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user\nI haven't read the Anne Rice novel that this movie was based on, but who knows, maybe reading the book is cheaper than renting QUEEN OF THE DAMNED and is probably better for your health. It isn't that this movie is necessarily bad for your health, but a book can be very relaxing and certainly exercises the active part of your brain more so than this movie. You can count the number of pages by Anne Rice that I've read on one hand, but after seeing this movie and Interview with a Vampire, I get the feeling that she writes really good novels. The plots for both movies hint at a whole sea of deep and interwoven vampire history.
Still, Stuart Townsend's voice-over narration gets a heck of a lot more annoying than Brad Pitt's vampire narrative ever did, and you can tell that QUEEN OF THE DAMNED's limited production resources barely give enough flesh to the Anne Rice storyline. While Interview decided to go with lace and elegance, QUEEN relies on low budget special effects that try really hard to be taken seriously. One can see that the original novel had potential as a movie and that the production team focused its attention in the wrong places. The costumes and rock & roll stage could have been replaced with more blood and an eerier soundtrack.
However, I'll give credit where credit is due. The soundtrack is excellent. Korn and Disturbed had me down with the sickness bobbing my noggin like Butthead.
The film opens with a very cool Goth-rock zoom & splice montage, but after the first ten minutes or so, the directing degenerates quickly. It's as if the movie was so long that the director realized that there wasn't enough time and enough money to do an Anne Rice novel justice. What results are some mediocre vampire scenes and plenty of cheesy special effects. Unfortunately, QUEEN OF THE DAMNED fails to do the genre justice just as its John Carpenter counterparts fail to impress. Where are the yellow contacts? Where's the pale blue make-up? Scene after scene, I shook my head reminiscing about the days of Salem's Lot and Fright Night when low budget was done right.
There are redeeming qualities though that save this movie from being garbage. Props to Aaliyah, and may her soul forever rest in peace. She might have become a renowned actress, had her life not been taken from us so prematurely, for she did give this movie a decent performance with plenty of nice belly dancing. Did I mention that the soundtrack was good? Let's see, what else can I say? It wasn't too long. The Anne Rice novel could have easily been a three hour movie if an ambitious director like Francis Ford Coppola got his hands on it. There are a few twists and turns here and there in the plot. But all in all it was a legitimate rock and roll addition to the slew of second-rate vampire movies out there. The director of this movie went on to direct a new Battlestar Galactica mini series if that tells you anything.
JY
Jimboduck-dot-com
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user\nAaliyah blows all the female cast members out of the water, including the official love interest Marguerite Moreau.
I would have loved to see this movie play out as Akasha's power trip. Aaliyah is simply electrifying whenever she is on the screen. She does sensual, beautiful and menacing to the power of 10. Watching her take on a bar full of vampires is a sight to behold.
Lena Olin is cast in the ungrateful role of \"the older woman\", which is hugely unjustified. She looks fantastic and at 46 (according to the IMDb) still looks stunning.
The story unfortunately is very limited plot wise, we've seen it all before, etc.
The most heart wrenching is Akasha's death scene, especially keeping in mind what happened to Aaliyah after filming.
All in all, a remarkable vampire movie.
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user\nI was looking in the TV Guide for movies that come from Germany and I found one called The Bunnyguards, so I watched it and I laughed myself silly! I wanted the DVD but its not available here (I could order it from Germany but it doesn't have subtitles) It was played again so I taped it and watch it from time to time.
Anyway, I looked for info on it and found out its real name is Erkan & Stefan, but I know it by its Australian title: The Bunnyguards.
Some people who I know from Germany do not like Erkan & Stefan because of their accents, but not being German myself, I didn't notice anything. The jokes are good, but some Germans might find their accents off-putting.
I think this movie is funny and if the DVD had English subtitles on all the extras (having a 2 disk edition with only the feature having subtitles would be bad) I would buy it up in a snap!
I recommend it to anyone looking for a laugh and a pretty good story.
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user\nI enjoyed Erkan & Stefan  a cool and fast story which didn't get bogged down in detail. Those two guys are great to see and are able to come up with new ideas all the time. The high quality of picture and cut support the movie a lot.
Erkan & Stefan show that the German film industry is capable of transferring successful Hollywood concepts with local `satire' into our cinemas.
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user\nThose two main characters Erkan and Stefan are a munich comedy act. I was wondering if this is one of these typical slapstick movies where the story is either not important or simply not existing. But when I saw this movie I was very happy that there is a cool story and the main characters really fit in it.
