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user\nI bought a DVD collection (9 movies for 10 Euros) where this one was included. It turned out to be the \"uncut version\" whatever that means. Beside the low average quality and short scenes there was one thing that was really strange - the soft sex scene. It started with a close up of 2 bigger breasts. After around 2 minutes I had an expression on my face which fitted the term \"boooooooooooooring!\" quite perfectly. 7.5 minutes of not even bouncing concrete like tits (at this point the term breasts is a bad choice) is far beyond from entertainment.
The rest of the movie was more like \"people aren't /that/ stupid, are they?\"
Lucky me, the DVD was scratched and I got my money back.
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user\nWe all know that the world is full of dodgy, rip-off horror films. Some of these can be fun to watch, due to their stupidity, awful effects and iffy dialogue. But Raptor, which could have been in the same league as the equally pointless Carnosaur series, does not even ATTEMPT to have any enjoyment in it. Its so poorly done, it is really unbearable, even if your just watching it with the intentions of having a no-brain day at home. Where do we start? Well... the sets are pretty drab. My old drama group created more realistic stages. The genetics labs look like they are from a university, and it looks equally unbelievable on the outside (Even for cover-up, why would you place yourself near civilisation where people can easily hear the dinosaur roars), whilst the doctors ward just doesn't look believable at all. Next up in the complaints list is the creature effects; well, what can I say? Absolutely pitiful. Also, I think it's worth mentioning, the woman's tits should be mentioned as an effect. Both of the main female characters have so obviously had boob-jobs, and it brings the characters down, being one female is a respected member of police, whilst the other is the sweet, \"innocent\" daughter of the towns sheriff. The acting, though, is by far the worst tragedy. Eric Roberts can be excused for at least trying a bit to give his role something. Thats where it ends. Corbin Benson should have killed his costume designer for making his lacklustre performance look even more pathetic, whilst the female lead looks SO bored (Though, with this film you could let her off). The other character I'll point out is the daughter, who lets her tits do all the acting in the \"raunchy\" sex scene (Ten minutes of endless re-run shots of her bouncing on top of some bloke).
All in all, and summed up as one. don't bother, just don't.
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user\nSo I was sick with the flu one Saturday and the silver lining was that SciFi Channel was having a marathon of dinosaur movies that day - the \"Carnosaur\" trilogy, \"Pterodactyl,\" \"Raptor Island.\" Then I flicked ahead on my cable remote to see which movie SciFi placed in its glamorous, Saturday prime-time slot. Some movie I had never heard of before called \"Raptor.\" I was pretty excited. The movie begins with some teens driving around in a jeep, when they get stalked and killed by a Velociraptor. I was like, \"Hmmm, that's odd, that looks almost exactly like a scene in \"Carnosaur,\" except it was in the middle of that movie.\" Then I sat through some really bad acting and then some guy was suckered into walking into an underground research laboratory where he got eaten by a ferocious T-Rex. Now I'm like, \"Wait a second, that was also a scene in \"Carnosaur.\" Then, after I saw some scenes blatantly ripped off from \"Carnosaur 2\", I figured out just what the hell was going on. So basically, Roger Corman & Co. ripped off scenes from the \"Carnosaur\" trilogy to use as the action scenes, weaved in a basic \"dinosaur-runs-amok\" plot, and tried to pass it off as an original movie. Shameful. I don't know who I'm more angry at, Roger Corman or SciFi Channel for trying to pass this off as worthy of the prime-time slot. The only reason why this was worth watching to its conclusion was to pick out the actors/actresses who looked like their counterparts in the \"Carnosaur\" trilogy and guess which scenes would be lifted next. As much as it pains me, being a dinosaur lover, I have no choice but to give this the lowest possible rating because I feel completely ripped off.
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user\nThe storyline of this movie is cliché and obviously has been ripped off from Jurassic Park. The filmmakers didn't even try to hide that. It seems as though there was not enough budget to make decent dinosaur-dolls, so instead the viewer sees some robot-like toy-dinos (from a cheap toystore) which move in a very unnatural way. It's funny though, because it's so bad. The acting is almost as unnatural as the dinos are. No one seems really excited to be in this movie (which I totally understand). Especially the last half hour is extremely boring and it's almost impossible to watch it without falling asleep. The one positive comment note I'd like to make about \"Raptor\" is that it doesn't take a full 90 minutes.
