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user\nMy title above says it all. Let me make it clearer. If you have seen the BBC's \"Planet Earth\" , which I am sure most of you have , then you are not gonna like this movie too much. And I own all the discs of \"Planet Earth\" I had seen the rating for this movie very high , and read good reviews about it. I was excited to check it out.
Alas, I went to the theater and the movie started , I saw it was a Disney movie with production companies listing BBC and Discovery. And when they started the first scenes about the polar bear, I recognized them from my DVDs at home of \"Planet Earth\".
The movie continued and went on and on and on , me and my friends kept on recognizing the scenes were all from \"Planet Earth\".
We were very very disappointed , as I think 90% of the footage is from \"Planet Earth\" . I am saying 90% , because some of the scenes I didn't recognize. I have a feeling that I simply didn't remember them.
So finally what this movie really is , is a compilation of different footages from the different discs of \"Planet Earth\" , with a narration aimed at kids. Yes, the narration is quite kiddish. Let me give you an example. When they show the polar cubs walking away from the mother cub , the narrator says \"The polar cubs are not like human kids. They don't always listen to their mothers\" ( I don't remember the exact words , but this is how it is ) So in a nutshell. This is condensed \"Planet Earth\" for kids !
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user\nFor those who'd like to see this movie? I'd say: go! Without the narration it might be a very good movie/documentary. But the music, the narration and some of the implemented story lines make it very hard to watch for a sceptic person like me. Following several animals, their life in several seasons one gets the feeling that it is an animal soap we're watching. But the melodramatic point of view just doesn't cut it for me, moreover if a predator finally catches up on a prey (one exception left there) the camera zooms out or skips to another scene. I ask myself why that happens, if they were to show reality, why cut the scenes that a melodramatic fairytale remains? I think the moral is important for the mass of the crowd, cause after all: it would be a waste to destroy this beautiful planet.
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user\nThe Invisible Man is a fantastic movie from 1933, a cutting edge film for it's time where objects appeared to rest on top of a man who was truly invisible. Go ahead, take a look at the film, you will be shocked that it was made in 1933, it was the first true special effects movie. Come 2000, computer aided special effects seem like child's play, audiences are not blown away by special effects, instead they are disappointed if they are not done right. The special effects in Hollow Man, the update of the HG Wells story, are OK, but not the biggest problem with this film directed by Paul Verhoeven, who you might remember from Showgirls and Total Recall. Kevin Bacon plays Sebastian Caine, a scientist dabbling in the world of bio-invisibilation (yeah, I know that's not a word) but of course is battling higher ups who are threatening to take away the team's funding. So, as movie characters who are about to have their funding cutoff are prone to do, he makes the ultimate sacrifice and becomes a guinea pig for the invisibilation (yeah, I know, I used that non-word again) process. The process has dire consequences, no Caine does not die, but instead becomes a horny, violent creature, aka a guy. Now that he's invisible, Caine stalks a sexy neighbor, a co-worker, former girlfriend Linda (Elisabeth Shue), and the man who took away his funding. Then a funny thing happens, Caine becomes a new supernatural being, \"The Thing That Won't Die.\" Laughing in the face of all things natural, Caine faces down death and spits in it's face, as it take what feels like hours for this creature to die, dragging the ending of the movie out. The movie is silly, stupid, and finally laughable with the way realism is sometimes used, sometimes not. There are neat possibilities in Hollow Man, but of course, not one of them is explored. For a more interesting look at an invisible being, get ready for some good old-fashioned black and white cinema, and check out the 1933 Invisible Man. Kevin Bacon will still be invisible when you come back, probably still alive at the bottom of a volcano.
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user\nOne could wish that an idea as good as the \"invisible man\" would work better and be more carefully handled in the age of fantastic special effects, but this is not the case. The story, the characters and, finally the entire last 20 minutes of the film are about as fresh as a mad-scientist flick from the early 50's. There are some great moments, mostly due to the amazing special effects and to the very idea of an invisible man stalking the streets. But alas, soon we're back in the cramped confinement of the underground lab, which means that the rest of the film is not only predictable, but schematic.
There has been a great many remakes of old films or TV shows over the past 10 years, and some of them have their charms. But it's becoming clearer and clearer for each film that the idea of putting ol' classics under the noses of eager madmen like Verhoeven (who does have his moments) is a very bad one. It is obvious that the money is the key issue here: the time and energy put into the script is nowhere near enough, and as a result, \"Hollow Man\" is seriously undermined with clichés, sappy characters, predictability and lack of any depth whatsoever.
