empathielabs/imdb_v0 huggingface dataset:
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nSince I first saw Anchors Aweigh in 1945, viewing it on videotape holds a lot of nostalgia for me. At age 15, it was easy for me to be drawn into the first of the great MGM Technicolor musicals. Now I am perhaps most interested in thinking about the future careers of the leading players. Though Sinatra had done a couple of negligible films soon after his emergence after his Dorsey days, as a solo singer, this was his first major film appearance. As another viewer noted, this seems almost to be a warm-up for On the Town. Sinatra may have had to work hard at it, but his dance with Kelly is credible, and he would do better in their next pairings. However, observing his physique, it's easy to see why he was caricatured as a string bean. Who would have imagined that within a decade he would win an academy award for acting, and go on to play many roles as a tough detective or leader in combat. Though Gene Kelly's personality and dancing dominated this film, his winsome performance did not suggest that he would become a major creative force, almost the iconic figure, for MGM musicals, where he developed a style of dance complementary to that of Fred Astaire. Finally, it was strange to see the fresh-faced Dean Stockwell and remember that he would later play a \"thrill\" killer in Compulsion, based on the Leopold-Loeb murder from the 1920s. An additional note: One reviewer praised the performance of Betty Garrett as Sinatra's love interest. She later played opposite him in On the Town, but Pamela Britton was featured in this film.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nOverall this is a delightful, light-hearted, romantic, musical comedy. I suppose a small case could be made for the movie being to long. But I'm not sure what you would cut out. The singing that Kelly and Sinatra do? No. The fabulous dancing that Kelly does? No. The time the movie takes to develop the story line and develop the relationships of the characters? No (that seems to be a common complaint many times that more recent movies don't develop the characters).
Some comment that Iturbi didn't bring much to the movie but this gives us a chance to see and hear a great talent from the 1040s. So what if he wasn't an actor? He was an important part of the movie as the basic plot was to get Grayson an audition with him.
Originally Katherine Grayson wanted to be an opera star. Louis B. Mayer brought her to MGM for a screen test that included an aria. During her audition in the movie there is a shot of the MGM brass nodding and smiling. You can just imagine it was like that when she had made her real screen test years before.
This movie is so full of life it is hard to hit all of the highlights. Great use was made of color and lighting throughout the movie. You can see why Frank Sinatra became the star he did. A nice counter-point in the movie is how Sinatra (a ladies man even then) played the role of wanting to just find a date while on leave. You'll feel good after seeing this movie. 7/10
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThis one has a lot going for it - Sinatra, Styne, Cahn, Pamela Britten -and a lesser amount of dross - Iturbi, Grayson - plus a little ho hum - Kelly. It was Sinatra's first real movie where the producer's spent a buck and you could see it on screen (previously he'd appeared in two low-budgeters, Higher And Higher and Step Lively) but if they'd only relied on the Sinatra pipes and deep sixed Grayson's plus Iturbi's ego-tripping piano spots we'd have been left with a much tighter movie and a better showcase for Sinatra. As it is he scores heavily in all his songs from the two duets with Kelly - We Hate To Leave, I Begged Her - to his own solos, What Makes The Sunset, The Charm Of You and I Fall In Love Too Easily. Despite this Step Lively remains the best Sinatra musical of the forties on one tenth the budget.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nJoseph Brady and Clarence Doolittle are two sailors, who have a four-day shore leave in Hollywood.Joe knows everything about girls and can't wait to see Lola, while Clarence is shyer and needs some advice from his buddy on how to meet girls.They then run into a little boy, Donald Martin, who has ran away in order to join the navy.They take him home and meet his beautiful aunt Susan, who wants to be a singer.Clarence wants Susie to be his girl, but his shyness gets in the way.But he doesn't feel shy with a waitress, who comes from Brooklyn, like he does.Soon Joe notices he's in love with Susie.The boys are in a fix when they lie to Susie on meeting with a big time music producer they don't even know.As they are in a fix with their feelings.George Sidney's Anchors Aweigh (1945) is a great musical comedy.Gene Kelly is top-notch, once again, in his singing and dancing routines.Frank Sinatra is terrific as the shy guy from Brooklyn.Shy isn't the first thing that comes to mind when you think of Frank Sinatra, but he plays his part well.Kathryn Grayson is fantastic as Susan Abbott.We sadly lost this gifted actress and operatic soprano singer last month at the age of 88.The 9-year old Dean Stockwell does amazing job as the little fellow wanting to become a sailor.Jose Iturbi does great job performing himself.It's magic what he does with the piano.Edgar Kennedy plays Chief of police station.Sara Berner is the voice of Jerry Mouse.There's a lot of great stuff in this movie and some fantastic singing and dancing numbers.Just look at Kelly and Sinatra performing \"We Hate to Leave\".It's so energetic.\"If You Knew Susie (Like I Know Susie)\" is quite funny.It's a nice moment when Frank sings Brahms' Lullaby to little Dean Stockwell.It's lovely to listen to Grayson singing the tango \"Jealousy\" .The most memorable sequence is the one that takes into the animated fantasy world, and there Gene sings and dances with Jerry Mouse.Also Tom Cat is seen there as the butler.They originally asked Mickey Mouse but he refused.The movie was nominated for five Oscars but Georgie Stoll got one for Original Music Score.Anchors Aweigh is some high class entertainment.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThe United States was still fighting World War II (the movie was released in between VE day and VJ day). Any studio worth its salt was either making fighting movies where fearless American soldiers beat the enemy, or Americans in general were singing and dancing. Technicolor Musicals were what America thrived on in the depressing days when everything was rationed. Most musicals of the day were simply a bunch of musical numbers strung together with the best available plot slipped in to fill time til the next musical number! I get the feeling now that the people reviewing this movie were all born after 1970. Depressing how quickly we forget.
