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It may not have had the big budgets, celebrities or endorsements of Scream, Urban Legend or I Know What You Did Last Summer, but Campfire Tales had one thing these three movies lacked: true horror.

This film tackled the subject of urban legends a year before the aptly titled and less than enthralling Urban Legend did. It was intriguing, masterfully scripted and logical in a way I Know What You Did Last Summer could only dream of. Finally, it held its focus and finished with a flurry while Scream fizzled and died.

What's most exciting about the film is the variety of horror that the writers and directors achieved. The overarching story of teenagers around a campfire was classic dread at the unknown (but certainly expected) doom that awaited them in the forest, but the tales themselves are where the movie really shined.

The opening sequence is pure, fast-paced urban myth. It's based on a popular legend, and the director plays on this with the style and pace of the action, making it more enthralling because we know what's going to happen.

The first campfire tale is a straight-forward thriller. Based on another popular myth, we don't actually realize this until the end, both because it blends so well into the story and because the action keeps our attention. Being the thriller of the trilogy, this one plays off our fear of the unknown and includes several well-done "jump" sequences that don't feel nearly as cheap or contrite as those in movies like Scream or Urban Legend.

The second tale is more suspense. This time, though the characters still don't know what's going on, we do, and this provides the horror. No need for cheap thrills here.

The final tale contains elements of the supernatural and uses a creepy/trippy atmosphere to scare the viewer. Because we can relate so easily to the characters and their situation, our fear comes from their intensity and what they can't explain. This is the true ghost story of the trio.

I didn't expect to enjoy Campfire Tales when I rented it. I figured that if I didn't like its more acclaimed, bigger-budget counterparts, how could I like it?

The truth is, though, this film succeeds where the others fell far short of the mark.
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If you loved the early-60's version of "The Time Machine", don't waste your time; as with last year's "The Planet of the Apes", this has been "reimagined", and not for the better. And, just as with "Planet...", its lead actor is woefully miscast and leaden; Guy Pearce, a terrific actor of great range, is all wrong for this role, giving a one-note performance that elicits zero sympathy; he's so dour and serious, and lacking in awe of the (supposedly) amazing things he sees that you don't believe for a moment that he's experiencing them. Worse yet, whose idea was it for him to resemble the love child of David Spade and Calista Flockhart?? A handsome actor, here he is sickeningly gaunt, which is, believe it or not, a major distraction. Frankly, the man looks gravely ill and is photographed cruelly. He shares absolutely NO chemistry with anyone on the screen, a direct result of a performance that is out of sync with anyone else's. Sadly, even with a proper leading man this movie doesn't stand a chance for it is fatally burdened with both a totally inept director - whole scenes go nowhere and are poorly realized - and a screenplay that is utterly inferior, scattered and at times incoherent - not for a single moment do you care about anyone in this film, for the single fact that there is NOTHING in the way of character development! In the original, you got to KNOW the Eloi, so therefore you felt for them, and felt their terror of the Morelocks; here, as the movie stresses several times, they are nothing but sheep and act accordingly. Unless you're a member of PETA, scared sheep are HARDLY the stuff of entertainment! 

Samantha Mumba does as well as possible, in her movie debut, but, like everyone else in this mess, most especially Jeremy Irons (if he's the leader of the Morelocks [who look like rejects from "The Mummy Returns"], why then does HE look like Edgar Winter's long-lost brother?) is COMPLETELY WASTED. Also wasted was the money spent on the endless 'special' effects, which belie the $70M spent on the film; they are uniformly lackluster, obvious and unconvincing. And then there's the look of the film: poorly photographed, its art direction and sets are just "there" and its costumes are typical in design. There isn't an original thought or idea expressed behind or on the screen. Most of all, it isn't even fun! (The filmmakers use the now-ubiquitous Orlando Jones as "comic relief" but, as usual, Jones is irritating, and just HOW does his electrically-driven character survive in a world seemingly devoid of electricity?)

All in all, this is an empty, lifeless, dull, sterile and confused affair: didn't they ALREADY REMAKE "Planet of the Apes"??? (At least THAT had the fortune of some strong performances!) 

*SPOILER!* The final insult (beyond a head-shakingly terrible, not to mention convenient, ending)? Not only do they BARELY feature the changing dress-store figures, they make even the time machine itself an anachronistic, gaudy glass-n-chrome bore! (If "The Sopranos" had a time machine, THIS is exactly what it would look like.) Pathetic...
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Sorry I couldn't be more expressive in my summary, but those two words seemed to describe the movie perfectly. This is not only a bad film, but a bad film with bad acting and a plot that will be inconsequential to most watchers.