All in all very amusing and not a common german movie.
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user\nGreat movie. I was laughing all time through. Why? Well, I am from Austria, I can get along with the German (Bavarian) kind of humor. So I guess this movie makes only sense watching when you are German native speaker. Stefan and Erkan both are talking in a new kind of turkish-german accent, which became really popular in our Countries (GER & AUT). But of course they are very stupid. As in every comedy your personal humor will decide, whether thumb up or down.
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user\nFirst of all, i am from munich, where this movie takes place, and believe it or not, there are guys like Erkan and Stefan, including the silly dialect! I know their comedy show from the beginning and my main fear was, that the movie is just an assembling of their already known jokes, but it is not! The jokes are evolved through the story, and make, in their own special way, sense. But if you absolutely dislike Erkan und Stefan, hands of this movie. Everyone else - it's worth viewing!
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user\nI gave 9 of 10 points. I was sitting in tears nearly the whole movie, because I had to laugh!
The story of course wasn't excellent, but it also wasn't boring. Erkan & Stefan are assigned to become bodyguards for the beautiful Nina. While doing this job they come between the \"front-lines\" of BND and CIA. Of course the two are neither born bodyguards nor gentlemen, so they run from one disaster into another; and they do this in such a funny way, that when you watch some scenes you won't be able to stop the tears! As actors those two \"dumbly grinning\" characters do quite well, better than some so called professional.
You think, the speech of the two heroes is curios or \"pseudo-foreign\"? Well, if you hear quite a lot Turkish-German people in Munich speaking exactly like them, you will remember Erkan & Stefan. And maybe, in 10 years it might have become the common speech of the youth. (God forbid!)
So, if you like to laugh, watch this movie!
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user\nThese three directors are off to Good Beginnings. The three stories are remarkably well-done for independent productions and capture those traumatic feelings of \"coming out\" when you aren't really sure it's a good idea. I laughed at those veiled glances around the dressing room in \"Pool Days\"; I smiled at the notion that fans of Bette Midler, Judy Garland, and Barbra Streisand are assumed to be gay in \"A Friend of Dorothy\"(ie. browsing through the CD music racks); and I cringed over the \"jock\" in \"The Disco Years\" whose memory of sweet sex was now \"blurred\" by liquor. It all seemed so real. I look forward to more offerings from this trio of directors.
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user\nThe trio are a pleasant, nostalgic journey to that first hint of desire--when it was still about simple exploration of the unknown--before we \"grew up\" and added those complexities of HIV status, emotional baggage and gotta-run-my-pager-just-went-off into the emotional mix.
The angst portrayed is pure adolescent angst, but it rings true in all three stories. Their sweetness and positivity make you feel good that you are gay. And those kinds of films are few and far between.
Good news! Both Boys Life and Boys Life 2 are now readily available on DVD as of September 1999.
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user\nIt's quite an accomplishment that three stories filmed by three very different filmmakers could be simultaneously so insightful about gay & bi-sexual relationships, and their struggles!
\"Pool Days\" is about the awkwardness of adolescence, and the mutual attraction between an older man and a younger one. A story about experience and vulnerability!
\"A Friend Of Dorothy\" portrays a common dilemma many gay and bi-sexual people experience at some point in their life: the intense attraction towards someone whom is heterosexual. Sensitively examined, this story truly left me feeling moved!
\"The Disco Years\" shows another version of a no-win situation: getting involved with someone who is not only confused about their sexual orientation, but is also terrified of being exposed as anything other than straight! A very empowering story for those of us who have experienced betrayal at the hands of a sexually confused and frightened person!
While these three stories will appeal to anyone who has an iota of empathy towards others, they will psychologically empower those who consider themselves gay, bi-sexual or searching. Each story is uplifting in its own unique way!
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user\nThis trio of 30-minute short films on gay-related themes are all quite respectably executed. Each coming-of-age story is played out with pleasant charm and naturalness. This film deserves to be widely distributed and easily obtainable. However, it isn't. I had to order my video copy; none of the local video stores or even the libraries had it in stock.
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user\nThis little short absolutely fascinates me.
The only thing I've seen thus far like it is some of the work by Sam Brakhage, the creator of Dog Star Man. However, where Brakhage is trying to unnerve by \"making us learn how to see again\" and provide us with an affront of head-ache inducing bright colors and flashes (which I still totally dig and embrace as high art...), this film I would characterize as very relaxing and hypnotizing. Man Ray's general use of spinning objects/camera does not create so much of a dizzy feeling but a warm flow of senses, intermingling and going along with the gravity of the moving world around us.
