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user\nI finally watched these episodes in 2008 and I had to continually go back and verify when they were actually produced. They are absolutely scary in that they made spot on fun of what would be the future. Either Parker and Stone lived in Texas and witnessed the idiocy of Gov Bush or they are those weird, eerie people that pay attention to things. Boo, scary! Bush's frat bros invading the White House dressed as Arabs wielding rifles? Bush 'accidentally' executing someone? (No, wait. He did sort of do that as gov.) This may have seemed a failure as a sitcom at the time, but must now be considered as brilliant, if spooky, prescience.
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user\nThat's My Bush is a live action project made by South Park creators Trey Parker and Matt Stone.The show was cancelled after one season, not because of bad reviews(it actually got good reviews), but because it was very expensive.That's my bush is a pretty funny spoof of an average network TV sitcom.It is also a political satire.Now, this is nowhere near as good as South Park, but it is a very funny spoof of a sitcom and also a pretty good political satire.The guy who plays in that's my bush looks a lot like him! If you can find the show, check it out.There are plenty of laughs to be had!
9/10
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user\nThats My Bush is first of all a very entertaining show by Parker and Stone, I thought. Its often very very funny, and its quite subversive and crazy. South Park fans would surely get something here.
Another surprise is the production value here. A lot of money must have been put into this, and it shows. A lot of expensive little details. Its not a little show. And Comedy Central is not an extremely rich channel, but they put a lot into this show obviously. In a way I understand that was the death of the show as well though, too costy. It surely could have been done cheaper and went on the will was there.
The critics liked it, and it had its little fanbase, but it failed gaining a big audience. As we know, the show stopped after 8 episodes, which I guess is almost 1 season.
As I really liked the show it has its faults. The problem of the show is kind of that it doesn't know what it wants to be really. Its like it tries to be a sitcom AND a parody of a sitcom at the same time. The actors do a good job, and some of them are well casted, but in my opinion they seem to not always get 100% the bizarre humor they're supposed to present.
I personally think that the show needed some characters that were more down to earth for the show to work. In South Park you have Kyle and Stan, that are kind of a realistic touch in the more looney universe. I think thats kind of what makes South Park work. You need some sane characters that you can relate to in a realistic way, and that makes the insane stuff so much more interesting too because that forces you to take them seriously at some level. If everything is archetypes and stereotypes its difficult to get emotionally included in the show, which really is Thats My Bush biggest problem. Kyle and Stan is characters in South Park that makes sense of the insanity in the show. We have nothing like that here, and this show suffers from it.
Another anchorpoint is Parker and Stones flirting with republicans. Its the only thing about them I don't really get what they're trying to do. Not portraying Bush as nothing else than a dumb Homer Simpsons lovable kind of character IS kind of subversive in a world where a lot of people that can't stand him and think he's the worst president since Nixon, and a parallel comedy world of Letterman and so on that only satirizes his every move... but its difficult to understand if Parker and Stone actually means anything by it. Its like the joke is on us, but somehow it doesn't hit the mark. It seems awkward, because it doesn't remind you of the real Bush at all.
Besides that I actually thought the show was very enjoyable. Some of the jokes in here are hilarious. The pro-life supporter who was a surviving aborted fetus is probably one of my favorite jokes by them in any show. And the show is packed with great material, and is sometimes insanely funny if you use your head a little while watching it.
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user\nAn extra is called upon to play a general in a movie about the Russian Revolution. However, he is not any ordinary extra. He is Serguis Alexander, former commanding general of the Russia armies who is now being forced to relive the same scene, which he suffered professional and personal tragedy in, to satisfy the director who was once a revolutionist in Russia and was humiliated by Alexander. It can now be the time for this broken man to finally \"win\" his penultimate battle. This is one powerful movie with meticulous direction by Von Sternberg, providing the greatest irony in Alexander's character in every way he can. Jannings deserved his Oscar for the role with a very moving performance playing the general at his peak and at his deepest valley. Powell lends a sinister support as the revenge minded director and Brent is perfect in her role with her face and movements showing so much expression as Jannings' love. All around brilliance. Rating, 10.
