empathielabs/imbd_dataset_v0 huggingface dataset:
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
There are enough sad stories about women and their oppression by religious, political and societal means. Not to diminish the films and stories about genital mutilation and reproductive rights, as well as wage inequality, and marginalization in society, all in the name of Allah or God or some other ridiculous justification, but sometimes it is helpful to just take another approach and shed some light on the subject.
The setting is the 2006 match between Iran and Bahrain to qualify for the World Cup. Passions are high and several women try to disguise themselves as men to get into the match.
The women who were caught (Played by Sima Mobarak-Shahi, Shayesteh Irani, Ayda Sadeqi, Golnaz Farmani, and Mahnaz Zabihi) and detained for prosecution provided a funny and illuminating glimpse into the customs of this country and, most likely, all Muslim countries. Their interaction with the Iranian soldiers who were guarding and transporting them, both city and villagers, and the father who was looking for his daughter provided some hilarious moments as we thought about why they have such unwritten rules.
It is mainly about a paternalistic society that feels it has to save it's women from the crude behavior of it's men. Rather than educating the male population, they deny privilege and rights to the women.
Seeing the changes in the soldiers responsible and the reflection of Iranian society, it is nos surprise this film will not get any play in Iran. But Jafar Panahi has a winner on his hands for those able to see it.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
It was simple and yet so nice. I think the whole sense of sex segregation in society, which can be bitter, was shown very delicately. It had a bitter kind of hummer in it. The fact that most of the actors were not professionals, made the movie more tangible and more realistic. There was a "documentary" side to the movie too. The best scenes were those that all the girls, banned from watching, were listening passionately to the soldier, who is supposed to keep an eye on them, broadcasting the game. If you are an Iranian, the familiar cheering and dancing in the streets after a game won, fills you up with National pride!! If you are not Iranian, you'll still love it all the same!


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
I felt this movie was as much about human sexuality as anything else, whether intentionally or not. We are also shown how absurd and paradoxical it is for women not to be allowed to such a nationally important event, meanwhile forgetting the pasts of our respective "advanced" nations. I write from Japan, where women merely got the right to vote 60 years ago, and female technical engineers are a recent phenomenon. Pubs in England were once all-male, the business world was totally off-limits for women in America until rather recently, and women in China had their feet bound so they couldn't develop feet strong enough to escape their husbands. Iran is conveniently going through this stage in our time, and we get a good look at how ridiculous we have all looked at one time or another. Back to the issue of sexuality, we are made to wonder what it may be intrinsically about women that make them unfit for a soccer game (the official reason is that the men are bad). Especially such boyish girls, a couple so much so that you even get the feeling that lesbianism is on the agenda as well. I think one point is that not all women are the same, and the women the police are trying to "protect" are not the ones who would try to get in in the first place. The opening scenes of the approach to the stadium makes you appreciate the valor of the young women trying to get in -- and each one separately -- at all. It is a brutish man's world. Any woman brave enough to try to go should be allowed! The world of sexuality is not one-size-fits-all.
Meanwhile, the apprehended criminal girls bond inside the makeshift pen awaiting their deportation to who-knows-where, and in a much more subtle way, begin to bond with the guards keeping watch over them. These had definite ideas about women and femininity, which were being challenged head-on. The change in attitude is glacial, but visible.
Since the movie is pure Iran from the first moment, it takes a little easing-into for the foreigner, but the characters have a special way of endearing themselves to you, and you end up getting the whole picture, and even understanding the men's misunderstandings and give them slack. The supposed villain is the unseen patriarchy of the Ayatollahs, which remain unseen and unnamed, and likely unremembered.
Knowing that this movie was filmed during the actual event of the Iran-Bahrain match gives me a feeling of awe for all involved.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Is this your typical women in chains navy transport love story? Maybe, hell, you know how the formula works by now, pretty woman is introduced in to a picture, someone has to fall in love with her.
I think this film does follow some typical story lines, but that doesn't say anything about the content. There are great scenes with Crispen Glover, Dennis Hopper, and Gary Busey, although short. Some things didn't make sense, such as the need to get in to random fights, but it is entertaining to watch, the fights were actually well done.
This is definitely a comedy foremost, but it does have a lot of good feel to it. The humor is well balanced, you won't hurt your stomach on this, but you will keep a smile.
There is a little bit of steamy action, so not one for the kids.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
My wife and I have watched this movie twice. Both of us used to be in the Military. Besides being funny as hell, it offers a very realistic view of life in the Navy from the perspective of A Navy enlisted man, and tells it "like it really is". We're adding this movie to our permanent collection !


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
If you want a fun romp with loads of subtle humor, then you will enjoy this flick.