However, the one thing that actually impressed me, beside the special effects, was the swearing. When making this kind of film, modern producers are very keen on allowing kids to see them. Therefore, the language (and, sometimes, the violence and sex) is very toned down. When the whole world blows up, the good guys go \"Oh darn!\" and \"Oh my God\". \"Hollow Man\" gratefully discards that kind of hypocrisy and the characters are at liberty to say what comes most natural to them. I'm not saying that the most natural response to something gone wrong is to swear - but it makes it more believable if SOMEONE actually swears. I think we can thank Verhoeven for that.
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user\nLeave it to Paul \"sex on the brain\" Verhoeven to come up with a pointlessly sleazy and juvenile version of the INVISIBLE MAN story. If he'd direct a Pokemon film, I'm sure he'd turn it into some massive orgy of sorts. I don't mind sex or even sleaze (check my other reviews) on film but frankly, it's obvious the director has a one track mind and he couldn't see interesting aspects about an invisible man storyline than the kinky implications it comes with it. It's a shame because it could have been good if the film didn't spend so much time having an invisible Kevin Bacon grope women.
The game cast of actors does what it can with the one-note cheesy script but I felt bad for some of them, including William Devane, who is totally wasted here.
But then what could I have expected from the director of SHOWGIRLS, which, btw, is much more entertaining than this stilted & bad film.
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user\nGoing into this movie you know that this is movie has six lab technicians in a sealed lab with an invisible maniac. So right away you're guessing who will live and who will die. The survivors end up being exactly who you'd expect them to be, so no points for plot twists there.
And if you're not sure if this is a B-movie or a movie that just happens to take place in a lab with an engaging story, William Devane plays a part: instant B-movie status.
The movie is promising in the beginning. At the lab we are introduced to the invisible gorilla who is becoming increasingly violent. Oooh, foreboding. The best scene in the whole movie is when the lab team makes the gorilla visible again. Great special effects. Same thing when they make Bacon invisible.
There are a couple of bare breasts, a really lame dirty joke and enough out of place swearing to give this movie an R-rating that it really didn't need.
For a thriller there weren't really any surprises, except when Shue makes like MacGyver in the freezer, which is more of a 'Whaaaa?' OK, there is one surprise. That's when Caine (Bacon) comes back one last time in the elevator shaft. It was a surprise but only because you're yelling at TV, 'Noooo! You're dead already! End the movie!' Speaking of yelling at the TV,that's all I did for the last 25 minutes or so. 'Put on your f#@%ing goggles!' Instead of putting their infrared goggles on so that they can see him, they try every other trick in the book (fire extinguishers, sprinkler systems...).
The story really lost it at the end. But the special effects were good; that's the only reason I give it a 2/10.
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user\nThis is the kind of movie that leaves you with one impression.. Story writing IS what movie making is about.
Incredible visual effects.. Very good acting, especially from Shue. Everything is perfect.. Except.. The story is just poor and so, everything fails.
Picture this, if you had the power to be invisible.. What would you do? Well, our mad scientist here (played by Kevin Bacon) could think of no other thing to do but fondle and rape women.. This is all his supposedly \"genius\" mind could think of. Does he try to gain extra power? No. He doesn't even bother research a way to get back to being visible. The guy is basically a sex crazed maniac.
Add to that, the lab atmosphere, you have all these young guys.. Throwing around jokes like they were in a bar.. If it wasn't for all the white coats and equipment, you would think this is a bad imitation of \"Cheers.\" Very shallow and poor personalities and very little care is put into making you think these guys are anything but lambs for the Hollow Man's wolf.
Even as a thriller, the movie falls way short because most of the \"thrilling\" scenes are written out so poorly and are full of illogical behaviors by the actors that are just screaming \"this is just a stupid thing I have to do so that the Hollow man can find me alone and kill me.\"
If you read the actual book, while the Scientist (Cane) goes after women, there is a lot of mental manipulation and disturbing thought that goes into his character. In the movie, Cane is just the sick guy who goes to a crowded marketplace to rub his body in women and get off on it. Just sad.
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user\nI don't normally feel much of an incentive to comment on films I don't like, but in a case like this one, I just have to say something. This movie is terrible, illogical, and stupid. There are so many flaws in the storytelling that I don't even feel obliged to elaborate on because it's time for me to move on from this experience. The most annoying point is, however, that at no point in the film does anyone explain whether the motivations for Bacon's character's madness are due to a power trip or a physiological reaction to his condition.
