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"Lights of New York" originally started out as an experimental two reel Vitaphone short that eventually snowballed into the first all talkie feature film. Helene Costelle was supposedly one of the most beautiful actresses in Hollywood and sister to (in my opinion the real beauty) Dolores Costello, who seemed to get all the breaks. Poor Helene is best known for appearing in this pretty dreary film that bought a revolution to Hollywood!!

Two bootleggers on the lam in "Main Street" convince a couple of small town barbers to try their luck on Broadway. The barbers Eddie (Cullen Landis) and Gene (Eugene Palette) don't realise that their barber shop is soon a cover for illegal bootlegging activities. They soon do realise it and regret the day they left their small town. The only thing keeping them going is the loan that Eddie's mother gave them and that they desperately want to pay back. Eddie becomes re-acquainted with Kitty Lewis (Helene Costello) a girl from his home town who has made good on Broadway. Kitty is worried about "Hawk" Miller (Wheeler Oakman) who is always hanging around her but Eddie, innocently, thinks she is exaggerating as "Hawk" already has a girlfriend Molly (Gladys Brockwell) but to reassure her he gives her a little handgun to frighten unwanted admirers away. "Hawk", who has killed a police officer and has the "Feds" closing in, decides to frame Eddie. Meanwhile Molly is getting pretty fed up with "Hawks" treatment of her and after a showdown where he tells her he is after a chicken and not an old hen the stage is set for - Murder!!!

The fact is it isn't completely awful, apart from gangsters and showgirls alike speaking in their best elocution voices and that was still happening in films in 1930. Gladys Brockwell (if a trifle melodramatic) and Eugene Palette (quite natural) were okay and were the most seasoned actors in the cast. There was no John or Ethel Barrymore to be seen - Cullen Landis and Helene Costello soon returned to the obscurity from which they had come. I also didn't notice much of the "hidden mike" - where people had to be grouped around different objects ie a telephone or sitting on a couch before they could engage in conversation. People who saw it at the cinema probably started to think that all policeman talked in that flat monotone as that trend continued in many early talkies ie "Little Caesar" (1930). In any case they were probably intrigued by the novelty of a completely all talkie - with some singing and dancing - film in 1928.

Recommended.

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It's all about getting what you want when you want it. And the message of Bluebeard's Eighth WIfe is to be careful what you wish for, until what you wish for wishes for you.

Most men have heard the stories about what happens when your sexual frustration isn't relieved and a certain part of your anatomy turning blue. Misogynistic pirates aside, Cooper plays a very wealthy man who is very accustomed to getting what he wants whenever he wants it, learning only too late that it wasn't what he expected and never learning his lesson until he runs into the feisty Claudette Colbert. Through a twisted (in soul and in practice) business deal, he ends up marring/buying her with the intent of bedding her, but she will have none of it (literally) and frustrates him at every turn, and corner, and room, and tourist attraction.

The film has definite French sensibilities which means it has strong double-entendres and boudoir humor for the day and a sharp edge you're not accustomed to (and may not enjoy seeing) in either Cooper or Colbert. The whole reason I watched the film was because they are "likable" actors, and the whole point of this movie is that they're unlikable people, or at least likable people who have developed unlikable traits to protect themselves, they think, from the world. 

If you can accept it on its own terms you'll find satisfaction in this witty and sophisticated film...and satisfaction, as we said, is what it's all about. Such a movie with such a cast only comes around, after all, once in a...ummm...blue moon.
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In today's world of advertising and teenage horror and sensationalism it is very rare that one gets to see a movie and no nothing about it. Movies like Psycho and Blair Witch, while being great in suspense (both with great build ups) are spoiled by the fact that we know all about the best scenes and at least the plot before we see them. With Mute Witness, a rare treat, I stumbled upon this film and watched it, scared witless, in the middle of the night. I was scared by the menacing Russian ambience, the 'snuff' theme and the claustrophobic plight of the mute and the fact that the (amusing, which always leads to likeable) characters could meet the end at any second. Since this is a low budget and rare film we watch it without any expectations. It also has Fay Ripley in a rare movie role, watch and prepare to be excited, scared and thrilled in totally unexpected ways.
Loving the Andersen fairy tails as a child and recently having seen some intriguing documentaries on this odd, though brilliant, author, I eagerly looked forward to see this made-for-TV film. Unfortunately the experience was nothing but a disappointment leaving me in anger and confusion. First of all the story/script is filled with inaccuracies and downright fantasies and in this way creating almost a completely new story while shamefully abusing Andersen's fairy tales, presumably in order to sell the crap to suckers like me. Secondly, pretty-boy actor (really... ever seen a picture of the real Andersen?) Kieran Brew manages to portray Hans Christian as mentally retarded rather than the brilliant though very disturbed character he indeed was. Though annoying and irritating like Andersen, Brew is missing the required charisma to create any feelings of compassion what so ever. Thirdly. The love story between Andersen and the fictional Jetta (whom actually should be Henriette, the wife of Edvard Collin)... Why? This man has lived such an interesting life, it should be enough as a foundation to a great movie!

