empathielabs/imbd_dataset_v0 huggingface dataset:
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I borrowed this movie from library think it might be delightful. How wrong am I!
It is such a bad movie that I have to write something about it. Mira Sorvino is SO bad in the movie, it is very painful to watch the scene with her. She is a pretty girl, but in this movie, She is not seductive at all, but I will have to witness her awkward attempt to seduce almost all the other major characters. It is so ridiculous.
And the dialog of the film is so pretentious, and lack the humorous fact that make then acceptable.
Totally failure.


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"The Triumph of Love" doesn't triumph over anything. It is a plodding, ponderous, 4 hours of torture. Actually it's a little less than 2 hours long, it just seemed much longer. It pains me to even think about the amateurish performances of such fine actors as Ben Kingsley and Fiona Shaw. The supporting players are not quite as awful. Maybe they were trying to be so over the top, so as to be clownish, but, if so, I didn't see it that way. Mira Sorvino doesn't make an impression one way or the other. She(he)'s just there. My guess is, the play of the same name, written by Marivaux some 270 or so years ago, is much better. It couldn't be any worse. Clare Peploe, the writer and director of this movie, was inspired by a recent production of the play. I don't know what she was thinking when she created this bomb.
Maybe it all got lost in the translation.


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I gave this movie a rating of 1 (Awful). The only reason that it should even get a 1 instead of a big -0- is Ben Kingsley, who always shines not matter what terrible material is thrown his way.
Mira Sorvino is so out of her element here that as a viewer one simply can't get over the fact that she is even in such a piece.
Stupid, stupid story and horrible production. Do NOT waste your video rental $.


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Gods, I haven't watched a movie this awful in a long while. Maybe not since 'The New Guy' or various Freddie Prinze Jr. movies. Yes, it is that astoundingly awful. Mira Sorvino's blank and wooden acting surely must've been inspired by Freddie. The movie staging was awkward (like a play, rather, and that feeling of confinement does NOT work well on film). The actors had no idea what they were doing, especially Sorvino. Her accent was awful and her sex appeal non-existent here so it was painful to see her 'seducing' other characters and they 'falling' for it. And what was with the occaisional shots of a live audience in lawn chairs? Nonsensical! I had to turn the dvd player off, it would have been self-inflicted pain to finish this film.


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I rented this movie, thinking it looked like a wonderfully delightful historical piece. What I got was a piece of pure garbage. This movie was confusing in most spots, choppy in almost every spot and dreadful in all spots. Mira Sorvino's portrayal of a queen playing a young male scholar was depressing at best. Ben Kingsley should have been stripped of his knighthood for even considering this film as one of his projects. Fiona Shaw should definitely stick to playing Petunia Dursley; at least the Harry Potter movies are more entertaining than this thing they call a play within a movie.
The cinematography looks like some college kid took a class in Cinematography 101 and failed miserably. Almost every scene in the movie is chopped up for some sort of effect; the end result of course being the cheesiest bit of editing I've ever seen. Jay Rodan was almost good as Agis; too bad he had such a bad script to work with. Rachael Stirling gives her best effort as the almost gullible lady in waiting. In the end, I really wish Blockbuster Video gave refunds. I'm so glad I didn't spend 10 bucks watching this fiasco in the theater. If they've been performing this Marivaux play since the 18th century, it makes me wonder how many people over the ages have had their best naps during this work. If I had been there, they wouldn't have hear the play over the snoring. Thank goodness for the modern convenience of DVD players; you can skip past the boring or awful scenes. Guess that means I only watched the beginning and the end!


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I really wanted to like this movie a lot more than I did. That's because I love wacky foreign comedies--particularly the strange ones that catch you completely by surprise. However, although this one frequently caught me by surprise, these were almost never pleasant surprises. It reminded me of South Park in that nearly EVERY social norm was violated until the only ones left to broach were too sick to be funny. For example, after exploring adultery, drug abuse (of nearly every sort--ranging from pot, heroin, speed to glue sniffing), prostitution, S&M, suicide, murder, etc., the movie got to the hilarious(?) topic of pedophilia. Mom encouraged her one son (who looked about 12 years-old) to sleep with neighboring men. In fact, at one point in the movie she gives this boy to the dentist in lieu of payment for dental work! Funny?! You've got to be kidding. This movie just goes too far and delves into the "black hole of comedy". What should they make fun of next, cancer or rectal tumors?


