cindermond/bento huggingface dataset:
Write a positive movie review.

When HOPPITY GOES TO TOWN he discovers nothing but bad news for his little insect neighbors in the Lowlands. Can this honest, good-natured grasshopper save his sweetheart, Miss Honey Bee, from the machinations of the evil C. Bagley Beetle - and also lead his friends to a safe new home - before it's too late?

While not one of the great animated features (a very new art at the time this film was created) HOPPITY is an enjoyable film which should bring pleasure to uncritical viewers. Technically it is well made, with animation of a generally high quality. The movie's main drawback is that none of the characters really have any `heart' - they don't come `alive' on the screen in the way Jiminy Cricket did a year earlier in PINOCCHIO.

However, it is ultimately unfair to compare the Fleischer Studio output with that of Disney. Max & Dave Fleischer had their own star to follow; their contribution - and it would be a considerable one - would be in the realm of the one-reel cartoon. With their POPEYE and BETTY BOOP series they created alternate realities as viable as any produced by other cartoon studios. HOPPITY was their second experiment with feature length animation (after GULLIVER'S TRAVELS in 1939), and henceforth they would expend their energies again on the cartoon short subject. In fact, the first in the highly acclaimed SUPERMAN series was already in release.

HOPPITY'S story owes a great deal to Frank Capra, with it's energetic, go get em hero up against powerful societal forces. Indeed, the film's original title was MR. BUG GOES TO TOWN, which immediately puts one in mind of Gary Cooper or Jimmy Stewart and their Capraesque adventures.

Jack Mercer, famous as the voice of Popeye, here speaks for two very different characters, old Mr. Bumble & Swat the Fly. Movie mavens should be able to catch veteran voice actors Pinto Colvig & Mae Questel, both in uncredited roles.

The film has some pleasant songs supplied by Hoagy Carmichael & Frank Loesser, of which `Be My Little Baby Bumble Bee' is the most familiar. `We're The Couple In The Castle' is a fine romantic tune which deserves to be rediscovered.

It is unfortunate that the film's initial animation, with its sweep out of the heavens and past the in-depth New York skyline, is obscured behind the opening credits.
Although the concept of a 32 year old woman portraying a 12 year old girl might be a stretch for today's 

sophisticated audiences,in the 1920's this was what the fans of Mary Pickford desired and expected from their favorite star. The opening scene displays Annie's tomboyish character as the apparent leader of a multi-ethnic street gang in comic "battle" with a rival group. The sight of a young girl being socked in the jaw and kicked may be a bit crude, but the scene is played in such an "Our Gang" fashion that it would be hard to take any of this seriously. Anyway, Annie can dish it out as well as take it. Once Annie returns to her tenement home and replaces her street duds with more girlish attire, it becomes more difficult (especially in close-ups) to imagine this beautiful young woman as a street urchin. However, for those who can muster the required suspension of disbelief, the rest of the movie has it's rewards. Vacillating between comedy (Annie's gang puts on a show) to sentiment (Annie plans a birthday surprise for her Irish policeman father) to tragedy (her father is killed on his birthday), the film gives Mary ample opportunity to display a range of emotions that would please her fans of any era. 

Of course the requisite "happy ending" is eventually achieved; the evildoers are apprehended with the help of Annie's friends and rivals and she is last seen in the company of her pals riding down a busy thoroughfare on a sunny day. Which is a good a way as any for a Mary Pickford movie to end. 