I don't understand why anyone wouldn't enjoy this one. Take it for what it is: a vehicle for Dennis Hopper to mess with your head and make you laugh. It ain't Shakespeare, but it is well done. Ericka Eleniak is absolutely beautiful and holds her own in this one - Better than any episode of Baywatch - and shows a knack for subtle humor. Too bad she hasn't had many opportunities to expand on that.
Tom Berenger fits his role of "real Navy" perfectly and William McNamara does a solid job as a hustler.
Throw in a walk-on by Hopper in the middle of the chase for "the Cherry on this Sundae" and you've got a movie that kept my attention and kept me laughing. I bought this one as soon as it was available.
Brain-candy.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
no movie with dennis hopper, gary busey, erika eleniak, tom berenger, dean stockwell, marilu henner deserves a rating under 5 on here. This is a poor mans version of movies like 16 blocks or the timeless Midnight run except the prisoner being transported here is the very easy on the eye Ms.Eleniak. Tom Berenger plays another gruff, maverick military type well and William Mcnamara plays his rookie-about to be discharged foil well. The plot on the face of it is absurd because I lost count of the times Eleniak should have and could have escaped but this is an entertaining feel-good movie and there are good cameos from all of the above actors that keep the movie rolling. This isn't really a family movie as there is some swearing and a rare nude scene with eleniak but this is a lot better than some of the other guff that came out around this time.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Well, the movie isn't exactly "funny."
Okay, I admit, there are a few HUMOROUS lines, but definitely nothing that is laugh-out-loud funny. For example: Right before a steamy sex scene between Eleniak and one of her male costars, sh is handcuffed to the bedpost and he cannot remove her shirt. Before leaving the room to retrieve the key, he tells her, "Okay, don't go anywhere."
See, humorous, but not funny.
The plot and acting are pretty good.
But Erika Eleniak definitely steals the show. She's hot and sexy and there is a really steamy scene with her that one can't help but rewind and re-watch.
There are also some other very sexy scenes with her and she has some very provocative lines.
Overall, 5 stars. I'd only give it three if not for Erika Eleniak.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
I have seen this film on countless occasions, and thoroughly enjoyed it each time. This is mostly due to the lovely Erika Eleniak- a great actress with incredible looks. Plus, any film starring Tom Berenger and Dennis Hopper is bound to be entertaining.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
what can i say?, ms Erika Eleniak is my favorite blonde girl ever, and like a Italian American, fan number one of female beauty i can't forget this movie.
you know i really don't remember a lot about the plot, or the situations or the other actors . i only can remember about drop dead gorgeous Erika and that in this film she looks better than ever, i really don't care if it was a bad movie or a good movie, i only care the nice moments i had been a teenager in Brooklyn just contemplating Erika's beauty.
Well just to conclude if you are an Erika Eleniak's beauty fan like me definitely this film is for you.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Clark Gable plays a con man who busts into the life of hard-boiled dame Jean Harlow. He tries to sucker her while she brushes him off with her tough-gal attitude. Despite their cynicism and cons they fall in love. When Gable accidentally kills a man during a sting he runs out leaving loyal Harlow to women's prison where she discovers she's pregnant. Anita Loos' and Howard Emmett Rogers' writing is excellent throughout with many well-drawn and surprising characters (including a Jewish socialist woman inmate and a black woman inmate and her preacher father played with hardly a trace of stereotype). Gable and Harlow show their mettle as actors adding telling nuances and quirks to their characters that send them beyond the typical Gable and Harlow roles. And the direction is much better than you'd expect from Sam Wood. One beautiful shot has Harlow being inducted into the prison, then led out into a surprisingly snowy courtyard as the camera tracks after her. This is one of the best of both the "criminals in love" and "women's prison" genres and has some of the best hard-boiled dialogue ever written.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
This movie is witty, watchable and utterly touching. And now often do you get to see Jean Harlow (or any actress of this era, for that matter) give another woman a swift punch in the jaw? (Twice!)
After Harlow's Ruby is sent to a reformatory after getting mixed up with Gable's Edward Hall (he of that cheesy yet endearing crooked smile), her predicament becomes all the more complicated when she discovers that she is pregnant, and she's convinced that this rake has abandoned her, but in fact, her love has reformed him and he comes to see her, despite the fact that he will be arrested, and from the help of a minister, are married.
The wonderful relationship that Harlow shares with her fellow inmates is second only to her electric chemistry with Gable, who was her most frequent leading man. Her cynical character is a perfect match for Gable's smooth-talking crook. What's not to like?
"You know, you wouldn't be a bad looking dame - if it wasn't for your face!" Ruby cuttingly remarks to Gypsy, her rival. "If you're going to get that close to me, I'll have to open the other window!"