I could continue this to be a very long list but feel it safest to simply recommend all of you to spend your time and money on something else instead.
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The quintessential "let's get ready for summer movie." It's dumb, goofy, and maybe a touch dated, but my kids just saw it and they laughed as hard as I did when I first saw it. In the style of all "little guys versus the establishment" movies, so yes, the plot is very predictable, but it's warm and funny. And no, it's not Bill Murray at his Bill Murrayest, but he is starting to stretch out in what was his first starring role. Odd, though, to see how few of the "fresh young faces" in this film went on to do much more.
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"Christmas in Connecticut" is an absolute gem, and a must-see for Christmas! Elizabeth Lane, a precursor to Martha Stewart, is a magazine columnist and the ne plus ultra of homemakers--the perfect wife, mother, and domestic goddess. Only thing is, she is none of these things--a total phony. Unfortunately for her, she is about to be found out. Her publisher, Mr. Alexander Yardley (a brilliant comic turn by Sydney Greenstreet) gets the bright idea of inviting a famous war hero to Elizabeth's "perfect farm" for the Christmas holiday. Only thing, there is no farm, "perfect" or otherwise. The comedy involves how Elizabeth is to keep her real identity under wraps so she will not lose her job. Elizabeth's colleague, John, happens to have a farm in Connecticut, so that solves that problem. However, he wants to marry Liz, but she does not want to marry him. He offers her marriage, though he knows she doesn't feel the same way about him that he does about her. He makes the offer anyway, and assures her that he is willing to wait. And here Barbara Stanwyck, as Liz, delivers one of the most devastating put-downs I have ever heard. With perfect innocence, she replies: "Could you wait that long?" OUCH! In addition, the scenes between Una O'Conner and S.Z. Sakall are hilarious. They don't seem to like one another (though one suspects they really do). They are rivals in the household, and S.Z. Sakall's mangled English is equaled by Nora's strangled pronunciation of his name ("Mr. Basternook"). "My name is FELIX!" It is amazing how Christmas-y these black and white films are. Great character work by all involved. Don't miss this one!
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It was a sweet, intro for the most intelegent Sailor Soldier, Sailor Mercury. It consisted with a new "in croud", Merciurios. He, at the beganing wrote a love letter to Ami, which would be starltling (of course) and, now, Ami thiks he is a chibi-Einstien, and he is attractive (He ended up looking like Umino (Melvin)). This was a halarios (expesialy Minako's "It's no skin off my neck" scene (HOT!)) Well, I really like the Bishojo Senshi Sailor Moon Series, I personally think its the best anime ever!, But, this movie was nice, funny, but not as adventurios as Sailor Moon R- It was more like the "S" movie. I saw this @ Sailor Moon Univewrse, with real Player, and it was pretty good. (Over all)
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The chaser's war on everything is a weekly show from the guys that brought you CNNNN and the chaser decides where each week the 5 chasers and Firth break down the issues that we didn't know were important.

This show goes beyond the mere satirizing of politics and television by not being afraid to take the mickey out of anyone whether it be a counter-girl at subway or even the prime-minister of Australia and although this may be familiar ground in say American television it has never been this well executed.

The Chaser's war on everything is the smartest, funniest and overall most entertaining show on Australian television and if you haven't seen it you seriously owe it to yourself to give it a watch.

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It's weird, this film; you get the impression that the makers of this snooze-fest spent more time in the local bars than on set. In fact, it's a surprise not to see Harry Alan Towers' name on the credits; it certainly has the flavour of one of his tax-shelter productions but here the motivation behind the project seems to be for all involved to enjoy a prolonged stay in Provence. Despite the fact that the film is supposed to take place all over the region, Les Baux and the area around it stands in for almost everything.

David Birney makes for a spectacularly colourless hero - as Michael Lonsdale says at one point "you're a walking cliché". What Lonsdale is doing in this is anyone's guess. For some reason, the most interesting character, played by Rampling, is sidelined, whereas, regardless of the book, she should have been the central figure because she clearly has the skill to carry the movie (which would have been dull anyway, but at least we'd have got more of something pretty to look at).

All in all a pointless affair that is only worth watching to see how action-less an action movie can be.
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Eddie Murphy put a lot into this movie by directed wrote starred and produced this story about two nighclub owners in the 30s who try to fight mobsters and corrupt cops from taking over their club..a great cast in Murphy Redd Foxx, Richard Pryor, Danny Aiello, Della Reese, and a gorgeous Jasmine Guy that would make it worth seeing on its own..but the story just doesnt hold up interest or give the great cast enough to work with.. on a scale of one to ten..a 4
Please tell me the sentiment of the following review: It's not often that a TV series grabs me right off the bat; a recent chance download of the pilot for Surface had me glued to my seat for the entirety of the episode, after which I immediately set out on a fevered search to learn everything I could about this wonderful series. To my chagrin, I found out it had been canceled after a mere 15 episodes, despite its strong ratings and extremely favorable reviews. Such a shame.