This film could've been called \"The Search for Jose Iturbi\" but now everyone wonders why. Allow me to explain. From 1929--his arrival in America--until his death in 1980, Iturbi was one of the finest pianists to grace a concert stage. He agreed to do a few movies in 1942, but Hollywood had been after him for nearly a decade at that time. Not only an excellent pianist, but a successful conductor as well, Iturbi was very much a household word for more than 40 years.
The scene where Iturbi and 17 other pianists play one of Liszt's Rhapsodies was planned early on--and hasn't anyone ever noticed the other pianists were all children? Joe Pasternak, who produced that movie & many other MGM musicals, credited Iturbi with interesting America's youth in classical music. Grayson's wanting an audition with Iturbi in the movie was not unlike real life at the time. Everyone wanted Iturbi back then. The joke among soldiers was that \"GI\" meant \"Get Iturbi\" (he did a lot of concerts at military bases).
Gene Kelly was a great dancer and Frank Sinatra an excellent singer, but at the time this movie was made Sinatra was barely 30 and had only been under contract to Columbia Records for four years. Kelly was already well-known as a dancer, but Iturbi had by then been a world-wide sensation for 20+ years.
And as to the lack of a plot, Americans didn't need plot. They were tired of war, they were sick with fear for their loved ones, and worried about the future. They needed happiness and hope and the assurance that things would work out fine in the end. They needed music and smiles and joy and romance. This movie and others like it delivered just what was needed.
Enough lecturing. Mouse dancing aside, the best scene in the movie occurs between Sinatra and Iturbi with each of them \"ignorantly\" complimenting the other's music.
If you have any interest in Jose Iturbi, the Spaniard who conquered more of America than De Soto, Cortez, and De Leon put together, please drop by my website, www.joseiturbi.com, where you can find a plot summary, excerpts from movie reviews \"of the day\" and pictures from this and certain other MGM musicals of the 1940's, as well as a biography and discography of Iturbi.
Trout
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nRight from the start you see that \"Anchors Aweigh\" is a great comedy. Gene Kelly and Frank Sinatra make such a funny team! The songs they sing together are pure entertainment. Kathryn Grayson is gorgeous and really sweet. Dean Stockwell is the cutiest child actor I've never seen. If you are fond of piano, you'll be amazed by José Iturbi. This movie was the first one to combine animation with real actors and it did that wonderfully in an unforgettable dance number. Undoubtedly one of Kelly's funniest movies.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nGene Kelly, Frank Sinatra, Kathryn Grayson, and Jose Iturbi star in \"Anchors Aweigh,\" directed by George Sidney.
Kelly and Sinatra are Joe and Clarence, two navy guys on leave in Hollywood. They meet a little boy (Dean Stockwell) and on taking him home, they meet his aunt (Grayson). Clarence falls for her. She wants an audition for Jose Iturbi. They try to help, but there's a mix-up.
This is a very energetic musical with great dancing and singing by Kelly and Sinatra. Kelly gets to dance with Jerry the Mouse in a delightful sequence. Grayson sings Jalousie and My Heart Sings. Not one of my favorite voices, but she does well. Iturbi's piano work is beautiful.
Sinatra gets to show his versatility and why the girls swooned over him, with those big blue eyes and boyish face. For Kelly, this was a major break for him at MGM.