An interesting conceit of this very short work is that as it goes along, objects become more and more recognizable until we end on a nude torso (of which I feel is the least feminine well-rounded breasts I've ever seen). The circles and spirals of shadow and light over the torso make it an object of surrealistic beauty, something that you could hang on your wall and delve over forever. It's because of this and other images in this film that I had to watch it again and again (eventually a total seven times) just because it utterly fascinates me.
--PolarisDiB
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user\nAfter 10 viewings in 20 years I too think this was the Crazy Gang's best effort on film, with more cohesion in the plot than their next best, \"Alf's Button Afloat\". They were indeed a crazy trio of double acts thrown together mainly on stage, sometimes in front of royalty, until Chesney Allen retired in the '40's through \"ill-health\". He outlived them all by years. Apparently they were just as mad outside \"work\", regularly playing practical jokes on one another.
The Six Wonder Boys troupe head for I'll-Get-Her-To-Tell-Me (Alaska) to dig for the gold that was being found there. It seemed a better idea than going to Mansfield ... because they'd been there. When they get to Red Gulch they find their information was a mere 40 years out of date - they thought that the chips that were in the guilty newspaper they'd read tasted funny. But by then it doesn't matter as they've all fallen in love with Snow White and want to help her grandad find his long lost stash of gold. Baddie Bill \"M\" McGrew wants it himself however.
The number of verbal and visual puns is astonishing, but most of them will probably only make sense(?) to Brits and ex-pats interested in seeing '30's British b&w comedies. Imho nearly all of the gags and routines work, including the Gold If patter between Bud & Chesney and the \"Whistle While You Work\" pastiche - even the \"Always Getting Our Man\" Mountie inserts. A marvellous little film, in a rather tired looking condition but utterly recommended.
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user\nAfter getting thrown out of their last job and finding employment scarce in the United Kingdom, the six members of the Wonder Boys, better known as The Crazy Gang see an advertisement for employment in the gold strike town of Red Gulch in the Yukon Territory. It's from a newspaper clipping and on the back there's a story about Chamberlain saying the country better be prepared for war. Off they go to the Yukon and The Frozen Limits.
By the way, it's case of misplaced Chamberlains. The clipping is forty years old and it refers to Joe Chamberlain and the Boer War rather than Neville in the current crisis. But that's typical of how things go for this crew. I can see Stan Laurel making the same mistake.
Of course when they get there it's a ghost town inhabited only by young Jean Kent and her grandfather Moore Marriott. He's getting on in years and is a bit touched in the head. Marriott's got a gold mine that he's misplaced somewhere that he goes to in his sleep, that is when he's sleepwalking. The Gang better help him find that mine or otherwise pretty Ms. Kent won't marry stalwart trapper Anthony Hulme, but rather saloon owner Bernard Lee, a fate worse than death.
This was my first exposure to the Crazy Gang and I can see both why they were so acclaimed in the UK and why they never made any impact across the pond. The jokes come fast and furious and then were a number of things that the Code in the USA just wouldn't allow. The jokes are also strictly topical British and a lot just wouldn't be gotten over here.
The sight gags are universal, the final chase scene is worthy of anything that the Marx Brothers did in America. My suggestion is that if you watch The Frozen Limits, tape it if you have a working familiarity with British history and run it two or three times just to make sure you pick up everything. It will be worth it.
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user\nThe Frozen Limits is a big screen vehicle for the artists known as The Crazy Gang. They were a group of British entertainers who formed in the early 1930s. In the main the group's six men were Bud Flanagan, Chesney Allen, Jimmy Nervo, Teddy Knox, Charlie Naughton and Jimmy Gold. Hugely popular in the variety halls the group were also darlings of the then Royal Family. The plot here sees them as the Wonder Boys troupe who set off to seek their fortunes in Alaska after reading about a gold rush in the newspaper. Only problem is is that when they finally get to Red Gulch it turns out they are 40 years too late!
