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I saw this on cable. Someone had to lose their job for greenlighting this one for air. Just because a movie is made does not mean it has to be shown! Savage Instinct should be shown in ALL film classes. It is the perfect template for how to not make a movie. The editing alone is so jumbled you'll think it was assembled by a team of trained (poorly) monkeys, traveling across unpaved canyon road in the back of a jeep, blindfolded and drunk. The audio is often not legible. Acting? I can't call anything I saw here acting. Reciting? Hmmm. Can't call it that either. Failing? That works. All that being said...IT IS HILARIOUS! I cannot stress enough that there is not one redeemable factor in this "film" other than the hilarity derived from it's own incredible ineptness. Fun, in a strictly masochistic sort of way. Watch it...if you dare.
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negative
You can't help but marvel at Hitchcock's early work. "Saboteur," for example, is so slick and quick that it's hard to believe he made this film over 60 years ago. There's some propaganda elements but they're woven into the mystery so well that the thing plays beautifully years later. You also get some previews of stuff that Hitchcock would do later--like using a national landmark as a backdrop. This time it's the Statue of Liberty. In "North by Northwest," of course, it's Mt. Rushmore. You'll also recognize things that pop up later in "Rear Window" and "Vertigo" in "Saboteur" but let's not give away the show. Robert Cummings is excellent as is the oh-so-charming Otto Kruger. Look for Hitchcock's mini-western in this one. It happens quickly so don't blink.

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positive
How i deserved to watch this crap??? Worst ever. The acting was awful, when i read that this was a comedy i expected at least to smile, once - or twice, but.... If you are wiling to loose hour and a half of your lives, this is the right movie. I recommend just look in a wall or something, anything else but watch this "film". Yoy can even watch a documentary (if you are a guy) about pregnant women, i guarantee it will be more entertaining :)The actor in this one (i forgot his name) is not that bad, and i am surprised how hi accepted the role. Anyway "I want someone to eat cheese with" is the right film if you want to punish someone.
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Please tell me the sentiment of the following review: As much as I respect firefighters for what they do. I was unimpressed and bored with this film. The acting was OK but Joaquin Phoenix was a poor casting choice to say the least.

What bothered me the most about this film was the Celtic music whining on and on and on at the worst possible time in the film. The directing and continuity was pretty bad too!

**SPOILER** For example, after Phoenix's character falls several stories and is badly injured, he can barely move to speak to his captain on the radio. Then miraculously, he manages to crawl across a huge space covered in rubble and fire to punch a man-sized opening in a double thickness brick wall using only a foot-long piece of re-bar???? And to top it all off he then gets ultra weak and busted-up again.

Did anyone also notice that throughout the film, whenever you see shots of Joaquin fighting fires and rescuing people, there is little or no smoke in the buildings. I would think the smoke should be pretty thick in a flame engulfed building.

I also got tired of hearing the search and rescue team yelling "I need some equipment over here!!!".

I really thought I would enjoy this film but I found it to be a weak attempt at representing the true life of a fireman. The intention was there but I honestly think that this film could have been so much better. I couldn't help but think that the producer was trying to meet a deadline with this film and had to rush to put it in theaters. More time should have been spent on editing and ensuring there was good flow to the film.

The special effects were impressive in some scenes but disappointing and almost ridiculous in others. Kind of like a Jerry Bruckheimer movie.

Call me critical but I just can't see what's so great about this movie. At least it wasn't as bad as "The Whole Ten Yards" which is by far the worst film I've seen in recent months.

I really hope there isn't a Ladder 50 in the making!
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This isn't the video nasty Night of the Demon as there are more than one. Actually, there is only one, but it multiplies.

After it inhabits Suzanne (Scream Queen Linnea Quigley), she passes it on to goth girl Angela (Amelia Kinkade) through a nice long kiss.

Next, we see Linnea showing us her quigleys in the bathroom. She shows a lot more as Jay (Lance Fenton) thinks he is in for some fun.

Soon, everything literally goes to hell as bodies drop one by one and are possessed. Judy (Cathy Podewell) and Max (Philip Tanzini) are the last two trying to escape. Max isn't much help, leaving it to Judy to figure a way out.

The makeup was absolutely fantastic, and the only thing that kept this from being even better was the extremely long build up to the action.

The old man (Harold Ayer) who appears in the beginning will be back and get his just desserts.

