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I've just been at the cinema in down town Prague watching this film. <br /><br />Not due to the poster I found very Holywood old-fashioned heroic<br /><br />style. Not due to the high level starring which remind me that most<br /><br />of those high starring French films are usually pathetic. But just<br /><br />because there are not so many films in my French mother tongue in a<br /><br />city like Prague. And because I love Adjani, Depardieu and Rappenau's<br /><br />Cyrano. Then I decided to write up this small comment because I think<br /><br />I really don't agree with the comment main stream on this film on imdb.<br /><br />I was not disappointed. The film just look like the poster. The<br /><br />characters are just as stupid as they look like. For a while I<br /><br />thought Adjani would be like a caricature -- just a funny character<br /><br />you can laugh at. No she is not! For example when she decides to tell<br /><br />Depardieu she is the one who murdered the fat one she killed at the<br /><br />beginning of the film then come the violins in a big fat pathetic<br /><br />music which should make you cry and realize Adajani's character is a<br /><br />deeper person as she looks like. Maybe this was humor at the 10th<br /><br />level but I am sorry my sense of humor is not that high! If I want to<br /><br />see some funny French film on the WWII I watch once again La Grande<br /><br />Vadrouille! It is definitively more fun! I have also read on imdb<br /><br />that Lemoine is making a great performance in this film. I have to<br /><br />say I have never seen a so bad acting! (Well I have never seen any Ed<br /><br />Wood's film). Nevertheless the film is good filmed with a lot of good<br /><br />(very costly) scenes like the one with the Pantheon in the morning<br /><br />when the German army arrives at Paris or when the refugees settle down<br /><br />on a bridge in Bordeaux. I think Rappeneau is a good filmmaker but<br /><br />that he does better with a good script. It was easy with Cyrano. He<br /><br />had not to write the dialogs!<br /><br />I give 1/10.

I never saw any of The League's work until early last year - although when channel hopping one night I caught the end of one the series three episodes. But last winter I fell in love with the show and its dark, eccentric and sometimes downright sinister characters. So when I learnt they had made a film in which the show's lovable creators met their own characters, I couldn't order the DVD fast enough and near on tore it from my postman's hands when he delivered it. I was so excited to see what the Gents had done and how they'd done it.<br /><br />And it was excellent! From the beginning where Jeremy (Michael Sheen) is terrorised by Edward, Tubbs and Papa (Dyson, why didn't you play yourself? He's perfectly capable as viewers of the infamous Highgate House of Horrors know!), to Bernice berating yet another one of her flock, to Geoff, Herr Lipp and Hilary discovering that THEY are characters, which is a great scene. The scenes set in 1690 are very enjoyable, with the Gents turning their hands to yet more characters and an all new plot. David Warner's turn as Doctor Pea is fantastic, slightly camp and very funny.<br /><br />The League have always been brilliant at blending humour with sadness and emotion - and the climax of this film, where Herr Lipp is struggling with the idea that he and the other Vasey residents are just fictional people who will never be able to change who they are or their purpose - and to witness how it's breaking him down, is really sad and beautiful to watch at the same time and that really shows the Gents' talent - something for which they are terribly overlooked for to this day.<br /><br />And then you have that rather clever ending - where you sit in wonder - with Joby Talbot's beautiful theme music playing. And you know you've enjoyed a very clever and funny film.

What a load of rubbish.. I can't even begin to describe how awful this film was. The rating it has here is really hard to believe.<br /><br />Avoid... Particularly if you enjoyed the first ginger snaps. The first one was well written, well directed, well executed.. a brilliant film with a fantastic aesthetic and atmosphere. The second one was 'alrite'- decent as a self-standing film, but clearly not up to the level of the first... The third is an insult to the series, period. I rate the films: 10, 6, 1. It's that bad.<br /><br />Oh, and yes it really is set in the past, the sisters are still called Ginger and B Fitzgerald... all muddled in with some half-assed native American mythology. The sisters don't have any real story, or progression, or even a clear relationship... They're just trying to survive and be 'together forever'. That's about as deep as it gets.<br /><br />Staggered that the girls agreed to be in this pile-of-shite, after reading the script.<br /><br />Oh and another thing, staging of action was terrible- people appearing from nowhere regularly, like the girls turn around and there's an elaborate candle-lit setup with a mystic native American woman just sitting there, about to go into a speech. Sets were terrible, couldn't get away from the fact that it was all obviously based in a set, which really didn't help. Also, there was consistently snow outside the camp, but not a trace inside (..on the set).<br /><br />Arrghh,,, so bad! I really was hoping it would be at least as good as the second one.

Woman with wig, who "dyes" her hair in the middle of the film (=takes of wig) presumably does not see what the audience can see from miles away:<br /><br />*** begin spoiler alert *** that her hubby is having an affair with her best girlfriend and they both try get rid of her. *** end of spoiler alert ***<br /><br />And what a spoiler that was: the title already gives it away, doesn't it? Bad acting, bad script: waste of time Oh yeah: in the end, she lives happily ever after....<br /><br />If you liked this movie, you'll really love "Cannibal women in the Avocado Jungle of Death"....

Flashes of lightning; a sprawling cemetery; the name of Adam 'Batman' West: all pop up on screen before the opening credits are even over, and yet, despite these rather naff elements, One Dark Night isn't as cheesy as it might first seem.<br /><br />Meg Tilly (Jennifer's sister) plays pretty student Julie, who reluctantly agrees to spend the night alone in a mausoleum as part of her initiation into exclusive high school clique The Sisters. What Julie doesn't realise is that the other 'sisters' plan to freak her out with some ghoulish pranks—or that the most recent body to be interred in the mausoleum is that of 'psychic vampire' Raymar, who feeds off the life force of scared young women.<br /><br />Admittedly, this isn't the most original of set-ups, but thankfully there are enough inventive touches to help set this film apart from the competition, my favourites being the macabre sight of everyday objects embedded in the walls of Raymar's apartment, and the creepy manner in which mouldy corpses float through the cold marble corridors of the mausoleum during the excellent finale. Hal Trussell's impressive steadicam cinematography and Tom Burman's wonderfully macabre special effects also add immensely to the chilling atmosphere.

I watched this movie to see the direction one of the most promising young talents in movies was going. Unfortunately, with this movie, Leelee Sobieski has chosen a path not only well worn, but completely free of any meaningful destination. This movie used every hackneyed trick in the book to leave the screen, tap you on the shoulder and politely ask if it can have your heartstrings so that it may give them a good tug. Romance can be done well, and when it is, the viewer is left feeling the love portrayed on screen. During the emotional climax of this movie, I laughed. Heartily. To save you the time and money, I would suggest, instead of seeing this movie, you have a meal of Karo syrup and Velveeta. It's about the same.

A waste of time, talent and shelf space, this is a truly abysmal film. What are big leaguers like Keanu Reeves, Cameron Diaz and Dan Aykroyd wasting their time being in such rubbish?. Petty criminal Reeves turns up to his brothers (Vincent D'Onofrio) wedding and ends up leaving with the bride. A comedy?, thriller?, romance? I honestly do not know! Reeves is wooden in the lead and casting Dan Aykroyd as a cop is so dreadful it has to be seen to be believed!. Only bright spot from a dark dark tunnel is Diaz and even she isn't that good. Rent out something else. everyone involved with this mess should hold there heads in utter shame and prey that it gets lost in oblivion in the years to come.

This is one of the best crime-drama movies during the late 1990s. It was filled with a great cast, a powerful storyline, and many of the players involved gave great performances. Pacino was great; he should have been nominated for something. John Cusack was good too, as long as the viewer doesn't mind his Louuu-siana accent. He may come off as annoying if you can't stand this dialect. The way that Pacino's character interacted with Cusack's character was believable, dramatic, and slightly comical at times. Danny Aiello was superb as always. David Paymer was great in a supporting role. Bridget Fonda was good but not memorable. There were times when this picture mentioned so many characters, probably too many. It may take a second viewing to remember, "which Zapatti was which?" After so many cross-references, one has to stop and think just to recap. The ending didn't have a lot of sting. It was built up for so long and then was a bit of a letdown. This was one of the few problems with the film. Since the movie wasn't billed as a "huge, blockbuster" big screen hit, it made some forget that this movie even existed. Pacino and Aiello were great but the film's lack of "splash" in the theaters may have accounted for no nominations. It was semi-successful in the home market, and viewers are still learning that this title is out there. Made in 1996, it still stands up today and will remain popular for many years to come.<br /><br />So, make yourself some lemon pudding (you'll see) and see this movie!

As a fan of Science-fiction movies, I have been aware of The Matrix since its release in 1999. From the little bit I would allow people to tell me about it, I assumed it was highly original and sophisticated. I am also a devotee of Alice in Wonderland. I could never quite figure out how I missed The Matrix when it was released. With the imminent release of The Matrix Reloaded, it was time to buy the DVD and watch it.<br /><br />The disappointment was too great. The premise of the matrix (the controlling device as opposed to the movie) was clever. The philosophical premise of parallel worlds, alternate realities is shopworn. However, I could still have bought into the film, as science-fiction, if it stayed firmly in that genre. Unfortunately, it turned into a standard, "will they or won't they escape, break through, rescue those in need of rescue, etc." To make matters worse, it turned out to be another martial arts exercise. The problem is that science-fiction and martial arts films are really two different types. To the purest, the devotee of one or the other, mixing the two doesn't work. It is like mixing science-fiction with romance. You can have one or the other, but not both in the same film, or, at least, not both to the same extent in the same movie.<br /><br />If there were such problems with The Matrix, The Matrix Reloaded really compounded the problems. At least thirty minutes of the film were either martial arts sequences or the protracted car-chase. (This observation ignores the question, made in every professional, negative review of the movie: If Neo could do the Superman thing, why bother to fight at all? The answer, of course, is that's what draws the young, male demographic group into the theatre.) Then there is the "redemption through love" aspect. That plot device was worn out by Richard Wagner over a hundred years ago. It was actually handled better by him in Die Gotterdammerung.<br /><br />So where does that leave those who saw the Matrix Reloaded. Martial arts fans probably groaned through the trite, but arcane sci-fi philosophizing. Science fictions fans were wondering why they were sitting through a kung-fun fest. Most of the males in the audience where probably bored by the silly romance aspect of the film.<br /><br />Just what are you supposed to be getting for your bucks when you see The Matrix franchise films: Science fiction, martial arts, or soap opera? A bit of each does not make for a whole lot more of any of them, nor for a satisfying film for the afficionados of each.

If The Man in the White Suit had been done in America, can't you see either Danny Kaye or Jerry Lewis trying on Alec Guinness's Sidney Stratton on for size?<br /><br />This is one of the best of Alec Guinness's films and certainly one of the best that Ealing Studios in the United Kingdom ever turned out. It's so perfectly fits within the time frame of the new Labour government and the society it was trying to build. It's amazing how in times of crisis capital and labor can agree.<br /><br />Alec Guinness this meek little schnook of a man is obsessed with the idea that he can invent clothing that will never need cleaning, that in fact repels all kinds of foreign matter the minute it touches the garment. <br /><br />He's a persistent cuss and he does succeed. Of course the implications haven't really been thought through about the kind of impact clothing like that will have on society. In the end everyone is chasing him down like they would a fugitive, almost like Peter Lorre from M or Orson Welles in The Stranger or even Robert Newton in Oliver Twist. <br /><br />It's the mark of a great comedy film that a potentially serious situation like that chase as described in some of the serious films I've mentioned can be played for laughs. Poor Guinness's suit is not only white and stain repellent, but it glows like a neon sign.<br /><br />Other than Guinness the best performances are from Cecil Parker as yet another pompous oaf, Joan Greenwood as his siren daughter and Ernest Thesiger the biggest clothing manufacturer in the UK> <br /><br />Come to think of it, did Paramount borrow that suit from Ealing and give it to John Travolta for Saturday Night Fever?