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Tatie Danielle is all about a ghastly old hag who torments her loving and oblivious family out of sheer spite. There's a bit of subtext that might be about France's colonial past but it's mostly just Danielle doing the sorts of things (like deliberately abandoning a small child in a park) that would soon have a man picking up his teeth with broken fingers. Sadly, that doesn't happen here. It looks good and the acting is fine and there's nothing really wrong with the concept but it's just so SMUG. God, does this movie love itself. Pity it isn't nearly as clever or as funny as it thinks it is. The only impetus in the show - sorry, movie - comes from Danielle getting nastier and nastier, and the only surprise comes from watching the increasingly improbable ways she does this. That's right: just like in a sitcom, which is what this is, with the added 'bonus' of delusions of grandeur and a 110-minute running time.


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This agonizing comedy-drama got surprisingly sterling reviews upon its release in 1979. I remember opening the movie-section of the L.A. Times and looking at a 2-page advertisement for "Chapter Two" filled with glowing captions like: "Better than 'The Goodbye Girl'!" and "Neil Simon does it again!" What does Neil Simon do? He takes an autobiographical situation (remarrying too soon after the death of a beloved spouse) and makes it rusty, unpleasant and--worst of all--unfunny. James Caan plays Neil--er..that is, George--a writer who can't seem to get back into life after losing his wife; enter spirited Marsha Mason (real-life Mrs. Simon...soon to be ex-Mrs. Simon) who attempts to love George despite his moods and general melancholy. Mason is very appealing here and might've saved the day were it not for Caan's indifference (not to mention a sub-plot concerning painfully-thin, blonde Valerie Harper which brings the proceedings to a screeching halt). I liked Mason's outburst at the end ("I am wonderful! I am NUTS about me!"), but I saw no happy ending for these two people...and time proved me right. ** from ****


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Thanks to a dull, dimensionless screenplay by Neil Simon, and lackluster direction from Robert Moore, Chapter Two becomes a shrill showcase for Marsha Mason who received her third of four Oscar nods for Chapter Two giving the same performance here that she gave in Cinnderella Liberty(73), The Goodbye Girl(77), Audrey Rose(78) and Only When I Laugh(81);only this time she doesn't have a child to drag around. Chapter Two is the third and last feature film for Moore having previously directed Neil Simon's The Cheap Detective(78) and Murder By Death(76). Caan is miscast, the characters are mono-dimensional, the dialog is overly analytical, and there's virtually no establishing detail. The first half is a less-than-captivating, meet cute, coy romance between a blinkered Caan and a chipper Mason, and the dreary second half makes you long for the first half. The NYC locations as well as Joe Bologna, and a painfully thin Valerie Harper are irrelevant, but at least they provide some welcome distraction. And last and least, there's an awful song played during the credits.


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What a piece of stupid tripe.
I won't even waste time evaluating any of the points of this show. It's not worth the time. The one comment I will make is - why get such a DUMB, inarticulate doofus to be the star?!?
There aren't many more dismal testimonials to the deteriorating mental condition of the networks than the fact that FOX has stated it will NOT bring back John Doe (a decent series) but WILL bring back brain-dead drivel like Joe Millionaire for yet another round of killing the brain cells of the american public.
FOX has lost it, IMHO.


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You loose 100 IQ points just for tuning in. This show has to be awful, I refuse to tune in from just what I've seen in commercials. Where did they dig this guy up at anyway? Also, what do they intend to do next season? The secret is out. Everyone already knows the set up? Are they going to look for people who has been living under a rock to star in next season? Where are they going to dig up more stupid women? No wonder America is a big joke to outsider's,look what you are watching!!


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I watched this movie just a little while ago and I found that this movie was terrible! It moved very slowly and was hardly entertaining!
Sorry for all those that liked it.... this is only my opinion!


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A film about the Harlem Renaissance and one author in particular. It contrasts it with a modern day story about a young, gay, black artist.
If that sounds vague it's because the movie itself is. It's well-directed, fairly well-written and (for the most part) well-acted. Also the scenes in the past are shot in moody black & white. Also this is one of the few film dealing with gay men that does NOT shy away from sex scenes (not that explicit and no frontal). Still, I mostly hated this.
The film meanders all over the place, is full of unlikable characters (including the main protagonist) and (this is the killer) moves at a snails pace. Three times I considered leaving the theatre because I was so utterly bored. But the director WAS there so I stayed.
His talk afterwords shows this was a labor of love and took 6 years to complete. I really wish I could like this more (there are VERY few films dealing honestly with gay blacks) but I can't. Unless you're very interested in the Harlem Renaissance there's no reason to see this.


