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How does that even remotely end the discussion ? Because you said : My point if people discus these figures independent of Christianity all the time , and they never are unaware of any of those qualities falsely attributed to those myths by the Jesus Myth arguers . Besides the belief that there is no God and if The Bible says it it can't be true That's your arrogance , you think " Atheists " have no Dogma but they do . Some cling to their beliefs but secularists cling to their unbelief . The Bible is The Truth . That , especially the last statement , puts us at an impasse . § " The Sleep of Reason Produces Monsters . " §

i agree . She does because now she's being typecast as a serious actress . This movie will help balance her career just like Tabu's .

Berger was in The Secret Ways w Richard Widmark who was in The Street with No Name w Ed Begley who was in The Great Gatsby w Barry Sullivan who was in My Blood Runs Cold w / Donahue next - Eddie Kaye

lol , not quite .

Hey , her rabbit's not fat ! Don't destroy Milkshake's self esteem , item girl ! Upside Down does not equal Downside Up

The Italian brand of low-brow Viking sagas was never exactly impressive but , having said that , I somehow expected this belated example to be better than it was . . . even if , admittedly , director Caiano's work ( this is the 9th example I have watched of it thus far ) seldom rose above second-rate . Anyway , the film is an average Norse epic with little to commend it apart from the fact that the plot is somewhat unusual : in fact , here , the Vikings uncharacteristically take to the seas in search of new land ( though the prologue insists it is an authentic account ) and which , invariably , leads them to the Americas - - centuries before Christopher Columbus ever set foot on it ! This section , then , supplies the whole with an added - - yet rather incongruous , hardly original and decidedly boring ( especially the regrettable Pocahontas-type romance ) - - exotic touch . Otherwise , we get the usual formula i . e . comic relief ( via the antics of a learned Greek ) and a lecherous wimp of a villain ( ostensibly ruling the country in unison with the titular hero , played by a bland Giuliano Gemma ) . The former sends a couple of assassins ( a hammy Gordon Mitchell , actually top-billed , and Eduardo Fajardo , who is actually not that bad here ) along for the ride to ensure that Erik does not come back . . . since he obviously has designs on his share of the wealth as well as his beloved back home . Also worth mentioning , for what it is worth , is the surprising viciousness of some of the action set-pieces - - with the director providing a handful of bloodied faces in gratuitous close-up !

Probably more than you have . He was burned alive , and on April 30th , He returns .

Lon Chaney , Sr was in Where East Is East w Lupe Velez who was in The Squaw Man w Charles Bickford who was in The Woman on the Beach w Robert Ryan who was in Billy Budd w Stamp next - Doris Day

I remember turtlenegro , but you weren't here long , were you ? § " The Sleep of Reason Produces Monsters . " §

I first became aware of this ( and its equally obscure director ) via the star rating on the " Giallo " section of the " Cult Filmz " website ; incidentally , I also did not know that Farley Granger had worked so extensively in Italy - - in that Luchino Visconti's SENSO ( 1954 ) was no fluke ( I recently watched him in a hybrid poliziottesco / giallo , and another good one it was , Massimo Dallamano's WHAT HAVE THEY DONE TO YOUR DAUGHTERS ? [ 1974 ] ) ! Having mentioned the latter , this too is as much a horror piece as a giallo since it involves a manifestation brought about by a séance conducted at dead-of-night . The cast is quite interesting - - not only mixing familiar / international names ( including , apart from the afore-mentioned American actor , Italians Lucia Bose ' and Giacomo Rossi-Stuart ) with unknown faces , but there are even a couple of behind-the-camera personnel ( producer Dino Fazio and renowned composer Angelo Francesco Lavagnino , who also supplies a fine moody score ) in the significant roles of Police Inspector and Professor / Occultist respectively ! The plot is the typical ' old dark house ' routine throwing myriad characters together , stranded by bad weather in a remote and forbidding environment ( adding plenty of atmosphere to the already dour brew ) ; harking back to Agatha Christie's much-filmed " And Then There Were None " prototype rather than the traditional stalk'n'slash formula , it is something of a quintessential offering ( thus undeservedly overlooked ) in this regard . By the way , the notion of having the spirit at large possessing members of the household in turn to commit mayhem would be adopted by Hollywood much later for the not-too-bad IDENTITY ( 2003 ) ! The still attractive ( and former Miss Italy ) Bose ' was on something of a latter-day roll during this period - - since , among others , she made two similarly notable ( and likewise strange ) efforts i . e . Romolo Guerrieri's THE DOUBLE ( 1971 ) and Giulio Questi's extremely-rare ARCANA ( 1972 ) ; unfortunately , her character is made to expire halfway through , but the actress nonetheless makes a lasting impression . Ditto Granger , uncharacteristically cast here as a hardened criminal , pretty much retains the youthful looks that had served the Hollywood veteran so well in his heyday ; the film's marvelous - - if somewhat abrupt - - finale has him as the ghost's latest ' fall guy ' , to adopt a noir phrase ( a genre which tended to elicit the best from the actor ) .

Read the book , Jared . You can find it online , I'm sure . § " The Sleep of Reason Produces Monsters . " §

You're not getting it . By the way , if you're ignoring that youtube Cosmos clip , you're selling yourself short . It's how the ancient Greeks discovered the circumference of the Earth . § " The Sleep of Reason Produces Monsters . " §

I had missed out on this one as a kid but , since I've always been partial to sword-and-sorcery fare , I grabbed the DVD from my local rental outlet the moment I saw it ! As it turned out , it's neither the best nor the worst of a whole slew of similar films ( from all over the world ) which flooded the market during the 1980s - CLASH OF THE TITANS ( 1981 ) , CONAN THE BARBARIAN ( 1982 ) , LADYHAWKE ( 1984 ) , LEGEND ( 1986 ) and WILLOW ( 1988 ) , to name a few . The medieval settings are large-scale yet appropriately grim and the production - a collaboration between Paramount and Disney - hired a crew that was clearly homogeneous to the subject matter : cinematographer Derek Vanlint ( from ALIEN [ 1979 ] ) , production designer Elliot Scott , composer Alex North ( who nabbed an Oscar nod for his score here ) , and among the endless list of special effects technicians , Dennis Muren and Phil Tippett . The cast list was also a healthy mix of veterans ( Ralph Richardson , Albert Salmi ) , character actors ( Sydney Bromley , Ian McDiarmid ) and newcomers ( Peter MacNicol , his debut film ) . The dragon , too , is quite a wonderful - and scary - creation ( although , I couldn't help thinking that , if this was ever to be remade , it would invariably be about 10 times larger . . . but the plot itself , curiously enough , wasn't nearly as compelling as I had envisaged - making the film highly watchable but also rather unmemorable .

Casey Kasem was in The Cycle Savages w Bruce Dern was in Will Penny w Ben Johnson who was inThe Swarm w Richard Widmark who was A prize of Gold w MZ next - Celia Weston

It's really been a crazy ride , filled with false rumors and speculation . From the supposed casting of " Billy Bob Thorton " , to the pg-13 rating ( yea right ) . All the scripts leaking , gobbling up any news we could find . Man , it's been fun . He was burned alive , and on April 30th , He returns .