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user\nOK, lets get one thing straight, i love dinosaur movies, even the bad ones. So with this in mind lets proceed. \"Raptor\" is a truly awful film, in fact its not even a film in its own right as it is cobbled together from bits of \"Carnosaur\", \"Carnosaur 2\" & \"Primal Species - Carnosaur 3\". There is some new footage with Eric Roberts as a sheriff and his busty sidekick running around looking confused, frightened or whatever it is there trying to convey (badly) on the emotional scale but then how can they react to something that was filmed several years earlier. The producers (yes Roger Corman i'm talking about you!) even went to the lengths of hiring 2 people from \"Carnosaur\" to play bit parts so there grisly death scenes can be reused! So this film is the cheapest of the cheap. Watch the 3 original movies, there no Oscar winners but they have some meritt and entertainment value but avoid \"Raptor\". Oh, it also has the most pointless sex scene that runs for nearly 10 minutes! Do you think they were trying to pad out the running time?
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user\nThis movie doesn't even deserve a 1/10 This movie was a scam.
I swear that at least 30 minutes of the film were DELIBERETLY copied from Carnosaur 1, 2, & 3.The whole movie \"Raptor\" was based of the movie and that was really a pathetic attempt to be a \"Thriller, Action Packed, Dinosaur\" copy. I loved that movie series and seeing it be put on a movie that cant even afford or willing COPY it without doing there own models is what America is coming to.I recommend you see the Carnosaur movie FIRST (all of them) and then watch this, and you will know what I mean.
- Spencer
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user\nI understand that Roger Corman loves to do things on the cheap, but this is just sad. I purchased this flick from the dollar bin at my local video store not a month after watching the original Carnosaur. I was blown away; It was the same damn movie, with just some Corbin Bernesen spliced in! It reminded me of all of those 80s ninja movies that took old Kung Fu movies and spliced in a bunch of white ninjas running doing cartwheels with the word \"ninja\" written on their headbands (if you haven't seen them, check out \"Ninja Terminator\", \"The Thundering Ninja\", \"Black Dragon\" and \"Ninja Warriors\"). Thanks Roger Corman; you just made me waste a dollar.
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user\nA gut-ripping baby T-Rex is on the loose in a small western town, prompting sheriff Eric Roberts and animal control agent Melissa Brasselle (who walks through her role in a very disinterest fashion) to get to the bottom of things. They discover that a mad scientist (Corbin Bernsen) is, unbeknownst to the government sponsorship, continuing on with a long-abandoned US research project called Operation Jurassic Storm (ha!) by creating an army of dinosaurs in a secluded underground lab facility. Before long, our heroes become trapped inside, the marines are called in, the power goes out and the dinos are set free to make a quick lunch of everyone they can get their claws and jaws on.
Despite an often infuriatingly inept script full of plot holes, character inconsistencies and loose ends, this direct-to-video copy of JURASSIC PARK and CARNOSAUR is fairly digestible trash, thanks to good production values, passable FX, the occasional laugh and plenty of brainless action.
Someone pointed out that an opening scene in this film was stolen from CARNOSAUR, but anyone used to watching Roger Corman productions knows he allows directors to liberally reuse clips from his early films to save both time and money.
Score: 3 out of 10
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user\nWhy isn't this movie on the bottom 100? Raptor is, without a doubt, the worst movie I have seen in all of my fifteen years of life. I have never before witnessed such a catastrophic mess as this. Absolutely everything about it is awkward and cheaply done.
Nobody in the cast gives a somewhat decent performance. The dialogue is utterly incoherent and the humor is anything but humorous. Corbin Bernsen was the most painful part of the whole thing. I can't help cringe when I recall some of his lines, like \"In or out? You're worse than a cat!\" and \"Your lady friend isn't a very good poker player. She's just revealed her hand.\"
The raptors are a joke. Even I could make more realistic dinosaur effects than these filmmakers have shamelessly done. It is an insult to the actual velociraptors, or any dinosaur for that matter. Not only that, but the killing scenes are too gruesome even for me. I don't seriously think these animals would rip their victim to shreds and throw pieces all over the ground just to make everything look gorier. Besides, the blood and guts are all useless when you can see the deaths coming from miles and miles away.
I am a big fan of Jurassic Park movies and of dinosaurs. Maybe the filmmakers didn't anticipate anybody with a shred of intelligence or sense to disregard bad filmmaking to stumble upon this movie on HBO late at night, like I did. If I could say one thing to anybody involved in this film, I would have to quote Dr. Alan Grant from the first Jurassic Park...
