Mantan Moreland reprises his 'fraidy cat' chauffeur role from KING OF THE ZOMBIES (1941), as does the exotically named Madame Sul-Te-Wan as Carradine's housekeeper. Unfortunately for Carradine, his supreme achievement  the zombification of his wife  brings him all sorts of trouble: not only do her relatives turn up at his remote abode/lab to inquire into her sudden death (which means he has to fake a funeral service!) but she actually proves disobedient and indignant, eventually 'persuading' her fellow zombies to rise against their master!! Also involved is cowboy star Bob Steele (still best-known for his bit in Howard Hawks' THE BIG SLEEP [1946]) who plays a U.S. secret agent posing as a Nazi posing as a Sheriff! Thankfully, director Sekely would have much better luck with his next genre effort, THE DAY OF THE TRIFFIDS (1962).
The only reason this show did not get a 0 is because one is not available. This show has gone from informative news to sensationalized claptrap. I tried to support this show in its decline, because I like human interest stories and Primetime used to have some very good ones. Unfortunately, April 21st has forever changed my mind about this show and the unethical newscasters that participate in it. ABC actually recorded a brutal case of child abuse and then refused to show it until the statute of limitations had run out and the parents could not be arrested on the charges they should have faced. What made it worse was how ABC swept the whole incident under the rug; instead of taking charge and seeking true professional help for these disturbed individuals, they had some pop psychologists send stern warnings TO THE AUDIENCE about how they shouldn't judge these poor angels too harshly. I was truly sickened. I hope this review stops one person from watching this investigative trash in the future. If it does, I will be happy. These days, all you can expect from Diane Sawyer and the good folks from Primetime Live are butt-kissing sessions with A-list celebrities and criminal acts covered up and praised to the stars. Don't waste the hour of your life; you'd be better off watching an old sitcom on Nick at Nite.

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I happened to catch this on TV, and wanted to watch because I remembered the Spin magazine article upon which the movie is based. I was very disappointed. First, if James Belushi is the lead actor in a movie, it should be a sign that it's not exactly an A-list production. Gregory Hines was a world class dancer, but sadly not a great actor.

In fact, all of the acting in this film is either flat or hammy, which can only be blamed on the director, who is this film's weakest link. Charles Carner seemed to be trying to ape Oliver Stone's "JFK" in portraying the alleged conspiracy to cover up the "real" child murderer(s), but without the benefit of a good script, an A-list cast or, it must be said, the talent. It just doesn't work.

It's a shame that such a worthy topic for a film did not get better treatment.
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The director is sweet, as is his co-directing wife Shira Geffen, but their movie sucks. It has its moments (and some pretty girls), but there is too much of everything: "Amélie" meets "Breaking the waves" meets "Pauline at the beach". You walk away wanting to know more about the wedding photographer, and about the girl who likes it best when nothing happens, be it in movies or in real life. Instead, you get a suicidal writer, a neurotic actress and an illegal-immigrant-come-social-worker with a heart of gold. It feels like there's more than one truly touching story hidden in the script, but at face value it's a truckload of wasted story lines and sentimental bullshit. Hard to sit out as it is.
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One of the first things I noticed that allowed this culture to stand out among the rest was during the wake at Sole's place. An aerial shot is used to show Sole being flowered with kisses by a sea of women. I believed this was a commentary on the closeness that women had for each other of this cultureones who stuck together across the generations, separations and misunderstandings, and still being able to bond and rely on each other. Also, the film seemed to glorify women as almost flawless individuals. What I mean by flawless is that they did not suffer the consequences for their actions and were treated as if they had no imperfections. An example of this is shortly after Paula accidentally killed her father. Her mother immediately comes to her rescue and takes full responsibility for the act while Paula seems to suffer almost no remorse for what she has done. Again, another example of this is when each daughter (or granddaughter) has had an opportunity to reunite with their supposed "dead" mother (grandmother). Knowing the stresses that this has most likely caused in their family, each one of them still embraces the mother without care for what she has donethat is, killing her husband and his lover. In this light, women are portrayed as ones who not only love each other independent of character acts, but also ones who don't seem bothered in the least by the acts in which their friends/family members perform.