This one presents an even more depressing ( and pointless ) concept than THE EMBRYO : the film is basically a series of gang-rapes committed on a young girl by a mixed group of wastrels on the roof of an apartment block , separated only by scenes in which the girl is befriended by an unwilling ( and possibly impotent ) hanger-on where they recite poetry and sing songs as a means of coping with their strange predicament ! A couple of similarly violent reminiscences by each of these characters are effectively shown in color , as opposed to the stark monochrome photography of the main events . Despite the abundant nudity on display ( the girl is naked for most of the film's running time ) , the end result is distinctly unerotic ; not surprisingly or , perhaps inevitably , the story resolves itself with bloodshed as the gang is butchered with a knife by the enigmatic boy , after which he and the girl leap off the roof to their death ! !

Not merely homophobia - you're reading the ravings of someone who gets his politics and culture from Fox and from talk radio , for whom socialists can never be anyone other than the villains . That granted , the film does a poor job adequately conveying the point of view of the Dadaists and the Surrealists , and what they were against . § " The Sleep of Reason Produces Monsters . " §

Curiously enough , the central plot of this one is quite similar to that of ONCE A THIEF ( 1965 ; also starring Alain Delon and which I watched on the very same day ) - - though here it's even gloomier ( ultimately taking the form of a plea against capital punishment ) ! Incidentally , co-writer / director Giovanni had been a convict in real-life , and even wrote the novel which inspired Jacques Becker's marvelous prison-escape drama LE TROU ( 1960 ) . Anyway , Delon and Jean Gabin are well-teamed here ( this was the last of three films in which they appeared together , following ANY NUMBER CAN WIN [ 1963 ] and THE SICILIAN CLAN [ 1969 ] ) : the latter isn't particularly exerted by his role - - being , after all , among his last - - but the former is unusually committed and , in fact , he also served as the film's producer ! Mimsy Farmer appears as Delon's new lover following the tragic death of his wife in a road accident ; Michel Bouquet is memorable as the Javert-like police inspector who won't let Delon go ( a slinky but nastier version of the Van Heflin part in ONCE A THIEF ) ; Gerard Depardieu has a brief role at the beginning as a wannabe criminal associate of Delon's .

The Three Stooges do " Pygmalion " when two elderly upper-class types make a bet that one of them can turn three tramps into society gentry ; naturally , he picks up the comic trio ( the local garbage collectors ) off the streets and then has them take lessons from various teachers in an attempt to elevate their social standing . As ever , there's a lot of mugging ( especially from Curley ) but the film does feature a couple of great moments : a dancing teacher is stung by a bee and starts doing somersaults in order to get rid of it - - only The Stooges , unaware of what's going on , try to keep up with her . . . and they all end up falling out of a window into a fountain below ; then there's the inspired final gag - - where , after the boys make a shambles of the party in which the old men present them to their equals , the guests eventually start to mimic the antics of The Stooges rather than be shocked by their behavior ( slapping each other around , uttering Moe's trademark " Spread Out ! " , etc ) .

That was articulate . But if I understand you , you're right . There's nothing the matter with Chx's compassion - these kids just don't get that religion isn't worthy of it . Nor is this topic anything she hasn't argued before . § " The Sleep of Reason Produces Monsters . " §

Duncan Renaldo was in Jungle Flight w Barton MacLane who was in The Glenn Miller Story w George Tobias who was in Marjorie Morningstar w Natalie Wood who was in Splendor in the Grass w Beatty Next - - Brooke Shields

chaalbaaz

This would-be homage to the classic Universal cycle of horror films from the 1940s could have been interesting , but it's defeated by listless presentation ( marked by Franco's trademark zoom-happy technique ) and inadequate plotting ( what there is is extremely lazy and contrived - - such as Frankenstein's idiotic manifesto for world domination and his baffling about-face towards self-destruction at the end ) . It was a good idea to present the latter ( played by Dennis Price ) as a deluded megalomaniac , but the dire physical condition of the actor makes this something of a lost cause . Howard Vernon's Dracula , then , is underused and saddled throughout with a silly fixed expression ! Alberto Dalbes plays Dr . Seward - - Vampire Hunter ( ! ) , Luis Barboo gives a hammy performance as Frankenstein's mute hunchback assistant , while Fernando Bilbao gets as little screen-time playing the Frankenstein Monster as his counterpart in the latterday Universal monster flicks themselves ! ! With respect to the female members of the cast , at least , we get two lovely presences in Josiane Gibert ( as a tawdry chanteuse turned into unwitting sacrifice in the re-animation of Dracula - - the scene where the bat is bathed in blood is actually nice and grisly ) and Britt Nichols ( a vampire lady with her own agenda and whose coffin is stupidly never noticed by either Frankenstein or his assistant ! ) . Also on hand are Anne Libert ( who's killed off immediately ) , Genevieve Deloir ( as Vernon's new bride ) and Mary Francis ( as a gypsy girl ) . The film is capped by what is the most hilarious monster mash I've ever seen - - with a werewolf who comes out of nowhere , only to get beaten to a pulp by the Frankenstein monster ! Just as amusing , though , is the fact that Frankenstein ( and his prisoner Dracula ) use a hearse as their method of transportation ! Incidentally , the way such great locations as Franco had at his disposal are squandered makes this that much more of a missed opportunity - - not that the visuals are helped by the dismal print utilized for this transfer ( featuring washed-out colors and the wrong aspect ratio to boot ) ! By the way , a sure sign of the film's rushed production is its recycled score - - comprising the instantly recognizable main theme from MARQUIS DE SADE'S JUSTINE ( 1968 ) and , possibly , even cues from COUNT Dracula ( 1969 ) ! In conclusion , this one emerges as easily the least of Franco's ' classic monster ' films . For the record , its viewing was promptly followed by THE EROTIC RITES OF FRANKENSTEIN ( 1972 ) - - by way of the version the director himself preferred . His most respectable efforts in the genre remain COUNT Dracula ( not really connected to the others , as it was a Harry Alan Towers rather than Robert De Nesle production ) and DRACULA'S DAUGHTER ( 1972 ; a contemporaneous release with , again , much the same cast and crew but which is altogether more satisfying - - mainly in view of its novel giallo elements ) .

That's the thing . You have to retain some knowledge about the film before it started shooting . You remember how long Wes held out until he signed on , how hard they worked on the script and how everyone loved it ? How they had to coax Neve into returning ? It would all be for nothing , Wes knew and knows what he is doing . We still have six more minutes to play .

You doubtless spelled it in caps to denote the title of the show , rather than the person . It's forgiveable . § " The Sleep of Reason Produces Monsters . " §

Can you get me a screenshot of Freddy when he flicks his glove , and any face shots of Freddy from the new clip ? Like when he touches his glove , and we see his face really good ? He was burned alive , and on April 30th , He returns .