Linnea Quigley may be the Scream Queen, but Cathy Podewell definitely showed the greatest lungs in this film.
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positive
This movie is based on a play, and is the second adaptation of this work. Paul Sorvino plays the basketball coach of a team of players that against all odds took home the championship 20 years ago. They have all met for a reunion. Terry Kinney plays James, a Junior High principal, and will quickly get on your nerves with all his whining and feel sorry for me role. Vincent D'Onofrio, as Phil, plays an obnoxious businessman with just the right amount of "money" cockiness. Tony Shalhoub is George, the current Mayor of the town, and appears to be on the verge of some sort of breakdown. Gary Sinise plays Tom, a writer, turned alcoholic, and in my opinion, is excellent in the role. While they are all suppose to be celebrating their championship, conflicts, jealousy, and fighting abound. As the men come to terms with what was, and is now, they are forced to look at their lives in a non-pleasant way. It's unusual to have a group of men talking and crying about what could have been, and I found it interesting watching them relate to each other. It's not the best movie I've seen, but it's certainly good enough for a viewing.
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positive
Most of us kids growing up in the 40's or 50's were western buffs but this was one that had escaped me until seeing on the Movies for Men Channel today. I loved the film's story, cinematography as well as the superb casting of Ben Johnson and Harry Carey Jr. in the lead roles along with the ever dependable Ward Bond. Apparently this movie was the inspiration for the later television series 'Wagon Train' which featured Bond once again as the boss of the wagon trains heading west. Johnson steals the film with his horse riding skills and it's nice to see an actor doing his own stunts like Ben does in this movie. Other notables include the lovely Joanne Dru as Denver and an early non speaking role for James Arness who later became famous for his Marshal Matt Dillon role in 'Gunsmoke.' If you like films of this genre you can't fail to like this one.
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positive
Please tell me the sentiment of the following review: First off, I'm in the U.S.

When I first saw this, I thought it was an obvious - and loathsome - rip off of "The Office" (UK). I would have thus awarded it zero stars, but lo and behold, it came out long before the Ricky Gervais series.

Still, it's hard to watch this or any other show with a similar dynamic (including the American "Office") without comparison. It just isn't even close to being the same thing.

I will give it some credit for being original, and ahead of its time. I'll also say that it - and the U.S. "Office" and "Larry Sanders" - are actual satires. The UK "Office" is something grander and more transcendent, as if populated with real people in events that felt like they actually happened. However, unlike this or the shrill Christopher Guest "mockumentaries", it isn't really a satire, while "The Newsroom" definitely is.

Be that as it may, "The Newsroom" still isn't very funny. It's aloof, and self-aware, but with a cast and crew not nearly smart or talented enough to heft the goods. It's weighty comedy being carried on weak shoulders. Commendable, but ultimately not recommended.

--- And what's with the lack of an anamorphic DVD?! I know it was shot in anamorphic widescreen, because I saw the pilot episode on one of our HD channels. CBC, get with the programme. ; )
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I went into "The Closer She Gets" knowing that it was the story of the filmmaker's mother fighting cancer. I expected it to be a very harrowing, depressing movie. And although the subject matter is certainly emotionally wrenching, the remarkable thing about this movie is the positive message it sends. It shows a family's total dedication to meet the challenge of cancer together. They refuse to lose faith in each other, even in the darkest moments. 

The most moving moments to me are when this faith is revealed. Little comments that the mother and the family make to each other that reveal her (and their) will to survive, and their defiant emphasis on love and family togetherness. In this way it is an uplifting and profoundly hopeful film. We should all be so lucky as to be surrounded by family like this in times of serious illness.
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positive
Seems to have been made as a vehicle for W.C. Fields and Carol Dempster and they dominate it. Fields already has his film character well developed. Carol Dempster seems to dance through the film and her acting reminds me of Mary Pickford, who also worked a long time under D.W. Griffith. Typical of later Griffith films technically.

Later remade as Poppy (the original title) with Fields in the same role.

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This movie is honestly one of the greatest movies of all time...if you suffer from insomnia. It is a fool-proof way to guarantee hours of sleep at a time. As the movie slowly progresses, the audience slips into a state of unconsciousness and gradually loses sight of any sort of plot that the movie might actually contain. This effect is surely created due to the lack of sweet action/sweet babes.

Also, Mr. Eisenstein was obviously unable to master the art of montage. A prime example of this is the scene on the Odessa steps. For no apparent reason, an event that in real life would have taken a matter of seconds is transformed into a seven minute nightmare for any sane viewer. This editing flaw tarnishes any sort of realism in the entire film. Honestly, i've seen more realistic editing watching cartoons.

Some individuals who have commented on this title have hailed Battleship Potemkin as: "One of the greatest movies of all time" and, "Truly a masterpiece". Well i'm writing this comment to persuade readers to avoid watching this film at all costs. My best guess is that my fellow Potemkin critics simply wrote the wrong words in their summaries. Surely what they meant to say was: "One of the greatest snooze-fests of all time" and, "Truly an epic fail".