Another idea that I thought was intriguing of this culture was in regards to their idea of the supernatural. With the death of Raimunda and Sole's mother and her inexplicable return, the director builds the audience's emotions to believe that this film is going to embody the supernatural. The people depicted in this culture seem very supernatural, that is to say, very eager to believe that life exists beyond the grave. Their aunt, long-time friend Augustina, the prostitute and other people living in the city of La Mancha all believe the rumors of the dead coming back to family members to finish the "unfinished business." I believed this was a mixed reflection of the culture's religious faith (predominantly Catholic) as well as their need to make amends with those who had no chance to be forgiven during mortality. The belief they held in regards to the dead being "alive" was also to give hope to the destitute circumstances they suffered in mortality. When the viewer is exposed to the fact that this film isn't supernatural at all, it's interesting to observe the role the mother continues to play. She's treated as if she still is a ghost (i.e. hiding in small crevices (underneath the bed or inside a car trunk)). I believe the director portrayed the mother this way to heighten the already existent supernatural beliefs the city had adopted. The mother's character seemed to be a metaphor for the city's long-held belief in life after death.

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Hallelujah!!!! Finally, a true Colombian film crosses the border(s) to shows how Bogotá and Colombia really are! I am an American of Colombian and French heritage sick and tired of seeing Colombia so perversely and ignorantly portrayed by Hollywood and others.

How many of you are aware that Colombia is the second oldest, uninterrupted democracy in the world (after the USA), or that it has a vibrant film and television industry (-to say nothing of Ugly Betty), that it's capital, Bogota (Pop. 9 Million) is the "world Capital of the Book," or that this beautiful city is host to the world's LARGEST International Theatre Festival? I hope that Doug Liman, Simon Kinberg (-Mr. & Mrs. Smith), Robert Zemeckis, Diane Thomas (Romancing the Stone) one day visit Bogotá, to see how wonderful it really is, and focus on Bogotá's cultural vitality and diversity, instead of myopically producing films such as Maria Full of Grace from which Joshua Marston profited greatly (for this terrific film) without ever thinking-through about the ontological damage his film would help to perpetuate upon the "unfairly tarnished image" of Colombia.

-Anyway, you will at least enjoy Bluff very much! -Oh, and thanks IMDb for your invaluable/great work!!!
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Once again, I fell for it, in my roots I crave a fun and gory horror film, even a vampire one. Even if it's stupid, as long as I get my fun gore in the mix, I'm a happy camper, it doesn't take much. So I saw the cover of "Bled" over at Hollywood Video and was kind of curious what it was about, it looked kind of interesting, so I decided to rent it. Why? Why do I always fall for it? Not only did this movie not fulfill the satisfaction I needed for my gore and senseless violence and nudity, but I was bored out of mind. This movie has the kahoonies to say it's a vampire movie and it's really not! I'm so close to going back to the store and begging for money back because this is one of the rare times I actually turned the movie off.

An artist meets a vampire, I think, dunno, I'm still trying to figure out what the heck he was but his name was Reinfield, so I'm assuming maybe he's a cockroach eating guy who likes to freak people out? I think, I dunno. Anyways, he thinks the artist has a certain flare for darkness, so he gives her a drug to go into an alternate fantasy where a vampire exists and needs blood to become alive? I think, I dunno. So her friends get excited and decide they wanna try the drug too, I think, I dunno. So after they decide to try the drug, things get weird, the fantasies are real, I think, I dunno, and the vampire is now enjoying the will big breasted girls in scandly clad clothing. I think, I dunno. But a couple of the girls really end up being vampires? I think, I dunno.

Sorry for all the "I dunno's", this is possibly one of the worst reviews I'm going to write, but that's because this movie was just awful, boring, and confusing. I love just seeing these wanna be actors who you can tell are waiters looking for that "big break". Not too smart that they fell in the cliché of the horror genre, sometimes it works and sometimes it doesn't, in this case, they really should have read the script. Because the movie, the look, the feel, the acting, everything about this movie was just bad, I really recommend that you just pass the movie if you see it at your video store. This possibly could have been an interesting movie with it's concept of a different dimension, but why did they pick this director to display his "creativity" if he even has any? This was a bad movie, just stay away.

1/10
Please tell me the sentiment of the following review: Why is it that such "romantic" movies that never actually go anywhere, always start (and probably end) with crappy jazz? It's not clever and it makes it look like a bloody tv-movie. This film was sappy, slow paced, boring, unoriginal, wooden and did I say boring?

Harrison Ford was probably trying to be mysterious and crude, but he was just a crawling, mumbling cop that seemed to walk into the congress-woman's home like everything was fine, when he behaved like a pervert - staring at Thomas with a pervy glare, hardly ever bothering to speak.