Since then, I've acquired the remaining episodes, and found the first 5 or 6 to be among the best television I've EVER watched. Just fantastic from start to finish, and as another reviewer commented, I LOVED how they ended every episode with a huge finish. I imagine watching it each week I would've been screaming with tension and just captivated, desperately waiting for the next episode to be released. Growing up, I always heard that was how early serial movies used to do it, ending with a huge cliffhanger to get the crowds back into the theater for the next episode.

Well, it seems for some reason or another the suits decided to kill this off, and apparently the people behind the show must've seen the writing on the wall, because after episode 6 things definitely take a turn for the worse. I wouldn't say the episodes actually become BORING but a lot of the plot elements become a bit more clichéd, and I've got to say, the final episode really left me feeling cheated. I just wish the show's creators were given a fair chance. The *ONLY* other show that left me feeling like that was the first season of Stargate SG-1, which just resonated tremendously, feeling very "true", soulful and made from the heart. Surface was a great series, and maybe one day, some well-heeled TV lover will see all the outpouring of emotion about the show's cancellation, and bring back this show. One can hope, at least. :)
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What often gets overlooked in Agatha Christie's stories is her progressive, anti-conservative attitude on a number of issues - from the role of women to the effects of tradition to people's belief in the supernatural. In "Nemesis", you can spot a lot of those subtexts - but you can also find a good old-fashioned intriguing mystery that keeps you in the dark for most of its length. Also lifting "Nemesis" above other series entries ("They Do It With Mirrors", "4:50 From Paddington", etc.), is the fact that in the crucial moments before and after the revelation of the killer you can actually feel the suspense. And finally, Jane Booker is welcome to guard my body any time. (***)
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This is going to be my first review on IMDb and I'm glad that the standard rating is 1 out of 10 because then I don't have to change anything...

First there are awful movies. Movies you can make a laughter out of, like Island City, Battlefield Earth or Conan The Destroyer. That is totally acceptable. They makes a great party enhancer. Then there are the worst movie ever. I cannot believe how utterly crappy this steaming pile of dog turd was.

I found it on a second hand store on VHS and bought it quickly because I like sci-fi, Terminator, post-apocalypse and stuff like that. Everything on the box art was very promising. Then I loaded in the tape quickly when I got home and the first thing that I noticed was... WHAT? There was maybe 10 minutes (or more) of switching between present clips and flashbacks in a very annoying blue effect, with sounds that makes you puke. And it just continues over and over. Then some "acting" kicks in and you wonder why you were ever born in a world, where this abomination of mankind actually exists... And then I realized, THERE ARE ACTUALLY TWO PREQUELS. I didn't think about it first, but the title says "3" in it... And I was horrified. But as I actually in great pain and agony watch it to the end, I thought nothing could ever make me feel worse about myself and this universe... But then a little text showed up saying... "Next..." and... NEMESIS 4?!?!?! NO PLEASE NO!!!!!!!!
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Lon Chaney Jr returns to lumber along as the mummy Kharis seeking his mate, Annanka whose soul now resides in the beautiful host of descendant Amina(Ramsay Ames). Andoheb, High Priest of Arkan(George Zucco)leaves Yousef Bey(John Carradine)in charge of Kharis to continue their evil-doing ways. Tom(Robert Lowery)must find a way to save his beloved Amina from certain future mummy terror.

Routine, predictable entry in the Kharis series proves that nearly every film follows a specific format/formula. The city is threatened by a skulking, one-armed corpse masked in wrapping who seems to have been gifted with superhuman power to choke the life out of able-bodied men who are restrained with relative ease by a mere chokehold from Kharis. Frank Reicher, who saw Kharis in action..and knows a great deal about Egyptian history..in the previous film(The Mummy's Tomb), proves that anyone who happened to survive a previous encounter with the mummy is sure to die if he returns in the next flick. Well produced, but lacks originality that would set it apart from the other films in the series. Sadly, Carradine sleepwalks through his role as the evil Yousef Bey. Embarrassing script mistake has Kharis, who is known for donning a crippled, lame right arm, carrying an unconscious Amina with both arms for long distances with no ill effects. One aspect, the shocking climax where Tom's attempt at heroism doesn't go according to plan as Kharis holds his damsel-in-distress hostage, lifts the film from the doldrums slightly.
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I can't honestly believe that this is a sequel or follow up of John Landis classic comedy horror movie from 1981 . I suppose you can't really describe it as an original werewolf movie either since the bare bones of the story steal elements from the one set in London: An American tourist visits a famous European capital , he narrowly survives a werewolf attack that kills a colleague , he embarks ( Pardon the pun ) on a sexual relationship with someone in the medical profession , he turns into a werewolf , he's visited by apparitions of his dead victims , etc etc . and reading the previous line I've just discovered how much the storyline has in common with the original that it seems very similar indeed . The difference lies in how enjoyable and entertaining the Landis movie is 