Wonderful movie, very buoyant.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nSimilar to \"On the Town,\" this musical about sailors on shore leave falls short of the later classic in terms of pacing and the quality of the songs, but it has its own charms. Kelly has three fabulous dance routines: one with Jerry the cartoon mouse of \"Tom and Jerry\" fame, one with a little girl, and a fantasy sequence where he is a Spanish lover determined to reach his lady on a high balcony. Sinatra, playing Kelly's shy, inexperienced buddy, and Grayson, the woman who serves as the love interest for both men, do most of the singing. Iturbi provides some fine piano playing. At nearly two and half hours, it is a bit too long for a light musical but it doesn't drag.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nUsually musicals in the 1940's were of a set formula - and if you studied films you know what I'm talking about - a certain running lenghth, very \"showy\" performances that were great on the surface but never got into the real personalities of the characters etc.
THIS ONE IS DIFFERENT - and light years better and well worth it's nomination for best picture of the year - 1945 (although had no chance of beating the eventual winner - Lost Weekend).
Gene Kelly was probably in the best form of his career - yes I know about \"American in Paris\" and \"Singing in the Rain\". This one is different. He really gets into his character of a \"sea wolf\" thinking (at first) that \"picking up any girl while on leave\" is nothing more than a lark. And if you had to make up a \"story\" to get her - so be it - until. Sort of like the Music Man when he gets \"his foot caught in the door\". The eventual hilarity of the film stems mostly from his and his new pal (Sinatra)'s attempt to make the \"story\" good in order to \"get the girl\" that he REALLY and unexpectedly falls in love with. You are going to have to see the movie to see what I mean.
Besides that there are so many other elements of great film in this one, it's a classic buddy story, nostalgia to a time when WWII was almost over (the war ended about a month after the films release), a realization that a guy that always laughed at life can find out that he really is a great human being, great songs and probably a few other elements of classic film making that I can't think of right now.
Why not a 10? Near the end - at nearly 2 1/2 hours starts to feel a bit long. There is a small ballet number that Gene Kelly does that must have been a sensation in 1945 but seems dated and feels like it just adds minutes now. But overall, this ones a definite winner on every level.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nTwo sailors are on leave--ladies man Joseph Brady (Gene Kelly) and shy innocent Clarence Doolittle (Frank Sinatra). They meet beautiful Susan Abbott (Kathryn Grayson) and both fall in love with her. There's more but you've probably guessed it.
The story (even for a 1940s musical) is ridiculous and everything is so nice and wholesome--gets annoying pretty quick. Also this movie is far too long. It's 140 minutes and that's way too much for such a silly story. There are also some boring numbers by Jose Iturbi and his orchestra. Still this is worth catching.
When Kelly is dancing or Sinatra or Grayson are singing this becomes magical. None of the songs are particularly memorable but Sinatra had such a beautiful voice you won't care. It's shot in rich Technicolor with all the gloss MGM had. The acting is OK--Kelly is fine (although seeing him as a ladies man is pushing it) and Sinatra is just great (although seeing HIM as a shy guy was pushing it too!). Grayson is given nothing to do but she's incredibly beautiful to look at. Some shots of her literally took my breath away! There are plenty of highlights here: Sinatra and Kelly's big dancing and singing number; Sinatra singing anything; Grayson's two songs and the justly famous animated sequence in which Kelly dances with Jerry--an animated mouse! Tom does a funny cameo too. Also there's little Dean Stockwell who steals every scene he's in.
So it's too long and the plot just doesn't hold up but it's still worth catching. This was a huge hit in its day.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nAbsolutely enjoyable singing and dancing movie starring Frank Sinatra and gen Kelly, as well as Kathryn Grayson.
The film won and Oscar for George E. Stoll's score, and it garnered nominations for Best Picture, Best Actor for Kelly, and Best Cinematography, as well as a Best Son nomination for \"I Fall in Love Too Easily\" sung by Sinatra.
It was a cute story about Kelly helping his pal Sinatra get a girl and falling in love with her himself. The lovely Grayson (The Toast of New Orleans) dazzled us with her singing, and we had a lot of great songs and dance routines by Kelly and Sinatra, as well as the artistry of pianist-conductor José Iturbi.