Shinjuku Triad Society, albeit from perfect, is a fiercely compelling film for what it tries to depict in its uber-conventional realm. It's a yakuza/triad picture, involving cops versus Japanese &/or Chinese gangsters (mostly Chinese, as the title suggests), but already even in his first technical 'debut', Takashi Miike is already establishing many aspects to films that he would make from here-on in. Social issues like black market trading of precious goods, in this case human organs usually from children; nostalgia for childhood and one's roots, which was especially prevalent in Dead or Alive 2; thumbing-of-the-nose at taboos like gay sex and (satirical) rape/violence towards women; blood-curdling violence. It's certainly not as surreal as some of Miike's most recent films, but this is expected as he's trying out things that he's just starting to learn, following a track record of straight to video programmers. It's got all of those qualities, and it's also, like the films that would follow from it, equally savage and heartfelt, crazy (in spots) and sardonic in its drama, and solid for genre fans.<br /><br />The story concerns two brothers, one a Chinese orphan raised in Japan, Tatsuhito Kiriya (Kippei Shiina, pretty decent as a Eastwood-esquire anti-hero/hero), who's become a detective, and another, who's become a gangster, or a would-be one. The main arch likely takeover gang comes from Wang (a definite pun on what the gang represents during its spare-time, played by Tomorowo Taguchi as a typical wacko with real terror in his eyes), and his partner Karino (Takeshi Caesar, who's threatening even when just repeating a commandment over and over to a woman who's just had her eye plugged out following a sour deal), who are the ruthless kind to pop up almost organically in a Miike movie. There's some intrigue involving the organ-trading scheme with the gangsters, which Kiriya almost becomes a victim of, and the gang's penchant for gay sex- at least with one little puppet of sorts who does whatever the main gangsters want. It all leads up to vengeance and redemption, qualities that Miike and his writer are trying to emulate from Shakespeare (hence the Macbeth bit with Wang washing his bloody hangs over and over after some gay sex saying "it won't come off").<br /><br />If it doesn't add up to the same emotional level of impact that a great Shakespeare play would have, it's par for the course of a film like this. Miike's goals are met, though just met, in his low-scale ambitions: a gangster picture with some added levels of harsh familial trouble (the main tension between the brothers comes out of profession and duty to parents), notes on the crueler aspects of underworld crime, and what the realm of unrepentant sex, with both sexes, brings out psychologically in the characters. At the same time, Shinjuku Triad Society also contains more than a few moments of classic biting black-comedy from the Miike oeuvre. Some of it just has to be taken with a grain of salt for what the director does in his outrageousness, like the bit at the beginning with the chair smashing over the face, or the randomness of the "interrogation" as it goes into a very twisted area. There's even a laugh-out-loud line from the young sex-slave after finishing an act on one of the bosses: "Thank you, Mr. Weeny-Burger." Miike and his writer don't have enough here to make the film a full-on dark comedy like Ichi or, of course, Visitor Q, but there's enough to bring some appropriate levity to the darker aspects to the story and characters.<br /><br />As the first entry of the "Black Society" trilogy, as it's called, I was quite impressed, and it's a fine quasi-calling card from one of the craziest new artists in contemporary cinema.

If the Lion King was a Disney version of Hamlet, then the Lion King 3: Hakuna Matata is a Disney version of Guildenstern and Rosencrantz are Dead. Just like Tom Stoppard's beguiling film, we get to view the action from the point of view of two of the minor characters from the original: Timon, the meerkat with a penchant for breaking into song at the drop of a hat, and Pumbaa, the warthog with flatulence issues. By following their story - rather than Simba's - we get to see why all the animals bowed down as Simba was presented from Pride Rock. We find out what made Timon and Pumbaa decide to follow Simba back to Pride Rock to oust Scar. And we find out how they dealt with the hyena's once and for all. Nathan Lane as Timon gets most of the best jokes, but he is ably supported by Ernie Sabella as Pumbaa. It is also good to hear Matthew Broderick and Whoopi Goldberg reprising their roles. Julie Kavner and Jerry Stiller lend their distinctive voices to two new characters: Timon's mother and uncle. The only downside is the constant stop-start-rewind-fast-forward device which doesn't always help to progress the story. Having said that, there is a brilliant zoom near the beginning of the movie. With more laughs than any other third-in-a-Disney-series movie, Hakuna Matata is worth watching - if only for the hot tub scene which is still funny despite being a little bit predictable.

This was one of the worst movies I have ever seen. Branaugh seemed to have so much trouble remembering his accent that he couldn't deliver his lines. The plot was definitely not worthy of John Grisham's name. No wonder it was never published as a book or released in theaters. I didn't even watch the whole thing. I decided I didn't care who done it, then realized there was no "whodunit" to care about!

This one is just like the 6th movie. The movie is really bad. It offers nothing in the death department. The one-liners are bad and are something that shouldn't be in a NOES movie. Freddy comes off as a happy child in the whole movie. Lisa Wilcox is still the only thing that makes this one worth while. The characters are extremely underdeveloped. All in all better than the 6th one, but still one the worst movies of the series. My rating 2/10

Exceedingly complicated and drab. I'm a bright guy, but this was just too much for a tired brain. It would really benefit from a few early clues as to who these people are and what they are doing. Probably better for the US market. GC himself hinted that this alone did not supply his Oscar and you can see why.<br /><br />Still the sand dunes are pretty. The nail pulling is nasty. The attorneys drunk dad is a mystery. The cricket is good to see.<br /><br />Very difficult to write the required ten lines on this, despite it being over 2 hours long. Thank heavens they shortened it. Admittedly we don't get to the pictures much, but the last film we saw, Walk the Line, was 10 times better and I don't really like Johnny Cash. My wife says George still looks good with the beard and a few extra pounds so there's that.....am I nearly there yet ?<br /><br />How about now

Paul Verhoeven has one of the strangest oeuvres of any major director: he started off making art-house films in his native Netherlands before moving to Hollywood where he began making subversive genre pieces which are often seen as mere entertainments by the mainstream crowd. 1983's The Fourth Man was the last film he made before moving to the U.S. and it seems to have been a transitional film for him.<br /><br />From the beginning of The Fourth Man it's clear that the film will be seen from the perspective of the famous albeit impoverished author Gerard. In a seeming homage to Carol Reed's similarly titled 1949 film The Third Man the film begins with an author making a trip to speak to a crowd of literature enthusiasts. The similarities end there, however, as Gerard runs into no major complications before arriving at the auditorium and the speech itself goes fairly smoothly. In spite of the relative ease with which he completes this function we know that the author is somewhat troubled as he has realistic fantasies about murdering his roommate before leaving his house and he also has a surreal fantasy involving a hotel he sees advertised and a detached eyeball growing out of a door's peephole. That he sometimes has trouble keeping his fantasies separate from reality is made all the more clear when an anecdote he tells is exposed as untrue and he admits that he "lie{s} the truth until {he} no longer knows whether something did or didn't happen." <br /><br />The Fourth Man is full of surreal fantasies and dreams which are made all the more disturbing because it's very easy to see how they relate to events which we have seen occur and because they sometimes foreshadow events which haven't occurred yet. Between the effectiveness of the unreal sequences and Verhoeven's careful editing style this ends up being the most atmospheric film this side of Don't Look Now and like that film this one is full of ambiguity. Unlike that film The Fourth Man is also perversely funny as Gerard's deeply held Catholic beliefs seep into every aspect of his life including sexuality. He naturally associates a female hair stylist he knows intimately with the Biblical Delilah though he fears she'll remove an even more important symbol of masculinity with her scissors. In an erotic fantasy sequence that would make Luis Buñuel blush he substitutes a man he's attracted to for a life size statue of Christ on the cross.<br /><br />The Fourth Man is a horror film which manages to bring the viewer into the mind of the protagonist while still maintaining a certain ambiguity: it certainly seems as if Gerard is in danger but it may just be more of his "lying the truth." The film is also full of both subtle and not so subtle visual symbolism which helps make it a unique and satisfying cinematic experience.

Not only does this movie have a poor plot, bad direction, and terrible acting, its opens up a whole new meaning to racism.<br /><br />In this film "White" chicks are the sluts, "White" boys are the wana-be gangsters, and successful (yes again) "White" businessmen are revolting toilet shitters.<br /><br />I just wonder what would happen if I made the exact same movie with the exact same story line and script, only I made it about Caucasians. "He dude, its good to finally see your've stopped dating those black chicks".<br /><br />Nobody seems to notice it, but watch this film again and you'll vomit at how they have portrayed the new Zealand "white boys". All of a sudden its white folks who are the main cause of gang aggression, and whores out for a quick bang. Only Samoans girls have a heart, there's no such thing as a non-slutty white girl.<br /><br />It disgusts me that they couldn't make this film without giving the Caucasian community in New Zealand a repulsive profile. If you think I'm overgeneralizing, go watch this film, and see what you make of the "white boys". Just because Samoans choose to call us "white boys" in actual life, doesn't mean its funny. If I said hey black boy I'll loose my teeth.<br /><br />Don't see this movie. Don't waste your money. Don't be racist.

Considering all the teen films like "the Breakfast Club" and "Pretty In Pink" that are lionized. It is surprising that this one is so ignored.<br /><br />There is no sex in it, but sex is thought of, including the idea that it may matter what others think about it. The kids do not always get along with their parents, but neither the parents or the kids are seen as always right or wrong, and the parents are not seen as monsters.<br /><br />It deals with hero-worship. How one girl does a dangerous thing, which could have lead to real dustier, before realizing that she was wrong.<br /><br />The movie is kind of ahead of its' time. One kid asks another kid what birth control she uses. She says she is doing nothing to need birth control. She replies (wrongly) "oral sex".

Jon Stewart (aka John Liebowitz) constantly rips conservatism and anything Republican. This liberal comic is anything but, as he pours his cutting "humor" down the throats of impressionable youths. I've viewed the show while stuck in a waiting room while my car was repaired and this guy borders on treason. He'll take Al Queda's side over Bush any day. He's shameless and everything he says is punctuated by a phony laughtrack. I do remember four years ago when he "interviewed" John Kerry. The two made faces at each other that seemed to preclude a makeout session. It was like, "Get a room, you guys". I just don't like smirky little traitors who peddle their propaganda. Call me shallow. The Daily Show has had a long run and there are many likeminded liberals who have a seething hatred for Republicans and Conservatism. I'm not surprised at its success, but do that many people actually watch Comedy Central? That Mancia guy makes me barf.

I think this movie had really bad production value. The lack of acting makes me think they should mark it as an early docudrama. It may have had no money available for its making. I feel bad that it was a ruff ride into the Major League for Jackie Robinson.<br /><br />I believe he was much better than many of the white players of his day. He had to be really great to break the color barrier of the time. No getting around that this was a really bad movie.<br /><br />Wish there was more info about its makers. They may have been limited by the quality of actors that were willing to take on the project. Maybe no money to get good people.

Antonioni was aiming for another hip masterpiece, this time on the other side of the Atlantic than "Blow up". It wasn´t the success with critics and youth like the former though. Why? Maybe because it was a European´s view of America filled with clichés that didn´t work then and that have not aged well. (The revolutionary students at the beginning is embarrassing.)<br /><br />Maybe when it was released big blockbuster movies and those aimed specifically at the youth market seemed dated. If it had been released a year before maybe hippes in deserts would have seemed fresh... It´s a very interesting film tho, very beautifully shot with some brilliant and Antonionian scenes in between, like the love-making in the desert, the stillness of the desert mansion and the explosive ending... That the leads were two amateurs didn´t help. They were beautiful but inexperienced. Mark Freshette is slightly better than Daria Halprin. It would have been so much better with proper actors! Maybe Michelle Phillips or a young Jessica Lange... The dialog is actually quite funny and poignant at times, tho you wouldn´t know the way the lines are delivered...<br /><br />A very intersting document of the late sixties definitely worth a look for the photography and the soundtrack....

'Major Payne' is a film about a major who makes life a living Hell for his small group of boys in the marines. This film does not really have a lot to offer, but it provides several hilarious moments that are well-worth a watch. Don't expect it to be a memorable film, however. Just expect to laugh your way through the film and at the expense of other people. The confrontation between Major Payne and the chubby boy were hilarious, and that's really all I remember about the film except for the boys wanting revenge on Major Payne. Again, it is not a great film, and it is probably best watched on a rainy day when you need some laughter.

Istanbul is another one of those expatriate films that Errol Flynn was making in the last decade of his life trying to support his family and stay out of trouble with the IRS. It's a remake of the Fred MacMurray- Ava Gardner film Singapore from a decade ago.<br /><br />Unlike that studio product, Istanbul has the advantage of that great location cinematography right at the sight of the Golden Horn. But Errol Flynn, who was aging exponentially before the camera in every film, was way too old to be playing these action/adventure types any longer. His scenes with Cornell Borchers really do lack conviction.<br /><br />As for Cornell, she plays Errol's former sweetheart who through the trauma of being saved from a fire now has amnesia. She both doesn't remember Errol and is now married to Torin Thatcher. <br /><br />But Errol's got some nasty people led by Martin Benson and Werner Klemperer who are after some diamonds which have come into his possession. Got to deal with them too.<br /><br />Best reason to see Istanbul is to hear Nat King Cole sing and play the piano. Most people today don't realize that Cole was an accomplished jazz pianist, they only think of him as a singer. Actually he was a pianist first, the singing was an afterthought.<br /><br />Istanbul is a routine action/adventure film for those who are fans of that type of movie.

Yes, Kazaam is one of those horribly bad movies that almost reminds one of everything that is wrong with not just kids movies, but with humanity. Here we have Shaq as a rapping genie- yes, a RAPPING genie- where he does everything from making bad puns to dressing in ridiculous outfits, all ending in him in a Christ-like pose with lots of light surrounding him. So, yeah, expect really cheesy bits, including the first wish being a lot of junk food falling down from the sky (and, regrettably, not knocking out the two main characters, particularly the kid). What might not be expected is that a film with a kid and Shaquille O'Neill would be so incredibly schmaltzy! The main plot of the film involves this kid, played in that all-too-typical and annoying-kid fashion by the great-grandson of Frank Capra (where in which the kid is yelling out his dialog angrily), who comes upon a genie who's been trapped in a boom-box. Then "hiarity ensues" as the kid makes the Shaq-genie his quasi-slave as he waits on his last two wishes as he tries to make amends with his shady-gang-type absentee father.<br /><br />This really sappy, contrived son and father story would be bad enough, as there are certain lines that have been uttered in a million other movies (i.e. the "two chances in life" speech from father to son). But it's Shaquille O'Neill who is both the reason to watch the film (ironically), and the obvious sinking crux of it all. His plot line involves him, when not getting the over-talky treatment from Capra, to rap within the dialog and also start off his blossoming recording career. On top of this, he also kicks ass and takes names with the main bad guys who want him back in the boom-box. So is there a camp factor to the movie? Up to a point, but this is even squashed by all of the mushy scenes and 'heart-felt' moments that have really no business with the rest of the material. One might ask if the people making the movie, who were obviously doing it at the behest of the popularity of a BASKETBALL player who wanted to go on the Michael Jordan acting bandwagon, if it would be anywhere near decently entertaining or convincing. I'd hope that they too knew they were just getting paid. But I'd hope even more that they felt at least a little guilty afterwords for feeding the Shaq-machine.<br /><br />So, if you want to have a fun night of Shaq as genie-turned-rapper-turned-wisecracker, all the more fun to you. Hell, it might even be interesting to have a Shaq movie night with this and his other critically acclaimed effort Steel. But if you're hoping to keep a few brain cells, stay away from what is very likely the worst flick of 1996, and a candidate among many others for worst of the 90's.