Granted the special effects are impressive, and in the past Paul Verhoeven has done some good stuff (the director's cut of Robocop on DVD is great). However, this movie is stupid and generally doesn't come near to explaining the point or technical aspect of the subject matter, and instead settles for predictable action without any enjoyment.
In short, as many other reviews here say (wish I had read them before...) - Stay away from this film!
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user\nUnfortunately, one of the best efforts yet made in the area of special effects has been made completely pointless by being placed alongside a lumbering, silly and equally pointless plot and an inadequate, clichéd screenplay. Hollow Man is a rather useless film.
Practically everything seen here has been done to death - the characters, the idea and the action sequences (especially the lift shaft!) - with the only genuinely intriguing element of the film being the impressive special effects. However, it is just the same special effect done over and over again, and by the end of the film that has been done to death also. I was hoping before watching Hollow Man that the Invisible Man theme, which is hardly original in itself, would be the basis of something newer and more interesting. This is not so. It isn't long before the film turns into an overly-familiar blood bath and mass of ineffectual histrionics - the mound of clichés piles up so fast that it's almost impressive.
On top of all this, Kevin Bacon does a pretty useless job and his supporting cast are hardly trying their best. Good points might be a passable Jerry Goldsmith score (but no competition for his better efforts), a quite interesting use of thermal imagery and the special effects. I was tempted to give this film three out of ten, but the effects push Hollow Man's merit up one notch.
4/10
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user\n
Paul Verhoeven finally bombed out on this one. He became a joke on himself. Once again we have a film which includes sex and violence, immorality, leering at women and lots of attitiude talk between the characters and dollying pans.
Its all for nothing. Because their is no action at all in this film. It fudges all its set pieces. All the actors give the kind of performances form a Verhoeven film. In other words rampant over acting on almost every level. Starship Troopers got away with it because it was such a macho world the characters inhabited. In this scientists are acting the same way. Sorry Paul but Soldiers and scientist are not really made of the same mindset.
One major flaw in the plot was that after escaping for that one night to do evil things Kevin Bacons character then returns back to the science lab where we have already spent more then enough time watching these animated manniquens (Elizabeth Shue excepted) walk and talk. Why not show the extent of what the character could do in the outside world. How could they possibly track him if he could be anywhere at all??? Think os all the different things that could have been done with this concept, both in terms of story and characterisation. Then look at what this film does and you really how badly done and concieved the whole project really was.
More insulting is the Doco on the DVD where everyone is claiming that Verhoeven is some kind of MAd Genius. Well one out of two isnt that bad.
This film has nothing of note in it. Just like the title says.
Hollow!!!
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user\nOther than some neat special effects, this movie has nothing to offer. They threw in some gore and some nudity to try and make it interesting, but with no success. Kevin Bacon's acting was pretty good, but he couldn't salvage the movies lack of plot.
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user\nI love special effects and witnessing new technologies that make science fiction seem real. The special effects of this movie are very good. I have seen most of this movie, since it's been airing on HBO for the past couple of months. I must admit, I MAY have missed a few scenes, but I'm usually drawn into movies, and have seen some scenes more than once. But every time I see some of \"Hollow Man,\" I feel depressed, almost like a \"film noir.\" I'm not sure why; perhaps it's that I don't want Kevin Bacon to be evil, and there's disappointment in that. But I think it's witnessing just HOW relentlessly evil he becomes. Regardless, I can recommend this movie for excitement (although some parts move slowly), but I do NOT recommend for youngsters under the age of 14 (perhaps 12, if they are mature).
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user\nThe buzz for this film has always been about the fabulous graphics that make Kevin Bacon disappear. Sadly, they stopped there. They should have continued to make the script disappear, then the silly set, and finally every visible element of this film. Because, there's nothing else there to show.
Gary Thompson and Andrew Marlowe are listed as the writing credits for this film. I don't really think they exist. I think they bought this script at \"Scripts-R-Us\", where you buy a standard blank \"Monster Movie\" script and just fill in the blanks. There's a monster stalking us. Let's split up. (They actually \"let's split up\" in this movie). Hit Alien/Giant-bug/Monster/Invisible-man with crowbar. Not dead yet. Burn Huge-rabbit/Shark/Invisible-man in unsurvivable fire. Not dead yet. You know, the standard stuff. Even the minimum number of elements that were specific to an invisible man movie (IR glasses, spraying with something like paint) were handled badly.