A classic Hollywood music from an era gone by.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nANCHORS AWEIGH is an entertaining MGM musical that fans of the genre will enjoy but I wouldn't rate it up there with classics like SINGIN IN THE RAIN or THE BAND WAGON. This was the first of three musicals that Gene Kelly and Frank Sinatra appeared in together. Kelly and Sinatra play Joe Brady and Clarence Doolittle, two sailors on leave in Hollywood who befriend a young boy (Dean Stockwell)who introduces them to his attractive young aunt (Kathryn Grayson) a struggling actress who is working as an extra at MGM. Though both guys are initially attracted to Grayson, she eventually voices a preference to Joe but Clarence later hooks up with a waitress (Pamela Britton)who, he learns is from his hometown of Brooklyn. The paper-thin plot leaves room for several great musical numbers including \"We Hate to Leave\", Joe and Clarence's lament to their fellow sailors as they're leaving the ship; Grayson's torrid rendition of \"Jalousie\"; Sinatra's dreamy rendition of \"I Fall in Love Too Easily\" (a number which is sadly deleted from some prints of this film), and \"The Worry Song\", a fantasy dance that Kelly does with animated Jerry the Mouse from Tom and Jerry fame. Kelly also does a sort of Kissing Bandit fantasy ballet which rivals his Pirate's Ballet in the later THE PIRATE. Kelly is in peak form here, in a robust and energetic performance that earned him his only Oscar nomination for Best Actor and Sinatra's endearingly shy character here is undeniably sexy. An entertaining diversion for fans of the MGM musical factory.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nIncredibly ARTISTIC NOBODY COULD MAKE THEM NOW I THINK.It seem to be perfect the biggest and the greatest musical ever made listen to the beautiful songs the are quite poetry.I'M Italian AND ADMIRED BY American MUSICAL. why can't you do something like that now?American were the best and for that i absolutely show my devotion to you with this movie.there are words to describes the perfection of this movie. all of a sudden my heart sings, what makes the sunset? i fall in love to easily,jealousy...and the scene with Tom and Jerry. the greatest without reserve. if you you doesn't know your eyes are not open my friends you must see it and appreciate...wake up!
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nA recent viewing of THAT'S ENTERTAINMENT has given me the urge to watch many of the classic MGM musicals from the forties and fifties. ANCHORS AWEIGH is certainly a lesser film than ON THE TOWN. The songs aren't as good, nor is the chemistry between the characters. But the film beautifully interweaves classical favorites, such as Tchaikovsky. And the scene at the Hollywood Bowl, with Sinatra and Kelly emerging from the woods above it at the top, and then running down the steps, while dozens of pianists play on the piano, is the best scene in the film, even though the scene in which Kelly dances with Jerry Mouse is more famous. Classical music enthusiasts will no doubt identify the music the pianists are playing. Sinatra then croons, \"I Fall in Love Too Easily,\" before having his epiphany about whom he loves. The color is beautiful, Hollywood looks pretty with its mountains and pollution-free air (Can you imagine Hollywood in the twenties, let alone the mid-1940s?!), and the piano music is absolutely glorious. MGM certainly had a flair for creating lyrical moments like these.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nOne of the first of the best musicals, Anchors Aweigh features several memorable musical sequences, such as Kelly dancing with Jerry the mouse, Kelly dancing with 7-year-old Sharon McManus, Sinatra singing with Jose Iturbi playing piano, Kathryn Grayson singing with Iturbi conducting, and much more. The Technicolor is perfect, with some innovative camera work such as seeing a piano played from beneath, through transparent keys, and Grayson singing, seen through the finder of another camera. The plot is thin, but you get involved from Kelly's & Sinatra's enthusiasm. Sailor's on leave, they have to take home a runaway boy (Dean Stockwell) and Sinatra falls for his aunt. To set him up with the aunt (Grayson), Kelly suggests that Sinatra can get her an audition with Jose Iturbi. But Sinatra's young and naive in this one, and in his own sung words falls in love too fast. While they're trying to contact Iturbi, who's never available, he starts to fall for another girl (Barbara Britton); but Kelly's now falling love with Grayson. Anchors Aweigh is most often remembered for the combination live-action / cartoon sequence with Tom and Jerry, but there's a lot more here that's worth a look. I'm giving it nine stars because, while it's not quite as good as the best musicals - Singin' In The Rain, The Music Man, Oklahoma - it is one of the first of their class of Technicolor big productions (perhaps Meet Me In St. Louis was the first), and better than most others.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nI really liked this movie. I have seen several Gene Kelly flicks and this is one of his best. I would actually put it above his more famous American in Paris. Sometimes it seems the story gets lost in Gene Kelly movies to the wonderful dance and song numbers, but not in this movie. It is definitely worth renting.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nAh, a Kelly/Sinatra sailor-suit musical. So familiar, right? Yes, but this isn't the one you usually hear about. On The Town's that-a-way. But if you stick around, you might learn something. Okay, probably not. Anyway, Anchors Aweigh tells the story of two sailors on a three- or four-day leave. Joe is the \"Sea Wolf\" and Clarence, the bookish type, begs Joe to get him a \"dame\". Now, after they're picked up by the coppers they get little Donald home. That's where they meet Susie, that temptress, that jezebel. Just kidding! Clarence falls in love with her. At least he thinks he does. Is he right? Or is he a moron? Or is he just misguided by society? Find out all this and more when you watch {trumpet fanfare} ANCHORS AWEIGH!
P.S. If you want to see Kathryn Grayson be anything but sickeningly sweet, try Kiss Me Kate (1953).