In conclusion, don't waste your time. If you are interested in watching a movie of far superior quality, go to www.youtube.com and watch a Halo 3 montage. If i played the movie "Battleship Potemkin" in a game of slayer on guardian, i would shoot it in the face with my sniper rifle and then teabag its dead body. PEACE!
I saw this film for the first time last night. I have been thinking about it all night and this morning. I cannot say that it was my favorite film, at least not yet. I need to see it again. 

The cinematography is stunning. Each shot has a lyricism that one would expect in a film that has Wim Wenders's name attached to it.

It is always tempting to see de Chirico in any picture of rows of orders vanishing into the gloom, but in this case the analogy fits. In many ways the figure of Malkovich walking through the fog and wind of Ferarra echoes the shadow of the off-canvas statue that haunts Milan in the major works of the Italo-Greek painter. He is slightly menacing, a presence who watches and, in his capacity as a film director, exerts influence on the entire story. 

The dedicated Wenders fan cannot help but think a little bit of Damiel and Cassiel wandering through the streets of Berlin, watching all but not directly interacting with the inhabitants. And, following the Himmel Uber Berlin metaphor, the angel (or in this case Malkovich the Director) gets to interact with one of the stories. 

At this point I have to bow out of taking this line of criticism too far. I need to see the movie again. I am fairly sure that this is the thread that will bring Malkovich's monologue together. 

Perhaps his musings and pontifications are pretentious, empty dialog that sound good but cannot possibly be parsed into real communication. Maybe that is the whole point of it. No one can make that judgment with any degree of certainty or authority until having done his homework.

We must be careful when throwing around the word "pretentious." It is easy to write off anything that smacks of the intellect as pretension, but that leads to a terrifying mental state, one in which the only conversation seen as genuine, earthy or authentic is the most banal. When we shun all discussions of philosophy, God, existence, meaning and all that brain candy, we are setting our culture up to die a slow, stupid and ugly death. Perhaps this is the warning that Wenders and Antonioni are giving us. It certainly is not the only theme of the film, but I think that it cannot be ignored.

The other (and most obvious) leitmotif is that of satisfaction. There is a lot here on that, and a thorough review of all the subtleties and consequences of the development of this leitmotif would well exceed the 1000 word limit for this review.

My advice is to see the film. But I offer a caveat: it is not an autonomous film (at least I don't think so yet). Some films interact with the intellectual and artistic thinking of their times so much that the viewer needs to have a background in the Zeitgeist before approaching the film. Par-dela les nuages is one of those films.
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I gave this film a 2 mostly because it does actually have an ok cast but the film itself is just so (insert unusually rude word beginning with the sixth letter of the alphabet)-ing pointless that I felt bad that at the time I voted for it its lowest vote was a three.

Very predictable plot....two nare-do-well musicians have no money and plenty of money problems. However when a friend leaves a bag full of money (that belongs to drug dealers) in their care they of course spend it and then the "fun" begins.

Not an original idea in this whole film.
I admit I go more for the traditional vampire tale, but this one is a real winner. Lots of way out graphics and good story to go with them made for an interesting 2 hours. There was loads of gore with vicious blood suckers attacking mortals and even each other for control of the world. A good one for all us vampire lovers.
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SEPARATE LIES is such an elegant, intelligent and thought provoking film and I could have watched Tom Wilkinson forever on the screen. The locations in the English countryside, the marvelous London locations, the interiors, smart wardrobes and of course, the writing and dialog made SEPARATE LIES a thrilling adventure.

With that said, and perhaps this is just an American viewpoint, as the British are so much more sophisticated in handling sexual escapades, I found it hard to watch Tom Wilkinson just stand by, as his wife goes merrily on her way in a sexual journey that really brings her very little joy, creates much despair for her husband, with the cad that is Rupert Everett. Yes, I saw the failings of Wilkinson's character-his aim for perfection, the desire for everything in its place-but in Emily Watson, she should have looked deeper into his true character and solid goodness, to realize what she has thrown away.

Tom Wilkinson makes SEPARATE LIES into a powerful film by watching him experience all the pain, embarrassment, and despair on the screen as his wife goes off with another man. And he himself makes the journey in SEPARATE LIES by understanding his faults, embracing his wife, despite all that has gone on, and leading her back to London. Bravo, Tom!
i read the book before i saw the movie i knew the movie was going to be good because the book was great i seriously recommend you see this amazing fantastic movie. i know you will like it. when i went to see it i was there with my sister and there was nobody that was with us i was a little disappointed but nobody that i know has gone in to that movie and came out saying that was a horrible movie. nobody can it is so great i think everyone will like it (to bad nobody wants to see it) anyway i hope from what you have heard about this movie from me will make you want to see this movie i guarantee you'll like it as much as i do (im obsessed) literlly i am
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"More" is yet another addition into the countless pile of 60's druggie, trippy junk. Avoid at all cost. Terrible acting, equally moribund script. The only thing to enjoy is Pink Floyd's wonderful soundtrack, which is too good for stereotypical waste like this.
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So then... this is what passes as high art for the likes of SXSW Film Festival and Sundance, eh? Well, I suppose I can relate as long as story, script, dialog, acting (save for Ms. Aselton), cinematography and editing are completely irrelevant.