See it only for a naked Rebecca De Mornay tied to a chain-link fence and moaning with 'ecstasy; supposedly 'erotic', but actually hilarious.


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The English Patient is one of those films that mostly deserve all the highest praise. I say, most, because this movie, albeit very serious, intense, deep and really thoughtful, still suffers some drawbacks. First and foremost, why, oh why are the modern films so long? This one lasts for more than two hours and from time to time it becomes really hard to concentrate and follow the extremely serious plot. I say, if the film were an hour shorter, that would serve it only good. However, we have what we have. The winner of several Oscars, The English Patient is still very good. It is a deep, insightful treatise of human soul, love and betrayal, war and cowardice, violence and bravery. Ralph Fiennes is a smashing superb actor. His hero, neurotic and silent, is an enigmatic person, ready for everything only to save the life of his lover. He is great, even though half the time he is a deformed cripple. He is the strongest link here. Juliette Binoche is as usual very convincing and sweet. She adds a lot with her excellent play and the love story plot with that Sikh officer. Willem Defoe, Colin Firth, Christine Scott Thomas are all here, all enormous and all very strong. And then there is desert of Egypt, then there is deep, cloudless sky, green groves of Italy. The nature is here, even when people die, bombs roar, land mines explode. War is here, too. It is obvious, terrible, and bloody. Then, there are corpses, horrible gory bodies, then nude bodies, adultery and all. I do not know what to say. So much of a splendid actors' work, so much of realism, so much of brutality that war brings. This is not a film for relaxation. It makes you think.
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The plot is very basic, but acceptable: A young US soldier, having studied Asian martial arts, puts this to good use in defence of the general's daughter and falls in love with her. Unfortunately, the three main acting parties' (soldier, girl, rebels) combined IQ amounts to 3: One point for the soldier, one for the girl, a large number of Ninja fighters have to share the third point among them to be able to lose against the former two.

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I remember watching this movie when it came out as a t.v. movie of the week in the early 1970's.

Although I haven't seen this movie in over 30 years I remember how creepy it was...the sister's dead body in the basement, the storm raging outside, the creepy house with no electricity and a killer still on the premises.

They just don't make t.v. movies like this one anymore. Elizabeth Montgomery was a very underrated actress and I liked her in not only "Betwitched", but several of her post-Bewitched roles, such as this one and 1975's "The Legend of Lizzie Borden".

I really wish that someone would come out with a DVD that has several of the 1970's t.v. movie of the week on one DVD. Wouldn't it be awesome to watch "When Michael Calls", "Bad Ronald", "Don't Be Afraid of the Dark", "Crowhaven Farm", etc., all on one DVD? I know there is a market for a DVD like this for all of us baby boomers who grew up in the 1960's and 1970's. Maybe, if we are lucky, someday someone will offer us a DVD with a great selection of t.v. movies like this.
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It sounded so promising in the Rental Store, the premise sounded great and I couldnt wait to get home and watch it. It was Apalling the Diologue is Dreadful, The Action is Extremely badly Scripted and the Plot takes a nosedive from the beginning. Gutenberg puts in a pathetic performance, Sean Bean tries his best but with a script this bad there wasnt much he could do.

This isnt even worth watching, even if you can get it for free (borrow it off a friend for instance) Dont as you will regret it and waste 90 Minuites of your life.

0/10
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Before "Miracle on 34th Street," Maureen O'Hara and John Payne made this, this, this film. I was going to describe it, but can't find words for how badly this film turned out. The subject matter of adopting a child and Maureen's illness are both very serious and sensitive issues, but that notwithstanding, this could have been done a whole lot better than it was. It was so extreme in its portrayal that it didn't come across as real at all. Probably its problem started with a weak script.

Another example of a screenwriter taking a novel and writing a weak movie. (See my review of "A Stranger in My Arms.") The beautiful O'Hara was often saddled with clunkers like this, another being Forbidden Street (Britannica Mews,) which I may review eventually.