\"Just try to show a little respect.\"
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user\nScreen treatment of the comedic Broadway success \"The Gay Divorce\" (a title which was considered too scandalous for American moviegoers, though it was used in the U.K.) concerns a man and woman (Fred Astaire and Ginger Rogers) meeting under embarrassing circumstances while she's in the process of divorcing her spouse; they dance, argue, make up, dance, argue some more and dance some more. Betty Grable is very appealing in a brief bit (singing and dancing in the number \"Let's K-nock K-nees\" with overtly sissified Edward Everett Horton), but the star-couple looks distressed and unhappy throughout. The surroundings are screwball-sophisticated yet the characters are not more than one-dimensional. *1/2 from ****
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user\nFilms about the mundane are often the most interesting of all films to me, in the hands of an insightful artist who examines all the twisted little details of the mundane. The French cinema seems to often be very good at this sort of thing, and I love the French cinema.
This film was about the mundane. It didn't have a much of a plot. It was just characters who lived in a town, very normal people, and stuff just happened. But it wasn't very interesting stuff, and it wasn't examined very insightfully. The film did capture a bit of a mood, but it wasn't a particularly captivating mood. And while I can't think of much that the film did specifically wrong, it failed on just about every level to do anything right.
There were a lot of characters in this film. A lot of them kind of looked alike, so it was hard to figure out who was who, and what were their relations to one another. I don't mind putting some effort into understanding a film, or even watching an especially complex film more than one time to iron out the details, but this one was a puzzle not worth the solving for me.
The only good thing I can really say about this film is that the cinematography was pleasant--functional, not brilliant, but pleasant. The camera often captured some nice postcard-type shots. But it rarely found the really interesting little details.
I've seen a handful of not-so-good films so far at the Seattle International Film Festival, but this was the only one that failed to get any applause when the credits rolled. I sensed a big collective sigh of relief when the film was finally over. But I suppose there are probably some people out there who would like it.
4/10
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user\n\"The death of a performer at a Broadway stage play brings a theatre critic and a police detective together as an unlikely crime-solving duo. The dead performer's niece becomes not only the object of affection for our critic, but also a prime suspect in this death, and some other murders that occur at the theatre. 'The Phantom Killer' sets his sights upon the young woman as his next victim; so, it is a race against time for our heroes to catch the killer,\" according to the DVD sleeve's synopsis.
Milton Raison's screenplay puts a little spark in this low-budget mystery whodunit. Helpfully, Dave O'Brien (as Anthony \"Tony\" Woolrich) does well in the lead role; his skills as an actor appear to be much greater than the productions employing him. O'Brien and cab driving sidekick Frank Jenks (as Egbert \"Romeo\" Egglehoffer) would have made a fine 1950s TV detective team. Leading lady Kay Aldridge (as Claudia Moore) and the supporting cast are also good. Unfortunately, the story becomes meandering, and anti-climactic.
**** The Phantom of 42nd Street (5/2/45) Albert Herman ~ Dave O'Brien, Kay Aldridge, Frank Jenks
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user\nThis is a semi fictional memoir of an \"international man\" who have witnessed various political upheavals in recent 30 years.
I was hoping that this film would offer unique insight into politics and war. I was also hoping that it would be touching and affecting. However, I was disappointed by this film. \"Chico\" seemed fragmentary, with the main character, Ricardo, staying in one country for 10 to 20 minutes. As could be expected, no detailed storyline could be elaborated in such time frame. The excuses of him moving to another place were often perfunctorily explained. The result was a disappointing collection of fragmented clips shot in various countries.
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user\n\"My Blue Heaven\" is boring. The plot is insipid; the characterizations and dialogue stink; the musical numbers, while occasionally staged in interesting ways, are not only too often absurd, but also lyrically trite, painfully bright, and emotionally hollow to the core. The leads, Betty Grable and Dan Dailey, are attractive professionals; however, in spite of their every talented effort to uplift the drear and uncompelling material, they fail. David Wayne and Jane Wyatt, for all their demonstrated talent in other projects, are more or less cyphers here.
There's really only one reason to watch \"My Blue Heaven\". One reason...one star: Mitzi Gaynor, in her film debut. Her total screen time is probably less than ten minutes, but so what? Her pert and promising screen personality, her feline beauty, and her exceptional charisma shine through gloriously and make these minutes the most watchable, memorable, and exciting moments in the entire film. If you would value an opportunity to see a tremendous young talent on the rise, then check out Miss Mitzi Gaynor in \"My Blue Heaven.\"
Incidentally, I scorn (and would urge you to avoid) Drew Casper's manic, obsessive-compulsive DVD commentary for this film. Wordy, digressive, unduly fastidious, frequently ill-timed with what is playing on the screen, and galloping throughout with an excess of nervous energy, his comments are absolutely indigestible.