And why the hell do they always get British actors to put on crappy accents - they're casted because they're famous, and everybody knows they're british precisely because they're famous!
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Please tell me the sentiment of the following review: This movie was not that good at all. Here is the first clue and that it is not gonna be a strong movie, Harrison Ford's name not only appears first but it is also bigger than the title. The music was nominated for an Oscar, What the heck was that? That music was probably the most annoying thing in the movie. The acting was sub par at best, except the Amish boy he did a decent job for being so young. Then you have the story which was weak and a little over the place, and it won for adapted! The music was horrid, I know I already said something but it was really bad. The premises was real good and it should be remade. Well that's all I really have on that.

Your Average Movie Guy,

-Trever
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I consider myself a big fan of low budget horror movies. The more bizarre and imaginative the film, the more blood and guts, the better, and i really fall in love with cheaply done flicks if they are done right. Luther starts out well enough... his origin at the circus, a creepy run at a supermarket, an attack of an old lady, and his disturbing occupation of a woman's farmhouse all set the mood nicely. A hot sex/ shower scene ensues when the woman's daughter and daughter's boyfriend arrives at the house. When Luther steals the boyfriends motorbike the movie takes a turn for the worse. 

The characters are presented with numerous opportunities to: A) save their loved ones, B) get the police to help, C) escape, or (most importantly) D) KILL LUTHER!!! I can't feel empathy or fear for characters that are too stupid to help themselves. Chareters snub chances to arm themselves with guns and knives while Luther is away. A policeman eventually arrives and is equally ineffective in stopping Luther, even though at one point he has a rifle squarely aimed at Luther while Luther clucks and does his rendition of the polish chicken dance. I found myself futilely coaching my television: "Make sure he's dead!", "Hes gone, get out of there!", or "Just kill him already!" 

Luther is a bloodthirsty savage, but he is hardly Hannibal Lecter. If you can't outsmart this egghead, you deserve what's coming to you. By halfway through the movie you'll be so lethargic to the fates of the half-wits that only morbid curiosity will sustain you to last to the mildly amusing ending. This movie was noted as one of Fangoria's 101 greatest movies you've never seen... well Fangoria is half-right in the case of Luther the Geek.
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OK, let's see... a handsome young stranger is new in town, and walks around on the local boardwalk. He meets a pretty girl, meets up with the obnoxious leader of the local hip young vampires club, is dared by them to follow them into this cave, gets into a conflict over the pretty girl, an epic fight ensues...

No, it's not Lost Boys, although you'd be hard-pressed to tell the difference, since I think even some of the carnival music is the same. (Do you have to pay royalties for sampling a movie?) Even the ending of this stinkbomb is ripped off from Lost Boys. The make-up is below par, even for a low-budget thriller, the characters are one-dimensional, and just exactly how many "Oh, I had this horrible experience" scenes of teen angst does one movie need? The humor is flat and stupid, and everything else is sadly predictable. Yawn.

The only scary thing about this turkey is the promise (threat) of a sequel, an idea that hopefully every distributor in the country will drive a stake through.

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This is by far the most awful movie I have ever watched. I have never before rated a movie 1 out of 10. My advice is don't watch it. This doesn't even classify as a movie.

You'd be better off sitting on the couch bored rather than watching this movie. Acting was terrible but what was worst by far was the storyline. Highly unlikely sequence of events which aren't even funny. They are actually very lame and stupid. Very foolish choice by Ashton Kutcher and Tara Reid to act in this movie. Might even upset their careers a little.

When I walked into Blockbuster, the main focus was on this movie , so I decided rent it. I sincerely regret it.

Once you're 10 or 20 minutes into the movie you could basically predict what was going to happen. I was hoping it would get better , but instead it got worse.

I am not exaggerating this. The movie is terrible. Don't watch it. Hope this helps.
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This is probably one of the best French movies I had seen in a very long time! This "pastiche" or parody of spy movies is very well made and is going to make you laugh from the beginning to the end. Some references to today's world are very subtle. The whole Maroccan context of the movie is to be understood in light of today's French culture/environment. That said, all the jokes and - seemingly - shocking remarks that could have been understood as such because of this context, are permitted and accepted because this is a parody. 