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nFor such films like `Anchors Aweigh', few have been bestowed with as many Academy Award accolades in a warm up for happy hour. Either 1945 was a beleaguered year for good film or they were still suffering advance shock by Billy Wilder's `The Lost Weekend' that they wrote anything starting with A on the ballot for best picture to please the still musical picture faithful public. Since Gene Kelly was nominated for this performance instead of his role in `Singin' in the Rain', then there had to be something wrong with the behind the scenes rigging systems at MGM. Of course, the studio is on its best behaviour during this much lauded tour of the great studios and of Hollywood itself, handy for those stuck on the other side of the world.
Yet a sailor suit musical with the brilliant talents of Gene and Frank Sinatra is certainly an enjoyable farce, despite the need for more people to yawn at the previews for the musical so today's audiences wouldn't be slapped with an unnecessary runtime. There have been many longer pieces before and since, but in this case all of the charming Kathryn Grayson's scenes could have been eliminated. Until the viewing of `Kiss Me Kate' it may have been necessary non-opera enthusiasts to watch any of her films with remote control in hand.
If there was a need to practice picking up women for 1949's `On the Town', then perhaps the shore leave lucky sailors did not have to promise an audition with Jose Iturbi and strike up the piano for a whole hearted `Susie' rendition. Few are lucky to get a screen test at the golden studios of MGM. Then few are even luckier to be attended to. There are no regrets to be had about the successful screen tests of Susan Abbot or Kathryn Grayson, but it makes the continual non-opera enthusiast hope for the eventual pink slip to be handed out to both.
But for all, the star talents are good shape and an above average score thrown in with a slight, but fun great navy story intertwined with young ambitious navy boys good for late bursts of wartime morale, makes `Anchors' at least doesn't question picking the wrong MGM film. The direction holds up as the cast carries the story in lovely colour cinematography. Whenever anyone bursts into music or song, the film makes for a joyous occasion.
The natural highlight of the film is Gene Kelly's cartoon adventures in a fantasyland, climaxing in a brilliant dance with Jerry the mouse. This is a well-deserved masterpiece number of Kelly's career, and it's nice to know he thought of it before Fred Astaire started taking to dancing on walls and ceilings.
It's not exactly sitting down to a triple flavour, rainbow sprinkled, chocolate wafer, cream and cherry and banana split sundae, but it is a square solid lump of sugar that somehow eventually melts in your mouth and despite the guilt, is still a pleasant feeling.
Rating: 7/10
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThis has some excellent spots but the length of the film can not sustain the wafer thin plot. It is another sailors on leave film, zippier than Astaire's 'Follow the Fleet' but not as good as 'On The Town'.
Kathryn Grayson is bland but Kelly and Sinatra work well together. Their 'If you Knew Susie' number is hilarious as they make up the song as they sing it. 'I Begged Her' is also fun with Sinatra showing how adept he was at hoofing. Sinatra's solo songs are dull and seem to be inserted to show off his singing rather than as part of the story. Fortunately there are accomplished supporting actors like Grady Sutton, Rags Ragland, Carlos Ramirez and Pamela Britton and an unlikely but impertubable Jose Iturbi as himself, to keep one watching.
Kelly is the star of the film, although third billed and it is interesting to see him interact with children, which Astaire never did. Dean Stockwell plays a child who wants to be in the navy and latches on to the Kelly character. He also visit a school resulting in him telling the children a fictitious story of his life in the Pomeranian (!)navy which leads to his wonderful dance with an animated Jerry Mouse. In another scene he dances a charming Mexican Hat Dance with a sublimely grave faced little girl, Sharon McManus, that is entrancing and sweet.
Very pleasant then but a bit too long. A taster of better musicals to come.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nYes, this is one of the great musical movies I grew up with with such great entertainers as Frank Sinatra and Gene Kelly, not to mention the petite and glorious voice of Kathryn Grayson. The music and dancing is superb. I understand Frank took lessons from Kelly; and there is Kelly dancing with Jerry Mouse, which is quite unique for the time. Betty Garrett plays the waitress who falls in love with Sinatra. She is one of Hollywood's great underrated stars. I saw this again on A&E TV and as well have it in my old VCR tapes. Never get tired of these old musicals. Whatever happened to Hollywood??
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nLots of singing and dancing in this one, especially by Gene Kelly. Two sailors go on liberty to see if they can find love and romance. They meet up with a woman who is trying to break into show business. Musical lovers only.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThough I liked On the Town better I really liked it. I'm a new comer when it comes to Frank Sinatra and Gene Kelly. Though I had heard of them I had never seen anything with them in it until recently. The first one I saw was Singin in the Rain that made me a fan of Gene's. I think that is better too. But I thought that this movie was good and like all movies there are some parts that are better than others but in my book it's an awesome movie and I love it. Frank and Gene make a good team. I have yet to see them together in Take me out to the Ballgame. But I'm sticking to my guns bu saying that I really enjoyed it, and that I love it!