What is sad is that there were lots of possibilities for this to be a fascinating movie. They psychological issues for the subject, the deterioration of the mind due to the process, treating an invisible subject, and many other ideas were touched on for usually less than 2 seconds and would have been far more interesting. Had there been any desire to save Kevin Bacon in the end, it would have been a much better movie. All in all, it stunk.
I would mention some of the incredibly stupid elements of the ending of the movie, but I don't want to do any spoilers. Suffice it to say that these characters are so stupid they don't think about pulling the plug on a machine rather than...
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user\nThis movie is worth watching if you enjoy marvelling over special effects. There are some interesting visuals.
Aside from that, it's typical nineties/aughties hollywood fare of dazzle without substance. True to the title.
It's not worth picking apart the story. That's like performing brain surgery on a dinosaur. There's not much there to begin with. It's nothing original and not very special. So don't go in for the story at all. Just look at the effects.
As has been mentioned, it got a little flashy at the end, diluting the purity of great FX treatment of an invisible (and at times half invisible) man. However if you ignore the \"standard\" pyrotechnics, it's a sight to behold (or not to behold).
All in all, it's a decent FX film worth seeing for that purpose and that alone.
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user\nShortly after seeing this film I questioned the mental competence of every actor and actress that accepted a role. Elizabeth Shue is a commendable actress, why would she embrace such an overrated opportunity? I must give credit where credit is due, though. Some moments in the movie were unpredictable and rather transfixing, but they hardly made up for the scathing perverse tendencies of Kevin Bacon's character, Sebastian Caine. I wouldn't recommend this movie to anyone, man or woman, that has any form of self-respect to account for.
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user\nAnother violent, angry fantasy from Paul Verhoeven. Verhoeven is a puzzle: it's difficult to tell whether he takes his sordid impulses seriously, with sardonic intent or operates in complete oblivion. He also seems completely ignorant of the fact that all the brilliant visuals in the world (and this has some outstanding ones) cannot hide a negligence to story, dialogue and performance. Kevin Bacon plays a corrupt scientist who has discovered invisibility and uses it to drive himself into moral bankruptcy. Bacon is normally a likable actor who occasionally shows his dark side (`The River Wild') in an attempt to offset his boyish looks; given the material, however, Bacon isn't nearly hateful enough to compel. The other principals are Elisabeth Shue and Josh Brolin, neither of whom are gifted enough to make a solid impression and who, when forced to deliver inane dialogue, embarrass themselves. The climax is a study in preponderance and disbelief has to be truly suspended.
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user\nTo describe this film as garbage is unfair. At least rooting through garbage can be an absorbing hobby. This flick was neither absorbing nor entertaining.
Kevin Bacon can act superbly given the chance, so no doubt had an IRS bill to settle when he agreed to this dire screenplay. The mad scientist story of 'Hollow Man' has been told before, been told better, and been told without resorting to so many ludicrously expensive special effects.
Most of those special effects seem to be built around the transparent anatomical dolls of men, women and dogs you could buy in the early seventies. In the UK they were marketed as 'The Transparent Man (/Woman/Dog)' which is maybe where they got the title for this film.
Clever special effects, dire script, non-existent plot.

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user\nThat's what I found myself saying time after time in the remarkably inept 3rd act of this sorry excuse for a film. First off, the computer effects are absolutely mind-blowing! Those computer wizs' really deserve a pat on the back. The rest of the movie, though...
None of the characters act in a realistic manner, especially in the aforementioned, despicable 3rd act (I promise I won't give it away, but trust me, it's not worth keeping a secret!). A lot of laughs in the film come unintentionally, like when they try to explain that an invisible man's eyelids don't work. Please, give the viewers more credit than that!!!
Some of the sexual aspects of the film were interesting. What would you do, after all, if you were invisible? No one could catch you! These issues were dealt much more intelligently in the classic The Invisible Man from 1933. There is one scene of violence in particular that is so incredibly ambiguous, and is not mentioned once later on. If more attention had been paid it, Kevin bacon's mad scientist might have made a little more sense.
The movie would actually be much more successful as a porno, since the premise could actually be carried out in a unique and interesting manner. But this piece of work... go see something else. Or don't, and live with the consequences!