I often cringe when I see the statement \"it's very British\" because it implies that those not of the British Isles may struggle to get it. The reason it bothers me is because in this www/internet age I have garnered a ream of non British film loving friends who have been known to split their sides at the best of Ealing, Will Hay and the imperious Terry-Thomas. So, then, is it true that something such as The Frozen Limits is unlikely to be appreciated by a non British audience? Well yes it's true, so much here is topically British, but really it has to be said that the classic movie fan is pretty well versed in history, and when all is said and done the visual mirth here is universal. With the anarchic \"not\" so wild west make over an absolute winner. A winner that has every chance of being more appreciated by an American audience now than it will be by a British audience. Not all the comedy works, and in truth the \"big 6\" are trumped big time by a film stealing Moore Marriott. But there are skits and parodies here that deserve respect and a nod of approval from more illustrious comedy acts. You are unlikely to nearly fall off your chair like I did because of an Ovaltine gag, but if you be a classic comedy film fan? I feel sure that you will at the worst acknowledge there's some very talented people at work here.
Now then, dose the Mounties always get their man? 8/10
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user\nBritain and France declared war on Germany in 1939, but by then, almost all of Europe had fallen under the advance of the Nazi war machine. Entering the war, Britain virtually started from scratch, with scarce supplies and with an air force that was outnumbered by Germany ten to one. But the will of the Brits was firm, emboldened by their new Prime Minister Winston Churchill who declared - \"We shall never go under\".
On August 8, 1940, the Battle for Britain was on. However for the first time since Hitler's declared stance to conquer the world, he hit a wall. Though massively outnumbered, the British Royal Air Force went on the offensive, and in the span of twenty eight days in September and October of 1940, German Luftwaffe casualties climbed to two thousand three hundred seventy five lost planes and crew. Hitler's rage was seething, but he had to call a momentary time out. Responding later in the year, Hitler launched a massive fire bombing of London on Christmas Day of 1940. When I say that there has never been a disaster movie to rival the real live footage of London in flames during this assault would be an understatement. Perhaps the most surreal effect of this chapter in the \"Why We Fight\" series would be seeing British citizens emerge from their underground shelters following the bombing raids to resume what was left of their life above ground. Even as you watch, there is no way to comprehend the living horror these people must have gone through, as the city of London was left in virtual ruin.
Yet the Nazis were stunned and stymied as well. Everything Hitler wanted to believe about freedom and democracy was now turned on it's head. Instead of being weak willed and complacent like the French, the British were not going to give up without a fight. And fight they did, taking the air battle to Germany and responding in kind with attacks on the German homeland. It was a turning point, forcing Hitler to rethink his strategy.
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user\nWith all of mainland Europe under his control Hitler prepares for the last obstacle in his way before heading for North America, Great Britain. With an overwhelming edge in aircraft Goering's Luftwaffe looks unstoppable on paper. Once in the air however the RAF tenaciously disrupts the paradigm by blowing the enemy out of sky air at a seven to one rate. The Battle of Britain rages on for a over a year as the Island nation is bloodied but unbowed providing crucial time for their American allies to produce more arms for the inevitable struggle.
Using more staged footage than the three previous documentaries in the Why We Fight series the Battle of Britain has a more propaganda like feel to it with the dramatized (some with unmistakable Warners music score ) scenes glaringly obvious to newsreel. In an ironic twist amid the devastation caused by German air attacks Beethoven's Seventh Symphony is employed to underscore the visual suffering. The story itself is one of remarkable courage by a defiant nation who refused to buckle under to the devastating attacks inflicted upon it by up until that point an invincible war machine. It is the 20th century version of the 300 Spartans.
There have been more exhaustively researched and better looking commercial efforts done on this battle since this film but the immediacy and motivation The Battle of Britain provided then will always make it a more valuable document of England during its \"Finest Hour\".
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user\nTwo college buddies - one an uptight nerd, the other a rude slob - embark on a road trip through the country. On the way, they encounter a vicious vehicle that looks like an army tank combined with a monster truck, that tries to run their car over. They escape it, but only enrage the mysterious and dangerous driver more when one of them takes a leak in the top hatch while at a rest stop. Later on, they pick up a sexy hitchhiker who ends up getting involved in their life threatening situation. MONSTER MAN is an extremely entertaining horror-comedy that has some good suspenseful moments as well as some good gory ones. The two lead characters and their constant bickering is fun to watch all on its own and the end takes a TCM-like turn which was very well-done. Absolutely worth checking out.
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user\nThis is a perfect movie to watch with a loved one on a cold and snowy night. If you like a few laughs with your horror then this is the movie for you. The makings of a real cult classic. It has everything you would want to see in a horror movie. A beautiful girl, A hero, The buffoon, A MONSTER TRUCK and of course a family of mutant satanic killers. This one is full of blood,guts and gore. I strongly recommend watching this one in the wee early morning hours, and be careful of who sees you being entertained by the sounds of Monster trucks, Bad {But Funny } One liners and our Hero eating eye ball stew. Not as good as the Evil Dead but a close second. Just remember WARNING..... Do NOT EAT BEFORE VIEWING THIS FILM...