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user\n...and in this series, I've been reduced to an annoying jock with a gay hairstyle. Remember my friend Marco, who got all the good lines in the books? Well, in this series his one-liners put Mr. Freeze to shame. Remember our uber-evil nemesis Visser Three? He's a bald guy with inane catchphrases. Remember Rachel, \"Xena, the Warrior Princess\", and Cassie, my sensitive and caring love interest? They've been turned into mindless bimbos by the 10 (!) writers who decided the original characters weren't cool enough for TV. Remember the awesome extra-terrestial Ax, who was cool, intelligent, and really, really liked cinnamon buns? In this series he's the Token Alien with an extremely annoying voice. Remember the witty banter our team had in the books? In this series our dialogue is so dreary and stupid it's obvious the writers were pandering to the lowest common denominator.
So forget everything you thought you knew about the Animorphs! It was Cassie who became allergic to morphing, not Rachel, thought-speak is *supposed* to echo, and Visser Three and Ax, rarely, if ever, appeared as Andalites (no, it has nothing to do with the budget!).
I'm not crazy. And I'm not lying. The jerks are all around us. And if you're unlucky, one of them might adapt one of your favourite books, or series, or graphic novels, into a really awful TV show. You've been warned.
\"Finally... television worth watching.\" ~ (the very bald) Visser Three
(r#91)
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user\nAh Animorphs. I loved the book series and eagerly devoured each one in middle school and when I heard that there was a television adaptation, I was very excited.
Boy what a let down the final product was. I think for me, this was the moment when Nickelodeon stopped being about cool programming and more generic.
So what was wrong with the series? Let me count the ways: 1. The characters were HORRIFICALLY miscast. In the books, the Animorphs were somewhere between 12-14, the television cast were at least 18. I remember being horrified when I first saw the cast photos.
2. Horrific acting/bad writing. I dunno which was to blame so I'm lumping into the lumpy mass that it was. Perhaps it was the fact that the accelerated age of the cast hampered the humor that is at least cute coming out of a 13 year old because Marco - not funny. In fact, I don't remember a single comical moment from the group and there were a few. The actors were certainly not helped by the writing which was bland at its best and head smackingly pathetic at its worst.
3. My lord they were stingy with the budget. The final result of the Andalites alone should have convinced Viacom to pull the plug...Their heads had clefts that clearly showed which was the helmet.
4. Back to the cast - Rachel by far was the biggest let down, far from being the warrior woman in the books, the best equivalent in the TV series was \"scarecrow\". Also, I know Cassie was an idealist but there is a difference between \"idealist\" and \"idiot\".
5. One of the worst opening titles ever. Did the music have to be THAT obvious? 6. Answering question 6, \"yes\" because everything else was dumbed down so why shouldn't the expectedly less intelligent viewers receive a thick as a brick song from a lame rap-rock rip-off or whatever the hell that was.
Since then, there have been bigger let downs (Iraq, 2004) but in case I haven't made myself clear - this show sucked and was an abomination to the book series it was supposed to be based from.
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user\nI'd liked the Takashi Miike films I'd seen so far, but I found this pretty disappointing. I'd bought it, but I won't be keeping it.
I saw it on the Adness DVD, which has just two episodes. In the first, a killer abducts women, cuts the top of their skull off to expose the brain, plants them in the ground up to their chin, and plants a flower in the brain. You can tell that from the DVD box. In the movie, the top of the head is digitally blurred out by TV static. Had you not seen the DVD box, the viewer wouldn't know what people were looking at until later a young cop produced a small model of the body. Oddly, there is also a flash frame later on of the woman's head and it is not censored. Apart from this, I'm not really sure what was going on. Some women get phone calls, and a sketchy animated character cavorts around when that happens. An animated character also appears on TV screens sometimes. It's unclear if anybody sees it.
In the second episode, pregnant women are being found cut open and their babies are missing. Again, a cop produces a model of what the corpses are like, which is helpful since again the actual body is censored. There is also a natural birth in the movie, but oddly even that baby and the umbilical cord are censored! According the the DVD box, uncensored versions were not kept when this was originally made. Perhaps even if they had, if they knew they were going to be censored, maybe they didn't bother actually showing anything...? Not sure.
If I hear the later episodes are better, maybe I'll look for them. As it is, I won't bother.
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user\nMuch of the commentary on this board revolves around debating the validity of some comparison to R DOGS made on the DVD cover. Forget about all of that... This film-- er-- home movie is utterly horrendous. How can anyone with a shred of credibility claim this as being 10/10??? There is no plot, none. I couldn't believe that I spent money to rent this (more on that later) and that I had fooled myself into believing that this (based on box cover art and some sort of film fest award blurb) had potential. The only thing I do really remember was that, unbelievably, one of the annoying main characters was supposedly offed with a bullet to the head... and he ends up surviving the wound and making it to the final credits alive. Wow. And looky dere, Killers has a sequel. Double wow.