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Uh oh! Another gay film. This time it's showing the black side. Bet your last dollar it's gonna have an unhappy ending! But WHY? With only less than a half dozen exceptions, ALL gay films have to end in death or an "addio" finale. It's like all the European Film Noir releases in the 40's, 50's, 60's, and 70's. The lead...male or female must die or ride off alone into oblivion. Why in God's name must writers, directors, and producers have the audience leave the theatre feeling depressed? After all, it's supposed to be gay...not glum. Maybe the category should be changed to a 'glum' film. A large percentage of gay relationships DO last and the couples DO ride off together into the sunset! No matter who writes or produces, he only shows the down side of gay life and gives the incorrect impression of gay lifestyle. This movie just proves my point. If you rent the DVD, take an antidepressant, for here comes another 'gay' film! This is WRONG!


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Another of many nearly forgotten movies cranked out by Poverty Row in the 1930's, resurrected by the magic of DVD.
Starring stock Universal player Lionel Atwill (often a supporting actor in numerous Frankenstein movies) as a pair of twins involved in a murder racket. One kills the victims (stockbrokers involved in a scam) and asks witnesses for the exact time, while the other is deaf and is proved "innocent" because he could not have spoken to witnesses.
Of course, where it falls apart is if it was a congenital deafness, wouldn't they both be deaf? Oh, well.
Atwill does a pretty good job here, faking being deaf and mute. Unfortunately, no one else here can really act worth a darn.


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This one is a real bomb. We are supposed to believe that Merle Oberon is the sequestered daughter of an ambitious politician who must prove to the Tom DeLay of the 1930s that he is worth supporting as a presidential candidate. Poor Merle can't go anywhere, but is surrounded by politicians and their quacking, quaking wives and supported only by kindly uncle Harry Davenport. She joins her two maids on a blind date and Gary Cooper happens to show up. Some shots of rodeo might have enlivened things, a la "Misfits," but no such luck with this one. Gary later breaks in to a formal dinner, at which Merle is presiding, and, though invited to sit down and join the group, reads them a lecture on their snobbery. Where did this diffident cowboy's sudden eloquence come from? The most excruciating scene in the film is a phantom party that Gary holds in his unfinished house for his absent wife, Merle. Will it never end? One to avoid.


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The subject is certainly compelling: a group of people take their love of gaming one step further by creating a fake medieval world full of warriors, kings, princes and castles. Wargaming is an interesting phenomena that delves into our collective need to "escape" from reality and the sometimes mundaneness of our existence -- something almost everyone can relate to. The characters are the predictable mix of Lord of the Rings nerds and Star Trek enthusiasts. That's enough to get most people to watch. However, very quickly the film turns into an insider's view of wargaming with an almost stereotypical thumbing of the nose to viewers who "don't get it". The filmmakers seem to take the subject of wargaming, and this particular one, waaaaay too seriously rather than once in awhile recognizing the humor and fun in making a film about adults drssing up in medieval gear and pounding each other with foam swords. It's pretty hard for anyone who doesn't sit on their computer for 7-10 hours a day playing games or desiging the latest star destroyer to understand what the characters are talking about and why we should even care. However, the filmmakers themselves seem not to care choosing to focus solely on the subject of the game itself rather than building a strong narrative with a clear story that anyone can understand. Moreover, the characters themselves are not that compelling and you quickly become bored of them: a big no-no when you're trying to keep people's attention for 90 minutes.


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"Everything a great documentary could be"?? Yeah, if one is deaf, dumb, and blind. Everything but meaning, wit, visual style, and interesting subject matter. Aside from that. . .
Seriously, volken. This is a movie that is completely inauthentic. An adventure doc with no adventure, a war doc with no feeling for war, a campy send-up with no trace of wit. It means nothing, feels like nothing, and carries the implicit message that absolutely nothing matters. No wonder it has so many IMDb fans! Of course, going in you know a movie starring the great Skip Lipman will have no culture, no intelligence, no wit (other than a corrosive adolescent jokiness), and no recognizable human emotion  just adrenaline. "Darkon" isn't a movie -- it's a panic attack! Avoid. There too many real documentaries and too little time in life to waste it on toilet build-up such as "Darkon".