With this Paris based movie there's no scenes that really stand out . There's no naked man waking up in a zoo wondering how he's going to get back home with no money or clothes , there's no bizarre dream sequence of Naziwerewolves and there's no spectacular climax . AAWIP does try to be funny but is there anything more embarrassing than failed humour ? I'm thinking of the scene where Andy McDermott has to convince someone he's got chewing gum in his pocket and not condoms ! Perhaps the biggest difference between the two movies is that there's no poignancy involved with this dubious follow up . You really do feel sorry for the protagonist's fate and dilemma in the London movie , here you just feel Andy is nothing more than a cypher going through the literary motions of a script . There's also a large number of plot holes visible . Is this the first time The Lunar Club have carried out a massacre ? If not then aren't large numbers of corpses with their hearts torn out been reported in the world's press ? Why haven't the police got leads ?

Everyone else has mentioned it and so will I - The visuals are poor . Look at the bungee jumping scene at The Eifell Tower , it's painfully obvious that it's achieved via some blue screen projection while the werewolf transformation is done by some very cartoonish CGI . I won't put Anthony Waller in the same bracket as Stephen Sommers as a director who totally ruins a movie because of an over reliance on CGI ( The major problem with AAWIP is the screenplay coupled with a high degree of expectation from those who saw the 1981 movie classic ) but I would have preferred the Rick Baker type special effects used for the transformation . To be fair it's reasonable to speculate that perhaps the budget didn't stretch that far . But at the end of the day this is a fairly poor horror movie that didn't need to be made and DOG SOLDIERS is much better entertainment
This is said to be the first Polish western and is written and directed by Piotr Uklanski. Known in the U.S. as DEAD MAN'S BOUNTY, this film uses some strange visuals to tell a story that is short on dialog. Val Kilmer plays a corpse and some scenes are through his dead eyes. Some awkward visual situations are actually comical in a sick way. My favorite is a young man building a gallows chops off one of his own fingers and actually hangs himself testing the strength of the rope. A cowboy known only as 'the stranger'(Karel Roden)finds a dead man(Kilmer) that he thinks is a wanted man. He takes him to the nearest town to collect the bounty. He ends up losing the corpse and the potential bounty in a gambling game with the town's drunken sheriff(Boguslaw Linda)and has the few townsmen turned against him when he has a dalliance with the barmaid(Katarzyna Figura). He manages to escape sure death and leads the small posse on a dangerous 'wild goose chase'. One scene has the stranger tending to a scalp wound by cauterizing with gunpowder and a match. The corpse rots chained to a hitching post as the sheriff finds out that there is no bounty to be had. This movie also known as SUMMER LOVE has a haunting theme song sung by John Davidson. Nevertheless this western is like watching a train wreck. There is just something that tells you not to look...but you do.
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After three hours in the Cinema hall,the strongest impression garnered was that their is something amiss. What was clear was that the Directors forgot to direct, the actors to act and most importantly the script writer to write. Evervbody shouted without reason and made one cringe. The script moved on and on with lots of avoidable twists and turns ending in now, too familiar Priyadarshan theory of Converging actors at a single point. This theory worked well in Hera-Pheri and Hungama but somehow managed to irritate this time, so did the habit of every actor's incapacity to answer asked of them directly. Simplest questions such as " what is your name would be repeated N times".

Finally what was amiss was that the director forgot that his audience have something called intelligence.
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Good grief.. to think I've seen it all.. Danny Thomas looks SO out of place in this mishmash. He seems really uncomfortable. He can't sing worth a lick, and when he's paired up with Peggy Lee (PEGGY LEE???) she easily.. EASILY outsings him! Maybe the director saw this and made him do the reall really bad comedy routines that he sometimes does in the film. Peggy Lee is okay, but the whole thing is a shambles. Good for a laugh, maybe.
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I have to admit I have a particular penchant for the humor and story telling style of British movies, though not all of course, succeed.

This film made me think, and left me in the end with a quiet smile on my face. Its about character development and relationships, truth and lies, and whether love is sometimes simply not enough. Some very nicely understated acting from all the participants, especially the two leads, Tom Wilkinson and Emily Watson.

There was a lot of fuss made about Gosford Park, but with this piece I feel Fellowes has actually produced a better movie, though it has not been a mainstream release.