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user\nJosef Von Sternberg directs this magnificent silent film about silent Hollywood and the former Imperial General to the Czar of Russia who has found himself there. Emil Jannings won a well-deserved Oscar, in part, for his role as the general who ironically is cast in a bit part in a silent picture as a Russian general. The movie flashes back to his days in Russia leading up to the country's fall to revolutionaries. William Powell makes his big screen debut as the Hollywood director who casts Jannings in his film. The film serves as an interesting look at the fall of Russia and at an imitation of behind-the-scenes Tinseltown in the early days. Von Sternberg delivers yet another classic, and one that is filled with the great elements of romance, intrigue, and tragedy.
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user\nThe Last Command (1928) is a silent film directed by Josef von Sternberg.It shows us Czarist General, Grand Duke Sergius Alexander (Emil Jannings) in his days of glory.In 1917 he had all the power but after the revolution and the collapse of Imperial Russia he has nothing.He also had the love of a woman, Natalie Dabrova (Evelyn Brent).About ten years later he applies for a small part in a film about the revolution.His old enemy Lev Andreyev (William Powell) is the director who gets to choose whether to hire him as a film extra or not.The Last Command is very good silent drama.Emil Jannings does memorable role work in the lead.Evelyn Brent is wonderful playing the woman lead.William Powell is great as always.There are plenty of scenes to remember in this movie.Like many scenes with Jannings and Brent.And then there is the ending with Powell and Jannings.This is a movie that touches in many parts.
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user\nRussian emigrant director in Hollywood in 1928 (William Powell) is casting his epic about the Russian revolution, and hires an old ex-general from the Czarist regime (Emil Jannings) to play the general of the film, and the two relive the drama and the memory of the woman they shared (Evelyn Brent), of 11 years before.
Try as I might, I feel it hard to warm to 'The Last Command' for all its virtues. 'The Docks of New York' was indubitably a great film, and 'Underworld' is a film I have always been craving to see, but 'The Last Command' is rather heavy-going. The premise is fascinating, but the treatment does really make the script come to life, except in the sequences set in Hollywood, depicting the breadline of employable extras and the machinations of a big movie production with state-of-the-art technology.
Emil Jannings is, predictably, a marvelous Russian general, distinguishing wonderfully between the traumatized and decrepit old ex-general, transfixed in his misery, and the vigorous, hearty officer of yore.
The ending is great and worth the wait, but in order to get there you must prepared to be slightly bored at times.
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user\nWhile this movie's style isn't as understated and realistic as a sound version probably would have been, this is still a very good film. In fact, it was seen as an excellent film in its day, as it was nominated for the first Best Picture Oscar (losing to WINGS). I still consider WINGS to be a superior film, but this one is excellent despite a little bit of overacting by the lead, Emil Jannings.
Jannings is a general from Czarist Russia who is living out his final days making a few bucks in the 1920s by being a Hollywood extra. His luck appears to have changed as he gets a casting call--to play an Imperial Russian general fighting against the Communists during the revolution. Naturally this isn't much of a stretch acting-wise, but it also gets the old man to thinking about the old days and the revolution.
Exactly what happens next I'll leave to you, but it's a pretty good film--particularly at the end. By the way, look for William Powell as the Russian director. Despite being made in 1928, with the makeup he doesn't look much younger than he did in many of his later films.
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user\nIf \"The Cabinet of Dr. Caligari\" is the father of all horror films (and of German expressionist cinema), this pre-WWI film is the grandfather. The titular student, starving in an empty garret, makes a deal with the Devil-- the Devil gives him a bottomless sack of gold, in exchange for \"anything in this room.\" The Devil chooses the student's reflection in his mirror. He walks off with the student's doppelganger, who commits crimes for which the student is blamed.
The film is marred by some limitations arising out of the technically primitive state of 1913 filmmaking; the plot cries out for chiaroschuro effects, but the film is, of necessity, virtually all shot in shadowless daylight. But the scene where the reflection walks out of the mirror still packs a wallop.
More interesting for the trends it fortells than for its own sake, The Student of Prague is still worthwhile.
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user\n'The Student of Prague' is an early feature-length horror drama or, rather, it is an \"autorenfilm\" (i.e. an author's film). This film is a member of a movement of many movements that tried to lend respectability to cinéma, or just make a profit, by adapting literature or theatre onto the screen. Fortunately, the story of this book with moving pictures is good. Using Alfred de Musset's poem and a story by Edgar Allen Poe, it centres on the doppelgänger theme.