French cinema had always been very strong when comes the time to present historical subjects. 95 % of the time, they never make errors. This film is of one of the best of the genre, due to very very strong acting by Depardieu and Pszoniak. Wajda work, as the director, is truly a wonder. Everyone should see this great film.

13 days to Glory tells the traditional tale with sympathy toward the Mexican viewpoint. The major problem in this movie was that while cowboy actor James Arness played the part of Jim Bowie persuasively, the rest of the name actors in the cast Brian Keith (Davy Crocket) and Lorne Greene (Sam Houston) were too old.<br /><br />Raul Julia played General Antonio Lopez de Santa Anna with grace and dignity owed to the professional soldier who after all won the battle. The scene where he upbraids his officers for failing to mount a guard and prevent a sortee is one the scriptwriters did not understand. Failing to keep watch is a major remiss in the military. Santa Anna was within his prerogatives to be angry. Raul Julia magnificently carried poor writing through the scene.<br /><br />Kathleen York was an impressive Susannah Dickinson, a woman who deserves to be remembered for her courage. However, Kathleen York might have been reminded that as Dickinsons hailed from Pennsylvania they probable dis not sound very Southron.

Okay, during this past thanksgiving break, whilst having the whole family together everybody decided to go see a movie, and since Fred clause was voted majority, thats what we went and say. <br /><br />To start off the movie had so many plot holes it was pathetic. Simple explanations of why a certain event was happening was void. example; who the heck is trying to 'shut down' Santa clause? Is it some sort of corporation? A little explanation would of been lovely. <br /><br />Second: The movie tossed you flimsy characters that evoked no sympathy from you about their feelings or actions. example: the little elf named Willie and the only tall girl in the elf village. they see each other twice and then they are a couple and i could of cared less because this movie didn't make me care. <br /><br />Third: I suppose this was suppose to be a family film? Its rating was low at just PG. For a family film there were several articles of suggestive conversation. It didn't bother me, but if i were a parent i could see a problem. <br /><br />Through the whole movie Paul Giamatti looked extremely bored with his role, but honestly he was the only one worth watching in the movie. Vaughn had a few funny moments but played the same character he has for the last two movies. mouthy frat boy. (nothing against Vaughn, he's been good in other movies)<br /><br />so this movie gets a 3 out of 10 stars from me, just because somebody had to put in the effort to produce, film and release this flick. <br /><br />In my opinion i would definitely pass on this flick, or if you HAVE to see it save it for a rainy day rental.

'Traffik', despite its title, is not really about drugs. In the best tradition of crusading British TV drama, 'Traffik' analyses and moralises about its ostensible subject, which is not some mythical scourge, but a matrix or process with identifiable social, economic and historical roots, causes and effects. There is something almost scientific in the way the film takes four sets of characters from spectacularly separate global and class backgrounds - a poppy grower forced into the Pakistani underworld by poverty and a cynical government; the English, ex-Olympic swimmer wife of a drugs baron on trial for trafficking; two shambling German policemen whose determination to convict the latter arises as much from class anger as any faith in the law; and a Tory junior minister whose Cambridge-student daughter has become an addict.<br /><br />'Traffik' is unapologetically didactic - from the early scenes of Jack Lithgow in Pakistan, investigating the government's success in eliminating drugs before sanctioning more British aid, we are bombarded with facts about the problem. But these 'facts' come from a variety of sources - dissembling government representatives; left-wing lawyers with vested (ideological and domestic) interest in the corruption; poor farmers who need to grow poppies to survive. <br /><br />Facts, normally reassuring markers on a map, are clearly not enough - the more facts we get, the less controllable the situation seems. It is not until Jack, the film's moral centre, the man who connects all the narrative threads, actually journeys into the heart of the drugs darkness, learns to shed his tory hypocrisy (deploring the use of drugs, but refusing to put any serious money into tackling the problem, and creating the conditions, through various free market initiatives, where drug-traffiking flourishes. Just as the anti-heroes of the old Warners' gangster films were actually model American capitalists, so the traffikers are the ideal being espoused by Thatcher and Reagan) that at least the reality of the problem can be acknowledges. <br /><br />Like I say, 'Traffik' isn't really about drugs. As Jack finally recognises, after being sacked as a Tory minister, drugs isn't really the problem. It's a society dismantled by a woman who said there was no longer any such thing (as proved by Jack's non-existent family life), systematically depriving the vast majority of people of hope and happiness, increasing numbers of whom turn to drugs. <br /><br />What is most frightening about 'Traffik' is not the graphic, numbing depictions of drug abuse (the technical detail of which ironically reflects the presentation of more 'legitimate', verbal factual information), but the dystopian vision of a Britain stripped of any joy, beauty or community, a bleak wasteland of derelict tenements and soulless modernity, a society of defeatists ready for the thatcherite smugglers and barons to ply their trade. <br /><br />This isn't just a contemporary British story - it records the decline of an Empire built on trade reduced to lawless drug traffiking. It is surely significant that the other sites in the programme are Germany and Pakistan, crucial agents in the Empire's decline. Here the old imperial amorality comes home to roost, the formerly enslaved victims, their bodies abused by their masters' power, returning to the Imperial centre, London, the seeds of its decline literally carried in their bodies, embodying the fears of all those late 19th century gothic novels.<br /><br />'Traffik' is one of the great achievements of British TV, and is in many ways superior to the recent Hollywood remake. The political focus is obviously sharper - Jack's decline is much more effective than Wakefield's because he, as agent of government policy, as well as a bad father, is very much part of the problem, whereas the American's only real political flaw is complacency. In almost every case, characterisation is tighter and much more plausible (compare Lindsay Duncan's steely Helen, already bitten by experience and failure, and her risibly superficial counterpart). <br /><br />Unlike the dubious racial undercurrent of 'Traffic' (making Mexico dark and Other; the ultimate WASP horror being sex with a black man), the portrait of Pakistan is richly, tragically drawn, with disconcerting arguments about drug protection punctuated by scenes of gruesome violence. Throughout, the inextricable linking of public and private is expert. Visually, the film is remarkably inventive, without ever being flashy or 'cinematic' - especially in the last episode, where the buildings and decor seem to move as the system closes in. If 'Traffik', like its remake, feels the need to shore fragments, then the prevailing sense of waste and loss is much more damning, Jack's speech bitterly despairing.

I was worried that my daughter might get the wrong idea. I think the "Dark-Heart" character is a little on the rough side and I don't like the way he shape-shifts into a "mean" frog, fox, boy… I was wrong, This movie was made for my kid, not for me. She "gets it" when it went over (under?) my head. Of course I don't "get it". This isn't one of the NEW kids movies that adults will ALSO enjoy. This is straight for the young ones, and the crew knew what they were doing. There isn't any political junk ether. There's no magic key that will save the world from ourselves, nobody has the right to access excess, and everyone isn't happy all the time. And as a side benefit, nobody DIES! –russwill.

It is extremely rare that I see a movie from 1955 that I don't love. Noir, JDs, Sci-fi, Drive-Ins; I dig it all the most. Robert Aldrich is a director who has done plenty of excellent work, and most of this cast has fine performances under their belt. So what went wrong?<br /><br />When I used to work in the Independent Film world, we used to talk about something called "actors' movies." Actors' movies are movies that are unwatchable to anyone but other actors. Actors like "actors' movies" because they get to see ACTing - which is to say completely over-the-top melodrama. Actors love to be given the chance to totally let loose "give it all they've got" and they get a great satisfaction from watching other actors do so. In many interviews with actors they say "he was a great director, he never interfered with me in any way." Actually that's the opposite of good directing, because the whole POINT of having a director on the set is to keep the actors from making fools of themselves (which, given the chance, they will always do).<br /><br />Apparently Robert Aldrich forgot that on this project. Or maybe he was ill. Or maybe he thought there was no hope for saving the script in the first place, so what the heck? Whatever the case, here is an example of a lesser-known movie that is best forgotten. The characters gesticulate, pontificate and generally ham it up all the way through. One thing I can say is realistic: it's set in Hollywood and everyone acts like their petty problems are the most important thing in the world. Doesn't make it fun to watch, but it is realistic. What isn't realistic is that a producer so desperate to keep his star under contract is going to go out of his way to antagonize him in almost every conceivable way - including requiring him to engage in illegal activity. But this and other plot contradictions merely carry along the melodrama, increasing the opportunity for hand-wringing and shouted accusations. <br /><br />I did manage to get to the end of this film, which makes it no worse than a "3" out of 10 in my book. But, why test your own endurance when there is so much else available to rent?

Oh, CGI. A blessing when used properly. A sin with it's used by people who have no idea what their doing. Sadly, that's not the only thing that's used poorly in this umpteen Jaws rip-off.<br /><br />Ok, anybody who has read any number of my posted reviews has probably noticed 2 things. 1: I like low-budget horror movies. And 2: If there is a cute guy in said low-budget movie, I'll usually point them out. So, let's just get this out of the way right now. This is one low-budget horror movie I didn't like. The acting, for the most part, is horrible, effects laughable, and the script rivals Battlefield Earth as the worst I've witnessed this year. As far as the resident cute boy...Dax Miller (Bog) wins that prize hands down. This boy is hot! And surprisingly, he's not just a toned body with nice eyes and a cute butt...he can actually act (well, as much as he can in this odious film). Now that we have the housekeeping chores out of the way, let's get on with it.<br /><br />In Cliff Notes version, here's the story (don't worry, I'll try not to give anything away)...<br /><br />A film crew travels to a remote island to film a documentary about two surfers (established cute boy and his buddy) who surf with sharks. Unknown to them is a rather large salt water crocodile lurking around the island. Croc shows up, mayhem ensues, and people are eaten. Roll end credits.<br /><br />As I said earlier, this film pretty much blows. It started pretty well, but soon devolved into being silly and stupid. A main character becomes lunch (in a rather humorous way), and our remaining heros utter one-liners at the victims expense. Also, if this croc is at the top of the food chain on both the land and in the water, what's with all the sharks around? If this thing can eat a 40 foot boat, I don't think a few skimpy sharks would stick around. The FX is some of the worst I have ever had the displeasure to see. The CGI is horrendous, and they've even managed to screw up the animatronic crocs. Attention, filmmakers. National Geographic. Discovery Store. The Croc Hunter. They know what crocodiles look like. You obviously didn't reference any of these judging by the monstrosity seen towards the end of the film. And what's with the pirate/drug pusher gang? Did you just need another reason to rip off a woman's top? <br /><br />It's funny how we get little sub-genres in the movie world. With Alligator and it's sequels, Lake Placid, Crocodile, and now Blood Surf, it now looks like "over-sized crocodile/alligator" movies should now get their own category at Blockbuster. Alligator was good. Lake Placid was good. I even thought Tobe Hooper's Crocodile was good. Blood Surf, sucked.<br /><br />My grade: D-

"A Family Affair" takes us back to a less complicated time in America. It's sobering to see how different everything was back then. It was a more innocent era in our country and we watch a 'functional' family dealing in things together. The film also marks the beginning of the series featuring the Hardy family.<br /><br />The film, directed by George Seitz, is based on a successful play. Judge James Hardy, and his wife Emmily, are facing a domestic crisis that must be dealt with. Married daughter Joan comes home after she has committed a social blunder and her husband holds her responsible. At the same time, another daughter, Marion, brings home a beau, who is clear will clash with her father. The happy teen ager Andy, seems to be the only one without a problem until his mother makes him escort Polly to the dance, something he is reluctant to do.<br /><br />Needless to say, Judge Hardy will prove why he knows best as he puts a plan into action to get everyone together again. After all, he is a man that understands, not only the law, but how to deal with those outside forces that threatens his standing in the community and what will make his family happy.<br /><br />Lionel Barrymore plays Judge Hardy with conviction. He is the glue that holds everything together. Spring Byington is seen as Emily, the mother. Mickey Rooney has a small part in this film, but he is as always, fun to watch. Cecilia Parker and Julie Haydon appeared as the daughters, Marion and Joan. Sara Hayden and Margaret Marquis are also featured in the film as Aunt Milly and Polly, the girl that surprises Andy with her beauty.<br /><br />"A Family Affair" is a good way to observe our past through the positive image painted of an American family.