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Let me start off by saying I love Japanese cinema, literature and culture generally. I've seen many Japanese movies and enjoyed them, but "Portrait of Hell" (aka Jigokuhen) makes itself ridiculous. The two characters who dominate the action -- the "evil lord" in his privileged bubble and the "stubborn, crazy artist" are pure types with zero subtlety or nuance, and all their actions emanate from cartoonish extremes. The film wants to show horrible scenes of violence and raw emotion but many of these scenes are so over the top they actually become laughable and the overall feeling is that of a made-for-TV movie that went off the rails. If this rarely screened movie falls in your hands or comes to your town, spare yourself and give it a pass.
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I love oddball animation, I love a lot of Asian films, but I didn't love this particular product of Japan. The Fuccons are supposedly an American family (they're all mannequins) who have moved to Japan, and they're somewhat a 50's sitcom type family, with slightly more modern sensibilities at times. The DVD features several very short episodes (like less than 5 minutes each?) and I did not find it to be either funny or entertaining, not even in a weird way. I'm not sure what the appeal is of this. I did pick up on some satire here and there, gosh, who wouldn't, but satire is usually somewhat humorous, isn't it? And nothing I saw or heard rated even a little smirk. I picked this up used and it certainly SOUNDED appealing, but I guess either I'm missing the point or it's just plain LAME. The box even says it's Fuccon hilarious, right there on the front, but I beg to differ. 2 out of 10.
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The Aristocats is really quite charming, and is rated far too low on IMDb. The songs aren't as memorable as the ones in the Jungle Book, but they weren't bad at all. The animation is really lovely, the best sequence being the landscape of Paris in general. It looked beautiful. This is probably Disney's most relaxing animation I think, and as another reviewer quite rightly said, who doesn't love cats? Another great piece of animation was O' Malley looking into Duchess's eyes, as their romance was so believable while not obvious.(a good thing)The plot(about a greedy butler and a fortune, reminds me of Bailey's Billions) was a little unoriginal, but worked very well, and the script was really funny, especially the fights between the kittens. They remind me of me and my brother and 3 sisters, always fighting. My favourite scene was the chase of Edgar with the two dogs, who were always fighting about who was the leader. The voice talents were a delight, most notably Phil Harris, whom I recognised from the Jungle Book, and Eva Gabor, from the Rescuers. The supporting characters, namely Scat Cat, were also well done. In conclusion, a really pleasant film, that is definitely underrated. 8.5/10 Bethany Cox
Who is minding the store here? How could any producer/network executive/director let a crew stick the skeeziest fakest plastic palm trees in film history in the sands of a wintry Canadian beach and try to fob it off on us as the tropics? Those trees were to real palm trees what a pink tinsel K-Mart Christmas tree is to real fir. And who let Dermot Mulroney go in front of the camera with painted-on grey hair that wouldn't have passed muster in a high school play? And didn't any of the geniuses doing quality control on this thing think to correct the (excellent) Canadian actor when he said gaz instead of gas? Everybody involved with this plodding slug of a "movie"--writer, director, actors--has done not just good but brilliant work elsewhere. Paced way too fast between events and deadly slow within them, devoid of any emotion except the obvious, expository and contrived--maybe this only seems like one of Lifetime's worst movie because of all the Red Carpet hype with which it was presented. And I'm saying this as somebody who love Lifetime. What gives, folks?

All of that said, a certain actress's work at a certain critical turn in the movie (and if you've seen it you'll know exactly what I'm talking about) was so brilliant that the movie would have gotten a 10 from me if that was the whole movie. Unfortunately it was only about five seconds of it.

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This is an excellent James Bond movie. Although it is not part of the original and more famous series, and it is a standalone film, it is very well done. Enticing Sean Connery to return to the role he made famous was a stroke of genius, as was titling the movie in a way that references his past vow to not play Bond again. Connery was as great as he was in his earlier 007 appearances. The script is outstanding, as are the photography and the performances. It's the earliest movie I recall with Kim Basinger, who became much more famous after this film; Barbara Carrera was excellent; and Klaus Maria Brandauer was absolutely perfect as the main villain. The frequent references to the aging of Bond and the changing times and attitudes of the British secret service were most humorous. The 007 gadgets equaled those of the other Bond films. The only thing missing was the famous 007 music theme, which, of course, could not be used by this competing production. It was rather amazing to me to be able to see two excellent James Bond movies released in the same year, this one and Octopussy with Roger Moore. An interesting aspect of the film is an emphasis on video games and computer graphics. The early 80's were the first heyday of such things, and the use of them in this film made it a very contemporary movie. The film is actually a different version of Thunderball, updated with newer technology. Regardless of the repeated theme, there are sufficient differences to make it most entertaining. I will watch this one frequently.
Let me tell you a story.

One day on the streets of Athens a film director bumped into a male prostitute and decided that the world just HAD to know his story because...you know... he's deprived...and he takes his shirt off a lot and...so on.

This film is the result of his revelation. Repulsive, depraved, homophobic, misogynist...but of course filled with pretty guys with their chests showing. If this is your idea of a good film then enjoy, if not avoid it like the plague.

It's put me off ever going to Greece that's for sure.
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This is the first movie I've seen from Singapore and it's great. If you don't know a lot about Asia, its languages and its culture, then this film may be a bit confusing for the non-informed people. As an Asian-American who's double majoring in two Asian languages (one of them being Mandarin) and has taken some Asian American Studies classes, this film was easier for me to understand, but even without that kind of knowledge, I believe this movie is still accessible to its foreign audiences as long as you keep in mind that it's a coming-of-age type of movie. The film is definitely worth seeing just so that you get the chance to see what kind of issues Singapore's young teenage boys are struggling and having to deal with. This is an awesome coming-of-age movie, but filmed and shown in a more artistic and original way. The actors are outstanding.