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As a "lapsed Catholic" who had 11 years of Catholic school, but hasn't been to Mass in 35 years except for weddings and funerals, I thought I'd get a kick out of this. And I did . . . for the first two-thirds of the movie. It was all the standard stuff -- strict parochial school teachings, repressed sexuality, etc. But then, suddenly, the movie turned mean. REALLY mean. Now mind you, I saw this before the pedophilia scandals hit . . . and maybe I wouldn't have been quite so offended at such nasty, hateful digs at the Catholic Church if I'd known about those abominations (such a Catholic term!) and coverups.
It's been a few years since I rented the video, and I won't go back to rent it again with a new perspective. It just left such a dirty, nasty, ugly taste in my mouth . . . I wonder what experience all the actors had with the Church, because either they *really* hate it, or they whored themselves for the paycheck. It's an incredibly anti-Catholic movie, offensive to anyone who has a glimmer of a gleam of respect for Catholic education. Which I still do because there were no better teachers back in the '50s. Whatever else those nuns did, they forced me to learn how to read and write the English language. They made us memorize. (How many kids today can do simple arithmetic in their heads?) Truth is, there's nothing more essential for success in America. Can ya read? Can ya add/subtract/multiply/divide? Great. You can get any advanced degree you want. And the discipline of Catholic education will stand you in good stead, not just as you continue your studies, but also for the rest of your life, no matter what you think of the Catholic "mythology" we all had to learn.
Such a great cast, such a lousy, rotten script. I really feel bad (and no, it's not "badly" -- trust me, the nuns taught me better) for the writer and director.
I thought I had mixed emotions about Catholic school. But the participants in this project must've been those bad (ie.e, stupid) kids who sat in the back of the room, if they were willingly involved in making this movie.


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I am a Catholic taught in parochial elementary schools by nuns, taught by Jesuit priests in high school & college. I am still a practicing Catholic but would not be considered a "good Catholic" in the church's eyes because I don't believe certain things or act certain ways just because the church tells me to.
So back to the movie...its bad because two people are killed by this nun who is supposed to be a satire as the embodiment of a female religious figurehead. There is no comedy in that and the satire is not done well by the over acting of Diane Keaton. I never saw the play but if it was very different from this movies then it may be good.
At first I thought the gun might be a fake and the first shooting all a plan by the female lead of the four former students as an attempt to demonstrate Sister Mary's emotional and intellectual bigotry of faith. But it turns out the bullets were real and the story has tragedy...the tragedy of loss of life (besides the two former students...the lives of the aborted babies, the life of the student's mom), the tragedy of dogmatic authority over love of people, the tragedy of organized religion replacing true faith in God. This is what is wrong with today's Islam, and yesterday's Judaism and Christianity.


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A less-than-subtle poke at the beliefs and teachings of the Catholic Church is given a darker shade of death near the end of the show. Throughout the show, dark humour plays a medium through which several commonly heard rhetoric questions are asked, especially "If God is so good, why does he allow evil to exist in the world?"
Diane Keaton is excellent in her role as an exaggerated version (though some might disagree) of they stereotyped religious teacher who spouts the "company line" and condemns half the world to burn in Hell. To celebrate her school's 25th anniversary, she invites her first students to return and perform their Christmas pageant.
However, when the quartet "update" their play to parody Sister Mary's "fallacious" teachings, the nun is pushed over the edge, sending the story spiralling into a chain of unhappy events. The ending finally leaves the audience with a sick feeling in their hearts.
Not recommended. Go watch the play instead.


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I have always said that some plays by their very nature just can't be translated to film, and this one is a prime example.
As a play, this is a very funny farcical satire of the Catholic church, with a razor wit and a central character who is so shockingly unreal we have to root for her even when she starts murdering her parishioners (one of whom made the fatal mistake of admitting he had not sinned since his last confession, so she feels she is sending him straight to heaven).
That's just one example of how far outside of reality the play goes, and in the make believe world of the theater, it works. However, that kind of heightened reality rarely works on film, and it certainly doesn't here.
Director Marshall Brickman has assembled a fine cast who do great work, but by presenting all this absurdity in a realistic fashion the comedy becomes tragedy and you are left with an empty feeling in the pit of your stomach.
Seek out a production of the stage play instead, you won't be disappointed.


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Christopher Durang must have been taught by a memorably awful nun, because he just can't let go of the concept. The play, "Sister Mary Ignatius Explains It All For You," was presented -- at least in Hollywood -- in precisely the same tone as Diane Keaton's lecture scenes here. Sister Mary was an exaggeration, a lampoon, a bitter satire of a serenely confident, doctrinaire and highly judgmental nun -- and as played by Lynn Redgrave, she was hilarious. But the movie insists that we take this exaggeration absolutely seriously -- while, as mentioned, maintaining the same tone in the "explains it all" scenes. The two approaches clash headlong and in the last twenty minutes, the movie goes off the track, plunges into the gorge, and explodes. There are no survivors. It could have worked, if the tone of the scenes with the four former students, and their encounter with Sister Mary, been pitched the same as the Sister Mary scenes. Or if the Sister Mary scenes been presented more realistically. This way simply doesn't work at all.