Use markup : Here's a quick summary of the problems with the many claims of Exodus Decoded , from a Christian website : http abr christiananswers net articles article58 html And here is an impressively extensive review and refutation of just about every point Exodus Decoded made from a more secular source : http www heardworld com higgaion p 60 One section of the above review I found particularly compelling : http www heardworld com higgaion p 360 § " The Sleep of Reason Produces Monsters . " §

The first proper monster bash from Universal is a better film than its follow-up , HOUSE OF Dracula ( 1945 ) - but it still emerges as unsatisfactory , if undeniably entertaining . Again , I liked it more than the first time but , really , the film makes no effort to concoct a sensible plot which would actually lead somewhere : it's the same old story of revenge plots , the re-animation of various monsters who get little or nothing to do , and the climactic storming of the laboratory by torch-wielding villagers ( apparently this was considered the national pastime ) ! ! Still , the film starts off well enough with Boris Karloff ( forsaking the monster persona for that of the mad scientist ) and hunchback assistant J . Carroll Naish escaping from prison and insinuating themselves into George Zucco's traveling " Chamber of Horrors " show . This was John Carradine's first appearance as Count Dracula ( who seems to have fallen on hard times , seeing how much he's shriveled from the time of SON OF Dracula [ 1943 ] ) and he adds a welcome touch of theatricality to the brew , most evident in the scene where he demonstrates his hypnotic control over Anne Gwynne as well as his untimely demise - though one would be hard-pressed to believe the vampire would somehow bow down to Karloff , a mere mortal , and do his bidding ! Lon Chaney Jr . basically sleep-walks through his role ( even more so in the following film ) , especially when saddled with an insipid romantic partner in Elena Verdugo , but his initial transformation - focusing on his footprints - is superbly handled . The film spelled the end for the Frankenstein monster , however , as its role had grown so subsidiary by this point that it was not even deemed worthy of a star performer - and the name of the stuntman playing it , Glenn Strange , was not even featured in the main credits ! ! As usual , the film delivers in the ' atmosphere ' stakes , and the cast is peppered with a long list of old reliables - chief among them Lionel Atwill ( as yet another flustered town official ) and Sig Rumann ( as one of the Count's victims ) .

Whitelaw was in Charlie Bubbles w Albert Finney who was in The Entertainer w Laurence Olivier who was in Pride and Prejudice w Maureen O'Sullivan who was in A Connecticut Yankee w Myrna Loy who was in The Red Pony w Hamilton next - Luther Adler

No . This is on the trivia for MFL : Apparently , Shirley Jones was one of the actresses to whom Jack L . Warner planned to offer the role of Eliza Doolittle if Audrey Hepburn ( his first choice ) turned it down .

Robert Harron was in The Mother and the Law w Mae Marsh who was in Tales of Manhattan w Henry Fonda who was in Sometimes a Great Notion w Paul Newman who was in Sweet Bird of Youth w Begley next - Estelle Getty

hey guys , the film just released on Friday . Has anyone seen it yet ? I haven't but can't wait !

Nightmare > F13 On April 30th , the Nightmare returns .

Nope . . . same old crap . § " The Sleep of Reason Produces Monsters . " §

Jennifer Love Hewitt was in Heartbreakers w / Gene Hackman who was in Wyatt Earp w / Kevin Costner who was in The Untouchables w / Patricia Clarkson NEXT - John Gavin

I can understand why people would dislike Gong Li's Ju Dou but i can also understand why her character turned out to be that way . She didn't have an easy life and she was trying to hold on to the happiness she found . I don't think it's a character of a bad person but a very flawed one . I can also understand why she wanted to run away with her lover and the child and perhaps that would have been the best solution . Salad or Liver ? What would it be ?

A certain Victor Hanbury is credited with directing this remarkable psychological drama but that won't fool any of Joseph Losey's admirers since it shares not only thematic similarities with one of his most notable American films , THE PROWLER ( 1951 ) , but was indeed the turning point of his career in many ways : blacklisted by Hollywood for his Communist leanings , Losey fled first to Italy and then to Britain , remaining in Europe for the rest of his days . THE SLEEPING TIGER also marked the start of a fruitful collaboration ( resulting in five films ) between Losey and star Dirk Bogarde , who here shows a definite maturity miles away from the bland matinée idol roles he typically played during this period ; the film itself has an intensity not found in contemporary British cinema . Alexis Smith ( terrific in one of her last starring roles ) and Alexander Knox ( playing his part in the Glenn Ford manner - - where a quiet exterior conceals a strong personality , hence the film's title ) are the married couple whose sheltered suburban lives are invaded by smart but incorrigible thug Bogarde ; Knox is a psychiatrist whom the young man had tried to hold up , but has the tables turned on him and is subsequently kept on in the former's house as a ' guinea pig ' - - echoes of BLIND ALLEY ( 1939 ) and THE DARK PAST ( 1948 ) - - where he stirs up the passionate instincts of the doctor's frustrated American wife . Needless to say , there's no happy ending for any of the characters : the climax provides plenty of fireworks and twists - - with Losey's ironic symbolism being maintained till the film's very last shot . Composer Malcolm Arnold adapts his score to the each of the film's moods , alternating between the sleazy and the histrionic . Unfortunately , the poor-quality Public Domain print I watched bears some evident signs of wear-and-tear as there are a handful of jarring jump-cuts throughout ( resulting in a running-time of 87 minutes against the official 89 ) ; several years back , the film was released on PAL VHS but no official DVD is in sight yet in any region ( a status , alas , in common with the majority of Losey's work prior to the 1960s ) .

mr . india wasn't crap . just because it's not a realistic flick it doesn't mean that it sucked . well , you have your own taste and stop pretending to know everything about acting and dancing . ahsa parekh is certainly not among the best dancers . and sadma was sridevi's all the way but on kamal's defence he might have suffered due to weak characterization . if you think we're idolizing sridevi too much then just don't show up on this board and continue idolizing madhuri and asha parekh on their boards .

I definitely watch the show for Him and Lauren Graham , though I like the other actors too . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

Posted it ! On April 30th , the Nightmare returns .

Yeah , well the version in the cartoon did alot . But still , it was pretty funny . On April 30th , the Nightmare returns .

only Jesus spoke to a positive golden rule applied to all mankind . reread your wiki article with this in mind , and be wary of some of the net sources used . ive been down this road before . end of story . Yes , I'm aware that it's your contention that the positive formulation of the Golden Rule makes it uniquely special , without ever having properly articulated why this is so . It's by no means agreed that Jesus intended it to apply to all of mankind . Certain of the fundamentalist groups ( some dispensationalists ) classify the Sermon on the Mount as being applicable only to the Jews . no , but it doesn't challenge our beliefs in a rigid reality , which the rationalists promoted atheism from before QM made it clear the world's nature ws not completely rational , it was in part enigmatic . You're abusing science , just like the YECs do . Quantum mechanics only seem to be irrational - they're not - they obey the laws of physics as well . They are not a mandate endorsing " Mystery , " as the Church defines it . Miracle claims are still false on their face - quantum mechanics does not help them out . mainstream historian dating of the gospels to the first century kills that idea . No , it doesn't , for the reason I've already explained . By " mainstream " you mean " majority " - and faith-based " scholars " don't count . Jefferson and Paine are not relevant to this discussion . What question ? You're being dishonest about the Muslim extremists . Okay then , how about the Heaven's Gate Cult at Rancho Santa Fe ? No monetary motive there . Beliefs are not legitimized by the extremities people go to in support of them . § " The Sleep of Reason Produces Monsters . " §

Oh , and just as an f . y . i . , I think it's philbs , and not philibs The brains keeps working for up to 7 minutes after the body dies . I still have 4 minutes with you . 4 . 30 . 10

She does not have tourettes nor any of the disorders you mentioned . She thinks she has it but Tim blake Nelson's character clearly points out that's not the case . She is mentally unstable and as part of this condition she thinks she has it . Perhaps it's a form of Munchausen's syndrome .