Unfortunately, the most cinematic this film gets is the double exposure effects to make Paul Wegener appear twice within scenes. Guido Seeber was a special effects wizard for his day, but he's not very good at positioning the camera or moving it. Film scholar Leon Hunt (printed in \"Early Cinema: Space, Frame, Narrative\"), however, has made an interesting analysis on this film using framing to amplify the doubles theme: characters being split by left/right, near/far and frontal/diagonal framing of characters and shots. Regardless, the film mostly consists of extended long shots from a fixed position, which is noticeably primitive. Worse is the lack of editing; there's very little scene dissection and scenes linger. None of this is unusual for 1913, but there were more advanced films in this respect around the same time, including the better parts of 'Atlantis' (August Blom, 1913), 'Twilight of a Woman's Soul' (Yevgeni Bauer, 1913) and the short films of D.W. Griffith.
An expanded universal film vocabulary by 1926 would allow for a vastly superior remake. Furthermore, the remake has a reason for the Lyduschka character, other than being an occasional troublemaker and spectator surrogate. Here, the obtrusively acted gypsy lurks around, seemingly, with a cloak of invisibility. I know their world is silent to me, but I assume, with their lips moving and such, that their world would not be silent to them, so how can Lyduschka leer over others' shoulders and not be noticed?
Nevertheless, this is one of the most interesting early films conceptually. Wegener, who seems to have been the primary mind behind this film, in addition to playing the lead, would later play the title role and co-direct 'The Golem' in 1920--helping to further inaugurate the supernatural thread in German silent cinéma.
(Note: The first version I viewed was about an hour long (surely not quite complete) and was in poor condition, with faces bleached at times and such. I'm not sure who was the distributor. I've also since seen the Alpha DVD, which, at 41 minutes, is missing footage present in the aforementioned print and also has fewer and very different title cards, but is visually not as bad. The repetitive score is best muted, though.)
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user\nA stupid young man becomes obsessed with a woman--so obsessed that he loses perspective and common sense. An evil magician approaches him and informs him he can give him great wealth that he can use to win the lady's heart IF he agrees to give him anything he wants that's within their room. The dumb guy agrees and the magician steals the man's reflection out of the mirror--and bad things naturally occur as a result.
If this film had been made just a decade later, I am sure I wouldn't have been so charitable in reviewing and scoring this film. After all, the film's plot is a bit vague in spots and the acting is, at times, a bit stilted. However, when you consider that in 1913 \"full-length\" films were rare--and often only 20 to 30 minutes long! Plus, the whole idea of a complex story like you get in this film is very unusual--as stories were very short and broadly acted. So, given the limitations of the time, this film is pretty good and is one of the earlier horror films known.
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user\nThose engaging the movie camera so early in the century must have figured out some of its potential very early on. This is a good story of a playboy type who needs money and inadvertently sells his soul to Satan for a lot of money. Unfortunately, the soul is his double and he must confront him frequently, tearing his life apart. There are some wonderful scenes with people fading out and, of course, the scenes when the two are on the stage at the same time. The middle part is a bit dull, but the Faustian story is always in the minds of the viewer. One thing I have to mention is the general unattractiveness of the people in the movie. Also, they pretty much shied away from much action which would have at least given some life to the thing. I first was made aware of this movie about 25 years ago and have finally been able to see it. I was not disappointed.
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user\nThis early version of the tale 'The Student of Prague' was made in Germany in 1913, starring Paul Wegener (who was also in 'The Golem' a few years later). In this film he plays a dual role (technically impressive for a 95 year old film to see them in the same shot) after meeting a mysterious old man who makes a pact with him for gold - the gold he needs to woo a countess he's previously saved from drowning.
Moving at a fast pace (the film runs just over an hour) and fairly well written and characterised, 'The Student of Prague' has echoes of the Faust legend as well as Dr Jekyll and Mr Hyde, starting as it does with a pact with a mysterious figure of potential evil, and developing into good and evil sides of the same person.