An intelligent mature story about real people who are undeniably flawed, but also capable of acts of genuine graciousness.
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Much as I really like Catherine Zeta-Jones, I wondered once again, why remake a good movie? This version lacked the tension and passion of Mostly Martha. It was a clear rip off. Maxime Foerste was more convincing as a hurting child who healed with love. I couldn't believe Abigail Breslin. Martina Gedeck owned this role. Unfortunately Zeta-Jones should have found another one that she could own (she has other roles she does own.). Sergio Castellitto was good as a vulnerable but joyful Italian. Aaron Eckhart seemed passionless in comparison. This version was pleasant but bland.

The love between Mario and Martha was perhaps predictable but satisfying. The therapist added an interesting bit of color that didn't seem important. I liked it when at the end he said he'd be back but the movie was over before he returned. I have Mostly Martha at home. Every now and then I revisit it.
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Miserable film. Not even to be compared in one breath with "To Kill a Mockingbird," or "In the Heat of the Night."

Yes, there is racial prejudice but the film is at most ridiculous. 

Come now. Would you really have Elizabeth Patterson, of all people, guarding a jail so as to avoid a lynching? Patterson, in her day, played everyone's mother and was the landlady in "I Love Lucy" before Fred and Ethel Mertz bought the building.

Imagine exhuming the body so that it will not come out that the black man's gun killed a white man?

Claude Jarman Jr., who was so fabulous in 1946's "The Yearling" appears in this mess. He still had those sad eyes. My eyes would be sad too if I appeared in this awful film.

To me, this was nothing more than a Faulkner flop all the way.
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A few words for the people here in germen's cine club: The worst crap ever seen on this honorable cinema. A very poor script, a very bad actors, and a very bad movie. Don't waste your time looking this movie, see the very good "mutantes verdes fritos anarquia radioactiva", or any movie have been good commented by me. Say no more.

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Though this film doesn't stand out particularly from the movie crowd, its still a very nice film to sit down and watch with your feet up! There maybe the odd one or two mistakes you catch, and the cinematic are a little slipshod, the film itself is very enjoyable and has a wonderful atmosphere to it. The music contributes a lot to the mood of the movie.

The acting is none the less impressive (especially the dog he he!) with John Travolta taking the lead of the fun-troublesome-loving Michael. Other characters feel very genuine and perform very well within the film.

So after a long day at work, stick "Michael" on in the evening with some ice-cream and enjoy a very quality film in its own right :)
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This is one creepy underrated Gem with chilling performances and a fantastic finale!. All the characters are great, and the story was awesome, plus i thought the ending was really cool!. The plot was great, and it never bored me, plus while the child actors were bad, they gave me the creeps!. This happened to be on the space channel a while ago, so i decided to check it out and tape it, i read some good reviews from fellow horror fans, i must say i agree with them, it's very creepy, and suspenseful, plus Strother Martin, was fantastic in his role, as the Satan worshiper. It has tons of creepy atmosphere, and it keeps you guessing throughout, plus all the characters were very likable, and you really start to root for Ben and his family!. It has plenty of disturbing moments, and the film really shocked me at times, plus, it's extremely well made on a low budget!. This is one creepy underrated gem, with chilling performances and a fantastic finale!, i highly recommend this one!. The Direction is very good!. Bernard McEveety does a very good job here, with great camera work, creating a lot of creepy atmosphere, and keeping the film at a very fast pace!. Ther is a little bit of blood and gore. We get a severed leg,lots of bloody corpses,bloody slit throat, slicing and dicing,decapitation, and an impaling. The Acting is excellent!. Strother Martin is fantastic here! as the Satan worshiper, he is extremely creepy, very convincing, was quite chilling, was extremely intense, seemed to be enjoying himself, and just did a fantastic job overall!. Charles Bateman is great as the Dad, he was very caring, very likable, and gave a good show!, i liked him lots. L.Q. Jones is awesome as the Sheriff, he was funny, on top of things, looked very young, had a cool character, and just did an awesome job overall!. Ahna Capri is good as the girlfriend and did what she had to do pretty well. Charles Robinson overacted to the extreme as the Priest and didn't convince me one bit!, and that laugh of his was especially bad. Geri Reischl is actually decent as the daughter, she was somewhat likable, and only got on my nerves a couple times, i rather liked her. Alvy Moore was goofy, but very likable in his role as Tobey i dug him!. Rest of the cast do good. Overall i highly recommend it!. ***1/2 out of 5
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It must be said that the director of The Cell, Tarsem Singh, has quite handily established himself with his first feature, which happens to rank as one of the most visually astounding films in contemporary cinema.

The Cell is more of a visceral experience than a film. As a thriller, it rises above most of its peers, with competent editing and a chilling score effectively providing an exceptionally suspenseful atmosphere. However, it is ultimately Tarsem's skill for elaborate and disturbing set design and imagery that carries the film's jolting sense of terror.