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Broad enough for you? Wait till you see this heavy handed
adaption of a little collegiate one act. What is shocking and wild in
college rarely holds up over time, and this is proof. To take on the
Catholic Church with broadside humor just isn't shocking or
interesting or funny, it's kind of boring. The performers are all
game, giving all they've got, but it's basically a play that doesn't
open up to film well. Not a lot of fun.


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I would have given it a one instead of a two, but I suppose it COULD have been worse. I guess the acting isn't all that bad, but the plot lacks anything even remotely close to interesting. It is a terrible movie!! TERRIBLE! Complete waste of time! I strongly suggest you do not watch this movie.!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!


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Michael Rooker is a decent actor, but he has no business being the lead except in a low budget movie. He really does not have much charisma. Ryo Ishibashi has a lot more screen presence, and sadly he is not really the main character. Most of the screen time goes to the brick-faced Rooker.
Danielle Harris (from the Halloween 4 and 5 movies) plays his daughter, and she is cute and entertaining but she is written as not being too smart and one of her dumb mistakes gets one of the main characters killed. Comedians Fred Willard, Bobcat Goldthwait, and Stephen Furst are here in interesting roles. Just watching what happens to these characters is priceless.
Vincent Schiavelli plays the Consigliare to the local Mafia Godfather, and it is hard to tell whether or not he is working the movie as a comedy. Tim Thomerson is also in this movie. He seems to be in every extremely low budget direct-to-video action movie. Thomerson is also in some low-budget comedies. Seeing so many comedians and comic actors in this film made it feel like a spoof. Is it a parody of a Yakuza movie? It is hard to tell at some points. There is certainly very little Yakuza action.
The supporting cast of Thugs and Goons is menacing and well cast. Some of these kinds of movies have Thugs that look like they work at the local Comic Book Store or as stock boys at Piggly-Wiggly. Overall this movie is very uneven. At some points it seems like a comedy or a parody. Then at other points it works as a good action movie. Then it sputters to an end. Without the contributions of Danielle Harris and Ryo Ishibashi this movie would rate a Zero in my humble opinion.


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Typical formula action film: a good cop gets entangled in a mess of crooked cops and Japanese gangsters.
The okay result has decent performances, a few fleeting snicker-inducing moments, and some fair action sequences--plus a chance to check out the gorgeous Danielle Harris--who makes the most of her perpetual typecasting as a rebellious teen daughter.
** out of ****.


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Strictly a routine, by-the-numbers western (directed by genre-mainstay Andrew V. McLaglen, so is that any wonder?). Army colonel Brian Keith spars with smarmy bandit Dean Martin, who has just kidnapped the colonel's wife (Honor Blackman, who never found her niche after playing Pussy Galore in "Goldfinger"). Fist-fights, shoot-outs, stagecoach robberies and Denver Pyle in a supporting role...in other words, absolutely nothing new or original. Talking in a low monotone throughout, Keith gets to dally with a prostitute (something of a shock after his run on TV's "Family Affair"), but otherwise this low-rent material wastes Keith's amiable talents. It's also bad news for Dino, who doesn't seem to notice or care. Hack direction, poor writing and several unfunny attempts at lowball humor. * from ****


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A reporter, Craig Milford, who works for The James Keller Public Telecommunication Center, has an interview with a German professor of a Floridian university, who made an unknown creature based upon some substance of meteor(s). But then a man named Anderson, who is trying to control the whole planet with the creature, and his man kill the professor and his assistants and plunder the creature. So Craig and his new female psychic partner, Joanna Fitzgerald, who can communicate not only with human being but also with alien friend(s) of the creature, begin to find the creature and try to send it to an alien spaceship... This film has some great casts and staffs. For instance, it has the actor, David Warbeck of THE BEYOND, the actress, Laura Trotter of NIGHTMARE CITY, the special visual effects creator, Sergio Stivaletti of Dario Argento's masterpieces, and the director (and also the story- writer), Alberto De Martino of THE MAN WITH ICY EYES and THE KILLER IS ON THE PHONE. And these talented people make an incredibly bad film, named, nothing but this MIAMI GOLEM which is essentially a confusedly combined film of CLOSE ENCOUNTERS OF THE THIRD KIND with E.T.THE EXTRA-TERRESTRIAL. And this not-only-confused-but-also-crammed film has something worth; genetic engineering with psychical research. Consequently the film has at least one scientific and/or technical flaw; genetic engineering and psychical research are never compatible. (Strangely enough, regarding this strangely childish combination of genetic engineering and psychical research, the leading character, Craig, himself says THERE MUST BE A BETTER EXPLANATION to the short-haired psychic, Joanna. But, after all, the whole story of the film doesn't and can't present any kind of BETTER EXPLANATION.) In addition, this film has something more laughable; its problematic music. What the composer, who is credited as Robert Marry, provides is nothing but the strangely insistent BEVERLY-HILLS-COP-tasted music. I don't want to say this Italianised theme of BEVERLY HILLS COP per se is particularly bad music, but I have to say it seems to be manifestly clear the music does not have the fitness for this film per se at all. Indeed just who can think BEVERLY HILLS COP has the compatibility with genetic engineering and/or psychical research?