I find them very much the same here . We still have six more minutes to play .

Before watching this movie , I had never heard of writer / performer / radio personality Garrison Keillor and the main reason I rented this was because it was Robert Altman's last film . As usual , he managed to rope in several high-profile Hollywood names into his cast - Woody Harrelson , Tommy Lee Jones , Kevin Kline , Lindsay Lohan , Virginia Madsen , John C . Reilly , Meryl Streep , Lily Tomlin - but , as Altman himself admits in the rambling but not uninteresting Audio Commentary - he is basically just giving cinematic life to Keillor's preoccupations and radio show . The latter features a few Country & Western acts performing for a live audience ( which is never shown ) including Harrelson and Reilly as rude , lewd singing cowboys ( their " Bad Jokes " song is a delightful highlight ) , Streep ( who is clearly having a ball ) , Tomlin and Lohan as a singing family and even Sam Peckinpah favorite L . Q . Jones as another singing cowboy / old-timer . The most interesting aspects of the film are non-music related , however : it starts out in a Noir-ish style with smooth-talking detective Guy Noir ( Kline ) acting as narrator and observer and his clumsy attempts to stop the Axeman ( Tommy Lee Jones ) from foreclosing the show . Along the way , he meets and falls for a white-clad Angel of Death ( Madsen ) who , having expired herself in a traffic accident some years back while listening to Keillor's show , has now come to claim the lives of the two Joneses and possibly Kline himself . . . While perhaps a minor film in the Altman canon , it is still a respectable and fitting swan song for him . The shadow of impending death hangs so heavily on the movie that it is indeed remarkable how entertaining it actually is ; I'm sure there are some more examples of a distinguished film-maker reflecting so openly on his approaching death but the three I can think of at the moment off the top of my head are the Wim Wenders / Nicholas Ray collaboration LIGHTNING OVER WATER ( NICK'S MOVIE ) ( 1979 ; which I've yet to watch for myself ) , Bob Fosse's ALL THAT JAZZ ( 1979 ; like Altman's film , also disguised as a musical ) and John Huston's appropriately-titled last film , THE DEAD ( 1987 ) .

I've only ever watched the first and last films in this neverending series of slashers - Friday THE 13TH ( 1980 ) and FREDDY VS . JASON ( 2003 ) ; neither was any good , and this second instalment is , if anything , even worse ! Following the stupid misadventures of a number of fun-loving teens for 90 minutes would test anyone's patience - and , with that in mind , I decided to watch this a day earlier and leave PART III for Friday the 13th itself ( which is actually the only reason I lowered myself to renting such outright trash ! ) . . . While there's plenty of violence ( a couple making out in a bedroom are speared right through - directly ripping off not just Mario Bava's giallo TWITCH OF THE DEATH NERVE [ 1971 ] but the original Friday itself ! ) , this is mostly relegated to the second half : we have to suffer first through a long-winded prologue ( reprising virtually the entire climax of the first film ) and oodles of exposition in order to pigeon-hole each and every one of the teens ( but , then , a few of them get lost in the shuffle - the irritating geek , for instance , never returns from the night on the town ! ) , plus make perfectly clear ( unless it may go above some particularly feeble-minded audience member's head ) the fact that their camp is situated next to the infamous " Camp Blood " ( Brrrr ! ) . Still , the unseen murderer ( outside of the last shot , that is ) device grows tired pretty quickly ( where's the iconic figure of Jason wearing an ice hockey mask , anyway ? ! ) , as does the plot contrivance of isolating individual members of the cast - thus marking them all too obviously as the next victim ( at least , a couple of the girls are attractive and even get to shed their clothes ) ! I guess you can all elicit from this negative review that the slasher subgenre , in my estimation , is about the lowest point in the horror spectrum !

DeMille is passé - audiences would no longer tolerate that style . § " The Sleep of Reason Produces Monsters . " §

I don't think it's fair to compare talented actresses but I think Shabana is ahead of both Streep ( who i think is overrated ) and definitely Cher . In her early days shabana has done a number of comedies . i saw them agaes ago so titles are a little out of my memory but i remember this one movie where she starred opposite sanjeev kumar and it was very funny . plus , she has done a few hollywood films and one that really sticks to mind is City of Joy .

Cornelia Sharpe was in Serpico w Al Pacino whow as in Me , Natalie w Martin Balsam who was in Seven Days in May w O'brien next - Dabney Coleman

Oh . Well I wish it had actors closer to her age than an oldie like Jackie Shroff . How will this film succeed with such an out-of-date actor ? You're wired ! ! !

Wow , that's profound . It really is a beautiful film . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

Laurie was in Louisa w / Spring Byington Spring Byington ws in Jezebel w / Bette Davis Davis was in The Catered Affair w / Reynolds Next : Affair Frank Pettingell

I loved her in Beverly Hillbillies ( 3 episodes ) as the wealthy Mrs . Fenwick

I had watched this previously ( at secondary school , of all places ! ) and recall not liking it all that much . However , I was more amenable to it this time around - - perhaps because it came hot on the heels of a similar film pitting a comedy act in a fairy-tale setting , i . e . the self-explanatory SNOW WHITE AND THE THREE STOOGES ( 1961 ) ; here , of course , it's Abbott & Costello we're talking about . The film utilizes the sepia-into-color transition popularized by THE WIZARD OF OZ ( 1939 ) between its modern-day bookends and the period-set main narrative ; less welcome are the entirely resistible love interest and musical numbers , seemingly compulsory ingredients of this type of family-oriented fare but which now date them most of all ! As usually happens , too , most of the characters who appear in the fairy-tale also turn up in ' real life ' - - including , in this case , the Giant ( played by Buddy Bear from the afore-mentioned SNOW WHITE AND THE THREE STOOGES ) who also fills in for a burly cop whom the pint-sized Lou Costello aggravates ! The stars are amiable as always and manage to adapt their standard characterizations to the requirements of the familiar formula . Incidentally , this proved to be the boys ' fourth of five films with director Yarborough - - and one of only two A & C vehicles to be made in color ( the other being the similarly adventurous ABBOTT AND COSTELLO MEET CAPTAIN KIDD [ 1952 ] ) . Atypically for them , this was not a Universal production - - but rather an independent one distributed through Warner Bros . , which explains its public domain status ! Finally , I really ought to spring for those four " Abbott & Costello " DVD collections from Universal one of these days - - plus I still have a handful of filmed fairy tales / children's classics to go through during this Christmas period . . .