As with several recent films, I have been shocked by the alarming hypocrisy among those who have commented negatively about The Cell; in defence of the film, I will address a few of these issues. The plot appears to be the main concern, and while it is not revolutionary and borrows heavily from The Silence of the Lambs, it was never intended to be the most important aspect of the film; the plot itself is a vehicle through which Tarsem's vision--simultaneously horrifying and wondrous--is presented to the audience, much in the same way that the plot of The Silence of the Lambs is secondary to the fascinating study of its two lead characters, Lecter and Starling. While The Silence of the Lambs is clearly the superior film, it is irrational for one to condemn the plot of The Cell, and in the same breath, praise that of The Silence of the Lambs.

My final concern is the mention of "MTV style" directing. It pains me to see the condemnation of directors who use innovative camera and cinematography techniques. A camera has the potential to be much more than simply a tool with which to record events; angles, pans, colour adjustment, and so forth, are all used to their full extent in The Cell with the purpose of creating the sense of a dream-like state that could not have been otherwise achieved. This is essential to the film, as the entire premise behind it is the visualization of a serial killer's subconscious. If you simply want a series of static shots, stick to stage plays and give up cinema altogether.

That being said, The Cell is thoroughly entertaining, terrifying, and breathtaking in both its pacing and design. Anyone who is able to look past the--perhaps uninspired, yet never dull--screenplay will find one of the best films of the year 2000.
I rented this thinking it would be pretty good just by the cover of the movie case. Judge and Jury started out pretty good killer chasing the man who killed his wife on a bike with a cool gun, but this movie got progressively stupider as it went on. David Keith is awesome actor especially when he plays a role like this too bad the movie was a piece of crap it really wasted his talent. Judge and Jury was well plain dumb I gave it a 3 should have gave it a 2, I gave it an extra star just because David Keith's gun was cool.

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Please tell me the sentiment of the following review: This terrible moovie is fun on many levels - the moost obvious is the lame, fake-looking bird puppet which floats around the cheap sets, without ever flapping it wings (like it was on a string, perhaps?), attacking model trains and toy cars. The "science" is asinine - a masonic atom gun?? And what's up with the enormous amounts of Brylcream in everyone's hair? I guess the 50's were the Slimeball decade! Well, this bird puppet apparently comes from "some god-forsaken anti-matter universe", and it's here to build a nest & lay eggs in New York. Seriously. That they manage to kill the puppet is almost a shame. I give it 1 hoof out of 4 - it's silly and stupid, but moore fun than Armageddon. :=8)
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Horrendously acted and completely laughable haunted-house horror flick that has an out of place Anna Paquin playing a neurotic teenager fighting off the "things-that-go-bump-in-the-dark" that are plaguing her and her family shortly after moving to their new home in Spain(?!). Little more than a geographically re-planted rip-off of "The Shining" and most notably "The Others", the weak-plotted "Darkness" is basically your typical run-of-the mill B-horror feature with a few predictable lame scares that can be seen by audiences a mile off (so to speak)! In retrospect I suppose I shouldn't have set my personal expectations quite as high for this movie to actually be good considering the well-known fact that it was shelved for nearly three years before finally being released around Christmas of last year in American cinemas across the country to what was ultimately lukewarm ticket-sales and very harsh reviews from critics. When will filmmakers ever learn that there's more to making movies (be it horror or otherwise) than just the fey possibility of a little financial gain? (Turkey-Zero Stars)
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The magnificent Greta Garbo is in top form in this, her first talkie. She gets fine support from the rest of the cast which includes Charles Bickford the rugged sailor who captures her heart. Ms. Garbo gives a great performance as she usually does as the estranged daughter of a sea captain who returns after fifteen years. Also in the cast is that great actress Marie Dressler. A great movie!

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this attempt at a "thriller" would have no substance at all! Some may state that this movie "has it all?" Autism, arson, robbery, lost love, a bag of money, cut throats, murder, blood, a snub nosed revolver, clenched teeth groaning, boobs (various definitions can be used), large flashlights, tribal people, a brother duo attempting to out-portray "dumb and dumber," white wolves, fight scenes that resemble "happy slapping," snow mobile(s), a large tracked vehicle, and a motel under renovation? All this, with an "Enyanesque" melody toward the end ...

Perhaps my rating is a bit harsh, but one viewing will certainly be enough for the sane cinemaphile with nothing else to do. 

Yeowza!
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Hannibal must be the most God-awful movie I have seen in a long time. In fact, I want my money back. What a waste of time. No plot, minimal character development, questionable motives, poor dialogue, sub-standard acting. What else can I say? If you haven't seen it don't bother. I wouldn't even hire out the video and if you happen to come by it on TV... change the channel. The only reason anyone might have to see this movie would be to see whether the gratuitous violence lived up to all the hype (which quite frankly is why they added it). If you want to see some gug eating his own brain, then fast forward to that bit.