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This budget-starved Italian action/sci-fi hybrid features David Warbeck as a Miami reporter who is chosen by the ghosts of the people of Atlantis (!) to stop an evil businessman (Academy Award nominee John Ireland) from using a telepathic fetus grown using spores from an asteroid to rule the world. You got all that? Despite such a loopy plot, this is actually quite a bore and the RAIDERS OF ATLANTIS sneers at it with contempt. Honestly, the most (intentionally) creative thing about this flick is the slight reworking of Herbie Hancock's BEVERLY HILLS COP theme for the opening titles. The most unintentionally creative bit involves a scene in a lab that is inexplicably shown twice back-to-back. Perhaps director Alberto De Martino wanted to get all avant garde on us in the twilight of his career? I was going to declare this Ireland's worst film on his resume but then I saw SATAN'S CHEERLEADERS was listed on there. I would also like to safely declare that I am probably the only person in the history of the world to do a double feature of this and Hitchcock's VERTIGO.


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All I can say is, before watching the movie I did not have a hint indication who Annemarie Schwarzenbach was or what was her life story..and I have to confess that the movie was hardly a help to reach these data.. and even it was not successful to persuade me to do some research by typing few words on google website; however, all I can say is that the actress Jeanette Hain was great with her mute facial expression she really played well and showed a deep depression mental status, as it is in real.
After all , based on the script the movie has happened in turkey and Tehran as well as Afghanistan.. but believe me I am familiar with the area , it was all about an Arabic desert in morocco.. Turkish people and persian people are completely different in face and culture as well as in language which is not arabic..
I suppose for making a film like this- documentary type- a thorough research about all these minor elements is mandatory..


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Whatever the merits of the film, it is poorly researched. As others have pointed out, the movie shows locals in Iran speaking in Arabic, rather than Persian. That is enough to lose credibility for anyone who has the slightest knowledge of the area or the country. The landscape could not be more different from the actual.
Other factual errors: A train is shown to be operating in Afghanistan, while Afghanistan does not have railways. The Turkish ambassador is wearing a Fez (the red hat), whereas the Fez was banned by Turkey much before the time in which the movie is set. The Turkish ambassador's daughter is actually dressed as an Indian, and Indian classical music is playing in the background in many scenes. I suppose the filmmakers meant to show an exotic woman, and sari was what they decided would make her exotic.


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Usually I love Lesbian movies even when they are not very good. I'm biased, I guess!
But this one is just the pits. Yes, the scenery and the buildings are beautiful, and there is a brief but beautiful erotic interlude, but otherwise this movie is just a complete waste of time. Annamarie alternates between sulking and getting high/stoned/passing out on whatever drug or booze is handy, and Ella inexplicably puts up with this abominable behavior through the entire movie. At no time are we given any insight into why this is so, or even why Annamarie is so depressed and withdrawn.
If there had at least been some kind of closure in the (potentially romantic? we don't even know!) relationship between the two, there might have been some kind of satisfaction. But although Annamarie at one point asks Ella "why do you love me?" Ella doesn't even acknowledge this. It's never really clear whether this is anything more than an (ill-behaved) Lesbian on a boring road trip with a straight woman.
Even the interactions between the two women and the local people they meet on the journey, which could have been lively and informative, are instead flat, tedious and mostly incomprehensible.
There is one good joke in the movie, although I'm sure it was unintentional. The women travel in a two-seat Ford coupe with a middling sized trunk. Yet when they set up camp, they have an enormous tent, cots, sleeping gear, and even a table, chair, and typewriter! On top of that, when they board a ferry, we see piles of luggage, presumably theirs, presumably also carried in the little Ford's trunk!
And through the entire film, we never see one gas station, or anywhere that looks like it would actually have any place to buy gasoline. Mostly they travel through endless miles of desolate desert. So where did they get fuel?
There may not be too many Lesbian films out there, good or bad, but there are plenty that are better than this, and very few that are worse. Leave this one in the rack.