On the eighth day God created Georges. But the same as an eighth day doesn't fit into the week, Georges doesn't fit into the modern world: He has Down syndrome and is therefore marginalized by society, shunted off to an asylum after his mother's death four years ago. She was the only one who loved him.<br /><br />Harry is another man that isn't loved anymore. His wife has left him, for reasons that she is unable to explain. He loses the love of his daughters, too, when he arrives too late at the railway station to collect the two kids, who wanted to spend the weekend with their father.<br /><br />Harry is a highly ranked businessman. He knows all the rules that enable us to succeed in our modern meritocracy. But he has entered a state of crisis, which reaches a climax after the loss of the love of his daughters. He questions the sense of his life, without obtaining any definite results.<br /><br />Harry and Georges meet. At first Harry tries to get rid of Georges, the same as all the others do. But Georges can't be shaken off. And it gradually dawns on Harry, how much he needs Georges, if he wants to get over his identity crisis. It is Georges who opens a new access to the world for him and who makes him view his life with different eyes. Friendship and human warmth take the place of calculating striving for success. It is no surprise that Harry now cannot avoid failing in his job.<br /><br />Georges helps Harry to regain the recognition of the daughters. Even his wife has to admit that the fireworks which he organized were worth seeing. Nonetheless a reintegration into the old life is no longer possible. And the new one turns out to be nothing more than a dream with a time limit, which unstoppably will reach its end. The camera watches Harry and Georges from above, for one long minute, as they are both lying down in the grass, just savoring the moment. But the same as this minute will unavoidably go by, the friendship of the two men, which came into being in such a wondrous fashion, will not be long-lasting. Georges is destroyed by the impossibility of love to the opposite sex and can see no other way out but to commit suicide. Harry turns into a city tramp, who asks the car drivers that are waiting in front of the traffic lights for charity.<br /><br />The movie describes modern meritocracy as a disastrous mechanism which devours positive values such as human warmheartedness or friendship. It is Georges, the mongol, who seems to be capable of showing the way out of the dilemma, but unfortunately his plea comes to a bad end. However, his failure does not necessarily have to mean that it is impossible or not desirable to reach the aspired goal. The way he shows us is surely passable, although it requires a huge amount of willpower and, above all, the courage to apply a radical nonconformism.

Devin Hamilton is probably better known as the new name in legendary Full Moon entertainment. Sadly, his arrival to this independent studio happened in a time when budget and production values are at its lowest in years. However, in his short career Hamilton has established himself as a creative director that manages to make inventive and original stories. Now, this doesn't mean that his movies are good, but at least they are different to the usual in the horror genre.<br /><br />In his debut, "Bleed", Hamilton presents us a creative twist on the slasher sub genre. Maddy (Debbie Rochon) is a young woman that finally gets the job of her dreams. Not only that, but it seems that she has also found a boyfriend in Shaun (Danny Wolske), it seems that life finally smiles for Maddy after many sad events. Until on a party with Shaun's friends, they tell her that they created a "club" where members have to kill somebody to enter.<br /><br />Obviously they are joking, but Maddy wants desperately to fit in, that she actually murders someone. After that event, someone starts to kill the rest of the members of the "club" one by one. it is up to Maddy to figure out what is going on as anybody could be the killer, including her.<br /><br />Maddy is a very interesting character wonderfully played by the beautiful Debbie Rochon. It is a very interesting twist on the genre to have the lead actress as part of the suspects. The concept is so original and Rochon's performance is so good that it is a real shame that Hamilton didn't develop the whole story a little bit better. The movie feels quite slow at times and overall the feeling is the one of a good idea wasted on a bad movie.<br /><br />The rest of the cast is weird in the sense that all the female cast is very good, while the male cast is painfully bad. Danny Wolske is terribly wooden and his performance as a yuppie is quite stereotypical. Julie Strain, Brinke Stevens & Lloyd Kaufman appear in small cameos and are wonderful in their small roles. Also, there is lots of nudity (both male & female) and the cast is very good looking, so it is really a plus.<br /><br />The low-budget hurts the film in the effects department, as there are very few gory scenes and are not really graphic (probably because they would look bad); nevertheless, considering the budget, the film at least looks good.<br /><br />Hamilton's more recent effort, the sexploitational venture "Delta Delta Die!", is a better crafted and overall funnier film. While this one is not as bad as other better known films, it still has a lot of flaws and may be interesting only for fans of Debbie Rochon or fans of independent no-budget films. 4/10

I would hope so and how can I get involved?<br /><br />This movie is a classic and ripe with laughs, adventure and an all star, 80's cast!<br /><br />What happens when you get together a group of jocks and sororiety, a group of debating nerds, a band of misfits and couple of couselors?<br /><br />A load of laughs that will have you begging for more!<br /><br />David Naughton stars as Adam, the leader of the "yellow team," a kind and hip college counselor who helps students with everything from getting the classes they want to first dates.<br /><br />His nemesis is Harold, the leader of the "blue team," played hilariously by Stephen Furst of "Babylon 5" fame, the no good loafing son of a wealthy, former college jock with enough trophies to make any hall of famer jealous.<br /><br />Pit these two against each other and throw in a "red team," a "white team," and a "green team," an unbelievable "view" at an observatory, consequences of cheating at minature golf, a super tour at the Pabst Blue Ribbon beer factory, and a hateful old landlady among other adventures, and you have all the makings of a night to remember!<br /><br />Look for appearances by Michael J. Fox, Eddie Deezen, and director Andy Tennant in one of the last movies he acted in before becoming a director and you have an all star, hilarious, cast.<br /><br />The only down side to this movie was Debra Clinger's performance as Laura. She terribly overacted, but the rest of the movie is so good, she can simply be ignored.<br /><br />I own this movie and can never watch it enough!<br /><br />

I watched the movie about 13 yrs ago while living in Airlie Beach Qld Australia. I had found it in the shelves of a little shop in the back that most don't bother to browse.<br /><br />To my pleasure I found it and watched it with the intention of one day owning it and being in my collection. I still do not have it but will one day.<br /><br />I like the concept with the poetry and the fantasy. The semi deserted street scenes with a busy teaming city in the far background added to the visual effect.<br /><br />I have numerous times mentioned this movie to people that enjoy this genre, with nothing but praise. It has stuck in my mind and will for a long time to come.<br /><br />I fully recommend this film, but only to those that are into this type.<br /><br />This comment and the one from LA,CA can assist you when choosing to watch this film. The comments may be negative but I found them positive if you look past the derogatory connotation.

Yul Brynner was a symbol of villein in the tine of 50,s , he play a role of Russian leader in Hungary at the time of revolution in this country in 1956 that made it against the Marxism.<br /><br />The script of this film made it by good taste from the writer that mixing love and adventure with showing different characters in the journey from Hungary to England.<br /><br />The best point in this film was the symbol of challenge from the Hungarian Resistance to kill the Russian major(Yul Brynner) in the hall time of the film that made a meaning about the disadvantages of this major from his bad works , but at the end he made a good work to help Deborah Kerr for escaping her and her darling to London to write in his book a good working to gain at the end people,s agreement and trustment after his assassination by the Hungarian Resistance.

For the life of me, I cannot get why they would want to make a movie about the "Jerry Springer Show". It's so incrediably trashy. Some ways, sadly it's a guilty pleasure. We all have to admit that we've seen at least one episode. It's part of our pop culture. I saw this on USA recently. It's pretty bad. I will admit that. Jerry does a horrible job of what I think he meant as acting. Or something like it. Jamie Pressley is in it. She's playing herself basically. All she needed was her lover boy, Kid Rock. It would've been perfect then. So, I would recommend skipping "Ringmaster". Just watch the "Jerry Springer Show". It's more enjoyable than this.<br /><br />2/10

OK, this movie, was the worst display I have seen in years. The actors weren't to bad (I figured it was a b-movie so they were doing b-movie acting). Anyways, I watched this movie, thinking, OH COOL a UFO Sci-Fi movie. WRONG. It was just an excuse for radical Christians to push a message onto people. The last scene was extremely messed up. That is a horrible thing to do to a person to make them believe in something. What someone believe in is a matter of opinion. This movie just shows how corrupted religion is, especially Christianity.<br /><br />If you want to watch a b-movie, this ain't. If you want to watch a movie that is TRYING to brainwash the masses. Well this is the pick of the litter. go right for it. If you are going to convey a message, do it, don't force it. Ridiculous, that people would abuse the media to such a degree. Especially, Christians.

"Panic" is kind of a crime comedy-drama with William H. Macy, Donald Sutherland and Neve Campbell in the leading roles. Alex (played by Macy) is a guy who kills people for living. But for the moment he's facing a depression and that's why he is seeing a therapist. That's where he meets Sarah (Neve Campbell) and he falls in love with her. He's also facing another problem: he wants to quit the family business (the killings), but he doesn't now how to tell this to his father.<br /><br />What follows is the story of a guy during he's midlife-crisis, facing the regular problems: falling in love with a pretty young girl and everything that goes with that.<br /><br />Pretty good acting performances by the cast. Macy is excellent as the depressed Alex. I had high expectations for this one and it was a good movie but he doesn't completely deliver. The story was rather flat and cliché..<br /><br />7/10

Joe Don's opening line says everything about this movie. It takes place on the island of Malta (the island of pathetic men) and involves Joe Don Baker tracking down an Italian mobster. Joe Don's character is named Geronimo (pronounced Heronimo) and all he does in this movie is shoot people and get arrested over and over agin. Everyone in the movie hates him, just like everyone hates Greydon Clark. I liked an earlier Greydon picture, "Angel's Revenge" because it was a shirne for thriteen year old boys. Avoid this movie at all costs!!

I don't know why IMDb lists all the Ghoulies films as theatrical releases.. They were all straight to video films. Same with the Puppet Master series. Why hasn't anyone noticed this yet? Right, somehow you've stumbled across Ghoulies IV, probably raiding through an old abandoned video rental store from 1993. You looked in the discount section and found this...Look at the back and front covers. What do you expect, The Shawshank Redemption? There is no need to review this film so critically. It is the fourth GHOULIES film! I bought it on DVD for €6.50 because... it was €6.50.. I knew it wasn't Kubrick material. And I was right. An unremastered DVD with no extras, not even a trailer, boasts an uncared-for film.<br /><br />It actually contains the star of the first Ghoulies film, Peter Liapis... who really didn't get many 'big' roles apart from those two films. And I don't see why... He's not too bad an actor and is pretty fun. But I guess if you're gonna take a lead role in the Ghoulies films, Scorsese and Tarantino will lose interest. Also present is his idiot sidekick Bobby Di Cocco, who despite having a very small resemblance to Al Pacino (very small), retains none of his acting ability... A complete idiot who's just awkward to watch. Then there's Stacie Randall - obviously a porn star, I don't need to look that up. She does look quite sexy, though her costume, her character and everything she does drags down the films credibility, which is no easy task for such a film.<br /><br />Then there is the Ghoulies themselves! Who also manage to let us down. Ghoulies III made them start talking, mistake no. 1, but Ghoulies IV takes it a step further. Instead of being puppets, this time the Ghoulies are in fact KIDS in COSTUMES!!!! The filmmakers decided to run that extra mile to insult the films viewers. Also, there's only TWO of them, and they're not the main highlight of the film, as they don't appear in a lot of it. However, at times they are MILDLY amusing... And they're not evil this time either.<br /><br />This really is hilariously bad stuff, it's amazing that I was actually able to enjoy it. I dunno why... Some of the black humour is actually funny, though the script is mostly effortless. Imagine Satan's only threat to you being that he will "kill you, slowly...painfully...".<br /><br />But at least Full Moon had no involvement this time. Did they? Yeah, a very bad and cheaply made film with 0 production value, but not so bad as to be in the ranks of Puppet Master 1/2, Lawnmower Man 2, Surviving Christmas or even Ghoulies III.

After 21 movies and three years of working in Hollywood Bette Davis finally got a role she claimed as her own and which put her as a force to be reckoned with. As Mildred Rogers, Davis burst forth with a completely unsympathetic role of a slutty waitress who becomes the target of Leslie Howard's affections, and already eager to sink her teeth into a role like this, she had no qualms of the awful things her character was meant to do throughout the course of the film and the awful transformation she would undergo. It also has been widely noted that her performance here, one of the few things that makes this slightly uneven movie watchable, has been the one to remember even after two remakes and the scenes where she rips into Howard have made cinema history.<br /><br />At circa 85 minutes, the story moves at a nice pace, telling the story of Philip Carey (Howard) as his life crosses that of the destructive Mildred Rogers over and over again.<br /><br />Howard and Davis' chemistry is all but non-existent -- Davis sustained in an interview much later in life she personally didn't care much for Howard's iciness towards her and that helped her act even worse (in character) towards him as Mildred. All the same, the two seem awkward with one another; their scenes together remain stiff, only salvaged by the ferocious acidity Davis brings to her lines and her own nervous presence. Then again, Cromwell's direction has a certain stiltedness about itself that fails to come through at times -- he tries to fill in some space (whenever Davis is not there) with dissolves and montages indicating the passing of time (a calendar superimposed over a changing Frances Dee). All much in the style back then. This was before technicalities and complicated camera angles came into being, and in essence, the visual story is a simplified, bare essentials translation of the Somerset Maugham's novel -- which is saying a lot, since at 600 pages, "Of Human Bondage" would have been indeed hard to film even then.<br /><br />Storywise, it feels that Philip Carey may be something of a glutton for punishment, since there is no discernible, sexual attraction between he and Mildred and to compound that, Mildred never hides her displeasure from the get-go. Howard's performance never seems to go through much external emotion -- his eyes are constantly sad, his expression never veers too far away from lost (he could almost be a distant cousin to William Hurt in "The Accidental Tourist" -- dejected, hurt, and absolutely passive), but this is possibly a part of his character and the reason he fails to see that other women (played by Kay Johnson and Frances Dee) are making themselves vulnerable to unrequited affections. Interestingly, Johnson's Norah, once she realizes Carey will never fall for her, is the one who sums the story up with her observation that people are bound to other people -- she is bound to Carey as Carey is bound to Mildred, and Mildred herself is bound to Miller (or men who fit the role of provider). In her short but memorable scene, she's the one who holds the essence of the story's moral.