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This one features an interesting way of handling a camera,

espercially for a DTV movie - the version I saw was full-screen

- but it falls short on the scenario department. First you get

around 20mn of talk, talk, talk in a would-be-hip, post-"Trainspotting" way, then it's slasher city. And then comes

the most dishonest cheat ending I've seen, much worse than

"April Fool's Day" - where at least it made sense. So, all in

all, it's the old song and dance : interesting director tries

hard, but deserves better movie. Funny : usually, it is the actors which are in desperate need of

something better Skip it anyway, for your time

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Write a positive movie review.

oh boy !!! my god !!!! what a movie this one !!! this is probably the best movie by Sean Austin and Louis gosset Jr !!! i have seen all the comment for this movie...and most of them loves this movie very much!! but i don't really understand why it only got 6.1 in IMDb list??? this one should above 7.5 !!! the plot and the script are completely perfect !! the acting are superbly well acted!!! Sean Austin...will wheaton...Louis gosset Jr....have given an incredible and awesome performance in their career!!! this movie contain a lot of action!!!

just one thing i gotta say....WATCH IT !!!!!!!!!

10 OUT OF 10 STARS !!
I have no idea how accurate the portrayal of Flynn appears in this film but even as a work of fiction it is one of the worst films I have ever seen.

The script is all over the place and leaves you wondering how he got from one scene to the next - you are just not given the minimum information needed to keep some continuity and understand his present situation, and it is difficult to understand Flynn's and other characters' motives behind some of their behaviour.

Add to that a series of silly and implausible situations and you have film that comes across as one of your dreams that seems to make sense while you are asleep, but when you wake up and you try to remember it, it is just strange, disjointed and totally unrealistic.

There are many long, boring musical sections of the film that to me are either bad direction or a bad director trying and failing to be artistic.

None of the characters are even likable and the Flynn character comes across as a self serving liar, thug, thief, robber, murderer, bear fist fighter, gigolo and impostor who will do anything and step on anyone to further his own dreams, and somehow, despite all that, great opportunities just seem to miraculously fall into his lap.

This film is not entertaining nor satisfying in any way and by all accounts not even historically accurate, so why even watch it? To rub salt into the wound, the DVD had one of the worst transfers I have ever seen, it wasn't even in wide-screen or Dolby 5.1, it had terrible telecine wobble and many, many artifacts from what looked like a film reel that had been gathering dust and scratches somewhere.
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Great movie. Good acting ,a wonderful script. It's exciting to find out what the people are thinking and how they react on the situation they are in. A pity about the ending; a 'page' of text of how Nynke's life went on, instead of moving images was a poor choice. I hope this movie attracts a lot of people; it's worth it!

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Please tell me the sentiment of the following review: Nothing dull about this movie, which is held together by fully realized characters with some depth to them. Even the hooded torturers have body language. Jannings' performance is brilliant, all will, want and need. A Henry VIII as he must have been. Henny Porten is, maybe, nobler and purer than Anne Boleyn, but she plays the part as written: A victim caught in the jaws of a big (huge) baby.

Sparkuhl's cinematography is gorgeous in the restoration, the tints sensuous. Lubitsch lets these characters breathe and reveal their corruption down to the tiniest of meannesses. He takes his time, which can try the patience of an audience accustomed to being carried away by action, but the time is worth spending. Slow your heartbeat and watch this minor miracle of German silent film.
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Jon Cryer reprises his role as a neurotic guy in Two and a Half Men, which he perfected in this series. He longs to have a good relationship with a girl like his coworker has developed, and the tet-a-tet between him and his partner's girlfriend's best friend are pretty funny. Then they realize that they're attracted to each other and start dating. In one of the funniest lines on TV EVER -- I think in the final episode -- he and his partner are discussing that he wants to propose to the girl. 

His partner prepares him for the moment by suggesting: "What's the worst that can happen? She says no."

Armed with newfound optimism, he proposes to his date over dinner. To which she replies, 

"GOD, no!"

I laughed so hard I cried.
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Like another reviewer, I really wanted to like this movie. I went with my father who was the biggest lover and booster of classical music but neither of us could stand this movie. I wouldn't even call it a movie. A better description might be a record of a few chamber concert pieces. As I recall, the camera never even moved. Rather, I just sat on a tripod for the entirety of each piece. The only attempts at dramatic effect were at the very end of each piece when the movie would cut to trees waving in the wind or little wavelets lapping at a beach. I'm sure the director would have preferred to have used footage of some really big crashing waves but the best he could find were a few inches high at some nearby lake, and again using a stationary camera. Truly pathetic. I can't imagine how anyone could justify rating this movie higher than a five. When we walked out, my father and I were completely mystified as to how it was possible to make such a bad movie. I don't know of of any good movies about Bach. The world really does need one, but just because it doesn't exist is not a reason to see this one. Someone will make one someday. Until then just keep rewatching _Amadeus_.
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Where do I begin? I sat down ready to laugh a bit and I was blown away! This movie is just perfect, it's indescribable. Jackass Number Two in all honesty was grosser, more obscene, funnier and more entertaining than the first. This was just what I needed tonight.