I remember telling other film-making friends some years ago that the biggest problem with digital video was that we were now going to have to wade through a future sea of crap to get to anything worth watching now that anyone and his brother (or brothers in the case of the Duplass') could run out and make a movie. "The Puffy Chair." Need I say more?

This feature length video is yet another chapter in the dismal, ever-expanding world of "dudeology" movies; young guns armed with a DVX100A, a few thousand dollars, a hastily written, shallow script, and some friends they call actors who decide one afternoon to make a movie and voilà!, instant feature video-makers. Don't get me wrong -- I'm all about independent cinema (i.e. Hollywierd sucks). But having said that, you can't argue with some of the realities of that system. 

If the Duplass Brothers would've had to have gone out and raised a real budget and bring on real producers, its clear a script like this would never have been green-lighted! And therein lies the problem. There is no longer such a thing as a vetting process for getting films (sorry... videos) ready for production. Just grab a DV/P2 camera and off you go! And what makes it worse is that high-profile festivals like the aforementioned actually embrace and encourage this kind of nonsense. And why? Precisely because its no-budget. 

I think its important, especially in todays climate of indie films, to quit allowing video-makers to high-jack the language by labeling themselves, "filmmakers." There is quite a difference in my book. When you have to go out and actually put your script on the line, asking friends and family or business people for real money to make a feature "film", knowing the potentially losses at stake, then you will know what it means to be a "filmmaker." But dropping a few hundred at Sam's Club for some DV tapes, some soda and chips doesn't cut it. 

Oh... and by the way... I have to mention how utterly annoying it was to listen to a female being addressed as "dude" throughout the entire movie. Even Mark Borchardt reserves that intensely-overused moniker for his male friends only where it is at least endearing where his buddy Mike is concerned!

I think its high time the indie film community started to call out these shoddy, no-budget videos for what they are, and simultaneously scold prestigious festivals for giving such casual efforts, high praise. Either that or ask these festivals to at least have the courtesy to add a new category to their festival line ups... "Dude Films."
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Perhaps the best movie ever made by director Kevin Tenney (well, his Witchboard is not on the top of my all-time horror list), this one is a strange, fascinating mixture between Pin and Child's Play, both better than this one, but not so better. Sure, the plot is contrived and perhaps too predictable, but the actors are good, Rosalind Allen is very pleasant to the eye (and so is Candance McKenzie - God bless her for the shower scene!), the child actress is very good in interpreting the disturbed daughter and the Pinocchio puppet is scary enough to give you a few thrills down the spine. For a B-movie not bad at all.
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This Christmas gift arrived courtesy of TCM. We had never seen the film, even though we have seen most of the films of Barbara Stanwyck. This comedy made us laugh so much, that at times, we had to restrain ourselves, in order to hear the dialog.

This is a movie that should be seen by people suffering from stressful situations, especially around Christmas. It would certainly lift one's spirits by just letting go. The movie would make a perfect gift in the form of a DVD, or a VHS tape. 

"Christmas in Connecticut" was directed with great panache by Peter Godfrey, based on a story by Aileen Hamilton. 

The best thing in the movie is the felicitous pairing of two of the most popular stars of that era: Barbara Stanwyck and Dennis Morgan. Barbara Stanwyck always played strong willed women, obviously, this was a change of pace for her. In this film, as well as "Lady Eve", Ms. Stanwyck displays a knack for comedy. She and Mr. Morgan, who played in a lot of musical comedies, make a winning combination.

There are no weak performances in the film. Sydney Greenstreet, an actor notorious for playing 'heavies', is a delight to watch as the rich, and fat, Alexander Yardley, the man who owned a media empire and who knew a good thing when he saw it. Reginald Gardiner, an accomplished English actor, adds luster to the stellar cast behind the two principals.

S. Z. Sakall, is another source of continuous mirth; he plays the Hungarian chef Felix,who has a hard time with his own version of the English language. Also, Una O'Connor makes a perfect Norah, the housekeeper in the Sloan perfect Connecticut farm.

In reading other comments in this forum, it's sad to learn that the glorious black and white cinematography is not appreciated by some people. After all, color was not widely used in the 40s, and most of the classic movies have to be seen in its original format because, what would be accomplished in 'coloring' them?