If you have any emotional ties to this from childhood, you'll be kinder to this rather lifeless, colorless, and lackluster film. But for something along the lines of this, maybe you can find its TV-movie remake. It has to be better. It has to be.
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I really enjoyed "Random Hearts". It was shocking to see such a low rating on IMDB, but chacun a son gout and all that. I am a big fan of Harrison Ford, but I do have to admit that he was ill cast in this movie, and the reason I gave it 9 instead of 10. Kristin Scott Thomas, though, was just wonderful. She was believable and beautiful, in spite of being made up for half the movie like she'd been crying for days. Could "Random Hearts" have been better? Sure, but it is very much worth seeing as it is.
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I was really surprised, that my mom watched whole movie without leaving to iron, clean or some other things like these. And I was almost shocked, when she said, it was very funny and very interesting. And I think so.
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Containing Billy's famous humor, this more modest comedy with heavy bittersweet overtones is a big departure, pleasantly unexpectedly so for Billy Crystal. This movie has different tear-jerker, dramatic, serious underlying themes (particularly with a scene with Steven Seagal). This movie was both entertaining and serious, a movie about lost love, about relationships with father-son, husband-wife, about friendship and values with a good dose of humor thrown in, especially at the beginning. The balance between drama and comedy isn't always maintained as with the new classical genre of this type, but the real message and motivation for this movie remains solid. The discovery of Billy Crystal's talent scout/agent character in Romania of a giant human is revealing and the behind the scene's view of movie agent is fascinating. Yet the focus remains on sensitive ties of both love and learning about one's self. Eight out of Ten Stars.
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I am speechless. Matty Simmons has managed to do something I thought impossible. He has made "The Harlem Globetrotters on Gilligan's Island" look like "Citizen Kane." Painful cannot even begin to describe this piece of... I don't know. Mind you, the premise sounded funny, but now that I've seen it, it's funny in the way that dropping an anvil on your scrotum is funny.

I won't bother to describe the premise, as the title says it all, if only to say I don't think there was literally one funny thing in this film, not one, not even the monkey bite. How could one of the funniest characters in the "Vacation" franchise, the sleazy white trash Eddie (Randy Quaid), be made so horrifically unfunny ? I never felt so much sympathy for an actor in my life. I equally pitied the other actors participating in this "comedic" atrocity, Miriam Flynn (Catherine, Eddie's long suffering, but sunny-dispositioned wife), Dana Barron (the original Audrey Griswold), Fred Willard, and the stunning Sung Hi Lee (perhaps the only reason to watch the film, if only with the sound off), save for that old Commie, Ed Asner (Uncle Nick), he had it coming. Alas, the audience didn't. I only say "thank heavens" that Chevy Chase, who has been in a slump for years, steered clear of this diarrhea splatter, it's the smartest career move he ever made.

I don't know if you folks are religious like I am, but I know I'll be praying to the Lord tonight to add 2 hours (if not 2 years) to my life to make up for the time I spent in front of the television that I'll never get back otherwise.

Hot Water Burn Baby says ZERO out of 10 Stars (If you take a few hits off the bong AND drink the water, maybe 1/10th of a star out of 10)
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I'm sorry, perhaps this is part of the wave of praise for fireman since 911, perhaps it's an old fashioned story, perhaps it's not meant to knock your socks off but I'm sorry, this film is awful. As in the title, cliché 49, I think it has at least that many clichés. It's a dreary story (impressive managing to be dreary when there's dangerous fires and lives being saved) about a fireman. And his dreary life, told in a pointless, 'scene from now' flashback to the past style. We begin the film with the hero in peril in a collapsing burning building. The entire film is about trying to get us to love this guy so we squeeze a few tears out when he meets his end in the finale of the scene from the start of the film. I found it hard to care and wished he'd gone up in smoke earlier. Clichés abound such as - death of best friend, love at first site, hazing in a new job, firstborn, a worried wife with a husband with a perilous job, a father figure boss/superior, 2.4 kids (well 2 but close enough), sacrificing your life to save others, awards for bravery....on and on. It's every fireman's life, every police officer, nurse, doctor in some way. It was lazy, if it was meant as a 'life flashing before his eyes' as he died, then God help the poor chap, I'm surprised he didn't suck in more smoke to go quicker. The flashbacks are mostly mundane and predictable, dully acted and with a soundtrack that could put The Laughing Cow out of business it was so cheesy, it actually sounded like muzak or copyright free elevator stuff!!! To be avoided at all costs unless you need something to watch with granny of a Sunday evening. Or maybe if your related to a firefighter - warning - your life will end horribly or you will be scarred for life if you are a brave fireman according to this movie. Unless your John Travolta (strange Velcro style hair in this one!!)
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I am currently watching this movie and I have absolutely no hesitation in reviewing it now. The acting is ridiculous. Half the cast must be retired porno actors, and to get kicked off pornos you could imagine the quality of acting.

The graphics are unlike anything I have ever seen. I think there are puppet shows with more believability. They can't even afford blanks for the guns they shoot at the pathetic excuse for monsters. Perhaps I should also note how incredibly impressed I am at the number of 'bullets' their pistols can hold. 