3/10
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user\nI rarely make these comments but I felt compelled to spare others the pain I endured in watching this movie. It's so stupid and implausible both in the overall story and in the details that you simply can't suspend disbelief. The problem starts early, when you see a government researcher tooling around in a new Porsche and dining with his team in a restaraunt that looks like a castle, overlooking the Capitol Building in Washington, D.C. That kind of life on a government salary? Hah! It only gets worse. Toward the end, when the bad guy starts killing off the good guys, the latter group act so stupidly that you want them to die, in order to cleanse the gene pool. The special effects are pretty good - any producer's money can buy that - and the lead actors have been great in other films, but the screenplay and direction here are moronic. Many people have wondered whether there was some deliberate intelligence behind Paul Verhoeven's previous, facially stupid movies (Showgirls, Starship Troopers), but this movie should stop the wondering. He's just plain bad.
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user\nThis picture started out with good intentions, Bacon the scientist out to test the theory of invisibility, and Shue is cute as usual in her role. It all falls apart after that, it's your typical Hollywood thriller now, filmed on a soundstage with special effects galore, minus any kind of humour, wit or soul. In other words, don't waste your time watching this. Get the audiocassette tape with John DeLancie as the Invisible Man instead, also starring Leonard Nimoy. Now that was good, and HG Wells is well served, unlike with this mess.
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user\nC'mon guys some previous reviewers have nearly written a novel commenting on this episode. It's just an old 60's TV show ! This episode of Star Trek is notable because of the most serious babe (Yeoman Barrow's) ever used on Star Trek and the fact that it was filmed in a real outdoor location. Unlike the TNG and Voyager series which were totally confined to sound stages.
This use of an outdoor location (and babe) gives proper depth and an almost film like quality to a quite ordinary episode of this now dated and very familiar show.
Except a few notable exceptions i.e \"The city on the edge of forever\" , \"assignment Earth\" and \"Tomorrow is Yesterday\" The old series of Star Trek needs to be seriously moth-balled and put out of it's boring misery. Half a dozen good episodes from 79 is quite a poor batting average.
This is typical of the boring stuff Gene Roddenberry produced back then actually, contrary to popular belief where some people worshiped the ground he walked on, he actually made a LOT of rubbish! He doesn't deserve to be spoken of in the same breath as Irwin Allen for example.
Just look at the set of the bridge of the Enterprise from a modern point of view. They used wobbly plywood for the floor, cafeteria chairs with plastic backs and cheap cardboard above the instrument panels. You can clearly see the folds in the paper ! Every expense spared or what !
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user\nI saw this when it was in the theater, it started out so strong I mean back in 1980 this was a bold movie and the special effects were excellent AT THE time. Now you would have to of been at least 30 or so in 1980 to really understand this point because studying film historically misses the mind set at the time the expectations, and other related psychological factors. Now as I said the movie was engaging suspenseful and very entertaining. It builds to an excellent climax then.... IT ends I mean the person that described it as having a water balloon break in your hand before throwing it, besides being a very poetic description. In my experience, it was just not strong enough. My wife and I were well... how can I say this? We were upset, I mean we paid money, invested the time to watch the movie which was excellent. \"We both felt we were robbed with an ending that convinced us both the production company must of run out of money and could not raise enough to finish it correctly. In fact my wife said it best, it did not end, IT JUST STOPPED!
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user\nWhen I ordered this from Blockbuster's website I had no idea that it would be as terrible as it was. Who knows? Maybe I'd forgotten to take my ADD meds that day. I do know that from the moment the cast drove up in their station wagon, donned in their late 70's-style wide collars, bell-bottoms and feathered hair, I knew that this misplaced gem of the disco era was glory bound for the dumpster.
The first foretelling of just how bad things were to be was the narration at the beginning, trying to explain what cosmic forces were at play to wreak havoc upon the universe, forcing polyester and porno-quality music on the would-be viewer. From the opening scene with the poorly-done effects to the \"monsters\" from another world and then the house which jumps from universe to universe was as achingly painful as watching an elementary school production of 'The Vagina Monologues'.
Throughout the film, the sure sign something was about to happen was when a small ship would appear. The \"ship\" was comprised suspiciously of what looked like old VCR and camcorder parts and would attack anyone in its path. Of course if moved slower than Bob Barker's impacted bowels, but it had menacing pencil-thin armatures and the ability to cast a ominous green glow that could stop bullets and equipped with a laser capable of cutting through mere balsa wood in an hour or two (with some assistance).