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nVirgil Manoven is an old man who lives alone in his remote rural farmhouse.Chasing his beloved cat one morning into the woods around his property,Manoven glimpses what looks like the murder of a young child in the middle of the woods.He reports the crime to the police but there's no body to be found.Troubled by disturbing visions,he investigates further and eventually is guided to a spooky orphanage where events take a supernatural turn\"Soft for Digging\" is a fantastic experimental horror with lots of creepy atmosphere to spare.This minimalist film is almost completely devoid of dialogue.Some scenes are genuinely nightmarish and the acting is excellent.The location sets provide plenty of creepiness:the eerie Maryland woods rival those used in \"The Blair Witch Projcect\".Give this strange horror film a chance.9 out of 10.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nI really think I should make my case and have every(horror and or cult)movie-buff go and see this movie...
I did!
It-is-excellent: Very atmospheric and unsettling and scary...
Incridible how they could make such a gem of a film with the very low(read-\"no\"!)-budget they had....
Synopsis taken from website: \"One morning, an old man wanders out into the woods in search of his runaway cat. He finds instead a child without parents and a murder with no corpse...\"
On this website(IMDb) there is no trailer, but I will leave a link here to the site of the movie itself where there IS a trailer which is quite unsettling so please go and check it out...
www.softfordigging.com
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nDon't be swayed by the naysayers. This is a wonderfully spooky film. This was a thesis project for the writer/director , JT Petty. He did a great job of having me on the edge of my seat. I never really knew what to expect, and for a jaded horror-movie goer, this is Nirvana! The film concerns an elderly man who lives in a isolated log cabin in the woods. One day, while searching for his cat in the woods, he witnesses the murder of a child, or does he? He agonizes about this the rest of the film. What is most unusual about this film is that here is no dialogue until the last few scenes. I found this to be intriguing. The writer manages to get hold of your senses and gives them a relentless tug. Give this film a go, you won't be disappointed.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThe premise of the story is simple: An old man living alone in the woods accidentally stumble upon a murder of a small child, and tries to convince the police that the murder has occurred. Though very little dialog is provided throughout the film, the visual narrative told by the camera's eye alone made the film quite engaging. The setting of the gray woods conveys a feeling of loneliness, which complements the quietness of the characters themselves. We can also sense helplessness in the old man's inability to convince the police of the murder, which parallels the silenced child's inability to tell her own story.
True horror lies in feelings of hopelessness, helplessness, and irrationality. This film successfully addresses these elements by visuals alone, rather than relying on cheap sound effects or blood and gore that other bad horror films use when the narrative is weak.
Cleverly, the story unfolds at a slow pace to build up tension for a few creepy and startling moments. The ending is also unexpected and believable. Reminiscent of Japanese horror films, such as \"The Ring,\" and \"Dark Water,\" or English horror films, such as \"Lady in Black,\" and \"The Innocents,\" this film provides viewers the experience of true atmosphere horror. I recommend anyone who enjoys a good chilling to the bone scare to give this film a try.
By the way, if you haven't seen the films I just mentioned above, you might want to give them a try as well.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nAn old man who lives in the mountains wakes up one morning and loses his cat. He wanders the woods to witness a murder but did he see the murder or is he losing his mind? Is he just getting old? The movie so great because the viewer has to make up their own mind on what is going on. There is very little dialog in this movie but it doesn't need words, the whole movie speaks for itself. You knew what was going on and I liked it.
The other part that I liked were the shots of the woods in late fall and winter. Those were pretty but the only thing I didn't like was the view of the old man in his underwear. He could have tied the robe a little tighter but other than that, it was a pretty deep movie.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThis is an excellent film and one should not be put off by its strangeness. There is genuine skill in manufacture of this work. It manages to be intrigiung, funny and frightening at various times. Work with it for the first few minutes and you won't be disappointed
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nSaw this film yesterday for the first time and thoroughly enjoyed it. I'm a student of screen writing and I loved the way the minor characters intervened just when something pivotal/climatic happened in a scene.
I thought the dialogue was very sharp and the premise of story is rather shocking - at one particular point Barbara Stanwyck is openly flirting with her daughter's boyfriend; AND rekindling some passion in her husband whom she hasn't seen in ten years; AND with the gunshot signal 'two shots and then one' she hooks up with her old shag mate Dutch (the reason she left town in the first place!) ALL AT THE SAME TIME! The moral majority must have been totally incensed when they saw this flick back in the 50's.
Love the costumes and cinematography and the straight from the hip dialogue - just to watch Barbara Stanwyck and Co doing the 'Bunny Hug' is good enough reason to rent this film on DVD.