This ' B’ Western is the working definition of an " oater " : designed as a vehicle for the diminutive but energetic Mickey Rooney , his character is somewhat overbearing – that of a New Yorker who goes to Mexico in search of his elder brother , nicknamed " The Pride Of Tenth Avenue " ( played by Robert Stack ) , only to find him to be not as upstanding and hard-working as he had been led to believe . In fact , Stack’s the right-hand man of a notorious bandit – dubbed " El Tigre " ; when confronted by Rooney , Stack confesses to being indebted to the Mexican . . . but when ultimately revealed , the latter’s true identity greatly dismays Rooney ( a clue : Stack and the bandit never appear together in the same scene ! ) . Anyway , the film is unassuming and pretty forgettable but , at the same time , watchable enough ; on the plus side is an appropriately foreign look ( the production company took the trouble of shooting on location , albeit in a studio – the hacienda setting , incidentally , would soon become a staple of Mexican horror efforts ! ) , as well as the imposing and reliable presence of Robert Preston as the Ranger out to capture " El Tigre " . The feminine angle is represented by petite Wanda Hendrix , coveted by Stack but who finally ends up with Rooney – content , for once , to be able to get a girl his own size instead of the usual " 6-foot whales " from back home !

Brendan Gleeson was in The General w Jon Voight who was in Catch-22 w Martin Balsam who as in Youngblood Hawke w Mildred Dunnock next - Margo Martindale

Your observation that the Shroud has been carbon dated is laudable , but when you make claims about the its legitimacy based on equally flaky claims about Christ , you come off as crazy as the folks who believe in the Shroud . § " The Sleep of Reason Produces Monsters . " §

No . 1 , 2 Guess who's coming for you .

Love the picture and the work you did to it , and your tagline rocks . My only complaint is that it is too bland beyond that . You should add the title or something , that would complete it . : ) Why are you screaming ? I haven't even cut you yet .

DDLJ was never offered to Madhuri . It was Kajol's all the time and Divya wasn't even alive during preproduction . I don't see where Aishwarya even comes into the picture . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

Well , it's not the kids ' book you might fondly remember , and it's something of an unrelenting downer , exploring the mind of a narcissistic kid from a broken home , who , judging by his behavior , I'm sure is going to grow up to be a sociopath . Max acts out violently , and the Wild Things all seem to reflect either aspects of his personality , or are analogs for persons in his real life ( example : Carol , a destructive , solipsistic jerk = the predominant part of Max's personality ; K . W . = his mom ) The boy suffers from anxiety over possible abandonment , whether or not anyone loves him ( he's pretty unlovable ) , and matters over which none of us have any control , like the eventual death of our sun and planets ( I'm not kidding when I say it's a downer - do you want your young kids worrying about that ? ) . That's how they pad it out . I'd skip it . Getting one's kids a copy of the book instead would be money and time better spent . § " The Sleep of Reason Produces Monsters . " §

Nice , yours inspired me . You've fallen asleep , your friend has too , There is no escape , cuz he's coming for you . Why are you screaming ? I haven't even cut you yet .

It was never explained what happened to her . She may have been killed but on the other hand she was a useful asset so they may have just rher . If they wanted to just kill her , they could have done it on the spot , without releasing Charlie . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

I don't know if it is ripped off . The film didn't appeal to me much anyway . Other than the performances there isn't much to look forward to . ( \ _ _ / ) ( = ' . ' = ) ( " ) _ ( " )

Hold on now . In 1984 , horror movies weren't performing well at all . Only the approved audience was going to see , mostly 18 up . Now we've got 6 and 7 year olds going to see R rated movies . On April 30th , the Nightmare returns .

u know the name of the song ?

i agree anwarji . i got the dvd from eros . tried to get the dvd of film star but can't find it anywhere : (

I was let down by this Russian director's vampire saga of NIGHT WATCH ( 2005 ) and DAY WATCH ( 2007 ) , so I had little interest in this over-the-top actioner ( the generic title did not help ) . . . that is , until I realized it was adapted from a comic-strip by the same man behind the ultra-violent superhero flick KICK-ASS ( 2010 ) , which I loved . If anything , the film is fast-paced , unrelenting in gravity-defying action a ' la " The Matrix " ( indeed , so extreme is the approach that this could well be dubbed " When Bullets Collide " ! ) and engaging enough in plot to be tolerable . Still , James McAvoy does not exactly convince as action hero - - nor is Morgan Freeman credible as the brains behind a group of rigorously-trained assassins ( whose severe beatings are eventually cured by undertaking a wax bath ) ! On the other hand , while I could not care less about the gossip-mongering style of Angelina Jolie's private life , her casting is ideal - - though the role itself seems to be merely an extension of her MR . AND MRS . SMITH [ 2005 ] characterization - - and slinky presence obviously easy on the eyes ( the fact that an old flame of mine is not just the exact same age as Ms . Jolie but is practically her spitting image never fails to arouse yours truly ! ) ; besides , it is nice to see Terence Stamp in anything these days . The mayhem , then , is interpolated with quirky humor ( particularly involving McAvoy's messy domestic situation and his relationship with an insufferable and obese female boss ) and , for what it is worth , the plot undergoes a 360-degree twist at the finale ( resulting in a jaw-dropping mass execution / suicide via one solitary bullet ) .

ew ! no way !