If asked to summarise the movie, I would say that someone had rustled up a group of complete no-hopers at the local county-fair, slapped them on an island, added needlessly intense music and let a 6 year old do the editing.

I can honestly not formulate any possible explanation for why this movie was released, recorded on DVD and costs $6 from my local video store for one day. If anything I have received the benefit of knowing that I am a lot smarter than all parties involved in this film.

I hate this movie with great intensity. Why? I wish I knew Captain, I wish I knew....
The main premise for this movie is every woman's fantasy: a vagina that kills and eats men. Well at least it is a fantasy for every woman who has ever had a fight against a man. What's that, 99.9999% of women? But don't worry it's not a gory kind of eating of men. It's more like a comical slurping them in, like a drain plug. There's no blood or parts left behind. So for blood, guts & gore fans, forget about this film, not much gore here.

The two main characters of the film are somewhat unrealistic. Helen is a good girl who becomes a prostitute. Meanwhile, Dennis is a nice guy who stalks Helen.

The story is already a little silly at this point, but then they throw in two more equally silly sub-stories that just send this movie into the bad B-movie territory. The first new sub-story is about Dennis finding new love with a pair of conjoined twins; and then eventually murdering one of them, and becoming a fugitive bank-robber. The second new sub-story is about Helen finding new love with a nice policeman who rescued her from a prostitution-related bad date, and decided he wanted to marry her. Dennis and Helen eventually meet up again at the end of movie in totally unbelievable circumstances, and magically Helen's murderous vagina is cured!
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I always believed that a film that's plot is centred around a virtual reality video game never sounds as though it's going to be anything special but eXistenZ proved I couldn't have been more wrong. This film is unbelievable and, whilst highly entertaining, offers so much more than that. From start to finish, this film has you conceptualising to the point where you can have so many ideas, you can not make a final conclusion. David Cronenberg has a talent for this as he does so many things.

eXistenZ is pure Cronenberg; the way it's written and the way it's directed is very unique to his style and that can only be a good thing. Cronenberg set himself a clear target with this film and that was to keep the audience guessing which he did with apparent ease. His fondness for the grotesque is not as predominant in this film as it is in The Fly or Naked Lunch but there are still some elements such as the game pods and how they are made that can make the audience wince. With regards to his earlier work, eXistenZ is more a combination of Videodrome and a less violent Scanners, a pretty awesome combination. Setting the film in the not too distant future was a really good decision as it allowed Cronenberg to be extremely imaginative with the films surroundings and also enabled him to visualise more concepts, allowing for less inhibited writing. It was important that the film didn't become over confusing and Cronenberg avoided this very well by keeping things relatively simple. Besides, if he wanted to make an unwatchable film, he'd know how to do it a lot better than this.

eXistenZ boasts an extremely talented cast of character actors and all perform very well. Jennifer Jason Leigh gives the standout performance as the game designer who spends more time out of reality than in to it. Leigh is sexy and commanding in her role as Allegra and she really gets her teeth in to the role. The emotional range she shows in the film is particularly impressive, making her completely believable (if you can believe anything). Jude Law is also good and is very convincing in his character's fear of implantation. The chemistry between these two is very electric and gives the film an extra bit of flavour. Ian Holm and Willem Dafoe are just two of the great actors in support who add further depth to the film with very colourful performances. The cast of the film isn't huge but eXistenZ definitely has the 'quality is better than quantity' ethic which works very well.

As well as being entertaining and thought provoking, eXistenZ touches social issues such as control and loss of self. This further demonstrates the film as an intellectual vessel and could also explain why it wasn't a huge Hollywood hit. eXistenZ has so much to offer and although it isn't to everyone's taste, those who like Cronenberg's work or who like science fiction will almost be certain to like this film. It is one of those films that needs to be watched with an open mind but it really is something special.
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This film has an excellent premise and is really crying out to be turned into a Hollywood blockbuster. As I recall (and it's a few years since I've seen the film) the action starts with a London omnibus filled with people. There is an horrific crash and one passenger dies. The rest of the film is then told in flashback, with 13 characters who were on the bus getting their recent lives explored in intricate detail. At the end of the film we return to the crash and find out which of these chirpy, vivid characters has met a gruesome end. Great stuff, a little like a good tabloid news story fleshed out in precise, even handed detail. If only it were available on video...
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my favorite science fiction, incredible ride through mistrust and the warping of reality. Probably the best performance I have ever seen Jude Law play. Incredibly original with interesting character developments and a story line that twists and turns so rapidly that it takes a couple of minutes after the film to fully grasps its genius. Even more fun watching it again for the end changes the beginning.
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Yes, it is a bit cheesy. But it's suspenseful and entertaining, and one of my favorites; there are some excellent actors in the film, and they do a commendable job given the limitations of plot and characters. It's interesting to see David Soul in a 'bad guy' role; I thought he was quite believable--and rather chilling--as the ever-more-paranoid CO. Robert Conrad is a long-time favorite--I think he brings his character to life very well; and Sam Waterston has been star quality in everything of his I've watched--movies or TV. 