Seven young people go to the forest looking for a bear.Soon they are all stalked and viciously murdered by a crazy Vietnam veteran."Trampa Infernal" is a pretty entertaining Mexican slasher that reminds me a lot "The Zero Boys".The film is fast-paced and there are some good death scenes like throat slashing or axe in the neck.Unfortunately there is not much gore,so fans of grand-guignol will be disappointed.However if you are a fan of slasher movies give this rarity a look.Mexican horror flicks are quite obscure(I have seen only "Alucarda" and "Don't Panic"),so this should be another reason to see this enjoyable slasher.My rating:7 out of 10.Highly recommended.

The Master Blackmailer, based off of Sir Arthur Conan Doyle's short story, "the Adventure of Charles Augustus Milverton," is the first feature length Sherlock Holmes story with Jeremy Brett that I have seen. The story is interesting and dark. The film has a somewhat dreary, sad feel to it, but it is quite entertaining (with some especially funny scenes).<br /><br />*Spoilers* Sherlock Holmes and Dr. Watson attempt to uncover the identity of an illusive blackmailer who has been ruining some of the most prominent families of England by publishing private letters that will, in one way or another, destroy their lives. They eventually find out that he is Charles Augustus Milverton, an "art dealer," after the few tragic consequences for victims that could not pay up. Our heroes must next help Lady Eva Blackwell, who must pay a sum that is beyond her means or else her upcoming marriage will most definitely be called off. The scene in which Holmes and Watson burglarize Milverton's house are intense. Although the film has an essentially happy ending, the tone is sad and regretful.<br /><br />Outstanding performances by Jeremy Brett and Edward Hardwicke (as usual), and Robert Hardy as the notorious villain (most audiences probably recognize him today as Cornelius Fudge in Harry Potter), Serena Gordon as Lady Eva Blackwell, Norma West as Lady Swinstead and Sophie Thomson as Agatha (the scenes involving her and Holmes are a riot). I give it a ***1/2 out *****. My only complaint is that there wasn't enough Inspector Lestrade. (I wish they would have added in the scene at the end of the short story where he gives the description of the two burglars, one of which matches Watson.)

OK, I really don't have too much to say about this film, other than this: I have seen over 4,000 films in my life, and more than 2,300 of those were horror films. While I have some difficulty deciding which is the best (as opposed to my favourite, which I can tell you is George A. Romero's DAWN OF THE DEAD), I can tell you without the slightest hesitation that Todd Sheets' ZOMBIE BLOODBATH is the absolute worst horror film I have ever seen.<br /><br />There is simply nothing positive I can say about this film. The acting, the dialogue, the directing, the make-up, the music... Every aspect of this film is simply so far below what is acceptable that it boggles my mind that this was ever even released.<br /><br />Even if you are a horror or zombie movie completist, please heed my warning and DO NOT waste your time on this garbage. There is no pleasure to be gotten from viewing this. You won't even get any laughs out of the utter ineptitude on display... Trust me. Please.

This is one of the worst films I have seen in a while.<br /><br />The problem is that it doesn't know whether it wants to be an intelligent political film, 'artistic' or an exercise is eroticism. As a result it fails on all accounts.<br /><br />The acting is atrocious, the narration off putting and the supposed symbolism pointless.<br /><br />Klaus Kinski is probably the best thing about this film but that isn't a good thing. Sure he has an intense and 'unique' look but ultimately he can't actually act. Just look at how he reacts when his mistress leaves....<br /><br />Really don't watch this film, some say it needs repeat viewings I say one is too many.

I never heard of architect, Louis Kahn, until this documentary. In this almost two hour documentary which goes very quickly, his son, Nathaniel Kahn, explores his father's life from Estonia to the slums of North Philadelphia to the University of Pennsylvania in West Philadelphia where he studied and taught. He travels to Bangladesh, Israel, Connecticut, Trenton, and La Jolla, California as well as New York City to explore his father's creative genius. Personally, Louis Kahn had three families including his wife, Esther, who refused to give him a divorce and their daughter Sue Ann. Nathaniel includes his family members. Louis also has another half-sister Alexandra Tynge from his father's previous relationship with Anne Tyne, a fellow architect. Louis' passion was his art.

To put in simple words or rather a word, would be best suited by PATHETIC !!!!!! The movie starts with attracting a little interest by the plot, but, BUT as few minutes by audience is getting restless for restrooms and getting snacks, or to get a breathe of fresh air outside the closed dark hall....<br /><br />It seems like watching a movie from 1960's where colors were dull, directed by a debutant, and acted by high school students ! Movie revolves about a American high headed actress trying make a comeback into films by acting in one of the not-so-great Indian movie. Her acting is real Sad complimented by the worse dialogue delivery.<br /><br />OverAll: i would not recommend anyone to watch this movie Still want to watch: Then try watching it at home, when some TV channel airs it, believe me it would be fun as this movie would not get a Single advertisement and no sponsors.<br /><br />And better carry a aspirin, u might need it if you cant find a remote control to change channel ! p.s. I have no clue, if the other reviewers even watched the movie ? i did and wasted my $10 on the ticket !

This film, Blade Master, may be cheap, clumsy in appearance and it is sometimes, but it shares thoughts on problems that are way beyond the era this film is set in. Ator is the chosen one that has to protect the earth against a terrible weapon, that is compared in an unforgettable and unpredictable way to the atomic weapon. He goes through obstacles as a witful character who is just more than muscle power, although he has quite is lot. I would say this aspect of the movie makes it surpass a film like Conan the barbarian, which is the least I can say, quite brainless. It doesn't diminish in any ways the great adventure movie that is Conan, but it gives Ator his wholesomeness that he shares not with the barbarian. For a lower budget movie, this film does good in terms of setting and the fights are most of the time believable. Zor, the villain, has with is prisoner throughout the film one of the most interesting psychological confrontation that gives tension to the movie, even if Ator seems way too fit for the task to loose. <br /><br />What gives this movie that little extra are those scenes that may look quirky, but worth of mention. The fight with the serpent god, even though he is a gigantic puppet, is well handled as the snake, with good lightnings, remains a silhouette and the fight is quite convincing. The movie climaxes in a most unusual way, quite anachronic, but breathtaking : the deltaplane sequence. The scene itself is not introduced properly, read not at all, where did Ator get that machine, it's pretty unconvincing, but it leads to a really poetic and beautiful midair sequence, that standalone, is the culminating point in the movie, elevating Ator in a place where few human fantasy heroes have been. <br /><br />If Blade Master is not among the great fantastic movies of all time is no surprise due to its lacks, it's a bigger surprise, considering the philosophical way it chooses on the confrontation between good and evil, the truth it speaks and the heart it shows, that this movie is so unwlecomed. I suggest it for every fan of the genre and try take it seriously as an intelligent movie that's to be taken more seriously than it seems.

This is an absolutely horrid excuse for a show. People say its witty and intelligence? I don't see how? Maybe because the characters use fancy words? Maybe because they are snooty, use dry humor, and have 2 dimensional personalities. I went to an Ivy league school and nobody acted anywhere near as obnoxious as these characters. In fact had I met someone like them I would have likely strangled them! The men act like little emotional pre-teen girls and all the minority characters are based off stereotypes... The characters are no AT ALL AUTHENTIC. Simply put they sound like a trailer park family trying to be rich and sophisticated. This show is just another cookie-cutter hit that brain-dead prime time viewers eat up on a regular basis.

While I score the movie a 7, I also should point out that it is both interesting historically (as it stars Mae Marsh, Lillian Gish and Lionel Barrymore when they were all younger and less well-known) and features pretty exciting action for its day.<br /><br />The plot is odd for a Western, in that all the trouble with the Indians begins for the weirdest reason I have ever seen! The Indians decide to have a giant dog banquet (no, they are not feeding dogs, but feeding ON dogs) and when two Indians arrive late, there are not pooches left! So, they steal two dogs belonging to two orphans from the nearby White settlement and this actually touches off an all-out war!!!! Not only is this silly, but seems to play on the prejudices of audiences. I don't know if American Indians actually ate dog, but it sounds like the sort of stereotype that later was applied to other ethnic groups. All this over dogs! The movie has some excellent battle scenes and exciting moments--such as when Ms. Marsh crawls across the battlefield to save a baby! Exciting stuff! But, STRANGE, too!

This movie is really good. The plot, which works like puzzle forces viewer to think and guess, what will happen next. Such a trick brings a lot of surprises and makes a viewer really looking forward to solution of a riddle. Fighting scenes are very good. There's a lot of different combat styles (although one of styles was a bit unreal for me, but it's only my opinion) to watch and it's fascinating show. The only thing which may be irritating is actors look. A bit too effeminate (at least for me). Hong Kong was always good at kung-fu movies especially in the 70's and 80's, so "Five Venoms" (or other its versions) is great choice.

You don't have to be a fan of the cartoon show to enjoy this film. I watched it for the first time when I was nine, having been a fan of the T.V show, and my parents laughed just as hard as I did. It is done in the classic style of Bugs Bunny cartoons from yesterday, and considering todays vulgar cartoons, I would think anybody would appreciate a cartoon movie that relies more on "wackiness" then on vulgarity, to get a few laughs.

I'd waited for some years before this movie finally got released in England, but was in many ways very pleased when I finally saw it. There are a lot of great things to the film, for a start the acting. Its not something I have all that much need for in a horror picture but the people in this film all put in fine work. This and the constantly gripping and interesting script, with a nice sorta Lovecraftian feel to it, give the film a real solid backbone. Add to this the doses of surreal nightmare imagery and occasional gruesome gore and the films a winner. It has my favorite kind of gore too, supernatural and splattery. Also, the characters of Marcus, the angry bodybuilding transsexual and Daisy, his mentally retarded lover/plaything are genuinely freakish and unnerving at times, and give a far out, anything goes sense of morbid grown up craziness which works well with the frequent Freudian overtones. This is one of the most impressive recent horror movies, far more shocking or out there than anything Hollywood can produce. My only gripe was that I wanted the ending to be darker in tone, but it still works, so on the whole I'd really recommend this to serious horror buffs.

Don't Look in the basement is actually a very clever and well thought out exploitation flick that gets a bad rap because of its cheap quality and bad acting. Sure, it's not a masterpiece by anyone's standards but it is a very fun little B-film with a lot to offer and even a lot of creepy scenes that will stay in your head.<br /><br />As I said, the acting could have been a lot better but that's the case with most exploitation so I can't really complain. The story is clever and has some great plot twists that will keep you guessing. I thought the gore was a lot of fun too. There's just something great about older gore films because they didn't have CGI back then so they had to actually set it all up themselves. See this one for a good time!

Terminus Paradis was exceptional, but "Niki ardelean" comes too late. We already have enough of this and we want something new.<br /><br />Big directors should have no problems seeing beyond their time, not behind. Why people see Romania only as a postrevolutionary country?<br /><br />We are just born not reincarnated, and nobody gives a s**t anymore about old times. Most people dont remember or dont want to remember, and the new generation of movie consumers dont understand a bit. This should be the first day of romanian movie not the final song - priveghi! Maybe younger directors should make the move.

This movie has bad writing and bad editing. It is difficult to follow what is going on because nothing any of the characters do makes much sense. Some major calamity occurs every 30 seconds. As a result, none of the "action" sequences are at all interesting. The movie is two hours worth of "throw away" scenes which are connected merely by the fact that they share common actors. This movie doesn't even have enough of a sense of humor to be a good "bad" movie.