I was told by my sisters who had already seen this movie that I should go too and assured me that I was going to have a great time, and indeed I had! If you liked the old 007 movies with Sean Connery and also like movies like Airplane or Hot Shots, you will be delighted. I just hope this movie is released on DVD in the US... Wait and see.
I'm normally a fan of Mel Gibson, but in this case he did a movie with a poor script. The acting for the most part really wasn't that bad, but the story was just pointless with flaws and boring. I thought I would like the movie a little but I didn't like it at all actually. I give it a 1 1/2 out of 5!

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I went into this movie with semi-high expectations after loving the cartoon series in my childhood, and this nearly wrecked that love for me. Jason Lee, David Seville in the film, is horrifying. I understand it can't be easy to act with CGI characters who aren't actually there, but I really found his performance atrocious, along with all the other non-animated characters. The chipmunks were adorable, yet sometimes blatantly obvious at moving the plot of the story along, and therefore did not tempt me to stay in the theater for longer than half an hour into the film. If you feel you must see this film, rent it, at the most. It is NOT worth eight bucks to see it in theaters, unless you'd like a good laugh at the horrible acting.
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This film is replete with sentimentality, unprofessional flying that makes a pilot like me cringe, and irrelevant material. Why introduce Rachel, for instance? She has absolutely nothing to do with the film except to permit her "Follow Me" truck to run wild and crash into Dorinda's fence. That has got to be one of the stupider sequences among many in the film. Another is at the end when the aircraft (was it a B-26 or an A-26? --both designations are used in the film) is left with props whirling and no chocks in place. That serves the plot, of course, but to reveal it would be to commit a dreaded spoiler. As it is, the aircraft would have begun to taxi sans control. The ending (again, avoiding spoilers) involves much too much talk -- as at the beginning of sound films in the 30s with all those final speeches. Here, Dreyfuss just babbles on and on. The ending also incorporates other radical violations of aircraft protocol and a couple of improbabilities/impossibilities that I won't describe. What a dull and disjointed effort!
This movie plays out like an English version of an ABC after school special, with nudity. It makes you wonder who the target audience was supposed to be. It's not as though the writers were too preoccupied with selling a plausible plot either. While it does possess a certain watchability, Virtual Sexuality is fluffier than dandelion meringue. It's a good movie to watch if you're snowed in, the cable's out, and it's the only tape you've got.
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The first 1/3 of this movie I loved and thought it was going to be one of Truffaut's best films. I loved the plot where a pen pal marries a man from half way around the world--sight unseen. Especially when this woman turns out to be a fraud and was responsible for the death of the REAL pen pal so she could take her place! She then cleaned out the husband's huge bank account and disappeared! I was really hooked and wanted to see more,...

And then, the movie fell apart and became just plain dumb! Despite her coming from New Caladonia (an island in the Pacific) and he from Reunion (an island in the Indian Ocean), when he goes on a trip to the South of France, he stumbles upon her almost immediately. Hmm,....odds are 187,000,000 to 1 but he finds her. Then, instead of either killing her or turning her over to the police, he forgives her--even when she acknowledges what she has done. Okay--this is tough to believe, but okay,...but then he helps to hide her from a private detective by murdering him!!!! No one is that stupid! Yes, the character Catherine Deneuve plays is quite beautiful but come on folks--this is just silly. Plus, if he only wanted her as a sex object, then why would he do this for a woman who is often frigid and completely selfish and evil.

This movie, due to it's very ridiculous plot, does not deserve such high ratings! Unless you are a die-hard Truffaut fan, try another film--even one of Truffaut's--just NOT this one.
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Where to Begin, I like the scary snow-monster named Jack Frost. The whole concept works well for me, we thought he'd be back and he was. Changing the local to a tropical resort works. Seeing old friends and meeting new characters. Scott MacDonald does a great job as Jack Frost, you can tell when an actor has fun playing a villain, you can see it or in this case hear it in the performance. Yup, Jack Frost 2 is a welcomed sequel that is better then the first. I do have one complaint, the little Jacks or the Jacklings as I call them. They looked like hand puppets. I think they could have done a better job with the Jacklings, the mouth could have opened wider, but the CGI was good and as a whole the whole movie is worth watching over and over again. If you liked JACK FROST, then you will like this sequel. No questions or debate, 9 BIG STARS.
It's not real flashy, but this movie does a great job of developing a large cast of characters, and letting you know their hopes and desires, while still managing to be both funny and bittersweet. A very sweet movie. Fun, also, to see Vincent D'Onofrio and Mary-Louise Parker so early in their careers.