There are so many scenes in this movie that will make you say "Oh My! No Way!" or "Ouch!". Perfectly mastered and set up, each event and scene were coordinated way before and therefore made it even more perfect. I loved every minute of it! I'm just going to say that there was even a scene where it was necessary to censor particular footage in order to prevent an NC-17 rating! It was so hilarious that they had to put it in anyway! Amazingly good.

9/10. Incredibly funny, Do Not Miss Out!
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As noted in other comments here, the camera-work is laughably bad. I am tempted to say that the director of photography is a 7-year-old, but that would be mean -- to 7-year-olds.

Okay, but what about the subject? I was looking for some insight into the state of the wine industry worldwide, you know, Mondovino. What the film is about is a very narrow view of one intrigue in that world: the struggle between Mondavi and the French and Italian wineries that they would like to buy. There is no enlightening narration that would put the whole deal into context, so we are left with the selective process of the director and the interviews with the various characters in this little psychodrama. There's no shortage of despicable characters, or even despicable dogs, in sight. There is a shortage of evenhandedness, however. 

Is the director a Marxist? I wondered as I tried to maintain some semblance of focus as the camera dipped, swerved, zoomed in a chaotic flourish. Small grower in France: good. Huge grower in USA: very, very bad. Forget about the hundreds of small wineries throughout North America, Australia, and South America. There is a dead horse to beat here for over two hours.

To learn about the intrigue more, you are better off reading about it elsewhere. And you will be able to sample your favorite wine without feeling sick while doing so.

I suggest a new award at Cannes for Best America-bashing Diatribe.
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This Columbo is unique in that we don't really know the exact outcome until the very end. Our favorite dark horse detective suspects a pair of identical twin brothers of killing their rich uncle; each points the finger at his brother. In a mystery series in which the crime is shown at the beginning of the drama, this twist could reasonably be used only once or twice, and this was Columbo's time. Other than that wrinkle, this episode fits in well with others of the series. It has a lighter tone than some, with a very funny performance by Jeanette Nolan as the fastidious and loyal housekeeper who takes an instant dislike to Columbo.
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Worth the admission price for the Rock-off alone!! Any D fan will LOVE this movie (even though it's a tad short) and cameos from John C Reilly, Ben Stiller, Tim Robbins, Meatloaf and Dave Grohl (just about recognisable) prove that the D rock hard enough for anyone. Even Dio... The sasquatch/mushroom scene is going to become an instant classic (I don't want to say any more and be accused of putting spoilers in here). Fans of the original HBO series will see a couple of nods to the D's early on-screen appearances in characters such as Lee and the open mic host. I only wish that they had played a few of the songs from the first album and the omission of 'the government totally sucks' from the POD album is also a shame. Other than that this movie rocks. Obey the D!
This movie tells the story of nine ambitious teens trying to follow their dream at the infamous New York High School For Performing Arts: Coco, the singer, Bruno, the modern Mozart, Lisa, Leroy, and Hilary, the struggling dancers, Ralph, the comedian, and Doris and Montgomery, the actors. While they all think they have what it takes to really reach their goals, they are going to need a lot more than just their talent. They will have to deal with rejection, heartbreak, education, pain, and love in order to achieve their fame.

"Fame" is one of the most entertaining, classic, and inspirational movies of all time. It has everything a teen drama/musical should have: extremely catchy, entertaining, Oscar-winning songs performed by the amazing Irene Cara, stunning dance numbers, a very attractive cast that makes you believe in the characters, and a great story, including the heartbreaking scene when Coco meets the video camera.

Like I said, the cast is awesome. Irene Cara can really act, and it's not only her singing that makes her shine here as Coco. Lee Curreri is very good as Bruno. Barry Miller brings a lot of humor to Ralph. Maureen Teefy is great as the outcast Doris, and look closely, and you'll see Paul McCrane of "ER" as Montgomery.

This is truly an amazing film. "Fame" really touched me and inspired me to keep following my dreams as an actor and singer. Any movie that moves me this much is a winner in my book. A must-see! The film really touched me and inspired me to follow my dreams as an actor and singer.
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bad acting , combats are very awful , 3-4 second between each text , bad music , bad effect and always the same plan during the movie. if you want laugh go it 2/10 ( for the fool laugh)
This version of Mansfield Park, while being extremely accurate to the novel lacked the compassion I felt for Fanny which is crucial and central to this Jane Austen story. This was due to the total lack of acting ability by the actress, Sylvestra Le Touzel. She had no appeal and at times appeared to be either lost in space or out of her depth. The scene she has with her uncle where she breaks down in hysterics was hysterical. She badly overplayed that crucial scene and I actually felt sorry that Henry Crawford ever cared for her.

The polar opposite is the portrayal of Mary Crawford by Jackie Smith- Wood. What a wonderful actress, in a very difficult part to make that character witty and self-centered, selfish yet vulnerable to love.