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We went to the movie with a group because the play we were going to was cancelled. It is without doubt one of the worst movies ever. It is not that i don't like cult-movies I do. But nothing happens in the film. One does not feel any connection with the characters whatsoever. endless times without dialog. And the car. How do thay carry a huge tent and beds chairs and clothing for every day in that car? It is a two seater! I have to say however the scenery is beautiful, but not in a movie, the director should have made a photoshoot of the movie, so that we could skip about 80 minutes of useless time in with nothing happens anyway.
I would not recommend it, as it is a waste of your time


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One of Frances Farmer's earliest movies; at 22, she is absolutely beautiful. Bing Crosby is in great voice, but the songs are not his best. Martha Raye and Bob Burns are interesting, but their comedy, probably great in its time, is really corny today. Roy Rogers also appears- in a singing role. In my view only worth watching if you are a Frances Farmer fan, and possibly a Bing Crosby fan.


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"Tapeheads", a scrappy, intermittently funny spoof of the music video business, might have been the perfect comedic short, and stars John Cusack and Tim Robbins are effortlessly in the swing of the nonsensical chaos involved. They play two semi-savvy security guards in Los Angeles who start their own company, Video Aces, making hilarious videos for groups, parties, and one deathbed star. It's too bad the filmmakers had to invent a dim side-plot to pad the running time (shenanigans involving a crooked politician and his henchmen which doesn't do much except take away from the movie's primary strength, sending-up the music culture of the late-'80s). Still, Cusack and Robbins create a couple of originals here: nerdy but loose, street-smart without being hipsters or posers, these guys are on the same nutty wavelength, and they never put each other down. They're the real thing in buddy-comedies. *1/2 from ****


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Tim Robbins and John Cusack are two actors I have appreciated throughout their careers, and that was the only reason for choosing to watch this movie. Well, all I can say is I totally regretted it! These two great actors humiliate themselves all the way through by performing a number of irrelevant, unimaginative and kitch to the extreme (not that this is bad on its own)sketches that are supposed to make people laugh, but fail to do so. The only reason I can think is that the director was their friend, and they decided to support his movie by starring in it-I can't think of anything else because this movie is SO cheap! Fortunately Tim Robbins and John Cusack haven't disappointed me ever since. I would recommend you to avoid this film, unless you want your opinion about the two actors spoiled.


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One of my sisters friends lent me this game, and it is too damn hard! It carries the appearance of a kids game, but you have to learn how to do tons of intricate moves that require you to twist and turn your hands into all sorts of awkward positions, and you have to search seemingly endless levels for 100 notes, to improve your 'score'! You also have to find these impossibly hidden jigsaw puzzle pieces, that require you to do almost impossible tasks to get them! AND I AM ONLY UP TO STAGE THREE!!!!! Maybe if you have no life nad can stay home all the time you might get some enjoyment out of this, but otherwise keep away! AND IT IS DEFINATELY NOT RECOMMENDED FOR KIDS - THEY WILL PULL THEIR HAIR OUT WITHIN THE HOUR!


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My complaints here concern the movie's pacing and the material at hand. While using archival film and letters lends the film a fresh and interesting perspective, too often the material selected to highlight simply isn't very interesting (such as when Goebbels complains about this or that ailment, &tc., or the ad nauseam footage of his small German hometown). Also, the movie crawls along in covering c. 1920-1939 and then steams through the war years. In sum, the film is little better than a History Channel documentary, with the exception that the filmmaker has a slightly greater sensibility than your average History Channel documentary editor and thus can more artfully arrange the details of Goebbels' life. Still, I found it wanting.


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December holiday specials, like the original Frosty, ought to be richly-produced with quality music and a wholesome, yet lighthearted storyline. They should have a touch of the mystical magic of the holidays. Basically, they should look, sound, and feel...well, "special" and they should have a decent and appropriate December holiday subtext.
So when I saw Legend of Frosty the Snowman in the TV listings, I got my kids (6 and 8) pumped up for it by telling them the story of the original Frosty and passionately relating how much I enjoyed it as a kid. As my wife and kids cozied up on the couch to watch the movie the expectations were high, but 10 minutes into it my kids were yawning and my wife and I were giving each other "the look" and rolling our eyes. After 35 minutes my kids were actually asking to go to bed -- I guess they were fed up with the insensitive language and pointless, disconnected segments. I was actually embarrassed about their (and my) disappointment with this movie.
Unfortunately, Legend of Frosty the Snowman is more like a bad episode of Fairly Odd Parents crossed with a worse-than-normal episode of Sponge Bob than a classic holiday movie. Don't get me wrong...those shows are fine and I like them as much as the next guy, but when I watch Fairly Odd Parents or Sponge Bob, my low expectations (for mediocre, off-color, zero subtext, mind numbing episodes) are always satisfied.
We picked out some good books and spent the rest of the evening reading together. A much better choice than the embarrassingly bad Legend of Frosty the Snowman.