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If you take the movie for what it is worth, you won't be disappointed. If you think Murray is supposed to win an Oscar for his performance and that is the type of movie you are expecting, don't bother. It was funny when I saw it in 1979 and hasn't lost its charm. Good clean fun for the kids and mindless entertainment for the older folks. The story line is simple and easy to follow. Murray has done better, but this is his first film. The movie reminds me of a time when we didn't need blood and guts to be entertained. Morty is the head dunce and plays the part perfect. The other counselors are typical revved up teens looking to have fun during the summer. One nice thing about this movie, it has a message.
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I rented this movie, but I wasn't too sure what to expect of it. I was very glad to find that it's about the best Brazilian movie I've ever seen. The story is rather odd and simple, and above all, extremely original. We have Antonio, who is a young man living in Nordestina, a town in the middle of nowhere in the north east of Brazil, and who is deeply in love with Karina. The main conflict between the two is that, while Antonio loves his little town and has no wish to leave it, Karina wants to see the world and resents the place. As a prove of his love for her, he decides to go out himself and bring the world to her. He'll put Nordestina in the map, as he says. And the way he does it is unbelievable. This is a good movie; might be a bit stagy for some people due to its different editing job, but I think that it's also that that improves the story. It's just fun, and it makes you feel good.
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I am not sure who recommended Surveillance to me, but I think I have an idea: one of the "Fat Guys At the Movies." The person said they were astonished by how great it was and said it was one of the goriest/disturbing movies. (I'm paraphrasing and doing this only by memory, so forgive me if I misquoted.) At any rate, I made the decision to watch it. So I take full blame for my own miscalculation in watching one of the most horrible, predictable and STUPID movies I've ever seen. Strange, I doubt I've ever called a movie "stupid" but that was the first word that came to mind about one-third in and stayed in my mind until the end.

Where to begin? Unbelievable premise and reactions, incredibly brain-dead characters (could blame the writing or the actors, or I'll just blame both) and enormously bad acting. I'd sooner believe Bill Pullman as President of the USA than a FBI agent here. (Of course, there's a reason for that, and I'll partially go into that.) And to top it off, if you can't figure the so-called shocking "twist" in the first 5 minutes, then you must have arrived late to the theatre or came into the room to watch it late. Don't worry, they'll tell you the "twist" every five minutes thereafter.

There's been some serial killer(s) on the loose in the most depressing town in the county, or world. But there's more to the story! Some dumbass and corrupt cops like to blow out tires for their own amusement. Could there possibly be more? Oh, yeah, there's a family, well maybe not, but there are four humans, one boy, one girl and an adult couple. The girl says she sees things with much less conviction than Cole sees dead people in The Sixth Sense. There's gotta be more to this than what I mentioned! That's what makes a movie interesting! Adding as many subplots that may/may not be developed is the way to go! Okay, then I'll continue. We have goofy FBI agents that made me laugh. A pair of giggling druggies who's shocked at first their dealer OD's but then resorts to robbery. A gosh-tooting great-guy cop who must've been put in for comic relief who's always battling an angry/suspicious cop. And finally, (poor, poor) Michael Ironside who didn't just phone his performance in, he barely text it in.

None of these work. They're all told in various forms of presence tense or flashbacks, and believe me, you'll lose all sense of caring after the first of many subplots begin. In addition, the reaction some of these characters are the most shocking of all. I guess I'm referring mostly to the cops, but mainly the girl who did or did not just lose her family and barely blinks.

This stupid, stupid movie stinks. It's barely gory as the person that recommended it said it was, unless his exposure has been limited to Goosebumps stories. And what's with the title? Surveillance? Oh, I get it; it's because it was used in 1/50 subplots just to film interviews. Since that's so random, it might as well been called COP CAR, BULLET or COFFEE. Just stay away from this horrid mess.
Two page boys working at a radio network go from trying to solve murders to performing in black-face in between work shifts. Jack Moran and Sidney Miller star in this whodunnit from 1945. Lots of fast talking, everybody yells at everybody, and the two page boys call the police detective "Marty" (played by Ralph Sanford). It's a real "shortie" at 59 minutes, and it has the feel of being adapted from a play, since it mostly takes place in a radio station soundstage. We don't really care about any of the characters, which is probably why its hardly ever shown. No big deal. This was Phil Karlson's second film as director. We're not given any clues as to who might be knocking people off, so we just kind of follow the police detective and the page boys as they all try to solve the mystery first. I'll say no more so as not to give away any spoilers.
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Set in the Philipines, Lethal Panther 2 is a dreary early-90s martial-arts action flick which sees a reckless cop hunting down the nasty criminals who killed his wife. A rather cheap looking production with almost no artistic merit, this film relies on the quality and quantity of its action. But whilst there is no shortage of fisticuffs, gun fights and explosions, the quality is just not there. The endless battles are desperately lacking in originality or excitement, with poor editing and mundane direction making this film a real chore to sit through.