Priceless!!!


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Hold Your Man finds Jean Harlow, working class girl from Brooklyn falling for con man Clark Gable and getting in all kinds of trouble. The film starts out as his film, but by the time it's over the emphasis definitely switches to her character.
The film opens with Gable pulling a street con game with partner, Garry Owen and the mark yelling for the cops. As he's being chased Gable ducks into Harlow's apartment and being he's such a charming fellow, she shields him.
Before long she's involved with him and unfortunately with his rackets. Gable, Harlow, and Owen try pulling a badger game on a drunken Paul Hurst, but then Gable won't go through with it. Of course when Hurst realizes it was a con, he's still sore and gets belligerent and Gable has to punch him out. But then he winds up dead outside Harlow's apartment and that platinum blond hair makes her easy to identify. She goes up on an accomplice to manslaughter.
The rest of the film is her's and her adjustment to prison life. Her interaction with the other female prisoners give her some very good scenes. I think some of the material was later used for the MGM classic Caged.
Harlow also gets to do the title song and it's done as torch style ballad, very popular back in those days. She talk/sings it in the manner of Sophie Tucker and quite well.
Gable is well cast as the con man who develops a conscience, a part he'd play often, most notably in my favorite Gable film, Honky Tonk.
Still it's Harlow who gets to shine in this film. I think it's one of the best she did at MGM, her fans should not miss it.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
I expected this film to be a run-of-the-mill 1930's romance. Boy meets girl, they fall in love, boy loses girl, boy wins her back in the end. It wasn't like that at all. Clark Gable plays con artist Eddie with all his usual charisma and mischievous eyebrow raising. He is hiding out from the cops when he bursts into Ruby (Jean Harlow)'s apartment, to find her covered in bubbles in the bathtub, no less. Instant chemistry.She plays hard to get for a while, but a girl can only resist that grin for so long. The heat between them is evident, and there are some scenes that are definitely pre-production code! When a blackmail job goes bad and Ruby ends up in a boarding house for "troubled girls", she is miserable and, thanks to the ragging her roommate gives her, begins to believe that Eddie will never come for her. Harlow plays the hard-nosed, fast talking Ruby perfectly. She never lets Gable get all the good lines! There is an especially moving scene with her playing "their song" on the piano that is acted perfectly. The last fifteen minutes have me crying every time. A truly sweet romance.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
One of the great mysteries of life, suffered from daily, is why nice girls so often are more interested in the jerks and heels than in the nice guys.
Worse, when the nice guys even want to marry those girls, the girls STILL prefer the jerks and heels, even after the jerks and heels have shown their contempt, have shown they're just interested in using the girls.
Stu Erwin is the nice guy, who continues to be nice after being lied to and cheated and even after losing the girl completely.
Clark Gable is the jerk, and he is perfect in the role, rather a sad note to his fans.
Jean Harlow comes across as a more slender Mae West, even sounding like La West in some of her cynical throwaway lines.
Somewhat puzzling is that so many of the other characters, intended to be bad guys -- I mean, heck, they're locked up, so they must be -- are so obviously nice people.
In fact, there are lots of nice people here, people who, in a lesser film or story, would be snarling and back-stabbing but here go out of their way to help someone else.
So, maybe the story is rather clichéd, at least by modern standards, but ultimately the viewer will be glad to have watched.
The biggest complaint I have is that so many really good actors are not given credit. Once again, we can say a fervent "Thank You" to IMDb.com.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Jean Harlow and Clark Gable were a great on screen team and this may be their best movie together.
Yes, Hold Your Man can be cheesy and predictable, but that's not what I love about the movie. I love seeing Harlow and Gable together and in this film they are simply wonderful. It is obvious that they really enjoyed working together and that is part of what makes this such a wonderful film.
The witty dialogue, great script and attention to detail are the other things that make this such a good movie. I loved this movie the first time I saw it and on each subsequent viewing I always notice at least one new detail. To me, that is a mark of a great film.
The dialogue and script are better than most movies from this time period (early 30's). I adore classic movies, but I admit that most of them are just average and at times don't hold my interest. Hold Your Man is one of the exceptions.