What was the purpose of this movie? Its like someone just asked 'I wonder what Hannibal is up to these days' and we just went along for the ride. He is free in the beginning and he's free at the end. In between is a lot of self-indulgence on the part of Anthony Hopkins and the film makers. Julianne Moore tries valiantly to inject some life into her Clarice, but they gave her a sub-standard script and as far as I'm concerned she was set up to fail.

In my opinion this is just a very very bad story in every sense of the word. The only reason it made so much money was because of the senseless violence they added, which at the end of the day leaves you more with a feeling of contempt than the horror you are supposed to feel.

I give it a big fat RASPBERRY!

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The brilliant Australian comic genius Barry Humphries had a rare failure with this uneven, and occasionally distasteful comedy, which was snatched back from release after only a few days. Drunken, lecherous Australian diplomat Sir Les Patterson accidentally sets an Arab potentate on fire at the UN and is posted to his tiny country as punishment, arriving just as a palace coup puts a new leader (American soap star Thaao Penghlis) on the throne. Sir Les, with the reluctant help of Dame Edna Everage (Both played by Humphries) almost accidentally foils a scheme by the new leader to release a deadly, disgusting, AIDS-like virus on the Western World. Joan Rivers has a cameo as the female President of the United States, her desk plate reading "President Rivers"! Extreme bad taste mingles with slapstick and Humphries' usual scathing satire in a film which is more enjoyable in it's many funny parts, than taken together as a whole. Dame Edna's TV fans may be puzzled by the presence of a different Madge Allsop, sadly, one who lacks Emily Perry's wonderful drab comedy magic in the role. The film was written By Humphries & his third wife, Diane Millstead, and directed by the Mad Max man himself, George Miller. For die-hard Humphries fans like myself, essential. All others, beware.
Assault on Precinct 13: 3/10: Let us forget for a moment that Assault on Precinct 13 is a remake of a classic action movie. Taken completely on its own merits Assault is a debacle. 

Lets start with the Rio Bravo style scenario. About a dozen people are trapped in a decaying police station in Detroit (If the Detroit location is giving you Robocop warm and fuzzies stop right now. It could have easily said Topeka in the opening credits and nothing would have changed. In fact the last bit in the forest would have made more sense.) Surrounding them are our bad guys; corrupt cops.

Now I know what your thinking. Corrupt cops? Were the Nazis and drug cartels busy that weekend? Of course these are no ordinary cops. These guys are right of the cover of the latest Tom Clancy video game. Yup we have body armor; helicopters; laser sights; night vision goggles the works. So we have thirty S.W.A.T. members/Special Forces armed to the teeth verses 4 cops (drunk mind you it's new years eve), 2 girls in party dresses and half a dozen criminals. 

So how do our heroes defend themselves? Truth is they can't. They all should be dead within ten minutes tops. (Not to mention the characters inside have an annoying habit of walking past the windows.) Now an illogical scenario is no reason to completely pan a movie esp. a B style action film. However with the exception of Laurence Fishburne and Ethan Hawke all the other characters seemed to be comic relief. (At least I hope they were) 

While Ja-Rules and Leguizamo's characters are bad enough. It's Aisha Hind's minstrel show that takes the cake. Rarely has a more stereotypical African American character appeared on the modern screen. Her performance resembles a frat boy in blackface and drag acting ghetto. 

In the original Assault a gang member takes over an Ice-Cream truck and drives around the neighborhood shooting little girls in the head. I have had an irrational fear of ice-cream trucks ever since. After this Assault I have a perfectly rational fear of remakes.
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I tried. Lord help me, how I tried. But there are just some people almost incapable of creating quality. Brett Ratner, Uwe Boll, Britney Spears, and Asylum. To their credit "The 9/11 Commission Report" seems like an honest attempt by the company to advance into a more sophisticated state of storytelling and movie making. But for all intents and purposes, it comes off as another truly film in their gallery. At the opening, the disclaimer notifies audiences that all the names have been changed, but the names of the terrorists remain relatively the same. A man named Mussaui attempts to learn how to fly a plane. With a stone cold grimace that would instantly make anyone uneasy, this "undercover" agent is able to learn how to fly on a small computer. And you have to wonder, not how he was able to get into this program so easily, but on how these people didn't even ask questions; because this scene is so far-fetched in its presentation, and the actor playing this man is extremely over the top. And you can see that director Scott attempts to mimic Paul Greengrass with a bright grainy photography that's followed by an awfully dizzying and irritating hand-held direction that, throughout the entire film, attempts to take off from Greengrass's gung-ho guerrilla film-making techniques. 