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user\nI know that Chill Wills usually played lovable old sorts in Westerns. But his role in this segment is something I've remembered for a long time. Wills could be a first rate villain. Yes, Burgess Meredith's Fall was correct! That look in Hepplewhite's eye! It expressed porcine greed, ignorance, and the threat of violence all at once. Quite a performance, I think.
The segment itself was a good one, too. Question: couldn't the little black bag cure alcoholism? I guess it did, sort of, with Fall. But the doctor would have been wise to apply the cure, if he had it, as quickly as possible to Hepplewhite.
There is one moment that was annoying but also necessary. And it is something that appears to recur in these Night Gallery segments. It's Serling's constant need to sermonize. For that's what we got, one more time, with Dr. Fall. I don't know what was more frustrating, losing the black bag and all its miracles or not being to stop Fall from preaching about the bag's benefit for humanity, all while rubbing Hepplewhite's greedy face in the mud, and, therefore, all but begging for Hepplewhite to strike out at him. But as I say, it was necessary. At least it was for me. Otherwise, we wouldn't have been able to see Wills' performance discussed above. All done without moving a muscle or speaking a word.
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user\nI can understand why others reacted rather unpleasantly towards the climax yielding a twist that really is hard to take seriously. I think, though, that the build-up to it works rather well. The music, quite menacing and spine-tingling, really provides a spooky aura matching the unforgiving sound of a constant ringing telephone that is driving struggling English actress, Joan Matlin(Jean Marsh)bonkers. She's borrowing a pal's nice apartment while attempting to jump-start her career in New York City(..the city buildings outside the window look about as realistic as David Letterman's)and is unceremoniously welcome by a noisy telephone which rings quite a bit, followed by loud slams against the wall. Searching for answers regarding the one responsible for such disregard towards her sanity, Joan discovers that no one rents that room, and that a former tenant had in fact strangled herself. Without help from the manager, Joan will decide to find out for herself who is causing her such anguish. Joan discovers the room empty and the phone with a particular female voice which will haunt her.
The episode, I think, is a tour-de-force for Jean Marsh who is a one woman show. She's the only actress visible and we follow her through the crisis which slowly erodes her, the phone and the banging from that other room causing her much distress which grows into fear. Instead of leaving, Joan remains, so shaken by the noise and to the breaking point where she just wishes for the phone(..or whoever is ringing)to stop. The episode provides a possible answer as to who is plaguing Joan and why. A character named Beth comes into the story rather late as Joan struggles to find out whose female voice it was across the other line who knew her name on that dreaded phone she discovers in the room across from hers. The fate of Beth might just tell the viewer why Joan is being traumatized. I think this episode is an exercise in spooks instead of credibility;some didn't particularly like it, but I certainly did. I will admit that the phone, as a physical menace \"crawling\" towards Joan is hard to take seriously, not to mention it's attack on her, but I thought the intense opening twenty minutes before this were suitably chilling enough to make up for it.
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user\nThis \"TFTD\" episode from season one titled ironically \"Answer Me\" is a pretty well done and memorable episode, and it takes a shocking twist at the end. You have Jean Marsh as an over the hill and washed up actress from L.A. who's moved to New York City for an audition and she's living in an apartment provided by an old friend. Oddly every night she's kept awake by a ringing phone from the next door apartment, yet oddly enough the dwelling where the ringing phone continues to ring is unoccupied as the guests have been dead for many years. Finally she has to give in only she should have followed along and not answered the phone with no one home, as it's bad to get wrapped up in a phone with a life of it's own! Overall good episode a strange one though about a supernatural phone still it's suspenseful and it twists well at the end.
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user\nMy wife and I loved this film. Smart dialogue, great characters, clever plot construction. The pacing in this film is non-stop. Couldn't even get to the kitchen for some munchies. We have never seen Corey Feldman this funny. Taylor Nichols plays a good Fed...my wife loves him on that \"Married Man\" HBO show. The ensemble cast were all strong. The twist at the end had us cheering. That is why we give this film a \"Standing O.\"
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user\nThis picture doesn't have any big explosions or expensive chase sequences. However, it does have really wonderful performances and an exceptional script that puts this at the top of my \"indie-must-see list.\" Taylor Nichols and James Remar are terrific together. The young cast surprised me with really consistent acting. Usually, indie pictures have some weak link, but there are no weak links here. Impressive. Go get this one.