True story -- I actually was in so much denial that I had wasted my money and life force on this rental that I kept the videotape for what must've been six months. I kept telling myself that it never actually happened. The video on top of the TV was an illusion - a mental symbol of my self-loathing. After someone pointed out that is was indeed real and that I needed to get a grip, I decided that I couldn't just leave it there. I thought, \"How many others have I denied the suffering of sitting through the viewing of this masterpiece by hoarding Killers all to myself?\" I had to do the right thing and return it back to the hell from which it came.
So, as I imagine most of the populous of IMDb would do in a similar situation, I mustered up some major courage and drove to the video store... at 2AM. After making sure that no one was around, I got out of my car (still running of course), slipped the movie into the drop box slot, and booked the hell out of there never to return.
I guess I expected that some goons from Hollywood Video corporate would come looking for me (the bill must've racked up to something like $1,238.67 by that time) so I moved away from the area. However, coincidently, much like the Killers storyline, nothing ever happened.
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user\n...but you can see it from here.
I definitely don't understand why anyone would recommend this movie. Not a bit of plot, not suspenseful, not well-made. No point to having made it, really.
Completely forgettable in ever way.
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user\nThis film is an embarrassment. Nothing works on any level. The direction, screenplay, acting , and editing work together to repel your eyes from the screen. Everything is inappropriate and incoherent. At first you can sit there with and groan, wince, and laugh at it, but very shortly the whole effort of watching just becomes too ponderous.
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user\nThis has got to be one of absolute worst movies I've ever seen in my life. The writing and acting are just pathetic. It ranks right up there with Uncle Sam on the all time worst movies ever made. However, when I see crap like this able to make it to video, it really inspires me to pursue my wild dreams of making films because I know I could do a better job than what the makers of Killers did.
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user\nLet's just say that it might be the worst movie I've ever seen. On the front of the box of the movie it says something about it resembling Reservoir Dogs. I fell for it hook, line, and sinker. This is just a warning message to anyone who might read this. It's not even worth renting when you want something to laugh at.
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user\nImagine an exploitive remake of The Defiant Ones with a black chick and a white chick attached to each other. Set the story on some Caribbean island where the drug dealers rule and the revolution has arrived. And have the black woman be from Huggy Bear's stable of ladies and the white woman be a watered down Patty Hearst and you've got Black Mama, White Mama.
In those waning days of the drive-in theater this item must have been a big old hit. All the hot buttons of the Seventies are pushed in this one. Even though they both fill out their clothes better and will get a few whistles from the males in the audience no one is ever going to mistake Pam Grier and Margaret Markov for Sidney Poitier and Tony Curtis. All right, Halle Berry and Jamie Lee Curtis.
Margaret and Pam are prisoners where the guards and the warden look lasciviously at the new fish arriving. Margaret is a rich girl from the state who took up 'the revolution', whilst Pam's your basic high priced call girl who's been servicing the local drug kingpin and grew tired of it and tried to leave the island.
Margaret's fellow revolutionaries ambush the bus transporting them from the women's prison to town, but they get lost in the escape. Both have their different agendas, but like Sid and Tony they can't quite agree on whose agenda comes first. Makes for some interesting times as the police, the drug dealers, and the revolutionaries are all looking for these two illfated chain buddies.
Just so you don't get any wrong ideas the head of the revolutionaries and Markov's kanoodling partner is named Ernesto played by Filipino actor Zaldy Zshornack. The whole mess was shot in the Phillipines who were getting their own film industry started.
Nice location photography in the Phillipines is all that Black Mama, White Mam has to recommend it. But if you're a fan of really bad black exploitation flicks, this is one for you.
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user\nThe plot for Black Mama White Mama, revolves around two female inmates, at a women's prison in the Phillipines. One Black, and one White. These two women, are thrown together in the prison. Pam Grier is Lee Daniels Lee is incarcerated in the hellish women's prison, for dancing as a harem girl.
Lee's boyfriend owes her part of his profits, from his drug-dealing activities. Lee is mainly interested in breaking out of the prison to get hold of her beau's drug money, so that she can leave the Phillipines and assume a better life. Margaret Markov plays Karen Brent, a white women from a privileged background, who is also a revolutionary. Karen has joined a group of revolutionaries, determined to change the corrupt Phillipino political system. She's captured by Phillipino authorities, and held as a political prisoner.
The story-line takes-off, when Karen and Lee break out of the prison they were in together. The two of them also happened to be chained together at the wrist. As they flee, they also fight with each other, because they have different goals to pursue. Naturally, they hate being chained together. But they also realize that they must put aside their differences, to help each other survive while they evade capture.