Moving on... As the weirdness and bell bottoms continue... We found out that they're caught in a \"Space Time Warp\". How do we garner this little nugget of scientific information? Because the oldest male lead tells his son that, in a more or less off-the-cuff fashion, like reminiscing about 'how you won the big game' over a cup of joe or an ice-cold bottle of refreshing Coca-Cola. Was pops a scientist? Nope, but he knew about horses and has apparently meddled as an amateur in string theory and Einstein's theories.
The recording I watched on DVD was almost bootleg quality. The sound was muddy and the transfer looked like it had been shot off a theater screen with the video recorder on a cell phone, other than that, it was really, really, really bad. (There's not enough 'really's' to describe it, really).
I know some out there love this movie and compare it to other cult classics. I never saw this film on its original release, but even back then I think I would've come to the same conclusion: bury this one quick.
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user\nFor anyone craving a remake of 1989's Slaves of New York. What are there, seven of you? Here it is... was.
This undercooked movie has studiously vapid characters (Well they're club-kids, ya big jerk!) that are in holding patterns. The big question seems to be, just how long can a young adult remain juvenile? It took three people to write this 'story'? Good god, it was easier to come up with Citizen Kane. Rather than take viewers back, this movie should just embarrass anyone who was a scene-ster in the early 90s.
The idea that a fifty year old woman envies a bunch of self-absorbed kids from a different era is the world as only self-absorbed, twenty-somethings could imagine it. The odd sidebar about library work is not the sub-plot one expects from the equivalent of Parker Posey's Breakin 2: Electric Bugaloo. Her \"I'm serious about graduate school!\" while a stripper grinds on her is hysterical. Posey's shtick is always amusing, but there are projects that are beneath her. I was asleep before it crossed the 40 minute mark.
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user\nBesides being boring, the scenes were oppressive and dark. The movie tried to portray some kind of moral, but fell flat with its message. What were the redeeming qualities?? On top of that, I don't think it could make librarians look any more unglamorous than it did.
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user\nFor the first couple of seasons, I thought The Apprentice was a highly engaging and exciting show. The combination between reality TV and a 16 week job-interview was innovative, and the producers of the show managed to keep the show relevant and not too \"out there\".
The new season 6 is nothing more than a big joke and it has absolutely nothing to do with business - at all. In the earlier seasons they used to put a lot more emphasis on the business-related tasks - now the focus is mostly in the boardroom where the contestants are expected to do EVERYTHING to keep them on the show (that means lying, trash-talking, backstabbing etc.). The boardroom can be entertaining to watch, but it's entertainment at it's low-point - Sometimes you wonder if you are watching a repeat of an old Jerry Springer episode. The tasks on the show are, at most, boring and mostly a showcase for the companies who are dumb enough to pay NBC for the publicity. And what is the deal about half of the contestants living in tents in season 6? That is just plain stupid and has nothing to do with business in real-life.
I have absolutely NO respect for any of the contestants this season, they all seem like idiots to me. In earlier seasons at least some of the contestants had a bit of integrity, now it seems like the contestants would kill their own mother to keep them on the show. It also seems like Donald Trump's massive ego becomes bigger and bigger for every season that pass by and to be honest, I can't see why anyone with a common sense would want to work for him. His rationality in the boardroom mostly doesn't make any sense at all and sometimes it seems he just like to trash people for what it's worth.
R.I.P The Apprentice. Please NBC, for God's sake, get the show off the air as soon as possible. It's just too embarrassing to watch. The Apprentice was once a great TV-show, but now it's just a big fat joke.
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user\nI LOVED the Apprentice for the first two seasons.
But now with season 5? (or is it 6?) things are getting just plain too tiring.
I used to like the show, but its become Donald Trumps own ego fest. Granted its his company you'll be working for, but come on! some of the things says \"You're FIRED\" is just insulting.
after watching the show, I would not want to work for him. not because he is arrogant, pompous or such. Its just that the show is unrealistic and the way he handles things makes me just squirm. Good Entertainment? YES, but tiring as the back stabbing gets so tiring.. its not team work, its not personal, its just business. watch your back jack.
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user\nI bet you Gene Simmons and Vincent Pastore negotiated in advance how many episodes they would be willing to appear in. Isn't just too contrived for Gene to switch to the ladies team and then throw himself on his sword? And Big Pussy? What the hell was that \"look at me, I'm a rat!\" double episode crap? All that cliché mafia banter- COME ON! The big names voted off just happened to already have received money for their charity and got a custom tailored exit. Hmm... This is not reality but staged drama! Mark Burnett's other show, \"Survivor\" also raised questions for me when Johnny Fairplay stages his departure when he clearly had just a short time before his child is to be born.