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user\nThis movie about a group of small town teens that decide to rob the local bank is excellent. Brian (Justin Walker) wants to get out of his small town, much like Jimmy Stewart in \"It's A Wonderful Life.\" However, unlike George Bailey, Brian is going to rob a bank to finance his dream of attending art school, even if his father is not supportive. The offer to Brian is to act like a customer and distract the guard. It's a tempting offer that if offered to many, I question what they would do. Anyways, Brian does it. When the Sheriff (James Remar) and his force surround the bank, things go from bad to worse. It's a standoff with even the Feds moving in to kill the kids if they have a clean shot. The Sheriff must prevent this and try to end the standoff in a peaceful way. Unfortunately, tensions rise, and the teens inside turn on each other. Some are out of control. The paper cutter scene is gruesome and hard to watch. Very intense!
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user\nI love this film. Tense with great characters. The kid from \"Sandlot\" is excellent as is Corey Feldman. When the kids storm the bank, it is pure adrenaline. Inside of the bank, it becomes a bit like a \"Lord of the Flies\" situation where they turn on each other. Justin Walker from \"Clueless\" is wonderful. I saw this on \"Showtime\" while channel surfing. It was a pleasant surprise. James Remar is also quite good here as the small town Sheriff. Taylor Nichols who I love from \"Barcelona\" does a nice job too as a Federal Agent. I recommend this film for any fan of bank robbery movies with a lot of good characters. I was shocked to discover that Roger Corman was a producer on this, since the film is not a B movie.
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user\nThe efficacy of this picture was best proven on the intended target audience, namely teens. My 14-year-old son became so engrossed in this film that I rate it considerably higher than its imitator \"Mad City.\" It sparked debate in our household on issues such as peer pressure and loyalty vs. doing the right thing. For that alone, I rate this film a 10! Parents should watch it with their teens and discuss it afterwards.
I very much liked the smart dialogue and consistent acting. I thought that James Remar was adequate in his role, but the teenage cast really carried this picture. Other IMDB users have praised Corey Feldman's performance, which truly is inspired. All in all, I give this picture my highest recommendation. Go get this one!
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user\nThis film was so well-paced that I don't think I actually blinked while watching. One intense situation after another kept me glued to the set. However, I would have liked to have seen Corey Feldman a lot more in this picture. He just steals every scene that he is in. This could be my favorite grown up Corey performance. The ending was clever and unlike other films which back away from severing body parts of likeable supporting characters, this film goes for it! I liked that it was not graphic blood and gore but left more to the viewer's imagination. Bravo. I literally had to wipe sweat from my forehead during this particular torture scene with a paper cutter. Ultimately, the film works because of its likeable lead character and the awesome presence of my all-time favorite bad guy, James Remar(48 Hours, remember?) I strongly recommend this film for anyone looking to break a sweat.

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user\nI recently rented this video after seeing \"Final Ascent\" by the same writer. I wasn't prepared for how intense this film would get. I found it engaging from start to finish, and was rooting for the teenagers to get away with their attempted crime. The ending was definitely disturbing with some of its implied violence, but well-done. I highly recommend this picture.
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user\nThis film is like \"The Breakfast Club\" meets \"Mad City.\" It's got one plot twist after another with Justin Walker, Corey Feldman, and James Remar delivering really great performances. However, this movie is not for everyone. If you don't like movies that \"go all the way\" with regards to violence, then don't watch the last twenty minutes. My wife had to leave the room. Of course, I couldn't take my eyes off the screen. This is a really gritty, realistic teen drama. I can't believe it came from B-Movie king Roger Corman. This film is a must-see for those who are not faint of heart. Highly recommended.
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user\nI just watched the DVD version of BORN BAD and found it to be tense, gritty and, near the end, too graphic for the faint of heart. Justin Walker (Clueless) and Corey Feldman turn in superior performances. For a low budget film, this picture delivers. The depth of character and clever dialogue are two things not usually seen in a Roger Corman picture. Check it out on DVD!
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user\nthis is a great movie for all Corey Feldman fans. This movie has a great cast of young actors. a group of teens decide to rob a bank to get some quick cash, but all goes wrong when a security gaurd gets shot and they take hostages
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user\nBorn Bad is a well put together crime drama about a group of teenage kids. Teens as well as young adults would find this movie well acted and entertaining. The movie is similar to The Black Circle Boys in the sense that a bunch of teenage boys go around their town making up their own rules and not caring about the consequences.