I have always loved Fanny. She is mild mannered but with an implacable sense of what is right, and who she thinks is worthy of respect and admiration. The Fanny in this adaptation is too meek and subservient with hardly a thought of her own until near the end of the series. As much as I wanted to like this Fanny....I just could not. 

I suggest skipping this version of Mansfield Park for the real thing...the Novel. Fanny will not disappoint...you will Love Her!
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Please tell me the sentiment of the following review: This superb 40's post war classic, tends to be overlooked these

days. When it was released in 1945, it cleaned up at the 1946

Oscars, mostly at the expense of `It's A Wonderful Life.' Both films were up for best film , best

director, and best actor, all won by Best Years'. Frederic March ,

and Dana Andrews along with an amateur actor Harold Russell ( a

real life soldier,who lost both hands in an explosion,) play the

returning soldiers, finding life is very different , from what they

remember. Myrna Loy is superb as March's wife, who has to keep

the family together while he has been away.The tear jerking 

scene where March and Loy are reunited is magnificent. All three

men find that they have problems readjusting to post war life, not

least Russell coming to terms with artificial hands, and his finance

(Cathy O'Donnell ) trying to be too helpful. Sam Goldywn is quoted that he doesn't care if the film makes no

money at all, as long as everyone in America sees the film ,so they

will appreciate what these men went through. If any film is worth 10 out of 10, it is this one.
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Please tell me the sentiment of the following review: This short movie intends to focus on one issue sociologically known as cultured shock. the film presents the condition of average Romanian in democratic Romania who finds out that the life and the problems are not different from Communist period, and if you want something, you must bribe around to get it.

So, our main character is fired after a long while, he is around 50 and needs to get a similar job, but the only job available is one inferior. He is forced to take it because the lack of money.

My opinion is that you have to live in Romania so that this movie can be as real and tragic as it seems.
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positive
Umberto Lenzi hits new lows with this recycled trash. Janet Agren plays a lady who is looking for her missing sister. It turns out the sister is part of a Jim Jones type religous cult in New Guinea. She hires a scruffy guide played by Robert Kerman to help her get to the cult's compound located in the jungle. This is another (!) cannibal movie, and I probably would have liked it if not for Lenzi padding this film out with scenes from his superior "The Man from Deep River." I mean every cannibal scene is directly lifted from this film, which I guess makes him about as credible as Al Adamson. I felt ripped off. ***SPOILER*** 1/2 star and that's for the dildo scene.

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Following on from the huge success of Nick Park and the Aardman team with the Wallace and Gromit short animations we now have the first (hopefully of many) feature with the plasticine characters that so many love. The DVD of the movie has proved to be the most durable and best used of my two children's many Christmas presents by a long way. The plot of the movie is straightforward enough but the beauty of the W & G films for me is the background gags. There are plenty of up front gags and slapstick for kids and adults to enjoy but the background is the killer for me. All in a classy addition to an already classy filmography for Nick Park etal and I would recommend fans and new watchers to see this film....often.
First of all this is one of the worst soft-core straight to cable "erotic thriller" I've ever seen in my life. Of course, like all erotic thrillers are want to do, it's about a brothel madam and is set in a brothel. This, of course, makes the softcore simulated sex that pops up every other 10 minutes seem "in context." Whatever.

Forget for one moment that this was never meant to win any awards. The actors are terrible and their line reading made me cringe. The woman who plays the female cop is so bad it's beyond description. She must be a really REALLY good friend of the guys who put up the movie for this terrible adventure, if you know what I mean.

The production values are only slightly higher than porn. Other than that? I suppose if you're really drunk and you need something to laugh at, this would be a perfect film. And if that's the case, I recommend fast forwarding to all the scenes with the female cop. What's that accent, Brooklyn? Hilarious!

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This movie was unbelievably bad... It's gory but the violence is just too much to the point where it looks extremely fake and predictable. Since Everything is shown to you there is nothing left to the imagination. And the plot... what plot? There really isn't any! The pacing is unbelievably slow (despite the random acts of violence) and the screenplay must have been written by a deranged 12 year old kid who kills kittens for fun. So this movie was banned in 31 countries? I could see why... not because of the gore (boring and trite) but because it was a terrible movie. It should have been BANNED from existence. Avoid this one like the plague. 1 out of 10

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I gave it a seven only because the acting is good. And of course by that I mean Wilkinson. The other two principals were "decent". But the characters themselves...what on earth was so bad about the character Wilkinson played (James Manning)? I didn't see him behaving like the martinet Emily Watson accused him of being. Bill Bule, on the other hand, was an insufferable jerk who I was praying would meet an extremely brutal and prolonged demise. Who was I kidding? Tom Wilkinson isn't Paul Bettany after all. So what on EARTH did Emily Watson's (Anne) character SEE in him???? She herself admitted he was pretty much a piece of offal in his treatment of her. Why would she even want to be in the same TOWN as him, to say nothing of the same "room".