I watch this movie every so often but our tape (a VHS TV copy I got) is such poor quality it's difficult to fully enjoy it. This is a movie I think they should put out on DVD; maybe it wouldn't be universally sought after, but I'm sure there are lots of people like me out there who like this sort of film so there WOULD be a market for a DVD version. I'll keep hoping!
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This film did entertain me with lots of laughs at the actors who kept the film moving along in all types of crazy directions. If you like suggestive language and sexy looking gals they were all in the picture and gals and guys all looking burned out before they even graduate from high school. There is one scene where the teenagers drive their car into a very fake deer and then proceed to throw it out into a lake or ocean, which is repeated over and over again. There is no horror to this film except the word Horrible for the entire picture and Arnold who plays a plastic cop is really one sick character. Please don't waste your time viewing this film.
Years ago "MA2412" the feature film tried to be some kind of "regional Blockbuster" in Austria. One thing's for sure: I hope no one outside will ever have to see this one. Perhaps if you are familiar with the original sitcom it could be interesting to watch what director Sicheritz made of his series. I think he missed his chance and wasted time and money.

So far many director's and writers have failed to make a series concept compatible to a 90min movie (consider Alf, Inspector Gadget...). You can see how hard this is by watching "MA 2412". The result of this attempt in my opinion tastes like a never-ending TV-Episode (and not a good one). It fails to deliver a plot, the humor tries too hard and the directing seems very unfocused - as holds true for the visual style.

So summing up I'd clearly not recommend this one...
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Greetings again from the darkness. Based on the mega-best seller from author Khaled Hosseini, the film provides us a peak at the ugliness of post-Russia invaded Afghanistan and the terror of the Taliban. Director Marc Foster adds a gem to his resume, which already includes "Monster's Ball", "Finding Neverland" and "Stranger Than Fiction".

The story of young friends Amir and Hassan and the unknown bond they share into the next generation. This is a story of honor and courage and loyalty and is an unusual coming-of-age tale. Some great scenes of the boys when they are kids and then a couple of truly amazing scenes as Amir returns as an adult to find Hassan's imprisoned son.

This is tight, compelling story telling with a message. The acting is solid throughout, with no one actor stealing the screen. Although not a pleasant story to watch unfold, it is certainly meaningful and heart felt. Plus a quick shot of Midnight Oil playing in the pool hall is a welcome gift.
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I cannot argue with other comments that the story line focuses more on the romance between the Mary Martin and Allan Jones characters, much in the manner of "Showboat", than on the life of Victor Herbert. But in the 1930's, would that have been a box office draw? Instead of the Life of VH, perhaps it should have been the Music of VH. There is an abundance of this.

For me, the thrill of the movie came near the end of the movie when Susanna Foster sings "Land of Romance". It has been over a decade since I caught this movie for a second time at a local 'old movies' theater. At first the audience was stunned; then it burst into spontaneous applause. I remember the shivers running up and down my spine. My trivia memory recalled the information provided to an inquiring public by a local journalist when the movie first came out back in the late 1930's. 'That note hit by Miss Foster was a far F above high C.'

She may not have had four octaves a la Yma Sumac but the then teen-ager certainly had a range!
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Its incredible to me that the best rendition of this amazing story remains a cartoon made by Walt Disney in the 1940s, but its true. Here another clumsy attempt sputters confuses and alienates would be viewers with admirable effectiveness while successfully antagonizing those of us who have actually read the story. Irving's original work is short by any measure and making a feature length film is bound to be a challenge. One can either completely rewrite the story a la Tim Burton which is a discussion for another time, or pad the bust-line of the old girl with unintended detail. The latter is what is attempted here, and if I may say, pitifully so. Unimaginative and thoroughly modern new facets to character personalities such as religious zealotry in Crane or wanderlust in good old Bram Bones ruin the story's intent and betray a severe lack of talent by the filmmakers. By the time the tale's famous climax approached, I had completely lost interest. Its the kind of film where you expect to see a stagehand smoking in the background.
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This so called movie is horrible! The actors cannot act. There is no plot. I believe they need to start from scratch and film again. I hope that they can correct the acting flaws in this movie. I would like to see the trailer after they shoot it again. Maybe there is hope for it. I am not out to hurt feelings but I believe high school kids can do a better job. The wardrobe could have been much better. Sorry, but this just did not do it for me. I normally enjoy the trailers from this site but... this one i cannot find entertaining. I hope they take criticism well because i believe they will get much much more from others in regards to this film.
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Just thinking about the movie, i laugh to myself. Anne Ramsey plays an unforgettable part as 'Momma,' probably the most nasty, yet hilarious matriarch ever captured on film. Danny Devito and Billy Crystal make a fabulous duo, bringing a true warmth to the film. Though not exceedingly complex, the cute story holds your attention, and keeps you laughing the whole way through. It's a fun comedy to lighten things up, and even will entertain the kids. I give it my full recommendation.
This is an unfortunately unrecognized classic.