If this film seems very similar to The Big Bird Cage, it's because much of the cast in the two films is the same, as well as their location in the Phillipines. Roger Corman, has always had a consistent stable of actors, that he used in all of his 70s B movies. Besides Pam Grier, Sid Haig, Roberta Collins, Claudia Jennings, Betty Anne Rees, and William Smith, were also among the many actors that were frequently cast, in Corman's AIP films.
Like The Big Bird Cage, Black Mama White Mama, relies on too much gory violence to be palatable. Pam Grier conveys her usual tough chick persona in this film, and shows her competence as a female action heroine. Margaret Markov is less effect, in her portrayal of the revolutionary Karen. She just seems to fragile and well-coiffed, to be a dedicated political guerrilla. Except for Sid Haig, as the colorful Ruben, the rest of the cast is forgettable.
This film has little entertainment value, unless excessive, heinous acts of violence are your thing. Only the performances by Pam Grier and Sig Haig, make this film worth watching.
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user\nThis is one heck of a sleazy film. Like so many \"women in chains\" films, this one is chock full of lesbianism. However, unlike most prior films, which strongly implied this, BLACK MAMA, WHITE MAMA shows an awful lot of skin as a horny female prison guard leers at the women as they shower as well as has sex with one of the inmates. For the early 1970s, this is definitely a soft-core pornographic film--sort of like GIRLS GONE WILD GOES TO PRISON! It's also a bad rip-off of THE DEFIANT ONES, though in this case it's two hot females who hate each other who are chained together when they escape. Whereas the original film is considered a classic, this one can only be considered a classic example of bad taste. That's because there is no subtlety and the movie is just cheap--cheap thrills, cheap writing and very cheap acting.
Pam Grier is the \"black inmate with an attitude\"--a lady who was set up and sent to prison on this hellish island. Margaret Markov is a revolutionary. When they escape, they both can't stand each other and have opposite goals. However, since it is cliché-driven, there's really no surprise in how the film ends--with their both becoming (gag me) friends.
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user\nThe title pretty much lets you know what you're getting. It's a grade-C howler but not as blatantly funny as I was hoping. Directed by exploitation film specialist Eddie Romero from a story that originally came from Jonathan Demme (long before directing \"Silence of the Lambs\" and \"Philadelphia\"), this low-budget 1972 action movie was obviously filmed in the Philippines but set in some anonymous third world country. Playing hooker and small-time drug dealer Lee Daniels, blaxploitation superstar Pam Grier plays the first half of the title role, while long-forgotten Margaret Markov is the other half, Karen Brent, an unlikely Patty Hearst-like political revolutionary looking to partner with her comrades to overthrow the oppressive local government. Naturally antagonistic toward each other, they are in a women's prison camp where they wear inexplicably bright yellow mini-skirts as uniforms. Run by a closeted warden and lecherous matron, the prison is just an excuse for a lengthy shower scene and some half-hearted cat-fighting as Lee and Karen are pitted against each other. Of course, they escape but shackled together a la \"The Defiant Ones\" and continue the cat-fighting until they attack a couple of nuns to steal their habits.
Meanwhile, various groups of unsavory men are in pursuit - the loutish drug lord looking for Lee who stole $40K from him, the rather passive revolutionaries looking for Karen, and the incompetent police (who suffer the humiliation of exposing their privates to the drug lord). Needless to say, everything eventually comes to a head but not before gratuitous nudity by a number of Filipino women, a dog wears Karen's panties and some of the worst of 1970's men's fashion (one beer-bellied revolutionary wears a leather halter top with a straight face). There is a rather sad ending, but what's truly sad is how much of the potential black comedy is missed entirely in this hilariously preposterous exercise. Sadly, Grier is disappointing in this outing because her character is not allowed much to do beyond dealing with all the \"jive\", while Markov is an Amazonian blonde whom I am convinced is trying desperately to be credible. Since no one displays any talent for acting, the rest of the cast is not worth noting, except balding, bug-eyed Sid Haig, who uses his standard psycho persona as the drug lord. The 2003 DVD contains only the original trailer as an extra.
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user\nPam Grier is the super soul sister of the 1970's, appearing in many blaxploitation films that have recently been discovered and appreciated by a new generation. I can safely say that BLACK MAMA, WHITE MAMA may be the worst Pam Grier movie I've ever seen.