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user\nAs a camera operator, I couldn't help but admire the great look that this picture achieved. The performances were excellent, as was the story. Just when I thought this film was about to slow down, it didn't. Heart-pounding tension, great pacing through editing, and a score that knows when to be quiet all come together here under competent and capable direction. The camera was always in the right place. Love that.
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user\nI just saw this movie on Showtime in the wee hours of the night. I was viewing the beginning with one eye open, but instead of drifting off to sleep, I became invested in this crafty, nail-bitter of a movie. It was very believable and engaging. I could have done without so much profanity(as with every David Mamet movie I see), but thoroughly enjoyed the experience. I know teenagers swear, but I don't need to listen to it. Anyways, the story had some interesting surprises which I won't reveal but if you have a chance to catch this movie on Showtime, I think you will enjoy it as much as I have.
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user\nAs an adult, I am grateful to have caught this movie by chance when I was a teen. During the time, I was experiencing familial problems. This particular movie managed to capture what I was seeing from a closeted world. How much peer pressure is too much? I actually had to purchase this movie because it reached me on a level unlike most films try to reach an audience. How far might an individual go for social acceptance? Who is the \"bad\" crowd? Teenagers do struggle trying to find out the answers to these questions, but ultimately...who is the \"pack leader\" if there must be one? Is it the strong? The beautiful? Perhaps the person we just all seem to like? Could it be the moral character? As far as the movie goes, the cast worked together as if it were predestined. I only hope that more directors and producers try to create a piece of work that reaches all of us like this particular movie reached me. I wish I could vote higher than ten because this particular title deserves much more.
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user\nThis late 50s French study of disaffected youth (in their early 20's, actually--\"grown up\", but not yet settled down into the adult world) probably missed the mark by a mile in terms of being an accurate depiction of 1958 French youth (don't virtually ALL youth films made by adults do this? The ones that don't--River's Edge comes to mind-- are rare indeed), but director-writer Marcel Carne, of Les Enfants du Paradis fame, is too accurate an observer of humanity to NOT provide an insightful view of the essence of these characters. In a sense, the details are not important--you could change the details and set this film today and it would work just as well--but the loneliness and insecurity and superficial passion and self-righteous anger of the characters is captured well. The young Pierre Brice and Jean-Paul Belmondo are in supporting roles, but leads Jacques Charrier, Laurent Terzieff, Pascale Petit, and Andrea Parisy play the roles with subtlety and depth. There is also a fine jazz score, which you can get on the CD JAZZ IN PARIS--JAZZ & CINEMA VOL. 2. Unlike some who have commented on the film, I don't really see director-writer Carne as sitting in judgment on these characters--he seems as though he is an objective observer to me. Of course, these middle-class characters may seem like people who are spoiled and have nothing to whine about to some working-class viewers of the film, and I think Carne is certainly aware of this. For this American viewer (I watched a dubbed, fairly literally I'd say, version of this titled THE CHEATERS), the film provides an interesting window into the France of the 1950s. It also is self-consciously poetic (the scene on the ledge, saving the cat, is but one example of this) and has intellectual aspirations in that charming way that only French films can get away with--I can imagine the heavy-handed, melodramatic, shallow way this kind of material would have been handled by an American studio production, and the sensationalistic, moralistic, suggestive way this kind of material would have been handled by American drive-in/exploitation filmmakers. I feel that Marcel Carne has captured the essence of that period between, say, high school graduation and when, by one's early 30s, people have largely settled into a routine, whatever that routine may be. Those willing to watch the film with an open mind and not fire away at the many easy targets it offers should find a serious and valuable study of people in their early twenties. And even if you don't want to do that, you can go in the other room while the film is playing and simply enjoy the fine soundtrack, with great 50s jazz and instrumental pop, including the wonderful original score by an American \"Jazz at the Philharmonic\" group including Coleman Hawkins, Dizzy Gillespie, Stan Getz (spelled \"goetz\" in the credits), Roy Eldridge, and Ray Brown.
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user\nFirst, I rated this movie 10/10. To me, it's simply one of the best I saw since I was born (I'm 23, but I saw numerous films). The story is cruel, but reality is, too, not ? It went deep into me and stirred my bowels. I saw it about 5 or 6 years ago and it still shakes me - and I still remember it !