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The John Goodman program was pretty awful, but this thing just plain stinks. The one and only thing in this mess that made me smile was recognizing the voice of Patrick Starfish as Frosty. The story is hopeless, written by somebody who has garbled memories of childhood rebelliousness but has never gained any adult sense of perspective in the intervening years. Paranoia rules the dark world that these characters inhabit. Everybody is unpleasant, and for no reason. The plot is predictable but the show lurches from one inexplicable, unconnected scene to another in such a pointless way there is no fun in watching it. The worst thing is nobody in the production crew seems to have ever seen snow!


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I disliked Frosty returns and this one. Both of the films are absurd with poorly written characters and bad voices. The voices could have been done but Frosty returns was worst than this because of the unalike snowman they drew. Frosty's winterwonder land was great and so was the original heartwarming Drama. The only good thing about this film was Frosty the snowman was alike of the classic 60s and a funny line like when they were talking about things that are not real and then Frosty walks by the window humming, whistling whatever he was doing but everything else was badly written and badly animated and I barely got the plot. I saw the DVD cover at the library about 2 or 3 years ago and the art looked crappy so I didn't pick it up until this year because the pictures on the back looked a little touching but I played this film. It was a hassle poorly art characters just like the DVD and it was just terrible about what's going on. I watched this at night and found it dull that I fell asleep on the whole thing (Wait I always do that when I watch something while I go to sleep) But this movie was overall boring
Overall rating: Grade -C
This is like another holiday special bad rip-off in the frosty returns and this one. This one is the badly 4th sequel like Home alone 4 well i thought that movie was OK but home alone 3 was great. But it's like a bad home alone 3 and 4 people hate like this. My sister didn't watch it that much because when she came into my room to watch 2 minutes and a half of it, she walked away like "I hate the animation!" I agree to her just like the 3rd one Frosty returns. Plain awful!


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A young scientist is trying to carry on his dead father's work on limb regeneration.His overbearing mother has convinced him that he murdered his own father and is monitoring his progress for her own evil purposes.A young doctor uses reptilian DNA he extracts from a large creature and when his arm is conveniently ripped off a few minutes later,he injects himself with his formula and grows a new murderous arm...Admittedly the special effects in "Severed Ties" are pretty good and grotesque,but the rest of the film is awful.The severed arm is behaving like a snake and kills few people.Big deal.The acting is mediocre and the climax is silly.3 out of 10.


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A young scientist Harry Harrison is continuing his late father's scientific research into limb regeneration with flying colours, but his interferingly dominate mother and her doctor lover want to sell off the serum. When he finds out, there is an accident involving Harry losing an arm. So, he tries out the serum and what eventuates is a genetically deranged arm that has a mind of its own.
Oh we've seen this oh so many times before, but what lifts this very campy and quite rubbery shonky junk is the performance of movie icons Elke Sommer and Oliver Reed. Actually it's not a bad flick by Fangoria films; just there are better ones out there, which are similar in vein. "Servered Ties" simply lacks it own distinctive style. The oddball nature and unpleasant splatter resembled "Re-animator" and even a touch of slapstick stuck out like something from "Evil Dead 2".
The comic story is truly whacked out with it's black humour, but it can get melodramatic and a bit in dry in the fun factor. Surprises do crop up, especially the flick's final outcome. Which is well accepted, as I thought it could have copped out with something more accessible. For a low-budget production the FX makeup can look rigid and very goofy, but there's some grotesque moments that will make you smile than actually cringe. Even a brush of sexual tension streamlines the story, thanks to Elke Sommer's sternly juicy performance as the mother. Oliver Reed is quite humorously deadpan in a wicked sense and he pulls it off extremely well. They were both immensely diverting as the couple you loved to hate. Billy Morrisette is delightful in a erratic performance as Harry. Director Damon Santostefano briskly paces the film and orchestrates some stylish scenes of gripping and bamboozling horror.
Yeah it's juvenile and basically silly nonsense, but you got to hand it to it for some undemanding entertainment.


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