Grier is Lee and Margaret Markov is Karen; they are two female prisoners who escaped from prison after Karen's revolutionary friends attacked the paddy wagon. Chained to each other, the film becomes THE DEFIANT ONES for women, but has three separate plots: a fat criminal (Filipino sleaze star Vic Diaz) wants Lee dead, a cowboy bounty hunter (the excellent Sid Haig) searches for the two girls; and Karen's revolutionary friends search for her. The film eventually becomes so convoluted and uninvolved with the two women that the title should have been MEN CHASING WOMEN. Grier, an action star, is not given any chance to participate in any of the many (overlong) action scenes. Markov is excellent as Karen and Grier is OK as Lee, but both are eventually forgotten in the many subplots. One interesting scene has the bounty hunter forcing a police officer and his chief to drop their pants so he can shoot the one with the smallest penis (judged by his whore), but is easily forgotten amidst all the mayhem.
BLACK MAMA, WHITE MAMA starts out great as a women-in-prison film complete with lesbian wardens and a shower scene, then completely switches to a chase film. If director Eddie Romero (famous for directing Filipino horror films) had just stuck with the WIP theme, he would have been fine. Instead, BMWM gets real old real fast and the surprise ending just makes the audience wonder why they sat through a 90-minute film for it to end like this! Another problem: where is the film supposed to be set? While some of the accents are Hispanic and cities have Spanish names (Los Robles, etc.), all the natives are obviously Asian! Hmmm... Recommended only for die-hard Grier fans, who even then will be disappointed.
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user\nIf you find the hopelessly amateurish acting, the uninteresting story, the fake blood and all the mindless shooting bearable, then you may actually have a fairly good time watching this trashy, low-rent exploitation film. You might also want to check out a pretty good catfighting sequence that's offered, although it's not good enough to make the rest of the movie worth sitting through. (**)
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user\nIf you think it's beautiful to be obsessive about who you are in love with, then I can imagine giving it a good rating... but I cannot imagine that this theme of obsessiveness and having little respect for others (such as the way Paulie treats the teachers who try to help her) is anything you would want to teach your children. Yes, it's also bad the way Victoria treated Paulie, but guess what. That's life. Isn't it a more important lesson to learn how to get past these disappointments and make the best of your life? Or is falling off the roof a better lesson to teach our children? Secondly, when Mary's father didn't show up for the dinner, and Paulie helped Mary release her anger, that Mary even said she wished he were dead... Somehow I don't think this is a good message either that you deal with your disappointments through anger.
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user\nWell, that's what this should have been called, anyway. Mainly, due the the ridiculous, ham-fisted use of what can barely be called symbolism by the director. It would not have surprised me to find out that this was A) One of Lea Pool's earliest efforts, and B) at least semi-autobiographical. Turns out A is wrong, although I don;t know about B. I will bet she attended boarding school, though, and had a rather terrible same-sex relationship of SOME kind. This is the message that was beat down our throats by this film, and the short film which preceded it, the name of which I no longer recall.
At any rate, the character development was clumsy (Who introduces herself by saying what her name means? Nobody.) the symbols were about as subtle as an all-glass elevator full of teen-age girls losing a cable and plummeting eighty stories. All over a loudspeaker. Honestly, the cry of a falcon when Perabo declared she was a raptor and leapt off the table? That was ridiculous to the point of parody. And it was only one of far too many symbols meant to show even the dumbest of viewers what her point was. And that was that she had a crappy childhood and feels the need to make movies about it, ala Vincent Gallo, instead of seeing a therapist, ala all of us who get on with our lives. There was nothing tender, nothing sweet, and nothing moving about this film. It was poorly enacted trash, and the actors could not save the Brett Ratneresque over the top \"HEY THIS IS MY POINT IN THIS MOVIE\" use of film techniques, writing, and acting. Sorry, but it was terrible.
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user\nKen Burns' \"Baseball\" is a decent documentary... it presents a clear origin of the game, a great depiction of baseball's early years and heroes. There's plenty in this movie for any baseball fan... that said, the film has several glaring flaws.
18 hours is simply too long for the human attention span. It's clear that Burns stretched his film out to fit his \"nine inning\" concept. It's not even a tight 18 hours... the pace on every segment is slow, almost morose... the music always nostalgic and wistful. Isn't baseball ever exciting and fun? Why is every player and their accomplishments presented in the form of a tragedy? Talking head after talking head turn every pitch into an emotional heartbreak, yakking about baseball as a metaphor, baseball as Americana, the psychology and theology of baseball... enough! This is syrupy, mawkish drivel. Billy Crystal is here to sell us all the Yankee hokum he's sold us before. Ken Burns uses the National Anthem as the series' theme song, and manages to play \"Take Me Out To The Ballgame\" so many times you might vomit. We get it, dude.