Second, there is no 'national preference' (this expression is a direct translation from the French) for this movie. I mean it's not because it is a French movie that I put it so high : it has really caught me when I saw it. Furthermore, I don't know well Marcel Carne's filmography, so I don't know if it is or not his best movie, but I know it is not his most famous : Hotel du Nord, Quai des Brumes and Les Enfants du Paradis are the most famous.
Third, the movie's in B&W, but it deals with inter-temporal problems of youth (not acne) like love, friends and studies in a modern way. It could even be remade frame-by-frame with actual young actors, a Dolby(tm) sound and special effects (a car crash), it would still be a great film !
Problem : Maybe is it a film to be seen by young adults (from 16 to 25 years old) - and above, of course - for its message to be well understood... Did I say it was a great movie ?
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user\nI blow hot and cold over Carné. He really can be a puzzle for me. I think perhaps his inspiration left him a little earlier than it did for other directors of his generation. Certainly a man who came to maturity in the Thirties with the Popular Front seems ill at ease in the France of the Fifties, with its rampant commercialism and heavy American influence. He is almost thirty years older than his young stars, and it shows. The party scenes go on much longer than they should, as if he were trying to buy time for the anemic scenario to work. Roland Lesaffre's character--he plays Pascale Petit's older brother--seems to exist only to reassure the director that his old-style ideas are still sound.
At two hours, this picture is far too long. Still, let me praise Pascale Petit for her game performance; she was a natural who should have challenged Brigitte Bardot for sexpot supremacy, but somehow lost her way. Andrea Parisy is excellent too as the girl who gets pregnant and wants Charrier to marry her and make her baby legitimate (yes, they still thought that way in the Fifties). Laurent Terzieff is the only French actor who could play an anarchist convincingly: he is great here as he rescues a cat from death, then remarks he can't stand cats. Jacques Charrier only reminds me how mediocre he was as an actor, with that constant little grin and those blank eyes.
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user\nIt's generally an accepted fact that Marcel Carné's 1936-1946 movies are masterpieces and it's considered polite to say that the rest are mediocrities.This is an unfair opinion:at least ,two of the latter era are eminently watchable:\"Thérèse Raquin\" ,his best post-war work,and \"les tricheurs\" (the cheats).
There's a strange evolution from the Prevert golden hour to \"les tricheurs\":in \"les enfants du paradis\" \"quai des brumes\" or \"le jour se lève\",true love is thwarted by the villains. In \"les tricheurs\" true love does not exist anymore:we deal with a bunch of young people who believe in nothing;falling in love would be incongruous for this youth.The adults are not the villains at all:Mic's brother and mother are kind people ,but she is beyond their command.Very few grown-ups appear anyway.
During two hours,the characters do not stop playing around,dancing,listening to jazz records(a music which was not still part of the bourgeois culture),and heavily drinking .When two of them discover they care for each others ,it will be too late.
The cast is rather good ,Laurent Terzieff as an existentialist cynic and Andréa Parisy as a rich kid are the stand-outs.On the other hand,Pascale Petit and mainly Jacques Charrier(who married Brigitte Bardot the same year as \"les tricheurs\")do not possess the ambiguity their parts ask for.They are all smile,too sweet and to nice to be believable.
Oddly,\"les tricheurs\" was labeled \"nouvelle vague\"!When you know what the priests of this cinema school (the likes of Godard)thought of Carné ,it's really a good joke.But this disenchantment you feel throughout the whole movie is really disturbing.
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user\nEmilio is a successful business man, a perfect father and a good husband. Or that is what everybody think. The perfect storyline he has carefully built all along these years will start closing around him all of a sudden. Will he be able to keep up with his own lies?
This is a very well laid out drama, with great acting and steady direction. Even though the plot is pushed up to the limit to increase the tension, the movie explores some of our worst fears... Do we really know the people we deal with? Can we be so sure?
The story develops at an increasingly faster pace as it reaches the point where Emilio is not in control of his lies anymore. A good deal of Spanish movies have interesting stories but are far from technical proficiency. The perfect rhythm and well shot scenes make the actors so credible, we get inside Emilio, and hate him, and suffer for him, as his situation gets more and more desperate. There is no need for any Spanish folklore, nor is this an attempt to create a Hollywood style flick. This is real Spain, 2002, and regardless the obvious unlikeliness of Emilio's life existing in reality, there are good chances somebody we know is not quite like the person he claims to be. Not just a great commercial product, it will let you wondering where lies can get us to. Can we keep up?
Well done.
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