This has a lot to do with the fact that Hold Your Man is a 'pre-code' movie. (The Hays code was not enforced until a year after Hold Your Man.) This movie could not have been made under the code. Well, it could have been made, but it would have been an entirely different story. Thank goodness the code was not enforced until 1934. Otherwise, we would have missed out on this gem.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
If you only read a synopsis of the plot, this movie would sound like quite a typical one of the 1930's. The story would seem quite contrived, the subject matter maudlin. The strength and beauty of this film is in the direct, earthy performances of the cast.I have seldom seen Jean Harlow display such a range of feeling, rich and subtle nuances float over her face. If you watch their faces during the wedding ceremony in the chapel, there is such an obvious depth of feeling between the principal characters. The raw emotions are so sincerely portrayed, so true. The final sequence is almost unbearably poignant: when Clark Gable looks down with such joy and surprise at his son, lifts him up and proudly says, "My kid!", I couldn't help remember that Mr. Gable's own son was born to him posthumously. This is one of the finest examples of Depression era cinema.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Don't listen to the many acerbic and derisory comments heaped upon this film.....simply put, as regards ninja movies, this my friends is about as good as it gets!
Yes it's silly, yes the acting and script are admittedly absolutely atrocious, but by gum - it's so much bloody fun! In fact, as is often the case with B-Movies, the horrendous 'acting' (which in the case of the movie in question, is truly amongst the worst I have ever had the joy to behold!) and ridiculous 'plot' actually only serve to elevate the enjoyment level ten fold.
Obviously the fight scenes are the main attraction in this though and for the most part I'm pleased to say, they're very well choreographed, especially the final showdown (during which we witness that ninja are not ostensibly constrained by the normal laws of gravity....)
Trust me on this, if you are a fan of ninja movies and you have not yet seen Sakura Killers, then you are truly missing out on what is in my opinion, one of the true jewels in the crown of the genre.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
It's hard to rate films like this, because do you rate it on production or just fun?
I saw this film back in about 1988/89 or so when I was a boy and I'm sorry to say it started a life long fascination with ninjas. The plot is fairly dire and the acting is of course terrible, but there is a certain mystique surrounding the ninjas in this film which makes for quite a good atmosphere. What is important are the fight scenes, while a 'little' sparce, are really good.
I must say it was better when I was a boy, only now can I see the glaring points of unbelievable nonsense in the film, but as a "sit back with a few beers" martial arts film I can't fault it, it delivers and is much better than the mountains of "American Ninja" Style rubbish that was churned out in the 80's with hundreds of guys in black suits but really not very good fight scenes.
In an interesting note, Dusty Nelson, the writer and director of Sakura Killers did another ninja film under the Bonaire movie flag called "White Phantom" I have no idea if this was meant to be a sequel to Sakura Killers" but the Sakura clan is once again a main feature, including the same logo and similar story only this time including a White Ninja. This too, while being mostly dire, had a small sense of atmosphere but the fight scenes are even more sparce and to be frank, are pretty awful.
So, if you are a martial arts fan then give it a blast to kill a few hours!


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Hey people, what's up. It's me man, the one and only Mike "Sonny Sakura KIller" Kelly. You know........ you can't really write a review on the script of Sakura, cause there we didn't have one. As far as I know, the story was just made up as we went along. I had the best time of my life making that film, and got so much stank that I ran out of Jism...........fun times. So glad that you all enjoyed the film. I really didn't get to do the fights that I had envisioned. Every time I set up some moves, the fight director kept changing them. Still, I had a blast and met some really great people. Especially the purple female Ninja who has seem to fall of the film-making scene.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Found this flick in a videostore, it cost $2 to buy. The whole movie stinks really bad! The so-called colonel, who would the hero here if the cover could have been trusted, must be in his eighties and is barely able to walk. He nevertheless manages to shoot some of the dumbest ninjas in the world. Then the story leaves the colonel, which makes sense given the old man's inability to DO anything worth mentioning, a now two terrifyingly eighties-looking guys take over, in what must have been some sort of story. I got lost a hundred times but didn't mind, because the movie is so bad, it's real fun to watch. Zero-Budget trash with actors not deserving that name. Go check it out!


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
As I said in my comment about the first part: These two movies are better than most Science Fiction Fans confess.
The scenario in the second movie is not that moving as we don't see the destruction of human civilization, but the aftermath, thousands of refugees fleeing in tiny space cans, protected by only one powerful spaceship.
But when Battlestar Pegasus appears, the story heats up, carrying the battle back to the Cylon Planets. Okay, it has a little bit of Mad Max because all they fight for is fuel for their spaceships to travel on to find the distant Earth, but it works for me. It is thrilling Science Fiction entertainment featuring fine actors and decent special effects (even though those tend to repeat themselves, to say the least :-) ).
I would have loved a continuation with Starbuck and Apollo on board. Instead, we got a second sequel with no name characters who proved that the story had worked before especially because the feature characters were so well-chosen...