Whew! What can one say about this bizarre, stupefying mock-u-mentory about Ed Wood's cross-dressing fantasies?? Well, one word that comes to mind is incoherent! Wood uses raw slabs of innocuous, incidental stock footage, and then builds a "story" around them - and what a story!! Wood himself stars as Glen, a regular Joe who just happens to enjoy lounging around in his fiancee's lingerie and sweaters. I think what Wood wanted was a plea for tolerance for all the Glens of this world by showing that Glen is just like all of us underneath, only in angora. Ummm...ok. But then, we get this very bizarre montage of some horny devil, a chick in bondage, some rude, pointing people, some moore stock footage, and finally an emaciated Bela Lugusi,playing some kind of twisted, invalid Puppetmaster. Lugosi is a howl, spouting out such rubbish as "Beeevaaare...the beeeg greeeen dragon that seeets at your doorstep: he eeeets leeetle boys, puppydog tails, and beeeeeg snails!" Um, ok, Bela... :=8/ There is a strange, twisted type of Wood logic going on here. Afterall, he does remind us that "7 out of 10 men wear hats, and 7 out of 10 men are bald". Hmmm, must be that alien/cross-dressing/habidashery cowspiracy-thang!! Glen or Glenda stars a plethora (whatever that is...) of reliable Wood schlock-actors, including Lyle Talbot, Delores Fuller, and Timothy Farrell, and Wood manages to coax every bit of wretched, amateurish non-talent out of each one. Everybody by now knows Bela's sad story: by the time Wood used him for this flic, he was probably jonesing for another fix and needed the moolah, but even for him this is depth heretofore unreached. One of the MooCow's favorite Wood mooments comes with the stock footage charging buffalo scene - it is sooo loopily demented!! The MooCow says "Puuuull de schtriiiiings", and git yer hooves on a copy of Glen or Glenda - you won't believe it! :

A malfunction in space sends astronaut Neil Stryker (Glenn Corbett) off course and headed to something of a parallel world, called Terra, circling the sun exactly opposite Earth. As a being from space would pose a threat to this world's order, Stryker is held until a determination can be made as to exactly what to do with him. Stryker, however, gets suspicious of his surroundings and escapes. With the help of a sympathetic nurse and a old scientist who opposes the government, Stryker will try to board a spaceship and head back to Earth.<br /><br />Stranded in Space (or The Stranger if you prefer) is another of those 70s made-for-TV movies that was to be turned into a regular, weekly show. In this case, it's easy to see why it didn't make it. First off, there's nothing new about the show's set-up. It was undoubtedly designed to follow the same formula used by The Fugitive or The Incredible Hulk or Planet of the Apes. You know, a stranger constantly on the move going from one town to the next taking whatever odd job he can all the while being pursued by a government agency or newspaper reporter. It's a formula that's been done to death. The second strike against Stranded in Space is its lead, Glenn Corbett. Could this guy come across any less likable? I was rooting for him to get caught. Without sympathy for the main character, this kind of show would never work. Finally, this is supposed to be science fiction. Just because everyone is left-handed and someone has hung three fake looking moons on the horizon I'm supposed to jump to the conclusion that this is some distant planet? So it's a mere coincidence that they all speak English, dress just like people on Earth, and drive Plymouth Furies? Yeah, right.<br /><br />The lone highlight for me was the inclusion of Cameron Mitchell in the cast. Sure, it's difficult to watch him in something this dreadful, but you know the old saying - any Cameron is better than no Cameron (yeah, I've never heard it either).<br /><br />As with a lot of these 70s made-for-TV movies, I watched Stranded in Space courtesy of Mystery Science Theater 3000. I wouldn't call it a great episode by any stretch of the imagination, but there are a few good jokes along the way. So in the end, while I rate the movie a 2/10, it gets a 3/5 on my MST3K rating scale.

This is one of the worst things to ever come out of England, so that says a lot right there. The tension when we have to find out whether or not Lembach is staying is amazing though. The upside is seeing the nice secretary, Sheila, in her picnic table print underwear for awhile after being captured by Dr. Rat Face. This movie has several views of London too although none of them are good. There is also a point in which there is almost a car accident which gets your heart rate back to just below normal. There is also a watch that gets teleported away, and the fear of the woman not getting her watch back is parallel to the horror of "The Sixth Sense" only a lot more dull and British. Add on a furious gun fight between the British police and the Dr. Rat, which results in nothing, plus the electrocuting of a lot of people, plus a cat and you have yourself... ummm... A British movie. The MST3K version is pretty good although not one of there bests.

One would think that anyone embarking upon a followup to the groundbreaking Naked Civil Servant of 30-plus years ago would at the very least try to honor the original with some kind of inspired vision, but no. Here we have a sort of biopic of one of the most stylish people of the late 20th century that itself boasts no style whatsoever. True, the filmmakers have assembled some outstanding actors - and handed them a chipped mug of drab gruel to work with. Everything in the infrastructure of this film is wrong, starting with the script, which is another one of those TV-movie condensations of great lives wherein every other line is a "famous quote" by the subject and every other scene is an in-your-face introduction to the next pivotal character in the subject's life. We get Swoozie Kurtz as a PR maven who promotes Crisp as a stateside entertainer; Denis O'Hare as the editor of a gay periodical who hires Crisp as film reviewer, becomes somewhat alienated from him when he appears indifferent to the passions of 80's AIDS activists, and then returns to the fold as a compassionate friend of the dying octogenarian; Jonathan Tucker (in a fine performance) as a shy, insecure painter of gay-themed canvases who is befriended by Crisp; and finally Cynthia Nixon as performance artist and Woman-About-Bohemia Penny Arcade who, intrigued by Crisp's persona, offers him a spot in her traveling cabaret act. Nixon is a persuasive and gifted performer but is given no chance by the script to embody the down-to-earth and streetwise Arcade. Crisp spent the last 20 years of his life in a one-room flat in an old tenement building in Manhattan's East Village. He famously said that he never cleaned because "after a few years the dust doesn't get any worse," or something like that. But looking at the depiction of that flat in this film you'd never get the flavor of that dustiness. He frequented a local coffee shop on a busy avenue and would be seen pretty much each day of the week sipping tea and watching the world go by. In this film we get a diner that looks like something on 12th Avenue by the Hudson River. Most of the "streets of New York" scenes have a sterile, unreal look with no sense of the period. <br /><br />The soul of this film is the great John Hurt in the title role. After nearly 35 years he can still grasp the essence of this peculiar post-Edwardian Englishman and put it across to third millennarians. His every line, every gesture is exquisite. In the later scenes he even modulates his vocal projection to suit that of a person whose life is winding down toward death. Crisp wrote shortly before he left this realm that when one grows very, very old one's skin takes on the character of a smelly overcoat that cannot be removed and one longs for death. One senses that feeling in Hurt's performance. So, for him and him alone this film is worth a look.

The King of Masks is a beautifully told story that pits the familial gender preference towards males against human preference for love and companionship. Set in 1930s China during a time of floods, we meet Wang, an elderly street performer whose talents are magical and capture the awe of all who witness him. When a famous operatic performer sees and then befriends Wang, he invites Wang to join their troupe. However, we learn that Wang's family tradition allows him only to pass his secrets to a son. Learning that Wang is childless, Wang is encouraged to find an heir before the magic is lost forever. Taking the advice to heart, Wang purchases an 8 year old to fulfill his legacy; he would teach his new son, Doggie, the ancient art of silk masks. Soon, Wang discovers a fact about Doggie that threatens the rare and dying art.<br /><br />Together, Wang and Doggie create a bond and experience the range of emotions that invariably accompany it. The story is absorbing. The setting is serene and the costuming simple. Summarily, it is an International Award winning art film which can't help but to move and inspire.

Man, I really find it hard to believe that the wonderful Alan Ball had anything to do with this mess. Having seen the first two episodes thus far, I think I can safely say this show isn't going to be on my must see list. It's just got so many things working against it.<br /><br />None of the actors cast are particularly good. Anna Paquin as the lead character Sookie, is just awful. I remember her being better in a lot of other things I've seen her in so maybe it's just the writing. She's not really much fun to look at either, there are moments where to be honest she looks downright ugly. The actor who plays Bill is marginally better, if only because his character is supposed to be sort of wooden and aloof. The other actors do their best but with the cliché characters with difficult to perform accents they are given it's a tough job. Tara is an absolute misery to watch, Rutina Wesley absolutely murders the accent. It's like nails on a chalkboard bad. Almost as awful is Nelsan Ellis, it's difficult to understand what he's even saying sometimes. Both his character as well as Tara's also seem a bit racist to me. I don't know, having a character say 'whycome' on an HBO show that isn't The Wire just seems a bit odd. Rounding out the cast so far are Sookie's doddering grandmother, her sex addict brother, and the only bit of genius casting I've seen in William Sanderson as the sheriff.<br /><br />The story seems to be meandering towards it's destination at this point, with no real worry about keeping the viewer interested. The romance stuff is very Dark Shadow-sy. Although this show ups the camp factor from something like those old Dark Shadows episodes times about ten. At times it seemed so campy to me, that I just have to assume it was intended to be. But unlike a show such as Buffy, that pulled camp off masterfully, this show does not. Out of place with the campiness is the extreme gore and graphic sex of the show. I'm not averse to either of these when they are done well, as they have in many other HBO shows but here at least they prolonged rough sex scenes involving Jason Stackhouse seem a bit over the top and pointless.<br /><br />About the only nice thing I can really think to say about this mess is that I liked the opening title sequence. HBO has had a string of bad luck with their shows lately, I hope they cancel this after the first season and try to get something better on the air.

Jason Lee does well to give this doggy movie fleeting promise, but it's not enough to distinguish it from any other bland family comedy<br /><br />This live-action, CG-enhanced adventure sees a shamed police dog (Jason Lee) transformed into a super-dog via an accident in the lab of scheming scientist Dr. Simon Barsinister (Peter Dinklage). Underdog sets about saving the city while attempting to keep his identity secret - a challenge given that he can both talk and fly.<br /><br />The odd gag raises a smile, but Underdog's human sidekicks (James Belushi and Alex Neuberger as father and son) are as dull as the predictable storyline. One for kids too young to have seen Superman. Or Spider-Man. Or even Shaggy Dog…

As a South African, it's an insult to think that someone was actually paid to produce this nonsense!<br /><br />Despite the fact that the director was one of the writers for the original Shaka Zulu mini, this "addition" to the series is appalling! The original series was based on historical facts about a man who was a great strategist, leader and warrior. A man who played a large role in shaping the history of local tribes in South Africa.<br /><br />The plot of this film, however, is nothing but hogwash, scraped from the bottom of the barrel by a writer that has failed to impress since the mid-nineties.<br /><br />While Omar Sharif and Henry Cele are good actors, what is David Hasselhoff doing here, rescuing drowning slaves with his red buoy and bleached smile?<br /><br />I kept expecting blond, busty women to appear out of nowhere and run across the screen in their tiny red bathing suits, for no apparent reason. Not that this would've been any more bizarre than the fantastical plot line that was probably dreamed up after 10 pints of beer at a fancy dress party, where someone's caveman costume inspired the writer to return to an African theme for his next "blockbuster".

I watched this today, partially attracted to the all-star cast and partly because I have enjoyed so many other films of this ilk. However, this is one to avoid. There are dozens of badly cut scenes where the continuity just does not flow, the billiards challenge at the start, for example. The fighting scenes with the natives are about as good as you would remember in those old black and white Tarzan movies, you know where you see a spear fly through the air and camera cuts to a dead native lying motionless on the floor with it sticking from his thigh. Is that instantaneous death? There are also several quite unnecessary scenes which have nothing to do with the plot, like the little girl being rescued while collecting flowers. The really badly animated clay toys are too painful to watch. If you do see this movie the crabs which inch forward at about 5kph are the highlight. Somehow one manages to creep up on David Mccullum and give him a nip. Its as if there was no time to get out of the way, like when the obelisk in the city falls over, the native has all the time in the world to take a 2 step to the left, but no he screams and it falls on him. I only give this a 2 because of Ekland. And why does Mccullums voice develop a stutter as the movie progresses?

Corey Haim plays a kid who teams up with a dog to take out a giant troll and OSA hit-man (Michael Ironside) with a 30/30 and homemade bombs (Which plays plausible considering Haim) Oh and he also protects his mother and girlfriend as well in this watchable yet disappointing adaption of a decent story. Corey Haim is terrible, of course but the movie's sheer momentum as well as Ironside's imposing presence make this at least a modestly effective film. Still the plot is ridiculous and it would've been nicer if we could've seen a monster or at least more gore. At least it's something different. Also it's fairly likely that this film will be the last teen movie for awhile to show a teenager making pipe bombs.<br /><br />Matt Bronson 2/5

I have never seen such a movie before. I was on the edge of my seat and constantly laughing throughout the entire movie. I never thought such horrible acting existed it was all just too funny. The story behind the movie is decent but the movies scenes fail to portray them. I have never seen such a stupid movie in my life which is why it I think its worth watching. I give this movie 10 out of 10 for being the most pathetic movie ever created, this movie seems like it was solely created to become trash. I mean the scenes seem so fake and the actors act like "the camera is in front of them". You will get a kick just watching how lame this movie is, me and my friend could not stop making jokes during the movie, the darthvader guy who tries to get the girl got ran over not once but twice and the second time he got ran over it sounded like he said sh!# although he doesn't speak English lol. If you watch this movie you will think to yourself that all those other movies you didn't like you took for granted they are way better than this. This movie should be seen out of curiosity as well as what kind of movie DEFINES lame. The evil serpent encountered the girl so many times it was ridiculous, the evil serpent just roared and roared and let her get away every time. The evil serpent had so many chances it was like god was trying to say hurry up and eat the girl how many miracles do you want. The transition between scenes leaves you wondering did I miss something? So many plot holes from scene to scene. I was laughing like crazy when they decided to "Escape To Mexico" to get away from the serpent. Hmmmm hopping the border will save you from a serpent from Korea? interesting... very interesting.... I guess hopping the border solves all problems. Another scene that completely stupified me.. they met for the first time and had a romantic scene at the beach they kissed and didn't even know each other... the scene was so clichéd and the was no substance at least in other movies it might seem logical afterwhile but i mean they JUST MET even though they are reincarnations there feelings were like they instantly loved each other instead of it rather developing. Anyways this movie is worth watching for the sake of opening your eyes and seeing the light. Bad Hollywood movies will seem like heaven when compared to this. In the end its worth watching you wont get bored you will be occupied criticizing every moment, every scene in your head.