The look is superb, the design, costumes etc are flawless, the post battle scenes and the cavalry charge are both chilling and exciting.

The characters are vivid and really human. Ardent is right and Fabrice Luchini as the lawyer Derville steals the movie with his clever pedantic rodent-like performance, delighting in the ups and downs of others' misfortunes. Depardieu is good but perhaps too large a presence for this role.

Where the film really excels is the story and also its changes from Balzac's novella. Those changes are editorial in that Balzac has lots of discussion on society and this film breaths with characters. Nevertheless Yves Angelo has retained the key ingredient, not just the missing man trying to regain his place in society but every character has to find their place in society: the Comte Ferraud is trying to buy a peerage, his wife (Ardent) comes from a lowly birth and when she was married to Colonel Chabert they achieved their position in the turbulence of post-revolutionary France. Everyone has something to lose in terms of status and that makes for a good drama as their objectives are in conflict with each other.

It also feels very modern: money is critical to buy status to reach power, but someone can go down as quickly as they go up. Derville enjoys the strategy, he has seen the worst of people he says to Chabert when he takes the case. This speech's original place is at the end of the novella as Balzac sums up the human comedy with huge irony.
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i hate vampire movies. with that said, this one was very interesting to me. i do want to point out one thing tho. "bakjwi" literally means bat in korean and we all know that in many classic vampire stories, you see count Dracula or vampires turning into a bat and fly away or wuheva. We also know that bats are mammals that can fly thus many categorizes them to be "exceptional." As I watched the film, I realized that the theme of bat is deeply embedded in this movie more than just to make the bat-vampire connection.

Duality of human nature = if you ever read aesop's fables, there is this one fable where mammals and birds are fighting and a bat just can't seem to take a side and it tries to play both sides to his advantage. Mammals and birds find out what this bat has been doing and banish the bat out of their lands at the end of the story.

the two contradicting sides of human nature are constantly at battle throughout the film ex. sang-hyun's blind priest friend, sang-hyun's effort to quench thirst and his sexual desire, tae-ju playing both sides, her ordinary boring life vs. her thrill seeking vampire adventure, etc (won't ruin too much, u have to watch the film) and this theme is beautifully presented on a plate with delicious sides of romance, sex, violence, religion, dark-comedy,tragedy, vengeance, you name it!

i feel like many would find this movie boring and too long, but this film is very fresh and new, something that i haven't seen b4 yet. I wouldn't say this is CW Park's best work, but it is mos. def. the strangest to comprehend yet darkly intriguing!
I heard this movie was badThey even warned me it was terrible, but for some reason (probably Katie Holmes) I still watched it when it came on national TV. Watching Kevin Williamson films means torturing! His scenarios aren't funny, definitely not scary and not the least bit creative. Teaching Mrs. Tingle breathes the same irritating atmosphere as his brainless series `Dawson's Creek' and it's probably meant for the same target group as well. Before the credits even started, 5 people already wanted a hug and they stated that eerie `I love you'-sentence. It doesn't get any better as the soundtrack is filled with annoying pop/rock and the storyline is ultra-thin. Three students on the verge of graduation get caught cheating by the wickedest teacher in school. Every high-school has a teacher like that, you know To save their skin, they try to convince Mrs. Tingle that it wasn't their intention to cheat but this attempt goes horrible wrong. The typical high-school humor is completely lost on me, the overdose of sentiment is pathetic and the acting (with the exception of Helen Mirren) is abominable. I'm sure Katie Holmes can act  that's a fact proven by her role in `the Gift'  but she urgently needs to stop accepting frumpish girl roles. As said before, the only positive comments goes out to the brilliant casting of Helen Mirren as the shrew. It's like Kathleen Turner in `Serial Mom'! The role suits her perfectly and you can't imagine anyone else playing her. Other than that, this is avoidable teenage nonsense.
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Plodding, maybe that should have been the title. Bad dialogue delivered at a snail's pace. All the characters are single dimension with the exception of one. Unfortunately, that character has some of the worst lines and does not seem to fit into this cliché ridden two- hour drag. Having grown up in the seventies, this film is seriously lacking in detail, atmosphere and authenticity. Surprisingly, this was produced by Kelsey Grammar, someone who should recognize sharp dialogue and a consistent narrative in a script. Cameron Richardson is about the only element that lights up this film. Robin Trower's music is also a welcomed addition.