I noticed some other reviews, one person said she "cried" at the end, to witness James' tragedy. ??? WHAT tragedy? What, you mean losing an imbecile who finds someone like Bill Bule AMUSING???!!! Give us a break.
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Having reviewed 3 of the 4 Perry and Croft sitcoms, I thought I would get them all done now. Dads Army, is my all time favourite sitcom, It ain't half hot Mum is also a classic as is You Rang M'Lord. I don't regard Hi De Hi as a classic, but it is still funny.

It's about a holiday camp, similar to Butlins, but instead of red coats, it's yellow coats. It is ran by Jeffery Fairbrother, a well meaning man, but has the personality of a sock. The staff include fun entertainment manager Ted, his sidekick Spike (he ended up being thrown in the swimming pool nearly every episode), yellow coat Gladys, careless maid Peggy who longed to be a yellow coat and the Punch and Judy man Mr Partridge who hates kids. Situations occurred mostly round the swimming pool, where someone would be thrown in every episode (with there clothes on of course).

Not a classic, but still funny. Jeffery Fairbrother left half way through, so this, a bit like Only Fools and Horses, outstayed its welcome. Jimmy Perry was actually a red coat at Butlins.

Best Episode: Peggy's Big Chance, series 2, episode 2.
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Recovery is a well-judged and balanced drama of a sensitive subject that doesn't sentimentalise the main characters. David Tennant and Sarah Parish bring to the fore the complex and conflicting emotions of a couple deeply in love struggling to come to terms with the personality changes they both endure and also must make to survive a tragic accident.

Tennant, as Alan, brings humour as well as a dangerous lecherousness, as an engineer recovering from a memory loss brought on by a road accident. Alan is not portrayed simply as a victim but as human being with feelings doing the best he can to make sense of his new life. Sarah Parish's Tricia is not a clichéd stand-by-her-man housewife who will do anything to support her husband. She struggles with falling out of love with Alan, as the man she once new and loved is now a completely different person - a stranger to her.

Contrary to some opinion, this - in my view - makes perfect Sunday night viewing. Too often, we are shown soft family dramas or detective series, like Heartbeat, which rot and putrefy the brain. Programme commissioners seem to think that the traditional day of rest is also a day when our minds go to sleep. More challenging and thought-provoking drama like Recovery would seriously change the situation.
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My wife and I saw every episode in this series and loved it. However, the series was cut short without a final episode by the producers of the show. It ended with a typical end-the-season cliff hanger leaving it's fans feeling cheated. A waste of great writing and acting.
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i consider this movie as one of the most interesting and funny movies of all time. It has so much highly intelligent thoughts in it, that anybody who thinks the movie is awful did not get it and is not able to recognize really deep philosophical themes, which are in it (in all the 3 Schneider movies) without a doubt. Several universities in germany and throughout europe have made studies on Schneider's way of seeing things. By the way, Helge Schneider is a very intelligent and sensitive person and on of the Jazz-musicions in germany (maybe europe). He is mostly inspired by the great M.Davis and T.Monk. So if you do not like him, it is ok, but please do not try to convince others that he might be stupid, cheap, boring or not funny. Because if you had to face this opinion in a discussion and if you are willing to really look into the art of H.Schneider you would have to "surrender".
There is only one word to define the whole movie, that is: awful. How "Mostly Martha" was remade is awful. The title of the movie is awful. The actors are awful. And the idea of combining good cooking and USA is awful. If you have seen "Bella Martha", well that is the original title and it means "Beautiful Martha", this one is a punch in the stomach. The acting of Ms.Jones is so poor and unnatural that even Jessica Alba, considered one of the worst actresses (http://www.razzies.com/history/05nomActr.asp) would have done better. Not to mention the cook, who would better play a different role. And the little girl... not worth mentioning. Bella Martha was a very nice movie, an authentic one... why was it remade? There was a story.... here they took it out. There is no story... What shall it represent? In one way also this movie was perfect. You know when all ingredients fit together? Well this is the case here. A perfect Crap....

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I have never seen the original 1930s version of the film, but this remake is one of the worst I have seen from a major production studio in years. Seeing actors such as Meg Ryan and Annette Bening, once near A level talents, sleepwalk their way through poorly scripted roles is painful. There appeared to be no desire to be in front of the camera for anyone in this film.

Jada Pinkett Smith and Debra Messing play worthless roles that have no bearing on the plot and add no entertainment value. Jada Pinkett Smith's character is used as nothing more than a ploy to appear modern, having an African American lesbian character, but in actuality she is there to just look cool. There is no actual reason why Messing in this film other than to fill out the amount of women in the original I take.