This film should be a requirement for anyone looking to spend almost two hours of uninterrupted fun at Christmas time because total merriment is assured. Watch it with an open mind and heart an maybe you'd like to see "Christmas in Connecticut" every year.
Please tell me the sentiment of the following review: Wasted is just that, a waste of time. MTV is churning out made for TV movies at quite a clip nowadays. A friend of mine recommended this and i rented it, needless to say i will not be pursuing anymore recomendations from her anytime soon. This movie shows the rollercoaster of drug use. The problem is, you really don't care about any of the characters due to lack of believabilty and their own self discipline. This movie is in a word, annoying to watch, from the terrible camera angles to the quality of dialogue and pacing. The 'digital' format tries for realism, but comes up distracting. If you want a true scope on drug use watch Requiem for a Dream.
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negative
Making a film for under 1 Million might be a triumph for a line producer or an accountant but doesn't do anything for the audience. The balance sheet might have been pretty but the viewing experience was poor.

What will be a triumph for Irish Cinema is when people realise that production values and the script can't be sacrificed.

I don't understand why people expend the energy it takes to put a film together when the production quality is worse than a low grade TV show.

The deficiencies of the plot have been mentioned in another review on this site and I totally agree with what was written. What I would add is that the film skimmed the surface of several genres without ever settling in one of them. The film would have benefited from either going the direction of a straight out comedy or social/political commentary.

My overall impression was that the film was rushed, thematically under developed and visually not up to standard. On a positive note the performances and music were very good.
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This Movie was Great and Funny. Pauly is Funny. The best Looking Girl is all the way Tiffani, she is totally hot in this film and she proves she can act with this film. This Movie is a must See Comedy.... and its not all about Tiffani, its a great Movie in general but Tiffani adds the zest to this Film, cause she does her scenes very well and she is all the way sexy........
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I've seen many Dustin Hoffman's movies like Straw Dogs or Rain Man and I liked them, but his characters are much to often calm or even shy persons. I expected him to be in this movie the same as he was in Straw Dogs, but I saw a totally different person. He was much more energetic in this film and kinda reminded me of Al Pacino in Serpico. The movie was very interesting from beginning to the end. I liked the way Dustin Hoffman's character was ready to do just about everything to stay with his son. This movie is also revealing. Personally, I think it shows that people should learn to find a compromise them self without involving other people into issue.
Please tell me the sentiment of the following review: Wow... I suspected this one to be bad... But now I find myself just at a loss for words... Honestly, no words of mine can do this movie any justice...

I'll try to say something anyway...

This truly is one unique gem. One of the worst kind.

Lash La Rue - given his background as an actor - doing a whip-fight with a Toltec sorcerer-zombie during the movie's climax...??? A true stroke of genius, without a doubt.

It rarely happens that I laugh out loud when watching a movie alone. It happened numerous times with this one.

The accents of the actors, man, the accents... And the dialogues I heard them speak... And the acting itself... I just couldn't believe what I was hearing.

That fat uncle farting so loudly (when walking up to the house together with his little nephew) for no apparent reason whatsoever...

Tits! Yes, there's titties! And female ass! There's even a naked chick in a bathtub sipping a beer...

That one "stretch his mouth over his face"-kill was the bomb! A true highlight.

The comedy-aspects were just totally bonkers. I just couldn't believe what I was seeing and hearing. For a while I even thought that they were unintentional, shaking my head in disbelief. But about halfway in the movie, I started to get the bigger picture. Guess it took me half a movie to dumb-down half of my brain, to finally get it.

I had a really hard time believing this movie... But it's good, really, I think. It had one black chick walking up to a very tiny cupboard, opening it and then saying "Wooow, look at all the storage space!". And she said it like she meant it. I mean, that's good dialogue and good acting, right?

Oh, and perhaps needless to say: Lash La Rue's whip-skills suck major ass in THE DARK POWER. It's really sad and pathetic to behold. That's all part of the comedy, of course. Or wait, I might be wrong. No, yes, I'm wrong. Lash La Rue was amazing with the whip! It was the editor's fault. He messed it up, cutting his lashes together and all. Or wait, it might have been the camera operator. He filmed from the wrong angles... Then why didn't Phil Smoot say anything? That's it, it's the director's fault.

But it's a good movie.

I'm just gonna quit talking about it. I have nothing meaningful to say anyway, except for the fact that I hope my brain will recover from this experience... some time soon.
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This "film," and I use that term loosely, reminds me of the first joke my daughter wrote, at eighteen months: "P.U., stinky poopies!" 

Like that joke, this movie can only appeal to the very young, the very immature, or the very stupid. 