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user\nIn this truly fascinating, dark film, a young impoverished student sells his soul to the devil for a lot of money, in return the devil takes his mirror image (this is done brilliantly in the movie and eerily presaged when Balduin, the student is earlier practicing swordsmanship in front of the mirror), a visual metaphor for a \"man at war with himself\" which portents his immediate future. The student enjoys his money, but the woman he loves is unattainable (he has made a pact with the devil, he is cut off forever from love and other riches of the soul) you can have love or you can exchange your soul for money, you cannot have both. Balduin is haunted by his double (the intertitles express this beautifully as does the action. Some of the scenes are incredible, the sense of doom when the Devil disappears with Balduin's mirror image is amazing, as is the sense that his pact has forever cut him off from human society (the scene where he runs away from his double and ends up in the 'wasteland' at the edge of the town, no longer entirely human (he has lost his soul) he is like a hunted animal outside of human society. There are so many other things to say about this incredible film. Paul Wegener was an amazing actor and director, a cultural hero of mine. It helps if you know a bit about German history at the time this film was made and about German doppelganger tradition (don't google it, get a proper book)Just remember, it's a very early film, it's a little clumsy at times, but considering what it has to say and it's tragic finale, it's one of the best ever (yes it Is!)
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user\nA good film, and one I'll watch a number of times. Rich (the previous commenter)is right: there is much more going on here than is clear from the title boards, and I have to wonder how much has suffered in translation. Were there more in the original? Or was a native-language audience expected to lip-read more? Or -- since the screenplay was written by the author of the novel on which this was based -- was this a currently popular story with which the audience was already very familiar? In short, very worth a look, but it probably requires more work from contemporary viewers than the original 1913 audience had to put into it.
The Alpha Video release touts the new organ score, but the music is not matched to the story progression in any way. Sure, it starts promisingly, but degenerates into a repetitive, Phillip-Glass-like monotony that reflects nothing of the action on the screen. After listening for a while, I turned off the sound and simply watched: much better!
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user\n\"It wasn't me! It was, er, my twin brother Rupert!\" Bobby says to Dugan when confronted about being over at Sally's place. I have used this line dozens of times over the years (no one has yet to believe it, though).
This movie is one of the all-time best for sheer fun and nonbelieveability. Steven Oliver was perfect for the part of Dugan, so much so that he was in 1978's \"Malibu Beach\" as the same character (not nearly as much screen time, though).
\"Nobody calls Dugan a turd!\" is another line for the ages. This classic film was definitely worth the price of admission.
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user\n...this is, above all else, the typical Crown International Pictures drive-in (read \"passion pit\") programmer. The 1975 Sammy Johns hit record \"Chevy Van\" is heard repeatedly on the soundtrack (this movie has even been reissued with the title CHEVY VAN), despite the film's title vehicle being a Dodge. Danny DeVito makes only six minutes of on-screen appearance, but countless VHS reissues falsely credit him as the star of the flick. The movie is a comparatively sexist morality tale -- will Bobby find sexual satisfaction through the one-night-stand his customised van facilitates, or must he wait until Tina, the girl of his dreams, gives him the time of day? Still, it is representative of the prevailing carnal dream of male American high schoolers of the time, and on that basis alone THE VAN has, almost in spite of itself, become an artifact of the period that must be referenced in any honest retrospective of the period's popular American cinema...
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user\nIn 1979, I was a boy of 12 years old, My parents had just got the home box office which was pretty new to our neighborhood. As a 12 year old boy, this was the first time I saw boobs on television. I will never forget the joy of those times. Racing vans, the total ass-wipe with the baddest van, the water bed, the smoking of herbs, the hot 70's chicks, the 'makin love in my Chevy van song, it was all so new to me. A complete movie with all of the memories you could hope for. I own it and enjoy it about once a year. When I watch this movie, it makes me want to get my skates, with 4 wheels, not in a strait line, go to the park and hunt down some babes with feathered hair. truly great memories of young adolescence!
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user\nI am proud to say I own an uncut copy of this choice chunk of 70's Crown International drive-in sexploitation comedy cheese on DVD. It's a really goofy and enjoyably inconsequential flick with a nicely breezy'n'easy 70's vibe to it. It does attempt to make a sincere point about true love and friendship being more important in life than a cool set of wheels and a quick piece of tail. Sure, it's essentially a blatant adolescent male fantasy pic -- the main teen goofus character Bobby Hamilton gets the girls, the respect of his friends, and a chance to show-up a local van-racing bully -- but it's way too dopey and good-natured to hate. Stuart Getz as our gawky protagonist makes for an endearingly dorky lead, Deborah White as the main object of Getz's affection is a definite cutie, Connie Lisa Marie is likewise quite luscious as a beauteous blonde babe, and sneering beefcake Neanderthal Stephan Oliver (a 60's biker movie perennial) is wonderfully hateful as the brutish Dugan Hicks. A pre-stardom Danny DeVito in particular is an absolute riot as Getz's cranky carwash owner boss Andy, a lovably cantankerous ne'er-do-well slob who wears very ugly loud Hawaiian shirts and suffers from a severe gambling habit. I especially love the scene where two thugs brutally beat Danny up -- one holds his arms behind his back while the other guy works over Danny's torso! And Sammy Johns' insidiously catchy fluke hit theme song will be bouncing around your skull for at least a week. In short, it's great groovy retro-70's fun!