Yuk!
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user\nI can't stand most reality shows and this one is worst than the one with Paris Hilton, and sure it's his company. But \"you're fired\" or \"you're hired\", for how many seasons now? After watching the show I wouldn't want to work for the guy with his ego and all and I think watching paint dry has more entertainment valve.
I'd love to hear just one person get up and say \"Donald I quit and take some of your money and buy a decent hairdo\". I see he's even trying to buy fame in the wrestling WWE. I hope he gets hurt so I don't have to see his pathetic face anymore. It must be sad to want fame so bad and have no talent and make an ass of yourself trying to buy it. I'd give this show a negative mark if I could but it gets a 1 and it doesn't deserve that.
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user\nOne has to wonder if at any point in the production of this film a
script existed that made any sense. Was the rough cut 3 hours
long and was it trimmed into the incoherent mess that survives?
Why would anyone finance this mess? I will say that Tom
Wlaschiha is a good looking young man and he does what he can
with the dialogue and dramatic (?) situations he is given. But
characters come and go for no apparent reason, continuity is
non-existent, and the acting, cinematography, and direction are (to
put it politely) amateurish. Not One Sleeps is an unfortunate
choice of title as it will probably prove untrue should anyone
actually attempt to actually watch this film.
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user\nJochen Hick wrote and directed this little thriller of a suspense film based on the concept that the AIDS virus was a sheep virus mutated by the government to rid the world of gays and was apparently tested on convicts in the years before the outbreak of the hideous disease. Were it not for the poignancy of the concept of the film, this would fall into the category of the many films about the ruination of the world by a rampant non-prejudicial infective organism.
Stefan (Tom Wlaschiha) journeys from Berlin to San Francisco to investigate his father's scientific suppositions about the induced sheep virus and its effects of the convicts in whom it was infused. He meets with some disdain and resistance to a dead theory, but also encounters some folks who know of the theory and support his investigation. Simultaneously with his visit a series of serial murders takes place, each victim killed in a similar manner and each murder apparently accompanied by strains of music from Puccini's opera 'Turandot' which just happens to be opening at the San Francisco Opera. A police investigator Louise Tolliver (Irit Levi) and her companion cop (Kalene Parker) follow the murders while Stefan makes the rounds of the sex clubs and bars in San Francisco trying to locate men who may have been guinea pigs for his father's theory. He encounters a strange lad Jeffrey (Jim Thalman) with whom he has a cat and mouse attraction and a prominent Doctor Burroughs (Richard Conti) who seems oddly involved in the cast of suspects. How this all come to an end is the play of the film, a story as much about the search for self identity between Stefan and Jeffery as it is a case for investigation of murders.
While Tom Wlaschiha, Jim Thalman and Richard Conti do well with their roles (they are the only three who have any prior acting experience in the film!), the quality of the film sags considerably by the less than acceptable minimally talented Irit Levy and Kaylene Parker: when on screen the credibility of the story drops below zero. There are some small cameos by other actors that brighten the screen for the moments they inhabit, but in all the film is drowned by the incessant replay of 'Nessun dorma' as sung by Mario del Monaco from a recording o the opera - and that seems to be the reason for making the film! Good idea for a film and some good characterizations by the actors, but there is no resolution of the initial premise that started the whole thing. Grady Harp, February 06
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user\nPoorly written conspiracy drama/mystery about the possibility that AIDS was introduced to the public by the government. Wlaschiha plays a gay researcher looking for answers--that within this foggy plot would be hard for anyone to find. Despite the cinematography itself being commendable, the camera hungers for characters of true depth instead of the shallow, amateur acting it unfortunately has to convey. Grade: D+
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user\nI don't give much credence to AIDS conspiracy theories but its sociologically interesting to see the phenomenon dramatized. In the early years of the AIDS epidemic, the suffering and paranoia of the scared and dying often generated such dark fantasies. This was especially true in the politically radical and sexually extreme demi-monde of San Francisco. The city, renowned for its beauty, has rarely appeared uglier than in this film. A sense of darkness and decomposition pervades every scene.
While the acting and plot can't be said to be well-done the films unique cultural context and oppressively dark mood at least partly saves the film from being a complete loss. Actually, I found the most interesting performance to be Irit Levi as a crusty and cynical Jewish, lesbian (?) police detective. She's interesting, though not necessarily convincing.