One of the best films from that period I've seen in a long time.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nBarbara Stanwyck gives this early Douglas Sirk-directed, Universal-produced soap just the kick that it needs. Not nearly as memorable as Sirk's later melodramas, it's easy to see by watching \"All I Desire\" where Sirk would be heading artistically in the next few years. Stanwyck is a showgirl who returns to her family in smalltown, U.S.A, after deserting them a decade earlier. Her family and community have mixed emotions in dealing with her shocking return. Some of the cinematography is amazing, and Stanwyck is tough-as-nails and really gives this film a shot of energy. Overall, a fairly good show.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nYes, I call this a perfect movie. Not one boring second, a fantastic cast of mostly little known actresses and actors, a great array of characters who are all well defined and who all have understandable motives I could sympathize with, perfect lighting, crisp black and white photography, a fitting soundtrack, an intelligent and harmonious set design and a story that is engaging and works. It's one of those prime quality pictures on which all the pride of Hollywood should rest, the mark everyone should endeavor to reach.
Barbara Stanwyck is simply stunning. There was nothing this actress couldn't do, and she always went easy on the melodramatic side. No hysterical outbursts with this lady - I always thought she was a better actress than screen goddesses like Bette Davis or Joan Crawford, and this movie confirmed my opinion. Always as tough as nails and at the same time conveying true sentiments. It is fair to add that she also got many good parts during her long career, and this one is by far the least interesting.
The title fits this movie very well. It is about desires, human desires I think everyone can understand. Actually, no one seems to be scheming in this movie, all characters act on impulse, everybody wants to be happy without hurting anybody else. The sad fact that this more often than not leads to complications makes for the dramatic content into which I will not go here.
I liked what this movie has to say about youth, about maturing and about the necessity to compromise. The movie I associate most with this one is Alfred Hitchcock's Shadow of a Doubt, it creates a similar atmosphere of idealized and at the same time caricatured Small Town America. The story has a certain similarity with Fritz Lang's considerably harsher movie Clash by Night, made one year earlier, where Stanywck stars in a similar part. I can also recommend it.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThis early Sirk melodrama, shot in black and white, is a minor film, yet showcases the flair of the German director in enhancing tired story lines into something resembling art. Set in the 1910's, Barbara Stanwyck is the woman who has sinned by abandoning her small-town husband and family for the lure of the Chicago stage. She never fulfilled her ambitions, and is drawn back to the town she left by an eager letter from her daughter informing her that she too has taken a liking to the theatre (a high school production, that is). Back in her old town she once again comes up against small-mindedness, and has to deal with her hostile eldest daughter, bewildered (and boring) husband (Richard Carlson) and ex-lover. The plot is nothing new but Sirk sets himself apart by creating meaningful compositions, with every frame carefully shot, and he is aided immeasurably by having Stanwyck as his leading lady. It runs a crisp 76 minutes, and that's just as well, because the material doesn't really have the legs to go any further.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nMost italian horror lovers seem to hate this movie since because it has no connection to the first two Demons films. And with the \"Demons III\" in the title, one would assume it would. The problem is that this film was never intended to be part of the Demons series. The distributors only a \"Demons III\" above its original title \"The Ogre\" to cash in on the other films popularity. The new American DVD release of this picture has the title \"Demons III: The Ogre\" on the box art but the film itself only says \"The Ogre\". I don't know if past releases had the title \"Demons III\" on the actual film itself, but this new release just seems to be a little white lie. If you can get past the \"Demons III\" in the title, you might some enjoyment in \"The Ogre\". It starts out with a creep intro, and stays pretty creep throughout. There's no gore and the film movies slowly, but I still dug it. Just don't expect it to be like the other Demons films. I give \"The Ogre\" 7 out of 10. Italian fans should try it out.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThe Ogre is a film made for TV in Italy and wasn't intended to be a sequel to Demons as Lamberto Bava even mentions it on the interview on the Sheirk Show DVD, but it was called Demons III to be part of the Demons series. The music in Demons and Demons 2 was 80's rock music while this is more creepy music and while the first two was gory horror Demons III: The Ogre is a architectural horror so that's how Demons III isn't a proper sequel to Demons but I still like this film.
The music is creepy and that adds a tone to the castle that the film is set in, The Ogre is another thing why I like the film. There are two other films that are classed as Demons III and that is Black Demons (Demoni 3) and The Church (Demons 3). Demons III: The Ogre is a good film as long as you don't compare it with Demons and Demons 2.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nAlright, before we review, I have to ask: why isn't this listed individually? It may have been merely a TV item in Italy, but to international Lamberto Bava fans this is its own FILM. In America this film is distributed on VHS and DVD as either \"The Ogre\" or \"Demons 3\". Yes, I know it has nothing to do with \"Demons\" apart from one cast member and the crew. But yes, I personally was upset that this was so hard to find on this site which is otherwise so useful.