Please do not waste +/- 2 hours of your life watching this movie - just don't. Especially if someone is fortunate to be snoozing at the side of you. Damn cheek if you ask me. I waited for something to happen - it never did. I am not one of those people to stop watching a movie part way through. I always have to see it through to the end. What a huge mistake. Do yourself a favour and go and paint a wall and watch it dry - far more entertaining. Please do not waste +/- 2 hours of your life watching this movie - just don't. Especially if someone is fortunate to be snoozing at the side of you. Damn cheek if you ask me. I waited for something to happen - it never did. I am not one of those people to stop watching a movie part way through. I always have to see it through to the end. What a huge mistake. Do yourself a favour and go and paint a wall and watch it dry - far more entertaining.

I've seen just about all of the Coen brothers' films now, and I have to say this is one of their better films. I wouldn't dare say it's better than "The Big Lebowski", but it was very good in it's own right.<br /><br />I thought the story was very interesting and hilarious at times. I loved all the characters, especially Tim Blake Nelson (Delmar) and John Turturro's (Pete).<br /><br />There really isn't anything bad I can say about this movie, but this movie isn't for everyone. It might be safe to say that if you liked the other Coen brothers' films, then you'll hopefully like this one too. And if you liked what you saw in the trailer, I think you'll like the film, but don't hold me to it.<br /><br />Anyhow, I hope that you like(d) the film as much as I do. Thanks for reading,<br /><br />-Chris

This is the only movie I've seen Prince in but it don't matter. And I thought he was only great at singing boy was I wrong. This is probably his best performance. The music is great. Thats why it won the Oscar in 1984 for best music to a movie (or something like that). Now he has an Oscar and Grammies under his belt. Although the cursing gets in the way with the film (just make sure no little kids or in the room). There isn't to much to say without revealing the plot. You should really go out and get this movie your collection isn't complete unless you got this movie in it. What else could I possibly say except for go and get this movie now!

"I'm a cartoon!" "You're an illustration!" what does that suppose to mean?! This plot could not be worse as a boy, who's afraid of everything, becomes very brave at the very end of the film because he went into a library. The only purpose of this waste of celluloid was to encourage American kids to read, when a cheaper, and more effective way of doing this could have been a series of adverts! Even the talents of Macaulay Culkin(as the kid), Christopher Lloyd (as the so predictable "that he's a the Page Master" librarian), could save this pointless film from the dull plot. Even the voices of Whoopi Goldberg, Patrick Stewart,(even) Leonard Nimoy, or the Hollywood God of voices, Frank Welker as the cartoon characters don't save it ever. I can only describe it as a 1990s equivalent to the even ghastly 1978 adaption of the Water Babies, because the bland animation makes the film worse, not improving the dull plot!

To preface this review, I must say that I was, I suppose, a little curious about this movie.. However, I probably would not have seen it had I not had my arm slightly twisted.<br /><br />In my opinion, this movie shows just how depraved man can be. In my eyes, the worst thing about this whole Springer phenomenon is not that type of people on the "Jerry Springer Show" act as they do (which in itself is eminently reproachable), but that many people are so curious and excited to watch them and hear about their lives (yes, I suppose that includes me.. to whatever extent it is true). If not glorifying that kind of behavior (as some might say) at the very least we may be subtly corrupting our minds and/or desenstizing ourselves to this type of behavior.<br /><br />But enough soapbox (sort of). Here's the skinny: the movie has an R rating, and while it may deserve only that (I did look away at some scenes, so I'm not completely sure), I feel that an NC-17 (tip of the hat to the other reviewer) might be a little more appropriate for the immense sexual content (a cynic might comment that the movie was just one big excuse to show sex on the big screen). The plot is very bizarre, tying together the stories of an absolutely dysfunctional family and a group of stereotypical blacks upset who will appear on different Springer shows. At the end, the movie leaves one with some resolvement- and Springer rhetoric about the need for us to see the real world (evidently as seen through his show). I agree with him there- it is important to know how the world really is so that we can seek to effect positive change. Having said that, let me just tell you- the world's pretty bad- glance in a newpaper or the news to see that, but let's not shell out good money to support the kind of sensationalistic and perhaps formulaic titallition that Springer seeks to give us.

I was actually satisfied when i played this game.The graphics were something new.The missions were great.But yet,I felt i wanted more out of this game.For a James Bond game its pretty good but not as good as his other games.It would be great if they could make a 360Remake for it.It would be much better then.This may just be cuz I'm into games as Resident evil,Dead rising and those kind of games.So it could be better but it was OK to play.One thing i absolutely hated about this game was Natalya!She was irritating dying all the time and she couldn't run either.I recommend this game for those who like FPS games more than i do.7/10 STARS

I have read all of the Love Come Softly books. Knowing full well that movies can not use all aspects of the book,but generally they at least have the main point of the book. I was highly disappointed in this movie. The only thing that they have in this movie that is in the book is that Missy's father comes to visit,(although in the book both parents come). That is all. The story line was so twisted and far fetch and yes, sad, from the book, that I just couldn't enjoy it. Even if I didn't read the book it was too sad. I do know that Pioneer life was rough,but the whole movie was a downer. The rating is for having the same family orientation of the film that makes them great.

I have seen this movie many many times and I will never get tired of it. It is a classic in every sense of the word. The movie is hysterically funny and yet quite touching all at the same time. For those of you who are not a fan of "subtitles" or of foreign film in general, open your mind. This is a great movie for "the beginner" because the story is so entertaining. Don't get me wrong, it is 100% Japanese (and that is what makes it work), but everyone will get something out of it (even if it is just a great laugh at one of the main characters called Mr. Aoki - one of the funniest characters I have ever seen!)<br /><br />I can't even think of this movie without smiling!! I love it ... and I think most people will too.

Jeff Speakman never really made it beyond the lowest ranks of martial-artists-turned-actors (lower than Don "The Dragon" Wilson, for example), and with vehicles like "The Expert", you can see why. There are three major problems with this movie: 1) The plot - or should I say plots - are all over the place, there are some characters who get a lot of screen time but serve little purpose, 2) There are only 4 fight scenes in total, some of them completely unrelated to the main plot and some taking place in the dark, 3) The music score is overzealous and overbearing. Strange as it may seem, this is really the most annoying thing about this film: the score persistently tries to convince you that you're watching some sort of grand epic, instead of the low-budget limited-action film you are indeed watching. With all that said, at least there's James Brolin around to lend a touch of credibility. *1/2 out of 4.

Peter Jacksons version(s) are better films overall from objective point of view. That being said, they are not my favorite screen versions of Lord Of The Rings, and let me explain why. <br /><br />Firstly, the acting of the on-screen characters is just too ordinary and uninspiring with Jackson's LOTR. The whole cast is too run of the mill. "Are you claiming that those silly cartoon characters of Ralph Bakshi version are better actors than real people?" one could ask. Well, they are not really silly(save for Hobbits, later about them) and they certainly pack more personality than Jackson's party - even with much more limited dialogue time. And that is because of superior _voice_ acting of the Bakshi's LOTR. Take Aragorn for example. In this version his voice is deep and charismatic with full of authority(Aragorn the lord)and with a seasoned rasp(Aragorn the ranger). This is due to John Hurt's brilliant voice acting. Compare that to Viggo Mortensen's rather high pitched sound with no soul and the duel gets quickly uneven: Hurt beats Mortensen hands down. <br /><br />And then there is Gandalf. Probably the most dominating(and the most popular) character in the whole saga. In this Bakshi version Gandalf(William Squire) is a real wizard. And by that I don't mean he shoots bolts from his fingertips(he does not), but his presence is just captivating. He is a mystical, powerful and can switch from gentle old man to a scary person with ease. Add to that his looks: Tall, old as the ancient oak, beard long as his body, sharp eyes, wizardy hook nose and of course, the classical wizard hat. A Perfect Gandalf, just like in the books. Ian McKellen's Gandalf in the other hand, is simply just too boring. He looks too human, sounds too human, acts too human and wears no hat or wields no sword. Yes a sword. In this Bakshi version Gandalf scores couple of bloody orc kills with his sword(as he did in the books). And those are stylish slow motion kills. Gandalf is not a power to be messed with. And it must be noted, that while I'm sad to say this, the great Christopher Lee didn't bring Saruman alive. Fraser Kerr in this movie did, even with a very limited screen time and lines.<br /><br />Before I move completely to visual aspects of the movie, it must be mentioned that the voice acting and the general presenation of the Orcs are also superior to Jackson's pretendeous bad guys. Bakshi's orcs taunt their enemies(or each other) constantly with growls, screams and nasty language. They are more believable as monsters and are more faithful to the book in my opinion. And finally, the Black Riders - or the Nazgul. Those ultimate bad guys are scary ghosts in this one - not just some riders wearing black. And they speak with haunting voice, which mesmerizes their victim. My favorite scene in the film is when the Nazgul are chasing Frodo near the river. While Peter Jackson couldn't do anything but show the riders simply chasing the party, Bakshi throws in a nightmarish dream with some cool slow motion scenes and thundering sky.<br /><br />But as much I like this film more than Jackson's, the latter are, if only technically, still better. And that is because of some key visuals. As you know Bakshi LOTR features a mixture of animated characters(all hobbits and the main cast) and real actors covered with paint. I don't really have a problem using real people in animation this way, but they just don't fit very well with traditional cartoon figures. This is especially true with humans(Riders of Rohan, tavern people etc.) Orcs are different matter, since they are meant to look very distinctive from other characters. Orcs, while played by humans with animation mix, look far superior to Jacksons version. They have brownish-green skin, shiny red eyes, flat face and pointed teeth. <br /><br />Biggest screw up in this films visuals, howerver, are the Hobbits. While I prefer almost every character in Bakshi version compared to Jackson, the latter has clearly superior Hobbits, in fact they are perfect. With Bakshi you get some irritating and rather poorly drawn humanoid Disney bambies. And you are forced to spend a lot of movie time with them, so be warned. Again, the voice acting is OK with them too, but the actors mouths cannot save the "immersion damage" made by these little weasels. Well, I never really liked those halflings anyway. <br /><br />General failures in the Bakshi script are well known. Limited playing time(with limited budget) and a lot of missing scenes. So while this film covers nearly half of the story, it doesn't do it in extensive detail compared to Jackson's version. <br /><br />In a summary the Ralph Bakshi version of LOTR has a superior:<br /><br />-overall atmosphere (it feels more like Middle-Earth) -overall voice acting -music (I really dig the fantasy score by Kont & Rosenman) -Gandalf -Aragorn (One of the John Hurt's finest roles) -King Theoden -Orcs -Black Riders -Elrond (He's not some fairy hippie in this one!)<br /><br />While Jackson version is better:<br /><br />-because it covers the whole story -overall visuals and special effects -Gollum/Smeagol -Balrog -Hobbits<br /><br />Lord of the Rings by Ralph Bakshi, even with it's well known shortcomings, is one of the best animation films ever made and it captures the atmosphere of Tolkien's fantasy world very well, if not perfectly. I'll give it a score of 8½ out of 10.

I go this game and it is alright I guess. I just expected a bit more. The main problem with this is that the hacking is extremely hard, even if you read the instructions you can't get it. Also the graphics aren't as good as Pandora Tomorrow and Double Agent. This game could do with some improvements, it says that if guards are waling in water and you shoot a sticky shocker in the water the guard will fry up but nothing happens. In my opinion this is the worst out of the three. I haven't played the first one but have played Pandora Tomorrow, this and Double agent. This game deserves a 4/10 though. Could do with some improvements.

I have had the pleasure of reading Martin Torgoff's book "Can't Find My Way Home" which is chock full of info on the drug culture of America, spanning the years 1945-2000. This guy knows his stuff!! I found him to be an excellent spokesperson for this documentary. I particularly enjoyed watching the film clips from the hippie era, and the 70's stoner culture. The soundtrack was excellent. Whoever compiled it definitely was in touch with the tunes of each era. Hopefully they will package them and sell them as a CD set. I would highly recommend this to anyone interested in how the 1960's experiments with LSD forever changed American culture as we know it. One thing that was missing was any mention of George Jung (played by Johnny Depp in the movie "Blow"), who was supposedly responsible for much of the marijuana and cocaine coming into this country in the 60's-80's.

Here's what's good about "The Slaughter Rule:"<br /><br />--Ryan Gosling, Clea Duvall, and David Morse all give great performances. Gosling is, as always, pretty darn outstanding. The locales are often breathtaking.<br /><br />Here's what's bad about "The Slaughter Rule:"<br /><br />--Everything else. The script is horribly muddled. And while I can certainly appreciate a non-"feel good" movie, this movie is just boring. Great performances can't make-up for a movie with a stupid premise and a script that is filled with throw-away lines that often don't even make it sense. Just getting through the first hour became a chore.<br /><br />I stuck with it because of Gosling, but eventually I did myself a favor and changed the channel. Spoilers on here relayed the ending to me. I didn't miss much. Do yourself a favor--if you want a good Gosling flick, check out "The Believer."<br /><br />My score: 2 out of 10.