So thumbs down for the productions of 1980, but thumbs up for the two movies from 1978.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Although others have commented that this video is just an edited version of the two shows: "Fire in Space" and "Living Legend", if you watch the original shows you'll find that dialogue from this video edition was edited out. I found this video version much better because scenes and lines were added to it. I would say if you want to see the show in its original version, see the video versions on VHS. They have more to offer the fan than the original episodes being offered on DVD now. Another good video is Conquest for the Earth, which had more scenes from Galactica 1980 than did the actual broadcasts themselves. Overall, I rate this as a 10 because it gives you more to enjoy than what the networks wanted to show in the time slot they gave the producers.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
This movie is pretty good. Half a year ago, i bought it on DVD. But first i thought that it was the original film. I have seen the series and it is a good film, but here, they have put "The Living Legend,part1 and 2",and "Fire in space" together. The same as they did with the first film, but with other episodes. But still, it is a pretty good film. Only the ending is strange (you don't see what happens with the Pegasus). But I still think that it is pretty good. The actors and special effects were good. If you haven't seen it, go see it. Starring:Richard Hatch, Dirk Benedict, Lorne Greene, Herb. Jefferson Jr., Tony Swartz, Terry Carter, Lloyd Bridges, Jack Stauffer.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Let's think people , quit bad-mouthing the original , for it's time the original Battlestar series was a masterpiece , even still with all the stars , story lines and art . Lorne Greene was great as Adama and Richard Hatch was perfect as Apollo and Dirk Benedict was funny as Starbuck , but I dare say , not as pretty as Katee as Starbuck .
I loved the episode with the Pegasus and Greetings from Earth was good John Calicos was great as Baltar , War of the Gods , the best was Experiment in Terra , I thought that was a tribute in a way to Heaven Can Wait , then you had the women of Battlestar , not to compare them to let's say Tricia who is outstandingly beautiful as Number Six , but Jane Seymour's beauty could not be compared to . Let alone Loerrta Spang as Cassiopea was fantastic .She had beauty that a rainbow would be embarrassed by . I loved the original as much as the new .
Can you imagine if John Calicos had a number six ? :)
Thankyou for listening .


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Flavia the Heretic is an undeniable work of art and probably my number one recommendation to state that the euro-exploitation cinema is severely underrated and not to be ignored. This is an intelligent and complex film, beautifully realized and  surprise  pretty damn accurate! This is more than just meaningless sleaze or gratuitous violence and it's about time those prudish film committees who categorize Flavia as forbidden trash reckon this as well. Flavia is a beautiful 14th century adolescent, forced to live the life of an obedient nun in a strict convent. She refuses to accept her being inferior just because she's female and she curses her fellow sister for being so tolerant about this. After a fruitless attempt to escape, she befriends another rebellious nun and she even guides a troop of bloodthirsty Muslims into the walls of the convent.
Flavia is a downright mesmerizing film! Almost impossible to believe that director Gianfranco Mingozzi managed to make it appear so realistic and so disturbing. I challenge you to come up with a title that centers on the topic of pioneer-feminism more intensely than Flavia does. Several sequences are quite shocking (on the verge of nightmarish, actually) as the camera zooms in on brutal rapes, torture and mutilation. Yet all this raw footage isn't just used to satisfy perverted gorehounds, mind you. I'm strongly convinced that they're part of the statement 'Flavia' is trying to communicate: Humanity (the Catholic Church in particular) historically proved itself to be a hypocrite and discriminating race and there's no use in denying it any further. Films like "Flavia, the Heretic" have the courage to question and openly condemn our precious ancestors and I truly admire them for it. Flavia is an outstanding and fundamental exploitation film because of its substance, but it's even brought to an higher level by the wondrous cinematography, the glorious costumes & scenery and a breathtaking musical score by Nicola Piovani. Florinda Bolkin is very convincing as the ambitious and headstrong nun but it's María Casares who steals the show as Sister Agatha. She's a man-hating and loud-mouthed nun who likes to urinate in the open field! Amen, sister!