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Please tell me the sentiment of the following review: This film is worth seeing since it is a classic in the sense of being the very first full length film released in the process of three demention. It was not very good in its acting or story plot, but can be a great movie quiz question from an historical standpoint. It should be seen in the 3 D process with polarized lenses.
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This is a wonderful movie. I've only seen it twice, and I've been looking for it again for ever. I'd buy it if I could find it. While it's sad, it shows three things -- how much a man can love a woman, how hard some people want something and how hard people work to overcome their limitations.
Having read the books and seen the 1982 Anthony Andrews/Jane

Seymour version, I have to say that this is not good at all.

According to the books, Percy is supposed to be a seemingly

foppish aristocrat when he's being Percy, and witty and clever

when he's being the Pimpernel, but here he just looks bored as

Percy and mean as the Pimpernel. Marguerite is supposed to be

the most beautiful woman in Europe, not a tired and frumpy-looking matron (she looks middle-aged, probably due to

bad make-up). Richard E. Grant has done much better things, and

Elizabeth McGovern's acting is uninspired and flat. The wit and

dash of the books and the Andrews/Seymour film is here replaced

by brawn and flashy editing that just don't make the cut. 

 I might add that to a person who hasn't seen any previous version

or read the book, it would probably look ok.
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Write a positive movie review.

I just wish I was eloquent enough to say how GOOD this movie is.

I...it's hard to say.

Maybe I'll just say what comes to mind.

I laughed. I really laughed. I couldn't believe it. I laughed, and, it wasn't bitter-laughter. it wasn't cynical laughter. it was the laughter that is generated by genuine joy.

joy. that's a foreign word for me. i don't feel that word often, but, i did while watching this movie.

Will. Maybe it's Will's face. He is a great human being. "Smile on my face and there's a twinkle in my eye." That line in one of Will's songs describes him perfectly. He has "joie de vivre". Trey is a lucky, lucky boy to have a daddy like Will. Jada is a lucky, lucky woman to have a husband like Will. He is someone...special.

Happy. I actually feel happy. It's a strange feeling. I don't feel this way very often. It's just so nice to see, to see...other people really happy. I mean really happy. In this movie, I did. As Will says in the movie, "Maybe I'm not happy with just 'fine', maybe I want 'extraordinary." You know, watching this movie made me think: so do I.

Fun. Being yourself. We all know we're supposed to be ourselves, but, it feels like we're punished if we do so. Maybe it has to be earned. Maybe it's something that we show after having not been ourselves for a long time. That's why I just loved the ending. Will, Eva Mendes, Kevin James, Amber Valleta, Julie Ann emery all dancing at the wedding. Dancing without inhibitions. NO THEY WE'RE NOT DRUNK! except, on actually being happy. I can understand that, at least, I think I can (at least, I enjoyed seeing them happy, really happy).

Women and Men. I don't know anything about relationships, but, I do feel. Watching this movie I feel like connecting with someone, striving, pushing, wanting to be with someone. It seems to make life...something else entirely. I don't really know. I'm just guessing. but, I felt something, watching this movie. I felt like, that connection, must be...must make, life worthwhile.

That's the kind of movie this is. It's FUNNY. It's CLEVER. It's TENDER. It evokes feeling. It made me think, that maybe, just maybe, life is, truly is, a wonderful thing.

Want to LAUGH? Want to FEEL REALLY GOOD! Want to GET SOME ANSWERS ABOUT GIRLS (and Girls, answers about Guys)? Watch Hitch. YOU-WILL-GET-IT-ALL!!!