That said, there are a few bright spots. 

The effects, where the majority of the reputed $100 million went, are kinetic and convincing -- I mean, as convincing as those kind of kinetic CGI effects can be. The CGI baby effects are not great, but I imagine those are very hard to do well... although for a hundred-million bucks, they could have been better!

Moose, the dog from "Frasier," phoned in his usual exemplary performance. Steven Wright did well with a small part. Alan Cummings was, well, Alan Cummings-as-villain, which we've seen before, and Bob Hoskins as Odin was unrecognizable, but enjoyable. 

The actress playing Mrs. Avery was cute-as-a-button, as you'd expect, and Jamie Kennedy stunk, as you'd expect. His best role so far was in the Scream trilogy (not to be confused with the Lord of the Rings trilogy), and in Three Kings. He should stick, perhaps, to more subtle forms of comedy. Jim Carrey, he ain't.

The writing and direction were, if anything, worse than Kennedy's performance. I semi-remember one clever (though seven-year-old clever) line that I wish someone would quote accurately for the "Memorable Quotes" section. Something about Avery's proposed costume being the "crappiest crap in Craptown," it was a second-grade joke, but sort of funny in context.

Over all, since there's nothing lower than a "one," I give this film a "one."
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Reanhauer (Bill Roy) is the leader of a desert-dwelling cult who tries to resurrect one of his people, only to have a heart attack himself! He ends up dying on an operating table, and for the sake of revenge, his spirit takes over the body of the title character (Jill Jacobson), who then proceeds to go about hacking and slashing until her fellow nurses learn what needs to be done to exorcise the demon.

While I know enough about the directors' filmography to know that it primarily consists of outright schlock, "Nurse Sherri" is really not all that bad. Sure, it's clear that this was very low-budget stuff, yet all that I found egregiously cheesy about it were the visual effects. The acting is not as bad as one might expect, either.

There are two different versions available of this on DVD. A much more sex-oriented version featuring bountiful amounts of T & A is the original cut, with such hilariously silly vignettes as the victim and and her love interest sharing their "strangest sex" moments, including one involving fellatio during a college lecture!

The movie would then be re-cut for theatrical version with the horror elements emphasized more strongly. Some scenes are dropped with new ones added (with Stevens, the role played by J.C. Wells, expanded). The movies' most memorable sequence in this cut is a scene in a foundry, and it works quite well. This cut of the movie is more interesting overall; I would recommend that a viewer see them both and compare them.

Both versions hit their stride in the final third, and benefit from a marvelously scene-stealing performance from Bill Roy as the crazed Reanhauer, and a moody climax set in a graveyard (although actually filmed in Adamsons' backyard!). Marilyn Joi is also worth mentioning as the cute nurse who is attracted to football player turned patient Marcus Washington (Prentiss Moulden), who's lost his eyes in a car accident, and who incidentally is key to resolving the story with his knowledge of voodoo rituals. The movie also makes amusing use of music from composer Harry Lubins' personal collection, including compositions for such TV series as 'One Step Beyond' and 'The Outer Limits'.

"Nurse Sherri" (known by more alternate titles (including "Beyond the Living" and "Hospital of Terror") than any other Adamson movie) is actually fairly entertaining low-budget fare. I ended up having a good time watching it.

7/10
Please tell me the sentiment of the following review: The narrative was clear and concise but overall the film never caught my interest- scenes felt flat and uninspired.. Ghengis khan, historically speaking, had a very interesting/epic life but the film failed to capture that- instead focused on small skirmishes as a youth and a love story I think I've seen disguised in a slew of other films. I never felt sympathy nor empathy for the lead- yes he had to overcome slavery but then seemed to have an easy ride to khan- pillaging, killing and double crossing his way to the top. The one redeeming quality was the photography- the landscapes certainly helped the bleak atmosphere of the film, unfortunately combined with the bleakness of the story- I left unmoved, and disappointed..
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"Dead Man Walking" is a piece of incredible filmmaking. All the acting is top-notch and realistic, and the script examines the issue of the death penalty from both sides, paying equal homage to both. Above all, this is a deeply moving story of redemption, of death with dignity and loss of ego. Any film that deals this courageously and maturely with such incredibly difficult subject matter deserves a rating of 10/10. Thank you, Tim Robbins!
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positive
Please tell me the sentiment of the following review: Engaging entry from Europe about Czech fighter pilots flying for the RAF during WW2. It's always interesting as an American to see a new point of view on familiar events in history. There's nothing terribly original or revolutionary about the style in which this is filmed or the romantic love triangle that anchors the narrative. Still, it is compelling all the way through. There is a good balance between drama, romance, humor, action, and symbolism that is understated beautifully by the director and cast. This is a breath of fresh air after sitting through overblown and boring Hollywood epics like "Pearl Harbor." A solid production all around. This is definitely worth your time if you are a fan of foreign cinema.
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...and that's saying something. No matter how bad a movie gets, I'm normally able to sit through it so I can judge the full movie. Through this one, I made it about 20 minutes.