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user\nSimple-minded but good-natured drive-in movie about a simple-minded but good-natured high school graduate who has dreams of owning the coolest custom van in the world to use as his \"ballroom\".
Bobby, our hero, spends his entire savings to acquire the vehicle of his dreams. Joint sharing and love making quickly commence with girls Bobby has picked up at the local pizza parlor, but he finds out much responsibility, danger and heartache come with being the owner of such a mechanical marvel.
The Van is a guilty pleasure of mine. It captures the laid back mid 70's mood and has enough unintentional humor to put it into the \"so bad it's good\" category.
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user\ni found it highly intellectual and artistic in every way! i felt that the script was conveying all the things i feel physically and emotionally when i got home from work and watched, it. this is a tribute to cinema in the highest form and format.
holy guacamole! how i wish those days would come again. i tried putting a bubble window on the side of my car (honda civic 1984), but the vacuum formed muffin trays didn't quite cut it. also in my civic, sexual positions are limited and are not supported by water bed as is brilliantly depicted in 'the van'.
'the van' is of the utmost side splitting hilarity and can even substitute for porn if you watch some scenes privately.
i highly anticipate that Sam Grossman (the director) has achieved his opus.
Ratings john: ****1/2 Sam: *****
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user\nTHE VAN is a simple teensploitation picture made especially for the drive in that goes out of it's way to make you feel comfortable, providing many opportunities to laugh and cry with your friends. Danny Devito has a small yet plentiful role as the manager of a car wash and almost steals the show! All the leads are well acted, the characters complex and the directing quite competent for this type of picture. A Crown International Release.
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user\nLove trap is a \"must see\" independent film. When I sat down to watch the movie, I came in with low expectations, but left with a blessing. The story is poetic, substantive, and creative. The writer pulls you in further and further which each scene, allowing you to relate to the realistic characters that every one can identify with. The movie allowed me to reflect on my life and what I consider love to be. The movie displayed what love really is, action not emotion. I was also impressed with the quality of the cinematography and the soundtrack of the movie. The entire presentation surpassed my expectations. I give the movie two big thumbs up and recommend it to everyone of all ages and all backgrounds.
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user\nI picked this film up at my local library. Having met the director at a film festival late last year, I was curious to \"check out\" his work. I was pleasantly surprised.
The film takes a fresh look at familiar subjects, love, infidelity, friendships, jealousy. It can be a bit 'talky' at times but never so much as to completely sink the film. I enjoyed watching a love story with characters that CLEARLY belong together and watching them make conscious decisions rather than haphazardly \"falling\" into something as important as love.
The contrast between this film and the average low-budget shoot-em' up black film is quite distinct. Check it out. If you're lucky, your copy will come with a copy of the soundtrack like mine did. Good stuff!
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user\nLove Trap is not a short, it's quite obviously a full length feature film with a running time of 105 minutes.
While I'm writing this, I might as well talk a bit more about Love Trap. I'm frequently asked what makes Love Trap different... this is how I respond to that question: 1) It introduces characters - one in particular - that have never been seen before in film, period.
2) It reveals more truth about love, and delves more deeply into the very concept of love, than any other U.S. film ever made, in my humble opinion.
3) Structurally, as in the way the story is told, it is unlike any love story you've ever seen.
4) It offers extremely timely insights on various cultural issues, both within and outside the Black community.
Over time, people will come to see Love Trap as about as wholly an original work as possible in this era, delightfully refreshing, authentic and honest. It is a rare morality play full of food for thought.
Please visit www.lovetrapmovie.com for complete and accurate info about this film.