GO WILL!!! You are a great human being.
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This film is so 1980's and that is what I like so much about it. It does an excellent job of conveying the feel of that odd decade. The reality that Russian nukes could wipe you out at any time. Reagan in the White House telling everybody that things were great, while more and more social programs were slashed. Young people dropped out, but not as far as their parents of the 1960's did. Young people still went to school, they just smoked so much dope that their sensetivities were all but dead. Nothing effected them, not even the death of one of their classmates at the hands of one of their friends. How weird is it to realize that the murder was wrong, but you are not sure why. Watching the characters deal with the crime is fascinating and telling of a very sick society. Glover is great, Keanu is great, Hopper is incredible. One of the most memorable movies I have ever seen.
It is very possible that I simply didn't give the movie a fair enough chance because it was so immediately unappealing to me (something similar happened with Triplets of Belleville), but I really should have caught on when I put the film on and my roommate, an exchange student from Japan, immediately started laughing at the movie, saying that it sounded dumb. Now, I don't agree that it is dumb, the animation is very simple but clearly very skilled. It's like classic animation with added layers that add another element of realism to them while remaining strictly in the realm of the surreal at the same time.

But the subject matter is entirely unappealing to me. It has an interesting message about stinginess and greed, but it is wrapped in such an unpleasant package that it is almost not worth learning, especially because you already knew it anyway. The sound effects while the man is loudly gobbling cherries and cherry pits, for example, are indeed repulsive.

There was a clever scene of animation as we kept diving endlessly into the hole that the man finds in his head when he pulls the sapling out of his scalp, but it goes on for so long that it seems to overshadow everything else. There is so much stock put into that one sequence that it is almost like the whole movie is about it.

As I said about Triplets of Belleville, this would have been a great thing for a late night TV program like adult swim, or its Japanese counterpart, but an Academy Award nominated film? It gives me the impression that there is not generally a long list of animated short films for the Academy to choose from.
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Walter Matthau is wonderful as the "philandering" dentist Dr. Julian Winston whose frequent fibs to girlfriend Goldie provide textbook proof of the dangers of lying. Goldie Hawn's touching kook Toni Simmons certainly deserved to win her Oscar. Ingrid Bergman's work as the stiff-as-starch nurse Stephanie is also touching to watch as she comes out of her shell, slowly and nervously. This is a great movie to watch in the springtime, or any time for that matter. It's very underrated; I never heard about it until I found it in the video store, and what a find!
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John Wayne's first starring role just blew me away. Televised letterbox style on AMC, I had to check and make sure I had the right date. Sure enough, this 1930 film was made using a 55 mm wide-screen process. Aside from that, it features some of the grittiest, most realistic footage of the trek west I've seen. Wagons, men and animals are really lowered down a cliff face by rope. Trees are chopped by burly men -- and burly women -- so the train can move another 10 feet. The Indians are not the "pretty boy" city slickers who portrayed them later; they're the real deal. A river crossing in a driving rain storm is so realistic, it has to be real (In fact, I understand that director Raoul Walsh nearly lost the entire cast during this sequence). I could smell the wet canvas. Each day is an agony. The various sub-plots are forgettable but the film as a whole is not. I can't think of another title that can beat The Big Trail in evoking a sense of living history on the trail to Oregon. Bravo.
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Though not exactly a comedy in the usual sense of the word this more rewarding than any movie full of laughs but devoid of substance. I don't think Bergman's movies can be easily classed under narrow genres, even the lightest are quite complex. This movie in spite of its light touch poses a series of problems related to marriage and its shortcomings and what happens when the flames start to die etc. I don't really communicate personally with all these issues as I am sure others do. But the atmosphere of the movie is extraordinary, you almost wish it not to end. I have to admit that I was swept away by the Bergman of the fifties, having come to know most of his later, groundbreaking efforts. Before Nykvist, von Sydow, Ulman etc. the master produced some of the richest, warm and touching movies I have ever seen. Though it's a long shot, I have seen this kind of love for human kind, in its complexity, only in Fellini's movies of the same period. A Lesson in Love alongside Smiles of a Summer Night are worth seeing for Bergman fans, to have the full image of the man's capabilities, and for those who love cinema with a heart. May he rest in peace!
At the end, it is clear that the murderers planted the murder weapon in Mrs. Columbo's car and it was at the police ballistics lab. 

But where did the gun under the hood, used in the demonstration, come from? Wouldn't the murderers have cleared out the stuff under the hood? They had a whole week? Or did Columbo's cops replicate the camera/gun under the hood used in the demonstration? How did they do that without breaking and entering the car? Perhaps this is why the murders seemed surprised at the end. But how could Columbo have replicated their camera/gun device and gotten it calibrated to their key fob? Columbo must have gotten the gun back from ballistics and had it re-planted under the hood of the car, and been very lucky that the rest of the device with camera was still there and transmitting.

This was a 10/10 show until this glaring plot error at the end.

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