I really enjoyed this Minghella epic, thought not quite so much as "The English Patient" (a modern-day classic). The first 20 minutes or so feel awkward, but as Inman (Jude Law) embarks on the journey back to his love Ava (Nicole Kidman), the film picks up in leaps and bounds and it becomes a very memorable, thoughtful romantic drama. Apparently it is fashionable to hate Kidman at the moment, but I don't agree at all, and she does well here. I actually think that the romance between Inman and Ada is weakly developed in the script (they really don;t get much screen time together to develop a relationship), but Law and Kidman give it their all and convince. Ada's journey is the crux of the film- she becomes a strong woman who can bear almost anything. Zellweger at first seems all wrong as Ruby, but she grows on you after all and sparkles in many of her later scenes. The film has beautiful photography and set design, but never really captures the true feel of a period piece. Jack White, in particular, has long straggly hair and a pale rocker's complexion that look completely out of place with the setting. Cillian Murphy fans will enjoying seeing the talented Irish actor in an early bit part, and Natalie Portman actually proves she can act in probably the film's most striking sequence. It's a pity that in "The Other Boleyn Girl" she's so inadequate.

A film about an interesting and sensitive period of history, filmed in beautiful surroundings, managed to present an appallingly trivial and clichéd production, grossly clumsy script, poor continuity, intrusive slushy music, sugary casting, and pallid acting. <br /><br />It was a toss up between the script and the acting as to which was worse. The script probably won - the historical background, backstory and character descriptions were spelt out in painful detail in the dialogue. .. actually words can't describe quite how bad this film is.<br /><br />In a pre-release screening there was a massive exodus from about thirty minutes in. At about an hour many of those who remained were laughing loudly. I should add I am a Francophile, I am fascinated by Canada, and love historical film. This really was a one off.

Hitchcock's original classic benefited tremendously not only from the performance of, but also the 'look' of Anthony Perkins. He projected a kind of clean-cut innocence: a young teen-idol type of persona. He was not an actor who had portrayed baddies before this; nor was he physically suited to the role of what the public might have imagined a psychopath to look like, especially in the 50's when this ultra-chilling aspect of mental illness (split personality psychosis) was relatively unexplored in film. Which is exactly why the casting of him as Norman Bates was a slice of true Hitchcockian genius. Audiences were taken by surprise to put it mildly.<br /><br />That's why this re-make does not work, even a little bit, in spite of trying to be an exact copy. Whereas Anthony Perkins looked like someone you would never think of as being a serial killer, Vince Vaughn is easily imaginable as one. He lacks the frail look of Perkins and his acting chops are clearly inferior as well, at least in this role (honestly - has there ever been an actor who could convey nervousness as genuinely as Anthony Perkins?). While it was a pointless re-make to begin with, the miscasting of the story's most important character sucks this film down completely.<br /><br />As a side note, I feel that Hollywood's propensity for re-making great movies because 'young' people refuse to watch anything that's not filmed in color not only stinks to high heaven of corporate greed but is exceptionally disrespectful to the original work. As for viewers who can't watch black and white - it's their loss. Hopefully they'll mature sometime in the future and no longer require shiny colours to hold their attention. When they do they'll discover that sometimes black and white works far better. With the background muted, the story and performances are that much more front and center. And in many cases the mood or atmosphere created through black and white cinematography is just not attainable in colour.

there's only so much that i can take of Filipino films, especially nowadays where the trend is sex, action and slapstick comedy(which i hate). the fact that Nasaan Ka Man made me think and made me gape during the movie was a big plus. It's got good cinematic scenes and editing was great, especially the cinematography. i think that Claudine deserves the best actress here rather than getting one in the movie Milan. the fact that there's only so few Filipino movies that i really like. i think Cholo Laurel did such a great job in this movie. i truly truly loved this movie, technically and character development wise; the plot was complex and that's what made it terrific.

Last year we were treated to two movies about Truman Capote writing the book from which this film was made - Capote and Infamous.<br /><br />I cannot imagine a movie like this being made in 1967. A stark, powerful and chillingly brutal drama; elevated to the status of a film classic by the masterful direction of Richard Brooks (Elmer Gantry, Cat on a Hot Tin Roof, The professional, Blackboard Jungle).<br /><br />It is interesting that Robert Blake, who starred in this film, has had so many problems of late that may be related to his portrayal of a killer in this film.<br /><br />This is a film that stays with you after viewing.

Just about every commentator has mentioned the way that some of the interview footage is superposed over the concert footage in places. This is true, and is the biggest flaw of this film. However, it isn't so often, or so bad, that one shouldn't see this video. If you are a Black Sabbath fan, you have to see this. Aside from having seen Black Sabbath in the Sevnties and early Eighties, I saw them in 2005 or 2006 when they also headlined OZZfest just like in this video. The concert was amazing, and very much like this, which was why I rented this in the first place. It's just about the best geezer-rock out there. Check it out.

What can I say? I think I have to write "Spoiler alert" and then "reveal" they used the F-word a LOT in this movie - like in every two sentences. I did not like this movie at all - too much hints on sexual perversions, sidesteps and cheating. And that swearing was totally out the window. I gave this movie "3" and two of those points are for Mira Sorvino's sexy movements on the dance floor.

i watched it because my friend said we could try it, when my father asked if we'd watch it. i didn't want to because it was such an old film, how could that be good ? i finally did watch with that friend and my father. my friend and i loved the film. the songs are great, the actors were cool and we were crazy about it. i guess this shows even though it's from dad's time that doesn't mean it can't be a good film. i bought the film not so long after seeing it on TV, i put it on a lot and sang along with the songs. i even watched it with my classmates on my birthday party. it's a nice, good, and sometimes funny film.<br /><br />if you don't try, you can't say it's bad. even if you think no, i'm not going to watch a film from dad's time. try the first part of the film you can always stop watching if you don't like it. i really recommend it, it's great!!

Minor spoilers follow, but nothing you won't have learned from reading the back of the DVD.<br /><br />Held together by a wonderful central performance from Renée Zellweger, Nurse Betty is a dark yet deceptively good-natured comedy.<br /><br />Suffering from an emotional and mental breakdown after witnessing her sleazy husband's murder, already-troubled and desperately unhappy waitress Betty becomes convinced a character on her favourite daytime soap is her long-lost fiancé and sets off from Kansas to Hollywood to find him.<br /><br />Instead of making jokes at the expense of Betty's mental state, writer John C. Richards is very sympathetic, with Zellweger portraying her as a lost innocent, not entirely helpless but tragically vulnerable nonetheless. Crucially she's never really a victim despite this and while she undoubtedly suffers horribly the motives of the characters who treat her poorly are all understandable - even Greg Kinnear as the object of her deluded affections may be an egotistical, blinkered, arrogant pig but he genuinely believes that she's merely a quirky wannabe actress with bags of talent rather than an insane stalker.<br /><br />The farcical ending where all the main protagonists descend on the same place (in this instance Betty's house) at the same time to have it out is as old as cinema itself but it works quite well here, even if the shift in tone is unfortunate.<br /><br />Zellweger is ably supported by Kinnear and Morgan Freeman both doing solid work, and it's especially pleasing to see Chris Rock show restraint in his earlier scenes.<br /><br />Not nearly as cruel as you might expect, and not at all mean-spirited, Nurse Betty - while far from being a laugh riot - is a solid entertainment elevated to something considerably more by the lead actress.

An exquisite film. They just don't make them like this any more! We eavesdrop on an upper middle class family in Dublin in the early part of the 20th century. They are hosting an after Christmas dinner for their friends and relatives. Their table talk is just idle chatter but it is so well written that one is engrossed. Away from the dinner table some fine piano playing helps to create an intimate atmosphere as if one were there as one of the guests. Perhaps a bit too perfect for an amateur player, the odd mistake here and there would have added to the magic of this film. No real story but real entertainment and an object lesson for up and coming film makers.

This has to be, by far, the absolute worst movie I have seen in the last 20 years. When I saw that Michael Madsen was in it I figured it couldn't be too bad a movie since he has been in some pretty decent films, and he was a pretty fair actor. WRONG! No one should waste their time on this film. I fast forwarded through 80 percent of it and I don't feel that I missed a thing.

This show has everything you could ever want from a prison drama. There are twists and turns all the way till the season finally. The characters are very strong, and it gives the show a lot of power. When watching the show you feel for not only the prisoners, but the prison staff. The actors who play prisoners on this show have done a very good job portraying a prisoner. Also if you like law and order svu or law and order criminal intent there are many actors from this show that appear in those shows. The only problem with Oz is that it was not long enough. This show could of easily had nine to ten seasons without getting old. Even after the season finale i sill find myself watching Oz all the time on DVD. This show is easily one of the best shows on television. Don't be a fool, go watch Oz.

This is a great film with an amazing cast. Crispen Glover is at his freakiest . His guitar solo is amazing. Also watch out for a cameo by William Burroughs. Truly a cult classic. This is on my top ten list. Don't miss this twisted film.

speaking solely as a movie, i didn't really liked it. not because there were no FX or because we had a single cabin as the scenario for the whole film, actually that was what kept me watching it.<br /><br />i didn't like it because the acting was shady, his "friends" are all happy and then they're mad, but you have no idea why; then they take distinct roles, one is the believer, other is the antagonist, but they never really make the point! also, the lighting was terrible and i'm just mentioning technical issues.<br /><br />in a few words, i thing the movie could have just had a "ok i'm outta here!" from some characters. like the lady who doesn't want to hear his version of the bible.<br /><br />about the story itself, everyone is free to write about what they want, and the story is proof of some good writing and imagination. i credit the book author for that, hence, my 4/10.<br /><br />so, in the end, hear the man's story believe it or not, just don't spend the whole time acting like you believe him and being shocked at what he says, and at the same time moving around and making jokes like you don't believe him.<br /><br />Coherence.<br /><br />thanks for reading ;)

This film plays like a demented episode of VH1's "Where Are They Now", or "Behind The Music". In the first half of the movie (that depict his "glory days") Abbie Hoffman is unintentionally portrayed as a sort of delusional rock star. You know the kind; the poseur lead singer, the pretty boy, who didn't write any of the music, doesn't have a clue, but gets all the glory for nothing and chicks for free. Consequently he takes his success for granted, abuses it, and ultimately destroys it along with himself. Indeed Hoffman's glory days ended abruptly when he was busted for dealing cocaine, skipped bail, and went into hiding. <br /><br />The second part of the movie deals with that time in hiding. In it we see Hoffman as a pathetic crybaby endlessly blaming everyone, anyone, but himself for his downfall. Eventually the times pass him by completely; and he can never to come to grips with that. How sad. THE END. End credits roll and OH NO! We learn that Abbie Hoffman eventually committed suicide in 1989.<br /><br />I'm sure this is not the image the filmmakers intended for Hoffman in making this movie. Given that Tom Hayden and Gerald Lefcourt were involved, I'm sure they intended this film as some kind of homage to the life of a man who was after all, an icon of the 60's and of the Left's anti-war movement. In this they have failed miserably. The film presents Abbie Hoffman as a mindless caricature. We are never told about what drives him. How did he arrive at his views? How did he manage to capture the imagination of a whole generation? How did he organize such a vast movement? Why at the height of his fame did he get involved in dealing cocaine? Why? Who knows, and since the filmmakers don't seem to, ultimately who cares?

A couple of teenagers have a little sex on the beach in the 1960s. That's all. They say they are fifteen while one of the actors is really twenty-five. Maybe this movie was somewhat revolutionary in 1978 in its way of touching `taboo' topics but I can't imagine that at that time anything shown in Esmiko Limon was regarded as tabooish.<br /><br />Shallow dialogues are mixed with disco music that is even shallower. The selection of songs doesn't involve anything but the very very well-known `classics' that are still heard on every second radio station today. The plot of American Pie is not much different but it is at least a little bit funny. Eskimo Limon is dull, flat and not aesthetic. Almost unbelievable that it had six sequels!

Good things out of the way first:<br /><br />Underdog's voice acting was FINE. But Jason Lee being awesome himself, that really is no surprise.<br /><br />Peter Dinklage (Barsinister) also did fine, for what trash was given to him. He acted the part shockingly well. And so did Patrick Warburton, the moronic assistant. Now, it was idiotic character but he acted so extremely well, I actually liked the character better than the protagonists. The lines given to him were childish but witty.<br /><br />However. Alex Neuberger did awful and hope he never acts again. His "Scream" was so disgustingly fake. Silence. Silence. "aaahhhhhhh". In the scene where he hears the dog talk, an "oh no, impossible!" would have sufficed in place of the pathetic fake scream.<br /><br />And then there was the girl and her female dog that chased Patrick's character Cad on the roof. At first this makes sense, she's a "Reporter." A school reporter but still an inquiring mind regardless. But why, WHY the HELL did she carry her dog around? That was worthless and the damn dog didn't even say anything other than a heartless "oh, underdog!" Her presence was extremely unnecessary.<br /><br />Overall, the script was pathetic. The only reason I give this movie a 3 is Barsinister, his assistance, and underdog's voice.

I saw this in the summer of 1990. I'm still annoyed by how bad this movie is in 2001.<br /><br />Implausible plot. You'd have to be a child to think this could happen.<br /><br />I'm just really annoyed by it. Don't see this.