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user\nA realistic depiction of young love for the college set but also appealing to an older viewer like me. It has ups and downs and twists and turns and made me shed a tear or two. We rarely see movies with black urban characters that could appeal to older, non black audiences and show a more real life depiction of young black adults.
This movie takes place on a college campus and town where two people meet and fall in love. In the background are various friends acquaintances and situations that impact them for better or worse. Typical plot some may say, but this really was unexpected.
I found myself rooting for the survival of the couple's relationship, seeing my own past in their story. Moments of deep thought and revelation came pouring out of the actors performances.
It's a bright film that I would endorse for those young at heart and in love or have ever been in love. Great movie. I'll be looking for a copy to add to my movie collection.
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user\nThis movie earned every one of the ten votes I gave it! Thank you guys for making a movie worth watching. You showed the world,you can still write, direct, produce and star in a black movie without the negative stereotypes. The poetry was awesome as well, hats off to the poets and musicians.
I watched it last night, as I fell in love with my darling all over again. I will be adding it to my movie collection today, and recommending it to my friends and family.
Please continue to produce quality, don't worry about the quantity....
Thank you again, and best wishes and blesses to you!
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user\nSensual and tough Maria Braun. (Hanna Schygula) marries a soldier in the middle of World War II and spends a half of day and the whole night with him. That's how long her marriage lasts before she loses him to the war and then to prison. She carries on with her life, becomes a successful businesswoman being not only sensual but intelligent, ambitious, and willing to use sex whenever or wherever necessary: \"I don't know a thing about business, but I do know what German women want. You might even say I'm an expert on it\". While climbing up to the success she always remembers her husband, Hermann (her man) and convinces herself that whatever she does  is for him, for their future happy life together. \"Maria Braun\"'s style reminds much of melodramas by Fassbinder's favorite Hollywood director, Douglas Sirk and offers a glimpse of the loss and survival in postwar Germany. Hanna Schygula literally shines in every scene of the movie and she is fantastic.
8.5/10
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user\nThis film exhibits artful cinematic techniques wherein instead of landscape capturing the attention of the camera it is small details in how someone appears, how the woman may be wearing a cocktail hat and wrapped in a sheet. How the husband may be wearing a hat and socks and shoes and his underwear and both seem so completely at ease and comfortable. How provocative the woman is posed is another feature of the tableau that the director chooses to let us know she is a free spirit sexually and aims to get the pleasure she seeks without flirting directly or with any particular sensitivity to what the man may be feeling. The relationship between the wife and husband is unique. It is an open one wherein she holds nothing back, feels no particular shame for how she has behaved and wants to share these facts with him because her primary focus always is on the fact of their marriage. Nothing and no one can come between the two of them. Only the chances of fate can intervene---his imprisonment during the war and what follows after his return at long last. A very intriguing film which is totally absorbing.
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user\nFassbinder's most lavish production sacrifices little of his talent for identifying and deconstructing a locus of suffering in long, mobile takes that somehow also act as social encapsulations; here, it's much more overt, since the story takes place in war-torn Germany at the end of WWII, and the central character is a woman (Hanna Schygulla as Maria) who capitalizes on vulnerabilities (both economic and gender-related) to catapult herself up the ladder of a prominent textile corp. that makes coveted goods like lederhosen available to indigent workers (as she once was). Married amidst allied air raids, Maria and her new husband Herrmann are allowed a brief honeymoon before he's shipped out to the Russian front. In his absence, her despair is great: she spends most days at the train station, waiting for him to return. When he is reported dead, she abruptly stops grieving and takes a job as a barmaid/prostitute at a brothel catering to American GI's.
When he returns, things get plenty messy, as circumstances (and his sense of noble self-sacrifice) conspire to keep them apart. The message is Fassbinder's M.O. writ large: 'Love is colder than death,' but not only is Maria contending with her own sanity and a husband largely incapable of loving her, but a country in deep flux with no discernible light at the end of the tunnel. Fassbinder is making some kind of statement on post-war Germany selling out to the highest bidder, but as with all his films, I tend to block those elements out and focus on the unbearable passions on display: Fassbinder's as evoked through his characters; his actors' as filtered through their real-life connections with Fassbinder. Taken together, his films can be either unbearable or indescribably mesmeric, often at once; this falls somewhere in-between, although definitely closer to the latter. While I didn't like it quite as much as The Bitter Tears of Petra von Kant or Katzelmacher, Maria Braun certainly has a greater scope and what's more, I could feel its passion and authentic detail to human emotions.