The usually impressive Yukari Oshima is totally wasted, with her natural athletic ability overshadowed by some excruciatingly bad wire-work. The ballistic action scenes are an unimpressive mixture of 'slow-motion flying-through-the-air-whilst-shooting' heroics, crazy vehicle stunts, and endless bad guys lining up to be shot.

With so many better examples of the 'girls and guns' genre now available on DVD, I suggest that you leave this one well alone (unless, like me, you'll endure pretty much any old rubbish in order to be a completist).
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I love this film. There is something for everyone. It if funny, saddening, passionate and dramatic. The mixture of two completely different cultures creates a whole new world that the viewer cannot help but want to be a part of. I must admit that I am slightly biased, as Colin Firth is my favourite actor and so nothing that he does is wrong in my eyes (!), but in this film his tremendous acting talent is apparent and it is furthered even more by the beautiful acting of his co-star Nia Long. The problems that their love affair suffers makes it, ironically, more believable and the simple features like the contrast between the colours of Matthew's and Nimi's clothes alone, makes this film all the more enchanting. I defy anyone that cannot be moved by this story. I find it enchanting and have watched it at least ten times since I bought the film a week ago!
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Robot Holocaust is about the lamest, most pathetic attempt at making a post-apocalyptic movie that I've seen. And I thought the Italians were the masters of wretched Mad Max wannabes. Some of those movies like Escape 2000 are positively brilliant in comparison with this piece of poo. The plot is nonsensical  even with a narrator setting up every scene. And boy does it drag. Scene after scene with nothing of any interest happening. The special effects (and I use the word "special" loosely) consist of sock puppets. Yes, that's right  sock puppets! The acting is abysmal. Angelika Jager is in the running for worst performance I've ever seen. Sure, she's French or German or whatever  but man is she bad. I cannot think of a single positive thing to say about the movie. So I'll stop there because ten sentences on this junk is about ten too many.

However, and fortunately for me, I saw the MST3K version of Robot Holocaust. Some of the things that made the movie so bad helped make this MST3K episode a winner. For a season one episode, the riffs come fast and furious and hit their mark just about every time. On my MST3K rating scale, I give this episode a 4/5  seek it out.
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Being featured at the 2006 Cannes Film Festival and gaining quite some fame, this movie appears to be another modern and profound school drama. 

It's about a bunch of adolescents who get through a revealing and desperate day at school. Everything's circling around a suicide - shown at the very beginning to some extent - that happens at 2:37pm. The characters are somehow all connected with each other. What moves them is described via short interview sequences, strictly shot in b/w. The characters are well written, the acting is intriguing (especially Teresa Palmer as Melody and Frank Sweet as Marcus are discoveries).

Let's stick to the movies' technique. That's what really impressed me. There rarely are cuts, most of the time the camera follows one of the protagonists like in Gus van Sants' Elephant. Some scenes are presented more often than once, but each time from a different point of view (here: character). This surely evokes a slowly developing, but grabbing atmosphere that drags you inside literally. The colours are vibrant, somehow unfitting considering the tough plot - but that's nothing less than a clever contrast, a disturbing 'everything's fine thing'. The use of lighting is adequate all the time, underlining the characters' actual mood. And finally, there are decent placements of music.

2:37 somehow itches you from the very beginning. It does not compromise nor does it serve laughter. It rather strings together what psychologists would define as terror moments. This movie substantially focuses on emotional precipices. There ain't nobody who's not to handle some kind of neurosis, even the depicted minor parts (e.g. the teachers) seem to be in some state of disorder. And that is what keeps this movie from being really good. Its summing up of piercing tragedies is unrealistic to its very bones. There is no: friendship, love, smiling, truth, passion. There is: faking, humiliation, despair, sickness and beating up. It's like being hit in the face real hard all the time, but you are numb after the first hour. This flick keeps on hitting you, until it reveals something quite instructive in the end.

For being sensitively and superbly acted: 9. For being technically innovative and original: 9. For being unidimensional: 3.

Makes a solid 7 out of 10.
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