Since January of this year - - after I attended the Luis Bunuel retrospective at London's National Film Theatre - - this had been the only title left for me to watch out of the filmography of my all-time favorite director ; thanks to Lionsgate's 2-Disc " Luis Bunuel Collection " ( also containing THE YOUNG ONE [ 1960 ] ) , I finally made it now - - an effort which took me all of 15 years to accomplish ! The film was a surprisingly pleasant and engaging semi-musical but , clearly , a very minor work in the director's canon ; if one weren't aware of the circumstances behind its making ( the fact that Bunuel had been kept from directing for 15 years and that his comeback was possible only via a commercial studio product ) , one would think that the great Surrealist master was playing the ultimate joke on his audience - - by delivering a film which is virtually the antithesis of his style ( though , in retrospect , the idea of people suddenly breaking into song in a Bunuel movie is pretty surreal in itself ) ! That said , being the intimate film-maker that he is , he lends considerable attention to the contrasting milieux in which the proceedings take place - - the oil-fields and the titular location . Towards the end , the heroine ostensibly capitulates to the powerful foreign organization controlling the territory - - only to have the last laugh ( with the hero at her side ) as the all-important oil-wells are dynamited soon after their departure from town ! The male lead is likable , handsome and can certainly carry a tune ; he seems to find the overage leading lady desirable - - personally , I didn't share his enthusiasm and , in fact , was more intrigued by the younger and more attractive temptress ( who , during the course of the film led two men to their doom ) . Alfonso Bedoya , the leading Mexican bandit from John Huston's THE TREASURE OF THE SIERRA MADRE ( 1948 ) , here plays the casino owner's grinning lieutenant ; he gets his just desserts in a striking ( and , in the context of the rest of the picture , quite disorientating ) scene showing the hero attacking Bedoya , who's hiding behind a curtain - - instead of cutting between the two men , Bunuel keeps the camera on one side of the curtain but then superimposes for a split-second on this same action the image of shattered glass , as if to imply the devastating effect of the blows Bedoya is receiving ! Another bravura sequence is the one involving the old female kleptomaniac , a hanger-on at the casino ; while in the company of the hero , we see the distorted reflection of her facial features in a shiny champagne bucket he's casually holding ( as if to remind us of her crooked nature ) . The director's hand is also felt in his completely unsentimental handling of a would-be tender moment between the budding lovers : while the heroine remarks about the strong odor particular to an oil-field , the hero nonchalantly picks away at a pool of mud with a stick ! Bunuel also manages to incorporate a nod to Hitchcock in this film - - the ' safety in numbers ' routine often used by the Master Of Suspense : here , feeling threatened by the presence of the rival's thugs at the casino , the hero leaps onto the stage and proceeds to lead the audience in a rousing musical ensemble ! Also worth mentioning here is the recurringly surreal presence of the Trio Calaveras , amiable singing peasants who turn up simply to back up the hero's vocals - - wherever he happens to be at the time ( in jail , at the oil-field , at the casino ) and literally out of nowhere ; at one point , even he seems surprised by their sudden appearance and acknowledges them with a bemused nod ! I hadn't listened to an Audio Commentary in a long time but couldn't pass checking this one out - - since such lengthy discussions of Bunuel's work are a rare commodity . Philip Kemp's track didn't disappoint ( incidentally , the British film critic had introduced screenings of Kon Ichikawa's AN ACTOR'S REVENGE ( 1963 ) and THE WANDERERS [ 1973 ] in a 2002 retrospective of that director's work , also at London's National Film Theater , which my brother and I were lucky to attend ) , as he went into some detail about this film's production history . Among the things I didn't know , he mentioned that there was an on-set rivalry between its two singing stars - - Libertad Lamarque and Jorge Negrete - - so much so that they were accorded an equal number of songs but wouldn't agree to appear in a duet ( which is certainly unusual for a musical ) ! Besides , Lamarque was blacklisted sometime before this film's release after a disparaging remark she made about a then-colleague of hers - - Evita Peron ! ! Kemp also mentions that Bunuel was contemplating a remake of Robert Bresson's marvelous debut film , LES ANGES DU PECHE ' ( 1943 ) , before he eventually embarked on this decidedly more modest enterprise ( still , the cast of the film is filled with distinguished actors of the time and place - - several of whom would re-appear in subsequent Bunuel titles ) . Finally , one word about the collection itself : while this 2-disc 2-film set is decidedly less impressive than Lionsgate's previous tribute to another cinema giant - - Jean Renoir ( comprising a good 7 films spread over 3 discs ! ) , one is still grateful for their commitment in releasing two of his more obscure efforts . That said , it was incredibly sloppy of them to have mislabeled the DVDs - - so that , in order to watch GRAN CASINO , I had to insert the disc of THE YOUNG ONE instead !

She was not black . I'm the same way about a number of the Pharaohs , too . Rameses II had red hair . But not because I feel it necessary to claim them for the whites - it's just the facts . El sueño de la razón produce monstruos .

Ah , okay then . Well it's alright , the threads will probably be gone tomorrow . Although there aren't many other " important " threads bouncing around , these just came in bunches . We still have six more minutes to play .

She's done a number of them like : Saajan ka Ghar , Benaam Badhsha , QSQT , Bas ek Pal , Paheli , My Brother Nikhil , Des Hoyaa Pardes , Waaris Shah , Swami etc . Which one do you think is the saddest ?

This is perhaps the quintessential " Carry On " film , which also means that it's terribly dated when viewed today ! That said , it's quite funny scene by scene - - even if the plot itself is alarmingly thin and disjointed . In fact , it follows three separate narrative threads during the first half which then come together : one involving Sid James and Bernard Bresslaw and their girlfriends , sisters Joan Sims and Dilys Laye ; another with bickering couple Terry Scott and Betty Marsden , who pick up annoying drifter Charles Hawtrey along the way ; and the members of a finishing school ( including perky Barbara Windsor ) and led by the series ' all-too-typically reserved authority figures - - namely Kenneth Williams and Hattie Jacques . With this film , the bawdiness which has since become synonymous with the series really took off - - beginning with the very opening sequence , which finds James et al in a cinema showing a documentary about a nudist campsite ! ; a scene in which James and Bresslaw spy on the women's baths through a hole in the wall was subsequently much imitated . Many of the film's best moments highlight Terry Scott - - exaggerating his afternoon activity when asked by the wife how it was , knowing full well she isn't lending him the slightest attention ; his encounter with a bull in a field ; at the end , when he takes stock of the situation in his tent and forcibly throws out Hawtrey . Popular British starlet Valerie Leon , who appeared in a number of " Carry Ons " , has a bit here as a salesgirl . By the way , CARRY ON CAMPING was trimmed by the BBFC on its original release ; ironically , it ended up being the highest grossing film of the year in the U . K . !

Edith Clever was in Linkshändige Frau , Die w Gérard Depardieu who was in 1492 : Conquest of Paradise w Frank Langella whow as in The Wrath of God w Rita Hayworth who was in Separate Tables w Dborah Kerr who was in Julius Caesar w John Gielgud whow as in The Wicked Lady w Bates next - Treat Williams

Which two lines did you have in mind ? § " The Sleep of Reason Produces Monsters . " §

My favorite characters are Stewie , Brian , and Peter . Although I just like Peter because he acts retarded On April 30th , the Nightmare returns .

Roast beast , with which I absconded from Whoville . Along with the last can of Who-Hash . § " The Sleep of Reason Produces Monsters . " §

I think you do not have the faintest idea where the LDS are coming from on this issue . I notice you immediately invoke the specters which trouble your sleep - non-standard family structures , Muslims , worry about the kids - and you assume they share your concerns . They're not afraid of homosexuality because allowing gay marriage might lead to polygamy , but because of beliefs about the afterlife which are unique to them . In Mormonism , marriages are not " until death do you part , " but are considered eternal . Salvation consists of becoming a god , and populating worlds with the offspring of unions with one's goddess wife or wives . Their particular afterlife fantasies are far more involved than those of the average Christian . Most Christians accept the New Testament statements that in heaven , people are neither married , nor given in marriage , that sexual relations / reproduction are not what heaven is all about . Mormons do not accept this . Their entire standing with their Church is predicated upon getting married in the LDS Church ( marriages conducted outside the Church do not count for salvation - one must be in good standing with the Temple ) to someone with whom they can populate other worlds . To them , gay relationships don't fit in with their notions of the Celestial Kingdom . § " The Sleep of Reason Produces Monsters . " §