Maybe it was the DVD, or maybe it was my laptop, but I could not hear the dialogue, even with the volume turned all the way up. Sound effects were fine, so with the volume turned up to hear the dialogue, I was blowing out my eardrums with the effects. As much as I wanted to see this thing through, I wasn't going to sacrifice my hearing for it.

From what little I could tell about the plot, the movie was one big flashback by the main character's daughter. It seems the mother, a military pilot, had to flee her ship because the one person on her ship she trusted turned out to be one of the enemy and now he is pursuing her across a desert planet.

The only thing I liked about the movie was the look of the main character; there was something I liked about her hairstyle.

Oh well, looks like this one is going into the dumpster...
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I, like so many others on here, bought this movie at my local WM in the "Two for $11.00" cheap-o bin. I love cheesy B horror and sci-fi movies, and this one definitely fits in that category. Pretty much what everyone else on here said is dead on. Yes it was bad, but that was to be expected. The "main" problem I had with this movie is that it was just basically BORING. I mean serious yawn-o-rama. The acting was bad, the costumes (K Mart Skeletor outfit circa 1982) were worse, and the editing was awful. No continuity whatsoever. Mr Skeletor ultimately dies in an explosion of sorts...uh, although he encountered multiple explosion throughout this move. I guess the last one just took its toll on him. Apparently earlier encounters with this "military" group (cough) took its toll on his horse....it would change from red to black throughout this crap fest. Even for a B movie, do yourself a favor and skip it. The only good it serves me now it to add to my DVD collection. Hopefully no one will recognize it when they look through my movie collection. Thumbs down, big time.
Every review I have read so far seems to have missed a crucial point. Shakespeare wrote for the accent and the pronunciation just as he did for northerners in other plays. The Scottish accent changes the emphasis and rhythm of the language and affects profoundly what is said and the way it is taken. So, listen again and note the difference. The play is well done and the rhythm of the words are so much better than that provided by people using received, polite, well- enunciated English. I am reminded of the time a teacher in a school in Leicester, unknowingly, asked me, age 14, to read a piece of Walter Scott which was written in the tone of the Border. I come from the Border and when I read it as it should be read it made all the difference.
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I have tried to like this show, I really have, but I can't find a reason why anyone would like it. The story lines are weak, the acting is weak and unbelievable. Every cast member seems to have been picked up off the street at random. And it seems to me that the whole show is just a vehicle for Jamie Lynn Spears to be able to move on to movies. Every episode shows Zoey as the girl that every girl wants to be her best friend and that every boy wants to date. She's always perfect and no one is like that in real life. How can people relate to a character that is just a Barbie doll? Jamie Lynn's acting is fair but she is not a strong enough actress to have the lead role in a series. All the show's fans are just young girls who don't know any better. I'm sorry if you think my comments are too harsh but if you can find a meaningful and deep moment in this series that isn't quickly directed to a beach party - please accept my opinions and find something worthwhile to watch.
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I was 10 or eleven years old when this movie came out, and it has stayed with me for 35 years since. When the movie came out, all of the theaters in the St. Louis area distributed, as a 'lure', a pack of flower seeds that had the movie name, etc. on the front. On the back of the pack it read, in so many words....plant these seeds at midnight. If a white flower grows, you are saved.....but if a red flower grows, you are doomed!!! Suffice it to say, that for an eleven year old kid, I did not plant the seeds for fear of what may pop up. Here is the spoiler: As the movie starts out, you see a small toy tank moving about in the dirt. On a small road a family is leaving town, and suddenly the camera turns to the tank again, and it is full size. It rolls over the car, and you see bloody limbs protruding from the wreckage, then, just as sudden, the tank is small again.

The reason this movie stuck with me for that long, was because I had a exact toy tank as the one in the movie!!!! Unfortunately I don't know what happened to it, but I did keep a wary eye on that thing ever since!!!

Turn out the lights, put in the DVD, make a sandwich, and watch this movie. It is very good!!!
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Totally un-funny "jokes" that fall flat, amateurish acting (with one or two exceptions), boring characters and dialogue that's, at best, mediocre. After watching this movie, one must wonder how on earth a producer could come across a project like this and think, "I MUST make this film." No wonder it couldn't get a theatrical release.
Our story: Two U.S. Navy deep sea divers search for silver coins hidden beneath the ocean off the Filipino coast. Our proof: Extremely dull entertainment at its best, with no plot in sight. Jim Brown is completely wasted, provided his help in producing this 70s war turkey. Richard Jaeckel is in his usual form. Don Cornelius and Richard Pryor are among those who gave special thanks in their contributions! BOMBS AWAY!!!