Highlights: the film's use of the garishly tragic Turandot is an effective motif and there is a sublime silent cameo by iconic performance artist, Ron Athey.
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user\nThe cliché of the shell-shocked soldier home from the war is here given dull treatment. Pity a splendid cast, acting to the limits of their high talents, can't redeem 'The Return of the Soldier' from its stiff-collared inability to move the viewer to emotional involvement. Best moments, as another reviewer noted, come when Glenda Jackson is on screen; but even Jackson's crackling good cinematic power can't pull this film's chestnuts from its cold, never warmed hearth. Ann-Margret, she of sex-kitten repute and too often accused of lacking acting ability, finds her actual and rather profound abilities wasted here - despite her speaking with a nigh-flawless Middlesex accent. The hackneyed score, redolent of many lackluster TV miniseries' slathered-on saccharine emotionalism, is at irritating odds with the emotional remoteness of the script, blocking, and overbaked formalism of the direction; except for its score and corseted script and direction, 'The Return of the Soldier' has all the right bits but it fails to make them work together.
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user\nThe Good Earth is perhaps the most boring film I've seen in my life. The plot is slow and lacking. The acting is borderline comical. While I love Paul Muni, I can now say i have seen a film that does not do his true ability justice. The only saving grace I found with this film is it's production value. The use of hundreds of extras throughout the film creates a very believable and interesting environment. Also, the beautiful effects used to create the illusion of millions of wasps sells easily and was revolutionary at the time. Other than the production value I can say little else that is good or entertaining about this film.
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user\nThe Good Earth is not a great film by any means, it is way to ordinary. Maybe it was different in the 1930's but who would want to see the life of a farmer. It is not very interesting to me. Yes, Luis Rainer and Paul Muni do an excellent job acting but the film dragged on way too long. I could have told you the ending of this movie by the first act. In short Wang Lung (Muni) a small time farmer who does not want to be like his own father turns out exactly like him. Both falling in love with their wives just as they are on their death beds. The film does a complete 360 going from one generation to the next. Also this film did not have any good character actors or funny moments, it just was depressing stuff about lasting as a farmer during a time of crisis.
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user\nA couple of farmers struggle in life in a small village in China. Wang Lung (Paul Muni) buys O-Lan, his future wife, who becomes his slave (Luis Rainer). American stars appear in the leading roles, talking with fake accents and emphasizing old stereotypes and patriarchal ideology. A good wife, many children and land are the best things for men to have. They are seen as property and investment. Because it is a big budget movie, in which many extras cooperate, big sets are built and special effects take place, the movie makers could not take the risk of hiring less popular actors. Luise Rainer won an Academy Award for this performance, which is definitely the worst in the movie. Her immutable face builds a barrier between her and the audience. O-Lan is supposed to be the heart of the family and the best character to sympathize with. On the other hand Paul Muni gives a better performance, showing his talent ones again. Another problem with the movie is the ending. It seems like Franklin did not know when to end the picture. This film could be dangerous if it is taken as a truly example of Chinese culture and traditions.
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user\nLuise Rainer received an Oscar for her performance in The Good Earth. Unfortunately, her role required no. She did not say much and looked pale throughout the film. Luise's character was a slave then given away to marriage to Paul Muni's character (he did a fantastic job for his performance). Set in ancient Asia, both actors were not Asian, but were very convincing in their roles. I hope that Paul Muni received an Oscar for his performance, because that is what Luise must have gotten her Oscar for. She must have been a breakthrough actress, one of the first to method act. This seems like something that Hollywood does often. Al Pacino has played an Italian and Cuban. I felt Luise's performance to be lackluster throughout, and when she died, she did not change in expression from any previous scenes. She stayed the same throughout the film; she only changed her expression or emotion maybe twice. If her brilliant acting was so subtle, I suppose I did not see it.
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user\nThe Good Earth follows the life a slave girl and a poor farmer in China. The movie is based on the novel by Pearl S. Buck. The story is great, but I hated that they decided to cast Anglos in the lead roles. Walter Connolly is laughable as the farmer's father. He has such a heavy American accent, as do most of the lead actors, that I could not bear listening to him speak.
It is a shame that Hollywood could not get past their racist beliefs to cast Asians in the lead roles. To take Anglos and make them look like Chinese is akin to Anglos putting shoe polish on their faces to play African-Americans.
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