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user\nMy first Fassbinder was a wonderful experience. Film and alternative cinema (small hall, with uncomfortable seats; public had to wait while filmrolls were changed ) were perfect match.
There were many cliches used in the film, but Fassbinder presented them so cleverly that I found them really amusing. Sound was also brilliant (sometimes back being louder than dialogue).
Everything seemed to be in right place. And I loved the way how after-war-time was presented. Real fun!

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user\nThis is the best of the 43 films that Rainer Werner Fassbinder made; his most successful at least. He was one of the leading directors in the New Germany after WWII.
Hanna Schygulla was magnificent as the cold, calculating Maria Bruan, who lost her husband to the War, found him after she took an American soldier as a lover, lost him again after he went to jail for her, and found him agin at the end. Her day and a half marriage before he disappeared was longer than their time together at the end.
Such is life. Things come and go, and you do the best you can. You can give up or adjust you way of thinking to survive. Even though Maria adjusted her thinking and did what she had to do, she never stopped loving Hermann, which makes the end such a tragedy.
Excellent drama.
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user\nMaria Braun is an extraordinary woman presented fully and very credibly, despite being so obtuse as to border on implausibility. She will do everything to make her marriage work, including shameless opportunism and sexual manipulation. And thus beneath the vicey exterior, she reveals a rather sweet value system. The film suffers from an abrupt and unexpected ending which afterwards feels wholly inadequate, with the convenience familiar from ending your school creative writing exercise with 'and then I woke up'. It is also book-ended at the other end with the most eccentric title sequence I've ever seen, but don't let any of that put you off.
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user\nThis first part of the BRD Trilogy has more passion and plot density than Lola, but less of the magic of Veronica Voss. The political musings have point to them: we see the shortages after the war, how the blackmarketers were able to control so much of the day-to-day life (delicious moment when Fassbinder, playing a grifter, tries to sell a complete set of Kleist to Schygulla, who remarks that burning books don't provide much warmth: she really wants firewood).
There's some clumsiness in the first hour. The scene in Maria's room with the black soldier, interrupted by Hermann's appearance should go quicker. The train scene when Maria meets Karl Oswald falls flat when she insults the GI--I cringed, it was so bad. But as the story develops and the years go by, I was drawn more and more into this glossy, cold world.
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user\nSo one person says, \"This movie is a beautiful, delicate exploration of West German life after World War II.\" And the other says, \"Former Nazis living in bombed out buildings, and the movie is 'beautiful, delicate'?\" And the first sits there nodding, takes another sip of coffee. \"I can't explain. Just see it.\"
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user\nThis film seems to get bad critiscism for some reason. Probably just by the mass populace. Anyhow, this is actually a very interesting movie. The film is an under-budget sci-fi movie which actually works, due to an interesting storyline and well done scenes.
This movie may not be for everyone though. If there are any Sci-Fi fans reading this, I truly recommend this movie if you like good ole science fiction. The film has crazy ideas. The setting includes nations going to war with GIGANTIC machines which the entire countries invest all it's money in! The world has been divied up into territories. Anyone can challenge anyone else to a war, or rather, a 'robot-duel'. The method of warfare is cleaner than nuclear war, since now everyone is wearing those breath masks. Definetly a movie that makes you think. Intelligent, well written, and good effects for the measly budget.
I tend to like movies which have small budgets and actually work.
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user\nI read somewhere (in a fairly panning review) that this is something of a live-action mecha anime, and I think they're on the right lines. I first watched this movie when I was very young and I've been dying to see it again, and when I finally did just recently all the memories came flooding back. I don't think this is to be taken too seriously - it's just a bit of good old 80's almost-a-TV-movie fun (it is set against the backdrop of a fairly dark future, although this point isn't stressed too much). What I admired most about this movie was that the dialogue didn't sound generic - no clichés, no predictable lines - all in all just good fun! Maybe time hasn't been kind to this little movie, but still I can find appreciation for it in me. It's by no means perfect, but it's entertaining and doesn't try to be anything other than that. Let the nerds and comic-store-guys worry about technicalities - who cares? See it for yourself and make your own decision. No-one else's opinion matters.