The side characters played by Eva Mendes and Debi Mazar are stereotypical female characters, with Mendes portraying the vixen looking to steal the wealthy but bored and mildly neglected husband and Mazar covering the gossip roles.

The movie is boring, lacking charm, humor, or sympathy for any characters. It almost felt like the movie was a punishment for everyone involved, whether in front of or behind the camera.

There is one glimmering hope in the film, however little it is allowed to shine surrounded by the dim and dying stars around it is Cloris Leachman. Leachman is still an amazing talent that brings her remarkable charm and humor to the film, in the small role that she has.
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This is a gripping story that borrows elements from the Kennedy assassination, and uses them successfully to create an excellent western tale.

The movie has a good music score, though it relies on repeating the title theme a little too much. Giuliano Gemma and the rest of the cast are superb. This is a more cerebral than usual spaghetti western that relies more on story than action, and it succeeds because the story is excellent. This is not to say that there is no action in the movie. There is plenty, and it is very well crafted. This movie pulls you in right away, and keeps you absorbed til the end. You'll always be wondering what's in those documents everyone's after. It also has some biting commentary on American politics.

This movie shows why Valerii, in my opinion, is in a three way tie with Sollima and Corbucci for second place in the rankings of spaghetti western directors.

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While not the first movie I've purchased for myself, this is almost certainly the one I've watched the most. The animation is well-drawn by the experts at Tokyo Movie Shinsa, and the animators frequently made use of clever techniques such as having the sun cause "lens flare", having the camera get soaked (and having the "camera operator's hand" clean the lens!) etc. While the film avoided becoming a an "animator's gadget-fest", the judicious but generous application of such techniques gave the film a much more "realistic" feel than the typical cartoon.

The story has many interweaved plots which don't seem to have much to do with each other until everything comes together at the end, in a manner even the writers self-effacingly admit is contrived. Each of the major plot lines has its own musical theme, ranging from "Pop goes the weasel" [Hamton & Plucky], to the love theme from "Romeo and Juliet" [Fifi & Johnny]. The transitions between plotlines are slightly varied, but consistent.

Truly a wonderful film; there isn't much original music, though the new lyrics to "Spinning Song" are clever and enjoyable. HIGHLY RECOMMENDED.

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I must say that I didn't expect much sitting down to watch "Pitch Black," but I got a lot back, in terms of excitement and pure fun. It's the type of flick where you can just lean back, relax, and have a great time just being entertained. This isn't a deep film by any means. Everything that it offers is either recycled or ripped off of other movies such as "Alien," "Predator" or such. But when I watch a rip-off, I want it to be good, and this rip-off is great. 

It opens with a galaxy of stars. Some of the greatest films of all time open with this type of scene - "2001," "Star Wars," "Alien," "Predator." A ship is cruising through space when inside the entire cryogenically frozen crew is awoken. The ship has been hit by something. They crash land on a nasty little planet with three suns. Everyone flocks out of the ship when they find that their prisoner transport, Richard Riddick (Vin Diesel), has escaped confinement. They scan the desert planet in search of him and eventually find him, but they have no way of getting their ship to fly again. They search the planet for water and civilization but it seems that everyone suddenly disappeared from the planet not too long ago.

Then they find out that every 22 years the planets line up in a solar eclipse and the entire planet turns pitch black. There also happen to be hoards of aliens that thrive in darkness living on the planet - what are the chances? They happen to be on the planet right as the eclipse happens - what are the chances? And Riddick has a rare talent - he can see in the dark - again, what are the chances?

There seems to be a lot of coincedence in this movie, but a film like this isn't out to get Oscars for originality or believability. It's there to entertain the audience - it does so with ease. Vin Diesel is a big gorilla of a man with no acting talent whatsoever. But I've got to say if there's anyone who can fit the part of a trashy, homicidal felon it is Diesel. Listen to him mutter, "He did not know who he was fu**ing with." Great stuff.

The aliens in this movie are a mix between hammerhead sharks, those from "Alien" and Predators. They've got long, horizontal heads like a hammerhead, the quick-moving agility of the aliens, and the stealth of a Predator. I assume David Twohy (director and writer of the movie) didn't expect audiences to believe his creatures were truly something never seen before. At least I hope not.

"Aliens Redux" might be a better name for this movie, but then again, it is better than both the second and third "Alien" films put together. In a time when apparently ended series are getting revived - "Terminator 3," "Alien 5," "Predator 3," "Alien vs. Predator" - "Pitch Black" stands out as a new series altogether. Two more sequels are planned. Let's just hope they don't get carried away. I can just picture it twenty-five years from now: "Aliens vs. Predator vs. Pitch Black Aliens: *The Fight of the Year."

*Fight of the Year title may be shared with the upcoming film "Freddy vs. Jason vs. Michael vs. Leatherface vs. Norman Bates vs. Alien vs. Predator vs. Terminator vs. James Cameron vs. Barny the Dinosaur."