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I can't believe that someone actually paid to have this film made. Stupid, unrealistic, and stereotypical. Right from the take off of the massive 747 the pilot pulled the throttles back to increase speed. then you have 5 armed persons with semi to fully automatic weapons firing without so much as one bullet breaching the walls of the pressurized cabin at 38,000 feet. Then once below in the belly of the plane a stray bullet hits a FUEL line and we see the fuel leaking from the side of the plane. The acting was just horrid and forced. There just didn't seem to be any direction. I have seen some pretty horrid B movies in my lifetime but with the names that were in this film I was extremely disappointed.
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While the design and locations and photography are strong assets in this film; it is a turgid and melodramatic affair which demonstrates the limits of cinema to convey truth.

The case is the use of the soundtrack music: a mix of Gustav Mahler and Andrew Lloyd-Webber that plays constantly and loudly, and would have made Max Steiner grimace at its over use as it instructs the audience how difficult; how ecstatic; how tortured it is to be an artist. And then it really counts the story elides the details at the end.

This heightened and kitsch exploitation of emotions was once well ridiculed by Peter Ackroyd about a Yukio Mishima book: This is not writing, this is Barbara Cartland. Precisely the same critique can be made of this film: a deceptive, mawkish vanity project.
I've been hearing a lot of this new bird flu that has killed dozens of people in South East Asia over the last three years . Apparently it's on the thresh hold of mutating into something very contagious and millions upon millions of people are going to be wiped out in a global pandemic . Just thought I'd mention this in case you haven't got round to writing your will yet .

I'd also thought I'd mention it since I was watching something called CARRIERS tonight which wasn't about naval warfare but opens with a scene that's a cross between OUTBREAK and an episode of THE X FILES I saw many years ago . I thought I'd be watching something with added resonance after hearing the stories about the danger posed by bird flu but after the not unimpressive opening CARRIERS descends into a cheap and cheerful TVM and like every other TVM you'll see the lead characters are female , one of which is a ballsy authority figure while the other lead female is a mother of young children . It goes without saying there's a sick child subplot too 

What is irritating about the TVM format is that it overwhelms the potential of what could have been quite a good film if it was made for cinema . There's a fairly gory scene of someone coughing blood all over a nurses face and a very impressive jay walker getting run down stunt but these bits are quickly forgotten as the mood descends into family sentiment since this - And just about every other TVM ever made - was made for an essentially female audience
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Please tell me the sentiment of the following review: The seasoned actors in this do know how to act and have proved that before but the Director, who also wrote and produced this travesty, is incompetent on so many levels. O.K. it's low budget but I know films students with lower budgets and lesser known actors who can do much, much better. For example, since there were people involved who should know better some of the gun rigs were totally out of place and never existed in those days. The stunt work was clumsy - the story stale and hokey. If some one gives you a copy of this use it for a coaster. By the way, I love westerns and have known many stunt men and even went to high school with one of the actors so I was looking for it to be good.
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Francis Ford Coppola's masterpiece was a great ending for a golden decade of American cinema. In the 1970s there was an atmosphere of tolerance, open-mindness, and progressiveness among the studios that allowed the making of major films by a few of the best directors that the United States has ever had. I am not a historian, but all the events that preceded the decade (a few being the violent deaths of major figures of the American political and cultural scenes, the racial struggles, the emergence of the 1960s counter-culture, the increase of violence and death in the streets...) seemed to influence the vision of filmmakers who were willing to dare, be different, and create entertaining and intelligent motion pictures. Coppola's film is a strange blend of humanistic thinking and skillful film-making, following the parameters of war and adventure films, and at the same time subverting them with its flowing reflections on the value of life, the reason of death, or the ethics of war. It is also a passionate work, made against all odds, chronicled in the 1991 documentary "Hearts of Darkness: A Filmmaker's Apocalypse"; a motion picture that went beyond any previous reflection on the Vietnam war ever to reach the screen. This may not be the definite Vietnam motion picture, but dealing with it Coppola defied the formula of classic melodrama found in two Vietnam movies made simultaneously, "The Deer Hunter" and "Coming Home", or in latter ones as "Platoon" and "Casualties of War", before Vietnam became the starting point to make products of any genre, as horror in "Jacob's Ladder", or comedies as "Good Morning, Vietnam", among the more respectable. Coppola had the courage to take that economic and political conflict as the background of a search for answers to questions faced by any man every day of his life, without betraying the dramatic consequences of that war.