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Reportedy based on actual historical events, this disturbingly violent, bloody, and shocking period epic sustains viewer interest by creating a verisimilitude missing in the majority of films set in a remote era. Ms. Bolkan's portrayal of the rebellious nun is a tour de force. Her gradual transformation in character from an obedient if unwilling complicitor in social injustices of her day is adeptly evidenced by telling sequences: her witnessing of the hated local Duke's casual rapist activity, her forbidden love affair with a Jew, her criminal defection to the invading Moslem forces of the sensual Prince Ahmed (Anthony Corlan) There are some painfully realistic gory sequences (human flaying) in this film that are not for the squeamish, but viewers with strong stomachs and an interest in medieval history should find ample interest. Deserves to be seen, if only as an antidote to Hollywood depictions of the medieval world.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Flavia(Florinda Bolkan of "Don't Torture a Duckling" fame)is locked away in a convent of carnal desires by her father.Tired of all of the sadism she sees around her(rape of a young woman in a pigsty,sexual cravings,horse castration)Flavia decides to run from the convent with her Jewish friend from the outside,Abraham.The two don't get very far before they are captured and then brought back to be tortured and forced to repent.After punishment she joins up with a band of Muslims called the Tarantulas,who had invaded the convent prior and leads a crusade that turns into nothing short of a bloody battle behind the convent walls."Flavia the Heretic" is a well-directed and fairly notorious piece of Italian nunsploitation.The film is slightly gruesome and sleazy at times.The acting is great and the characters are well-developed.Overall,"Flavia the Heretic" is a genuinely moving and intelligent movie with plenty of nudity and gore.You can't go wrong with it.8 out of 10.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Too many sources routinely lump this thought-provoking period drama in part based on historical fact together with the superficially similar "nunsploitation" which was a mainstay in '70s Euro trash cinema, overlooking the righteous anger that drives the whole endeavor. Perhaps coincidentally it was also director Gianfranco Mingozzi's singular attempt at narrative film-making outside of many well-received documentaries.
Safely set within a historical context, FLAVIA charts the growing rebellion of an early 15th century Italian nun (Florinda Bolkan's career performance, even surpassing her sterling work in Lucio Fulci's devastating DON'T TORTURE A DUCKLING), locked away in convent by her not so nobleman father in a desperate attempt to curb the girl's budding sensuous nature. Wondering why women are relegated to secondary roles at best in life as in holy scripture, she is confronted by ways in which male domination can rupture female lives, inspiring revolt fueled by the ranting of semi-crazed older Sister Agatha (indelibly portrayed by veteran actress Maria Casarès from Marcel Carné's LES ENFANTS DU PARADIS) and - more constructively - by a Muslim invasion. Joining the oppressors and perhaps unwittingly manipulating them to do her bidding, Flavia truly becomes the outcast she already felt herself to be, with expected tragic results.
With its breathtaking widescreen compositions by Alfio Contini, who shot Michelangelo Antonioni's ZABRISKIE POINT, this is an uncompromising and austere account of one woman's fierce yet ultimately futile fight against patriarchal society which allotted her no rights beyond childbearing or whoring as Sister Agatha wryly remarks. A lengthy drug-induced fantasy sequence clearly modeled on Ken Russell's otherwise far more flamboyant DEVILS notwithstanding, the movie turns out relatively stingy in the skin department, making something of a mockery out of its semi-porn reputation. This is a serious work deserving rediscovery and restoration of its unjustly tarnished reputation.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
FLAVIA THE HERETIC is a strange entry in the nunsploit genre - equal parts sleaze, feministic journey, and "history" as we follow Flavia on her strange trip.
We start off with Flavia in a convent...she ain't too happy there cuz she doesn't believe in all the male-dominated "rules" and macho-ism of the world around her and escapes from the convent with her Jewish pal, Abraham. They are both eventually caught and Flavia is brought back to the convent where she joins another "non-believing" nun in hastening a Moslem invasion. Flavia hangs out with the Moslems who take over the convent and get "busy" with the nuns in a strange set of scenes. Eventually the Moslems roll-out and Flavia is punished as a traitor to Christianity in another singularly brutal scene...
This one has pretty much all the stuff that I like to see in a 70's era exploit film - some good gore, including nipple-removal, and a nice leg-skinning scene, some decent nudity - including the requisite full-frontal, and a decent storyline as well. I will say that it sorta dragged in a few points, but not enough to get truly bored with it. I would definitely recommend this one to nunsploit/70's exploit fans...8/10


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
There is so much that can be said about this film. It is not your typical nunsploitation. Of course, there is nudity and sex with nuns, but that is almost incidental to the story.
It is set in 15th Century Italy, at the time of the martyrdom of 800 Christians at Otranto. The battle between the Muslims and the Christians takes up a good part of the film. It was interesting when everyone was running from the Muslim hoards, that the mother superior would ask, "Why do you fear the Muslims,; they will not do anything that the Christians have done to you?" Certainly, there was enough torture on both sides.
Sister Flavia (Florinda Bolkan) is sent to a convent for defying her father. In the process, she witnesses and endures many things: the gelding of a stallion, the rape of a local woman by a new Duke, the torture of a nun who was overcome during a visit by the Tarantula Sect, and a whipping herself when she ran off with a Jew. The torture was particularly gruesome with hot wax being poured on the nun, and her nipples cut off.