You are lying . The term that you use to make your " male temple prostitute " argument is " tow-yebah " which can be translated as " abomination " , " detestible act " or " idolatry " . The problem with your application of the " idolatry " translation is that it does NOT change what is being prohibited to be " male temple prostitution " . . . The Hebrew word in the subjective noun position is " zokar " , which means " male / man " . There is no mention of male temple prostitution . Whether or not what Leviticus is talking about is toevah ( abomination ) or chet ( sin ) is not really essential to the argument . Everything in the Holiness Code is about separating Hebrews from Canaanites , ritually speaking . Even were it the case that Leviticus 18 : 22 were discussing male-male sexual relations in and of themselves ( and there are reasons to think that it is not ) , then the problem is not that it was essentially evil , but that it was considered un-Jewish , just as eating pork or shellfish was considered un-Jewish . The texts repeat themselves again and again : ' you are not to do what the foreigners do ; you will not behave as the Canaanites do - you will place a difference between yourselves and them ; I am the Lord . ' It's interesting that you bring up zakar , since in Hebrew it carries a dual meaning ; it means male / man , and it also means ' remembrance ; mindful ; competence to worship . ' That the language draws some comparison with being male , and eligibility to be able to worship , or to call one's self an Israelite is interesting . It speaks to the strong cultural hold the patriarchy had on the religion , and holds an insight on the role a qedeshim might have had in ancient Semitic religious practices , and why a temple prostitute might have needed to be male . The element of worship in the term zakar tells us that the text is referring to a Canaanite religious practice . § " The Sleep of Reason Produces Monsters . " §

The latest issue of Britain's oldest film magazine , " Sight and Sound " - - to which I'm subscribed - - features a 5-page article commemorating the upcoming centenarian birthday of Portugal's finest film-maker , Manoel De Oliveira . In it , writer Jonathan Romney describes WORD AND UTOPIA as " grueling . . . austere . . . one of the most willfully uncommercial films ever " . In fact , this ' modest epic ' ( my words ) feels remarkably like one of Roberto Rossellini's latter-day made-for-TV biopics of important medieval figures , dealing as it does with a controversial 16th century Jesuit priest from Portugal , Fr . Antonio Vieyra . He stood up for the exploited natives of the New World , which didn't go hand in hand with the Church practices of the time but nonetheless earned him a devout following . He was also a respected theologian and orator ( as amply displayed by the philosophical script ) ; at one point , he's brought before the Queen ( Oliveira regular Leonor Silveira ) in a speechifying ' duel ' with another well-known speaker of the era ! The film follows his life and career - - from inexperienced novice to missionary , to luminary and martyr , up till his final days of progressively failing health and eyesight ( during which he still strives to assemble for posterity both his past speeches as well as the history of his order ) . While the subject matter clearly isn't the most enticing and Oliveira's customarily unassuming style doesn't allow for much dramatic development , this still emerges a fairly interesting character study ( with a suitably ardent lead performance ) - - though it's a decidedly long haul at 130 minutes .

I am calling BS on it all . They are just trying to throw us off , at least that's what I think . We still have six more minutes to play .

I had intended to purchase the Anchor Bay DVD of this one as soon as it was released in 2003 - after I had been impressed by Critical Mass ' SE of director Clark's BLACK Christmas ( 1974 ) . However , since it was alluded that the same company would release their own disc of MURDER BY DECREE , I waited a while before finally giving up and opted to purchase the Anchor Bay version regardless - which was , by all accounts , a fine release and , what with an Audio Commentary by the director himself , about as definitive as one would wish for ! Eventually , I received my copy in January - though , for various reasons , I kept postponing its viewing . . . then , with Clark's tragic and untimely death earlier this month , I couldn't miss out on paying him tribute via what is regarded as one of his better efforts . Anyway , to get to the film proper : this is the second of two films pitting literature's most famous detective , Sherlock Holmes , against one of the most notorious criminals the world has ever known - Jack The Ripper . Unfortunately , I've never watched A STUDY IN TERROR ( 1965 ) - which is the other film to present this intriguing scenario ; incidentally , two cast members from that title were also featured in MURDER BY DECREE , namely Anthony Quayle and Frank Finlay ( in the very same role of Inspector Lestrade ) ! Also , the controversial revelation of this film was shared by a later treatment of the Ripper killings - FROM HELL ( 2001 ) , where Holmes and his assistant Dr . Watson were replaced by the character played by Johnny Depp . . . Despite the benefits of a great cast and a first-class production , this isn't the best outing to feature either legendary character : it's still a pretty good try , with the film being generally engrossing and entertaining - though tending towards a sluggish pace at a little over 2 hours in length . John Hopkins ' literate script supplies a neat wrap-up in which Holmes proposes his far-fetched conspiracy theory , one that rather downplays the role of the actual perpetrator of the crimes ; besides , the convoluted plot features so many characters that one is bound to forget that the famed Baker Street sleuth is supposed be trailing the Ripper ( though their eventual confrontation is quite splendid ) ! MURDER BY DECREE is also Bob Clark's classiest work by far , though the murder sequences themselves - accentuated by judicious use of slow-motion - are handled in the style of the director's earlier slashers ; even so , I wouldn't quite say it's his best film - and , yet , he received one of the 6 Genie awards ( the Canadian equivalent of the Oscars ) won by the picture . Christopher Plummer's uncharacteristic but fine rendition of Holmes allows him to become involved on a personal basis in the case he's investigating ; incidentally , the actor happens to be second cousin to the screen's most popular Watson , Nigel Bruce ! Though not quite the bumbling buffoon incarnated by the latter , James Mason's amiable doctor here is still basically the droll sidekick to Plummer's dour detective ( the pea-eating incident is particularly hilarious ) ; nevertheless , his performance has been hailed by some critics as the best-ever interpretation of the character . That said , they weren't Clark's first choice for the roles : he had originally wanted Peter O'Toole for Holmes and Laurence Olivier for Watson - but the two , reportedly , proved incompatible ; interestingly , both had previous ties to themes from the film : O'Toole had indirectly essayed the Ripper characterization in his tour-de-force performance in THE RULING CLASS ( 1971 ) , while Olivier had appeared as Professor Moriarty - Holmes ' arch-nemesis - in THE SEVEN PERCENT SOLUTION ( 1976 ; a film I'd love to revisit , if only it were available on DVD ) ! As for the rest of the cast : David Hemmings is a Police Inspector with radical leanings ; Genevieve Bujold is effective as an asylum inmate who proves to be the key to the puzzle ; Susan Clark , on the other hand , is miscast as a prostitute who becomes one of the unfortunate victims of the conspiracy ( speaking of which , it's rather curious that Clark made the majority of his streetwalkers both old and ugly ! ) ; besides , the excessive facial hair ' worn ' by the likes of John Gielgud ( as the Prime Minister ) , Anthony Quayle ( as the Chief Of Scotland Yard ) and Donald Sutherland ( as a medium ) comes off as unintentionally funny . While the transfer results to be somewhat dark ( though this may well have been intentional ) , Bob Clark's Audio Commentary is worth a listen : apart from showering unreserved praise on his roster of stars , it's especially insightful with respect to the editing choices he made and the way footage shot on a studio set was seamlessly blended with the location work . For the record , I consider Billy Wilder's THE PRIVATE LIFE OF SHERLOCK HOLMES ( 1970 ) to be the best Holmes film ever made - with the second Rathbone / Bruce outing , THE ADVENTURES OF SHERLOCK HOLMES ( 1939 ) , not too far behind ; one contemporaneous film of MURDER BY DECREE's I wouldn't mind catching up with is the made-for-TV and star-studded SHERLOCK HOLMES IN NEW YORK ( 1976 ) . Also originating in TV is the two-parter JACK THE RIPPER ( 1988 ; which I had watched back in the day and would love to revisit someday ) , perhaps the most meticulous film ever made on the subject ; still , to my mind , the finest Jack The Ripper-themed efforts actually remain two versions of THE LODGER ( the 1926 British Silent directed by Alfred Hitchcock and the 1944 American remake ) . Unsurprisingly , the character proved an exploitation favorite - from the Baker / Berman programmer JACK THE RIPPER ( 1959 ) to two variations from the Hammer stable , DR . JEKYLL AND SISTER HYDE ( 1971 ) and HANDS OF THE RIPPER ( 1971 ) , and even Jess Franco's JACK THE RIPPER ( 1976 ) - and was even featured in the offbeat sci-fi adventure TIME AFTER TIME ( 1979 ) .