Finally, let's review \"The Ogre\". I've seen the trailer for this many times on YouTube and honestly found that rather scary. The movie itself (it is feature length, therefore making it a movie) has many many strong parts and does manage to scare. I was displeased by the last act, but on the whole I don't regret having bought the DVD before seeing it (available from Shriek Show). I guess the film's TV origins explain the last act. I won't give out any spoilers.
The plot is somewhat familiar: an American horror writer vacationing at an ancient spooky castle with husband and son only to find it exactly resembles the setting of her childhood nightmares. There are faint echoes of \"The Shining\", but this is a different brand of supernatural horror. The woman (Virginia Bryant) finds more and more proof that this is the real life place of her nightmares, but her husband won't believe her. Great atmosphere and terror follow.
The multiple nightmare sequences were pretty freaky. The Ogre cocoon effect was good, it reminded me a bit of Uncle Frank's resurrection from the first \"Hellraiser\". There's also a few good shocks and a well done underwater scene. I give them props that the film never stooped to imitating American films with similar concepts, namely \"A Nightmare on Elm Street\". \"The Ogre\" is an original. And the monster itself was a scary one, when it was presented correctly.
On the Shriek Show DVD there is a Lamberto Bava interview in which he is careful to mention that this is not part of his classic \"Demons\" series. He also gives a lot of credit to the real castle in which the movie was filmed. Indeed, this setting contributes a lot to the film. The Simon Boswell music helps too.
There's lots of good stuff here. \"The Ogre\" is not perfect, but it is very much worth seeing. Take it is a lesser Lamberto Bava achievement.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nThe Ogre doesn't seem to have won itself a very good reputation since its release in 1988, and I guess a reason for that may be down to the fact that it was given the subtitle 'Demons 3' in order to help it sell better. Well, the film is directed by Lamberto Bava; the man behind the first two Demons films, and ogres and demons are somewhat alike (in that they're both 'monsters' anyway)...but other than that, this film has no connections to the other two films. It is, however, rather good! Italian filmmakers are famous for ripping off popular films, and while it's not completely obvious; it seems to me that this one has taken a fair bit of influence from Hellraiser. The plot focuses on a female horror writer who moves with her husband and son to a castle in Italy. She is haunted by memories from when she was a child and found an Ogre living in her basement. It's not long after moving into the castle before these visions return...and it may be more than just a coincidence as she comes to believe there's a murderous ogre living in the basement.
The film was obviously shot on a budget and it was made for Italian TV, so it would be unrealistic to expect something brilliant; but for what it is, this is certainly a very decent horror film. Lamberto Bava may not have as keen an eye as his father Mario did; but he takes time in building up a foreboding atmosphere that really compliments the film well. The central setting, a large castle, makes the perfect place for a story like this to take place in and Lamberto makes the best of it; even if it does involve ripping off superior films at times; such as the Inferno-style pool scene. The plot itself is not quite as good as the atmosphere as several scenes are drawn out far too long and the relationship between the characters is rather strange (particularly between the husband and wife). There's not a great deal of bloodshed, but Bava does get to do a little bit with the special effects. The ogre itself looks really silly and it's a good job that we don't get to see it very often. We do boil down to a fitting, if highly predictable, ending and overall I have to say that this film is much better than expected and comes recommended.
\n
assistant\n1
\n"
"
system\nclassify the user's feedback by responding with only a single number: 1 for positive or 0 for negative
\n
user\nBest-selling horror novelist Cheryl (a solid and sympathetic performance by the lovely Virginia Bryant), her husband Tom (the likable Paolo Serra), and their son Bobby (nicely played by Patrizio Vinci) go to a remote castle located in the countryside for summer vacation. Local legend claims that the area is cursed. Cheryl discovers a creepy, hairy, nasty ogre (hulking David Flosi in a strikingly hideous costume) living in the basement. Cheryl has to surmount her deep-seated childhood fear of the beast so she can defeat the foul find. Director/co-writer Lamberto Bava does an expert job of creating and sustaining an eerie and unnerving nightmarish mood. Moreover, Bava eschews the standard blood'n'guts fright flick routine in favor of crafting a compelling and provocative dark adult fairytale-like fable on how the best way to overcome that which frightens us is to face said source head on. Sturdy supporting turns by Sabrina Ferilli as friendly school teacher Anna, Stefania Montorsi as hottie babysitter Maria, and Alex Serra as batty painter Dario. Gianfranco Transunto's glossy cinematography boasts a few fluid tracking shots and plenty of great atmospheric lighting. Fabrizio Sforza's gnarly make-up f/x, Simon Boswell's splendidly spirited spooky'n'shuddery score, and the dank, dark, cobweb-covered cellar set all hit the skin-crawling spot. Well worth watching.
\n
assistant\n1
\n"