Sister Flavia is bound to continue to get into trouble as she questions the male-dominated society in which she lives. She even asks Jesus, why the father, son and holy ghost are all men.
Eventually, she joins the leader of the Muslims as his lover and they sack the convent. Here is where you see more flesh than you can possible enjoy at one time. But, tragedy is to come. She manages to exact sweet revenge on all, including the Duke and her father, but finds that the Muslim lover treats her exactly the same. She is a woman and that is all there is to it.
I won't describe what the holy men of the church did to this heretic at the end, but it predates the torture of Saw or Hostel by decades.
Nunsploitation fans will be satisfied with the treats, but movie lovers will find plenty of meat to digest.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
"Flavia, la monaca muslmana" aka. "Flavia the Heretic" of 1974 is a truly disturbing and uncompromising piece of Italian Exploitation cinema that, to a certain extent, follows a somewhat feminist premise (though the level of sleaze and brutality would probably disgust the majority of feminists). Set mostly in a convent, and with a nun as the eponymous central protagonist (great performance by the wonderful Florinda Bolkan), "Flavia the Heretic" may be referred to as a 'Nunsploitation' film. However, this film differs quite drastically from the typical Nunsploitation flicks from the time, as it doesn't so much focus on the nunsploitation elements such as lesbianism, sadistic lesbian punishments, etc. Personally, I saw more similarities to the Hexploitation flicks of the time, such as "Mark of The Devil", (even though this one doesn't treat the topic of witch-hunts), which focus on the brutal execution of Christian fundamentalism in the middle ages and early modern period.
Italy around 1600: After witnessing her despotic father behead a wounded Muslim soldier, young Flavia is forced to become a nun in a convent. When her father condemns a fellow nun to a torturous death for a small misdemeanor years later, Falvia's disgust with male violence against women turns into hatred against the despotic church, and she joins a band of Arabic scavengers...
One thing is for sure, "Flavia the Heretic" is not for the faint-hearted, and neither is it for those who want happy endings. Director Gianfranco Mingozzi obviously tried to make his film as realistic and disturbing as possible, especially in its nasty scenes. The many torture- and execution-scenes are extremely disturbing, with skinnings, spikings and other gruesome scenes in explicit detail, the most shocking scene probably being the torture of the young nun quite in the beginning of the film. The violence here is never superfluous, however. After all, this gruesome methods actually were reality in the time the film is set in. The film is very well-made, with realistic costumes, fantastic settings an elegant cinematography and a great score by Nicola Piovani. The stunningly beautiful and great Florinda Bolkan has proved her talent in many great Italian cult-productions (including Lucio Fulci's Giallo-masterpiece "Non Si Sevizia Un Paperino" of 1972). She delivers another great, charismatic performance here, and I couldn't imagine another actress fitting as well in the role as she does. The film has some minor inconsistencies (E.g. why does the rigid church let bizarre cult-followers into convents in the first place). However, it is overall amazing how realistic this film is. "Flavia the Heretic" should definitely not be missed by my fellow fans of Italian Exploitation Cinema. This is a great Exploitation flick overall, though it definitely is a deeply depressing one and therefore should be watched in the right mood. Highly recommended to fans of disturbing exploitation cinema. 7.5/10


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Post-feminist depiction of cruelty and sadism.
Spoiler alert!
This underrated gem of a film tells the story of Flavia, a Fifteenth Century girl of Noble birth walled up in a convent after defining her father and indeed the whole of Medieval Christian society by viewing a fallen Islamic warrior as a human rather than demonic figure.
Unable to accept the patriarchal rule of the convent (explicitly stated in a scene where the Bishop arrives flanked by soldiers and monks) Flavia begins to explicitly question the society in which she finds herself and, through butting up against a whole system of subjugation, repression and violence, inevitably brings a tragic end not only to herself but all those around her.
Billed as a piece of nunsploitation this is far from the truth. This is a film depiction the consequences of violence, the effects of patriarchal dominance, the nature of rebellion and the corruption of the human spirit.
I described it in the title of this piece as 'post-feminist' and in the end Flavia's triumphs must always be corrupted, compromised and perverted by men. Even Flavia's gruesome end is perpetrated by men for men (the women turn away and only the monks look on without horror.
As to the much discussed violence: this is a depiction of the effects of violence and the horrors of a world driven mad by religious excess. To have shied away from the violence would have limited the film's impact, would have cheapened the film and allowed it to be assimilated within the Patriarchal discourse it is exposing. In addition it is a realistic portrait of medieval society.
Beautifully filmed, brilliantly acted (notably by Florinda Bolkin and Maria Casares), containing a wonderful score by piovani and still challenging after all these years Flavia is a classic of European Cinema.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Bo Derek's beauty and John Derek's revolutionary direction make this film worthwhile.