You can sense Scott emulating Greengrass's technique for realism, but it becomes rather lame-brained halfway in. Meanwhile the film comes off less a "Traffic" take off, and more a take off on "Law & Order" in which we'll have the disclaimer notifying us the names have been changed, the logo almost reminiscent of the "Law & Order" logo, and then ninety minutes of the actors pumping their chests and discussing politics.

Neither of which are ever as compelling as it tries to be. And then when the film seems as if its attempting to be an adult drama, Scott relies on his old failsafe, the sex scene. Scott's new film looks like it really wants to be thought of as a low budget "Munich" but it's not, and it manages to be underwhelming on every such occasion possible. "The 9/11 Commission Report" falls flat, and that's because its limited in its attempts to imitate other films.

While I appreciate the ambition inherent behind the camera, this new perspective of the events leading up to 9/11 is flat, and dull. Hard as it may try to be a low-budget "Munich" it's only really as entertaining as a normal Dolph Lundgren film you'd find on Cinemax.
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I loved the first Grudge, I watched it in an empty theater,and in all honesty, I was freaked out. Never before had I heard the unique audio of chilling sounds, it truly was gripping.

The Grudge 2 however, had a couple of good jumps, but the story line was real messy, and not entirely believable, and all over the place, with a couple of scenes, (like a female urinating herself out of fear, or another one of a young woman drinking a jug of milk then vomiting it all up again) which really made no sense, and did not help to enhance the creep factor of the film. During these scenes, and a couple of others, people in the sold out audience actually laughed out loud. That was a good indicator to show how this film lacked the thrills, chills, or creeps. The acting was decent, the emotions portrayed were believable, so hats off to the actors, but the cluttered storyline and its lack of direction was something I couldn't shake throughout the entire movie. I was annoyed more than anything, same old grudge gagging noises, a couple of quick unexpected scenes to make me jump, but overall, I was very disappointed.

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A grumpy old baronet, happily unmarried, decides to send for his three grown-up illegitimate children and provide them a home at his manor. To his surprise, he finds himself bonding with his uninhibited American daughter. Can he find satisfaction in his new role as THE BACHELOR FATHER?

This 1931 film, in which he gives a robust performance, marked the arrival at MGM of elderly Sir C. Aubrey Smith, very soon to be one of Hollywood's most valuable character actors. With his great hooked nose & beetling brows, Sir Aubrey looked every inch the part of the duke or general or statesman he would play so often. The acknowledged leader of the British community in Hollywood, Sir Aubrey would also champion the game of criquet in Southern California. He would remain very much in demand in studios all over town, right up to his death in 1948.

The film's top-billed star is Marion Davies. Best remembered today as the mistress of media mogul William Randolph Hearst & the chatelaine of Hearst Castle, the most fabulous residence on the West Coast, she was actually a very talented & pretty comedienne. For a few years, Hearst attempted to make her the queen of MGM (with her own production company & a huge bungalow-dressing room) but the studio already had several other queens - Dressler, Garbo, Shearer, Crawford - and he eventually moved her to Warner Bros. Here Miss Davies gets a chance to joke & clown and her scenes with Sir Aubrey are entertaining.

Her love interest is played by Ralph Forbes, a handsome young British actor who was just starting to find good films (THE TRAIL OF 98) as the silent days ended. He had all the qualities for major stardom, but sadly it was not to be. Celebrity would come to Ray Milland, here making one of his first screen appearances. Halliwell Hobbes & Doris Lloyd also appear to advantage.

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The opening of MORTE A VENEZIA resembles a Duran Duran music video with classical music and this is the highlight of the movie 

" In terms of what Theo ? " 

In terms of everything , but especially excitement . I doubt if there's ever been a more sluggish slower moving movie than this one . Yeah okay it's a European art house movie so I wasn't expecting Charles Bronson to massacre hordes of bad guys but even so I did expect some substance if not an actual plot 

The film revolves around Professor Gustav Von Aschenbach visiting Venice . Gustav visits Venice and goes on a gondola , Gustav eats in an expensive restaurant , Gustav looks out of his hotel window and if it's excitement you want Gustav has a flashback 

Bad enough if this was the entire movie but it gets worse because Gustav notices a pretty boy teenager . So you've got a middle aged academic lusting after some teenage boy he has seen , some old queen is becoming obsessed with a stranger . Great idea for a movie ? I don't think so either and thank gawd it remained a yawn fest instead of some sleazy precursor to gay porn 

I notice a lot of people who praise this movie have tried to intellectualise it . I can only be monosyllabic and unpretentious in my view and say that the only subtext I could relate to was the physical and emotional disintegration of Gustav but it wasn't caused by the effete beauty of the teenage boy - It was caused by watching such a boring and ostentatious movie

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This delightful movie tells the story of buds. And it's incredible. You'll laugh, and you'll smile, and you'll laugh. It's really all about the laughs. When Jon Bon Jovi is funny in a movie, it's a heck of a movie! 'nuff said. Now go watch it!