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user\nRobot Jox tries hard, but is fundamentally a series of fight scenes strung together -- robot against robot, man against man, man against woman. The premise had potential, but it seems the script wasn't really given the couple of more drafts it needed. Still, it was fairly good, for a science fiction action movie. Part of it was because the script was by Joe Haldeman. For those who aren't familiar with the name, Haldeman wrote the award-winning science fiction novel \"The Forever War.\" It's considered one of the very best powered battle armor novels, right up there with Robert Heinlein's \"Starship Troopers\" and John Steakley's \"Armor.\" And this movie is really more like a giant powered battle armor movie, rather than giant robots. It's closer to what fans would have wanted instead of the travesty that was Paul Verhoeven's \"Starship Troopers,\" which bore only a passing resemblance to the novel it was based on.
Despite some assumptions, this really isn't based on Homer's \"Iliad.\" A couple of names are all they had in common. Achilles having his robot's foot blown off had no parallel in the Iliad, which didn't include Achilles' death. Nor was the ancient Achilles a noble warrior. He was the mightiest, but also vengeful and petty. Even the robot jock killed off in the first scene doesn't fit. He was named Hercules, while the Greek Iliad would have had Herakles.
The effects were fairly good for the time and the budget. True, it wasn't comparable to \"Terminator 2\" a year later, but that movie cost ten times as much. The stop motion was almost as good as the robotic walkers in \"The Empire Strikes Back\" and \"Return of the Jedi.\" Better, in fact, than a lot of Ray Harryhausen animation, which is highly regarded, but quite dated.
Don't bring high expectations into this and you probably won't be disappointed. It's better than a lot of other low-budget flicks and even some big-budget blockbuster wannabes that have better effects but far worse scripts.
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user\nIf you like mech war games it's pretty good. Some of it is cheap but the robot fights is worth seeing. I've enjoyed the mech war field for some time and this is pretty much the only movie I've ever seen that come close to that feeling of what it would be like to pilot one of those huge mechs. If you like the genera then games you like are Mech Warrior Three and four and if you have an Xbox and $350 to spare Steel Battalion. The movie is worth seeing at least once. There really needs to be some more movies on the same theme out there. Less remakes and more original works.
Enjoy
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user\nThis movie i've loved since i was young! Its excellent. Although, it may be a bit much for the average movie watcher if one can't interpret certain subtleties in the film (for example, our hero's name is Achilles, and in the final battle between him and Alexander he's shot in the heel with a rocket, just as Achilles in mythology was shot in his heel). That's a just a little fact that is kind of amusing! Anyway, great movie, good story, it'd be neat to see it redone with today's special effects! Oddly enough, Gary Graham had average success, starring in the T.V. show Alien Nation. This movie is a fun watch and should be more appreciated!
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user\nNow I've always been a fan of Full Moon's puppet work. But I have to say that Robot Jox is one of there better projects. Yes, you heard me. The story works wonderful, the atmosphere really works and the actors do a first rate job. Gary Graham who really makes his mark on TV in shows like ALIEN NATION THE SERIES and STAR TREK ENTERPRISE shows that he can be an action star who kicks ass and takes name. The stop motion effects could have been a tiny bit better. The color was wrong, they look plastic to me instead of the metal they were suppose to be. But that is a minor complaint compared to the whole that is the Robot Jox, if you like Gary Graham or other Full Moon movies, then you will like this movie. 9 STARS OUT OF 10.
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user\nI remember this movie from when i was 12, it was amazing.. i remember it to the day not like most thing i watched back then, i have even tried to buy it but its like rocking horse sh*t! Anyway, the acting is a bit chewy but the story is amazing considering it was a real B movie with a low budget and event the fighting scenes were amazing to watch, i must have watched it about 20 times. It was a very well made movie and i loved the idea of fighting giant man controlled robots, pity they had to spoil it by making a crappy spin off \"Crash and Burn\", don't watch that movie by the way it is total pants! If your a real Sci-Fi movie fan then watch this, if it was re-made today it would be a winner.. i really would love to see a remake or even release the DVD of it.
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user\nWhat a great film it is. The notion of nations sending people fighting each other with giant robots is tacky. The ending is not just a fitting one, it's more inspirational.
But I am intrigued by the characters. It is a pity we never see the relationship of Achilles and Athena more developed beyond just a couple of kisses and Athena's fear for Achilles's safety. Their romance is very enjoyable.

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