Bo, looking more gorgeous than ever, is a recently widowed woman who is experiencing visitations from her 'dead' husband (Anthony Quinn). He has a plan. Bo must procure the body of a young man so that her ghost of a husband can make his transformation from spectre back to corporeal life. Can she find a fitting candidate? How will she do him in so Tony can do his thing?
With Bo's attributes, John's unique direction, Quinn's film presence, and, thanks to John, a very pretty exotic look to the entire film, this movie is pleasant viewing.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
This movie is visually stunning. Who cares if she can act or not. Each scene is a work of art composed and captured by John Derek. The locations, set designs, and costumes function perfectly to convey what is found in a love story comprised of beauty, youth and wealth. In some ways I would like to see this movie as a tribute to John and Bo Derek's story. And...this commentary would not be complete without mentioning Anthony Quinn's role as father, mentor, lover, and his portrayal of a man, of men, lost to a bygone era when men were men. There are some of us who find value in strength and direction wrapped in a confidence that contributes to a sense of confidence, containment, and security. Yes, they do not make men like that anymore! But, then how often do you find women who are made like Bo Derek.


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Ashanti is a very 70s sort of film (1979, to be precise). It reminded me of The Wild Geese in a way (Richard Burton, Richard Harris and Roger Moore on a mission in Africa). It's a very good film too, and I enjoyed it a lot.
David (Michael Caine) is a doctor working in Africa and is married to a beautiful Ashanti woman called Anansa (Beverley Johnson) who has trained in medicine in America and is also a doctor. While they're doctoring, one day she is snatched by slavers working for an Arabic slave trader called Suleiman (played perfectly by Peter Ustinov, of all people). The rest of the film is David trying to get her back.
Michael Caine is a brilliant actor, of course, and plays a character who is very determined and prepared to do anything to get his wife back, but rather hopeless with a gun and action stuff. He's helped out first by a Englishman campaigning against the slave trade that no one acknowledges is going on (Rex Harrison!), then briefly by a helicopter pilot (William Holden), and then by an Arab called Malik (Kabir Bedi). Malik has a score to settle with Suleiman (he is very intense throughout, a very engaging character), and so rides off with David to find him and get Anansa back - this involves a wonderful scene in which David fails miserably to get on his camel.
Then there's lots of adventure. There's also lots of morality-questioning. The progress of the story is a little predictable from this point, and there are a few liberties taken with plotting to move things along faster, but it's all pretty forgivable. The question is, will David get to Anansa before Peter Ustinov sells her on to Omar Sharif (yes, of course Omar Sharif is in it!)?


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
Once again, I was browsing through the discount video bin and picked up this movie for $4.88. Fifty-percent of the time the movies I find in the bin are pure crap (I mean horrible beyond belief) but half the time they turn out to be surprisingly good. This movie is much better than I expected. I found it very engaging, though it was obviously made by an amateur.
The direction is nothing special, but the story is intriguing with some good thrills. I expected it to be more of a comedy, but I wasn't too disappointed.
For a thriller, this movie is surprisingly good-natured. There's no bloody violence, no profanity, no nudity, no sex. Usually, these movies require all four of those elements. The PG rating is well-deserved--not like "Sixteen Candles" where the "f" word is used twice and there's a brief gratuitous nude scene.
I just wish the romance between Corey Haim and his love interest could've been developed more. The film does tend to be plot-heavy, and the potentially good subplots are pushed off to the side. Instead of developing a chemistry between the two of them, we end up watching a careless three-minute montage of them on their romantic endeavors. They end up kissing at the end, but there's so little chemistry that it seems forced.
"The Dream Machine" is no gem, but it's good, clean entertainment. It's quite forgettable--especially with a cast of unknowns, except for Haim--but it's also much better than you'd expect.
My score: 7 (out of 10)


assistant
1
system
classify the user's feedback by responding with only a single number: 1 for positive or 0 for negative


user
A delightfully unpretentious send up of Romeo and Juliet. Approach with no expectations other than having a good time and you will enjoy this one. A talented group of comic actors let go and have a riot in this light-hearted performers' vehicle. Bad reviews were due to a snobbishness about treatments of Shakespeare. Some people feel that all film must be "important" ---If you share those views, don't bother. The credits read "introducing" Angelina Jolie, which is not even close to being true, but she is astoundingly beautiful as the Juliet character, and, as always, her acting is wonderful--- and, considering her age at the time, even her dialect is pretty good. Recreating this classic tale with feuding Italian families in the catering business in New York results in great fun. See it in the right frame of mind and you will laugh out loud.


assistant
1