Clearly Burns is a neo-Hollywood faux-liberal, so he spends probably a third of the film on the Negro leagues... these segments are spent chastising whites of yesterday for not being as open-minded as Kenny is today. For shame! He chides baseball for being segregated in the thirties and forties but fails to realize that America was segregated in those times! Burns falls head over heels in love with Buck O'Neil, a former negro-league player, and drools over every piece of footage in which the elderly O'Neil waxes poetic about his playing days. Nonsense...
Burns would have been better off with an adult to help him edit his creation down. \"Baseball\" winds up as mushy, gushy, civil-rights propaganda disguised as Americana. Its clear that Burns is not a baseball fan... otherwise he would know we watch games laughing and cheering, not weeping and reciting soliloquies... are you listening, Mr. Burns? There's no crying in baseball.
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user\nA pre-Nerd Robert Carradine, a pre-Automan Desi Arnaz Jr., and an almost pre-pubescent Melanie Griffith take to the road and head for Alaska with romantic dreams of becoming wealthy salmon fishers. Well, their dream is about as exciting as this lackluster youth road movie. They aren't particularly interesting, and the film doesn't exactly have much of a point, beyond `We got together the spawn of some famous people and made a low budget film about their misadventures.' Out of the cannon of 60's and 70's road films and rebel youth films, this one is mediocre, under developed, uninvolving characters, not much wit, not much freshness to the story, which is as bland as the films muddy landscape.
But, for those who care- They head to Alaska, and apparently Alaska was like the Wild West in the 70's because everyone carries a gun and is rough and tumble. Robert Carradine says charming things like `I hope we can find a shower, my nuts sure itch.' (And he's the one with Melanie Griffith!) They are quickly robbed and forced to take jobs, and the local bigwig, their employer, puts the moves on Melanie and eventually fires Desi for not being corrupt. That's when they aren't smart and do not leave town, opting instead to eat dog food or go hungry, get beat up by the guys goons, and then take a joyride in the bigwigs car. The final half of the film abandons the evil bigwig as the trio commit a robbery, go on the run, and hatch a kidnapping scheme, and so forth. The film just sort of ends, annoyingly and ambiguously, but seeing as how they didn't bother to have much character development and story in the first place, its rather appropriate. Worth a look if you are really into low budget 70's fare, but ultimately pretty forgettable.
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user\nThe video box for 'Joyride' says \"starring second generation superstars\", and one can't help but feel sad. Granted, Melanie Griffith has gone on to bigger and better things...but who cares about the rest of the cast? So with that being the pathetic attention grabber on the box I was foolish enough to purchase the film for a dollar thinking I would be in the land of 'so-bad-they're-good 70's films' Eh, not so much. While so many aimless 70's youth films (or plain ol' 70's films for that matter) tried so hard to say something deep and meaningful, 'Joyride' doesn't even try. It's just aimless. It is devoid of any interest whatsoever. Each character is so poorly conceived that it's no wonder these actors look so listless.
In a nutshell the movie is about three 20-somethings who go to Alaska to start a business, but instead get robbed and then have to find work. They get beat up, eat dog food, steal cars, rob banks. It's all very typical but on top of that it's executed in the most mundane way possible. There are no surprises and the flow is so bad, and the actions of the characters so ambiguous that you can miss several scenes and not mind at all.
But if you're a fan of Melanie Griffith's breasts - then this is a must-see. That's still not enough to get this above the lowest rating I can give.
Best Line: \"Jesus, everything is biology with you.\" * out of ****
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user\nI just saw this movie and all I can say is, where are the drive in's these days. This seems like it would have been a great 2nd feature at a drive in in 1977 (maybe playing with one of those Joan Collins movies), but it's only worth watching now if you're feeling nostalgic for the 70's. Silly plot that is full of holes, but it does remind one of the era it was made in. Interesting to see Melanie Griffith so young and Anne Lockhart is quite attractive, though not much of an actress. In fact, there is not much acting going on in this movie at all. It's sort of a Dukes of Hazzard adventure without a twang or a 1969 Dodge charger jumping over stuff in the Woods. But there is a Mecrury Comet jumping over a garbage dump in this one!
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user\nI think that a lot of friends of people who acted in this thing must've come on and rated it because I'm telling you, its just awful. The acting is worse than soapopera bad, the effects are like something you'd see out of a 1970 episode of Doctor Who, the story is, well, there is no story. And they keep using the same 2 minute song over and over and over again. And the werewolf? Its like the muppets they used in Wing Commander, the giant cats, remember how bad they looked? The werewolf is that bad. Seriously, the guy who directed this thing is terrible and should never get to direct anything else again, except maybe his son's school play, but even then, he should have to pay the audience to see it. Ghostwolf is nothing but a bad joke.
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