4/5.
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Everything about this movie is bad. everything. Ridiculous 80's haircuts. Ridiculous moustaches. Ridiculous action and fight scenes where you can actually see that the adversaries do not even hit each other. Bad, bad, bad 80's music. Repeated scenes of people running through woods. A bad guy with a silver plastic hand and silly hair. Stupid dialogue. The acting is nonexistant. Everything looks extremely cheap. This movie even surpasses "Plan 9 from outer space" in its utter badness.

It's not "funny bad" it's just bad.
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Humour is a very individual thing and the audience at the sneak preview of The Wog Boy seemed to enjoy it more than I did. I found it an anachronistic affair, more representative of the old fashioned racial humour of the Australian cinema of the 1960s and 1970s. The boy meets girl plot never takes off because of a lack of chemistry between Lucy Bell and Nick Giannopoulos while I found laughs thin on the ground. If you want to spend your money on this, wait until it's on video.
OK, last night I saw the world premiere of Paul Schrader's The Exorcist: The Beginning at the Brussels International Festival of Fantasy Films. With all the commotion around the film it was highly anticipated.

The director was there and so were most of the stars (except Skarsgard).

Unfortunately the movie sucked big time. It was a real disappointment for me because I'm a huge fan of both Shrader and Friedkin's (RIP) original 1973 film.

What was wrong with it? Most of it actually. The FX (you would think that the Matrix and LOTR digital revolution never happened: it was so badly rendered!), the editing (no real pace or rhythm), the acting (only Skarsgard at times could convince). The script was a, IMO, set up to explain the African scenes in the original film. So the movie had the feel of a set up scene only it contributed nothing.

The only thing that I did like was Vittorio Storaro's cinematography although I've seen better from him (Apocalyps Now).

All of the time I was thinking this was just a rough cut, a work in progress. And that, given the (well known) circumstances, is probably what it is. But that doesn't change the obvious problems with the script.

I had the chance to meet Schrader (very briefly) but I didn't have the guts to tell him what I thought of the film and I was so nervous (this is the guy who wrote Taxi Driver for Christ sake!!) that I forgot to ask him to sign my copy of his Taxi Driver script...
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I was surprised by how emotionally invested I became in this film. Peter Boyle is a tour de force as the working class socially conservative bigot, Joe. I actually sympathized with some of his complaints. Of course he doesn't mention the underlying historical socio-economic reasons for many of his prejudices. The film also provides interesting insight into the rapid change American society was undergoing at this time. Recreational drugs, casual sex, and the challenging of parental authority became in vogue and replaced the more time honored traditions of respect for God, country and seniority. Susan Sarandon fans will be delighted. Joe is her film debut. She also provides viewers with a visual treat near the beginning of the film. Recommended, 8/10.
Mild spoiler in the second paragraph.

Anna Christie was Garbo's lackluster 1st talkie. She and Dressler look like the only people who know what they're doing in this movie. The old guy who plays Garbo's dad (George F. Marion) in the film is soooo ah-noying!! All he does is stumble around drunkenly in a totally fake way and yell about "dat old dah-veel sea". He blames Garbo's "past", his whole life, and Everything on the sea! He comes across as stupid x 10. Charles Bickford is Matt, the rough 'n' tumble sailor Garbo falls in love with, and he's fine in his role, but nothing really outstanding.

The best part is when Garbo unleashes her "terrible secret" on Bickford and her dad. Finally, Marion stops talking about the evil of the sea and beats his head and fists on the table in perfect time with Bickford. Then soon he goes on a tirade about the sea.

I had to practically force myself to finish Anna Christie. It's too melodramatic in many parts and creaky. There are many good early talkies but this is not one of them. If you haven't seen Garbo before try something else before Anna Christie, like CAMILLE or GRAND HOTEL.

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Why is there so much angst among the IMDb reviewers who hate this film? It isn't a masterpiece, but having viewed it twice it does come across as compelling drama set in the world of network TV. Robin Stone is the epitome of every Dan Rather, Phillip Stone, and Brian What's-his-name on NBC. A mannequin of a man incapable of love who succeeds professionally, but fails miserably in his personal life. I worked for eight (8) years in network news and Robin Stone's DO EXIST!

The supporting cast works for me from Cannon (who can be annoying, but isn't in this film) to Greene (who plays pathos just right) to Wexler (who scores as the young model in love w/ the image of Prince Charming and can't reconcile that image w/ the true ugliness inside). Also of note is the ending which some IMDb reviewers claim is a cop-out. It's not! Listen to the song "He's Moving On" for clues as to the arc the Robin Stone character travels that brings him to finally face his issues. He realizes the answers don't lay w/ the life he's lived and the symbolic walk away from those he's associated himself with, at the end is perfect.