Tony Dow was in Back to the Beach w / Frankie Avalon who was in Voyage to the Bottom of the Sea w / Walter Pidgeon who was in Executive Suite w / Shelley Winters who was in The Young Savages w / Savalas NEXT Charlotte Greenwood

magezia is right . " a tulawin "

Yeah it is a little shady that they all don't remember anything that happened . Maybe they were heavily surpressed , and it only took a little bit to jog her memory . On April 30th , the Nightmare returns .

PArks was in The Idol w / Jennifer Jones who was in Portrait of Jennie w / Barrymore NEXT - Nicholas Colasanto

How did you come by your atheism ? Were you raised Muslim , and chose atheism ? Do you live in a pluralistic society , or somewhere where admitting atheism places you at risk ( like Saudi Arabia ) ? § " The Sleep of Reason Produces Monsters . " §

Ostensibly a documentary about legendary animator Chuck Jones ( made for British TV at the time of the opening of the Museum Of The Moving Image - which I visited in 1999 , when it was about to be closed down ! ) , the film is something of a mixed bag as , despite the title , it isn't really an exhaustive biography of the man but a generic documentary about the art of animation . Having said that , his explanations into the design of the various classic cartoon characters was undeniably illuminating but it deals only intermittently with his career and his numerous collaborators - spending too much time on childhood recollections and an over-extended introductory sequence , which serves as an advert to the Museum more than anything else ! - though we do get to see some shining samples from his celebrated work for the Warner Bros . studio during their 1940s and 1950s heyday ( mainly from DUCK AMUCK [ 1953 ] , appropriately enough ) . Therefore there is , perhaps unsurprisingly , no mention of Jones ' rather disastrous move to MGM in the next decade - where he was involved with the substandard latter-day Tom & Jerry cartoons ( though he also contrived to make THE PHANTOM TOLLBOOTH [ 1970 ] , a quite good intellectual animated feature in the vein of " Alice In Wonderland " and " The Wizard Of Oz " ) .

Yes , this was one of the best of KWK . Salad or Liver ? What would it be ?

When Tina dies in ' A Nightmare on Elm Street ' . They built it up like she was the main character , and then , boom , she's dead . We still have six more minutes to play .

If there can be such a thing as overhyping the badness ( read unintentional hilarity ) quotient of a film , then the reviews I've come across of this one on the Internet are guilty of doing just that ; it's not that I didn't find William Shatner's inflating hairline , outrageous clothes sense and , especially , his uncontrolled facial expressions comical . . . but I wasn't exactly laughing out loud either - - let alone rolling about on the floor stamping my fist in hysterics ! I'm not saying I was really expecting that kind of a response but , at any rate , I was let down by the film even in this department so that little remains for me but to bemoan the loss of 90 minutes from my life and try to forget this viewing ever happened ! Sure , Shatner is hardly the ne plus ultra in psychopathically menacing and irresistibly handsome characters : seeing him threaten an obese woman for no reason at a park ( while dressed in an unflatteringly sleeveless shirt ) , break out in tears after committing his first murder ( as an adult ) , decked out in a completely white get-up with an over-sized fedora hat to match , slip his little finger into his mouth every time he recalls his childhood trauma ( shown in black-and-white during the prologue ) and boyishly jump up and down ( as if his bladder's about to burst ) in anticipation of being shown the safe is , admittedly , a source of amusement . . . but that hardly excuses the dullness of the rest of the picture . The chase in a car wash between Shatner and ex-partner Harold " Oddjob " Sakata ( here playing Karate Pete ! ) was a nice try but even that sequence is clumsily executed and needlessly protracted . The worst part of it is that the three female leads - - Ruth Roman , Jennifer Bishop and Kim Nicholas - - claim a good share of the film's running time when they are merely boring caricatures ; unfortunately , the director even contrives to waste the opportunity of the only two promising female encounters Shatner has in the movie - - the sultry belly-dancer at the start and the flirtatious hotel receptionist !

I mean , when he's trying to be helpful , I have no problem with him . But when he isn't , or throwing accusations at me , then I do have a problem . We still have six more minutes to play .

Connie Stevens was in Parrish w / Claudette Colbert who was in Bluebeard's Eighth Wife w / Horton NEXT - Al PAcino

Quick ! Give me some lemon juice to throw on it ! § " The Sleep of Reason Produces Monsters . " §

Have a great day in 09 .

Angela Winkler was in Linkshändige Frau , Die w Gérard Depardieu who was in 1492 : Conquest of Paradise w Sigourney Weaver who was in Gorillas in the Mist w Harris Next - - Howard Hesseman

I don't agree . Gendo's posts are never " simple , cut and dry " questions . Loving v . Virginia is a case revolving around racial issues , and Gendo claimed not to understand how the 14th Amendment could apply . It doesn't balance ; there's some form of prevarication there . It's not simply a matter of an " innocent " question for which he desired clarification ; Gendo is one of a few strict constructionists on this board , who obsess over the literal language of the Constitution . Nor is Calvinism the only egregious ideology to which he subscribes . Casual conversation with him reveals all sorts of opinions he holds which he usually tries not to expand upon - unlike the Pig Farmer , who doesn't give a goddamn what other posters think of him - the more controversial , the better - Gendo cares deeply about potential board opprobrium , and tries to deflect blunt questions about his opinions . He's not a particularly truthful poster . Gendo is not ignorant of the actual content of any of this ; Google is as much his friend as it is anyone's . But he likes to start threads that come back to issues related to Constitutional interpretation , States ' rights , and other issues dear to the penurious , empathy-challenged heart of a libertarian . That he began this one is indicative of an attention whoredom far greater than anything Chx has ever aspired to ; he knows that it will bring criticism , and that others ( like yourself ) will throw yourselves in front of the bus to defend him . It's a gross spectacle . I think a target exists ; very much so . But I don't think he's worth it . I wouldn't have answered him . § " The Sleep of Reason Produces Monsters . " §

thanx markus . real4 , wtf is wrong with u ? at least try 2 b polite . what's that ho danielle doing there ? she has the audacity to stand next to shilpa and shamita ? what a shameless ho ! engaged to Schmelie , seduced by AnitaPuff again TakeCareHaveFun