This is insulting that there are actually people here that would be so insulting as to give a film like this a "10." To those people I ask one simple question...Do you watch movies? NO SERIOUSLY, do you watch movies?

Get off your butt at home and watch movies.

To be fair those people who are comparing this film to Bend it Like Beckham are being unfair Beckham released last year in the united states and American Desi released in 2001, so please compare apples to apples.

However, let's not chime in and give this film much credit. The story is trite, and the attempt to project Indians into a movie though admirable should have been done with some skill and tact. Look at BETTER LUCK TOMORROW. A Chinese film with a theme and a story. What is the story in American Desi? Oh my God I am going to college and I need to deal with stereotype situations with my Indian friends, this film could have been shot on a home video camera. I agree that I am quite amazed that this film cost $250,000 or so to make. Where did the money go? No structure, clichéd plot stereotyped characters and all the recognition in the world just because it was the first Indian American film released into the marketplace? i don't buy it at all!

You want to see a better film? Watch American Chai at least that movie had a distinct story with a structured plot and won awards, deservedly so!


I found this movie very funny and will recommend it to my mates. For those of you that were insulted by it, all I would say is get a life and chill out you miserable g**s. It was a great movie and I admire the efforts of all those that were involved. Music was brilliant and acting was excellent. 10/10


American Desi tells the story of Krishna (Kris) Gopal Reddy, an 18 year old American Desi (Desi is slang for Indian, it comes from the word Desh which means land or country), and his three Desi roommates at college. Each of the characters play a typical role. Jagjit is your typical FOB (Fresh of the Boat), Ajay is the thug who "thinks he black", Saleem is the ultra-conservative Muslim and Kris plays the role of a coconut who isn't in touch with his Indian roots. Each of these characters does really exist within the Indian-American community.

American Desi is one of the few movies to tell the story of our generation, of our Desi community. The movie does this through humor. The movie is hilarious and jokes about the idiosyncrasies and mannerisms of Indian-Americans. Everything from the characterizations to the jokes are accurate and realist (Except for the fact that Kris's family speaks Hindi, being Telgu I know that no self-respecting Reddy would ever speak Hindi). The best part about American Desi is that it is realistic and both first and second generation Indian-Americans can watch it and relate to it on a personal level. We each know of someone who talks like Ajay, or someone who is constantly on IST. In addition, this movie gives a lot of young Indian-American actors an opportunity to perform.

That said American Desi trivalizes the issues college bound Indian-Americans face. From the social aspect, the different stereotypical indians groups do not get along well with each other on college campuses. The Indian-American college community does tend to segregate into smaller groups. For example, thugs and Fobs usually run in different circles. People like Kris tend not to hang out with many Desis and in some cases even avoid them. None of these issues are even touched upon in the film. The film doesn't even go into why each roommate is the way he is. Instead, it just repeatedly makes fun of each person's mannerism.

The film also neatly resolves all the major conflicts in the film in about 5 minutes. Though these conflicts might seem trivial they are actually quit important. Kris just can't suddenly embrace his Indian Heritage by watching a few Hindi movies and learning how to do the Garba Ras, but by doing so, the film boils down Indian culture into the garba and Bollywood. In addition, Jagjit's conflict is resolved when his father seee the Garba Ras decorations and asks what type of engineering design he used. The film implies that Jagjit's father will accept Jagjit's passion for the arts. However, this isn't the case in real life. I know of many friends who are studying engineering, medicine or business (the only `approvable' majors for Indian Parents) who would rather be majoring in liberal arts. I am currently majoring in comp sci, but would rather be majoring in history or political science. There are many Desis who struggle with the issue of their major, trying to balance their own personal interests with pleasing their parents. Unfortunately, in real life, many Indian parents are not so understanding as Jagjit's father. The film uses a Bollywood type approach at the end of the film, where everyone is happy and all the conflicts are neatly resolved. However, this doesn't happen in real life and the main detraction of the film is that it ends so poorly. It trivializes too many important issues that our generation is facing. The movie takes the cheap way out, doesn't confront the major conflicts and falls flatly on its face. If you want to see a more serious film about the South Asian experience, watch East is East. Even though it tells the story of the Pakistani Muslim family in England, it deals with major issues that all desis can relate to. Overall this film is a great disappointment and had great potential. 4/10.


I think American Desi is simply a collection of outrageous stereotypes. Let's put aside the cue little acronyms ABCD (American Born Confused Desi - anyone of Indian descent) and NRI (Not Resident Indian) and look at in my opinion the fundamental flaw with this movie. With the exception of the two females characters- Nina and Priya, nobody is likable in this movie.

Both Nina and Priya are charming, sweet and people you want to be around. Unfortunately, they are only supporting characters in this flop. Everybody else is either a total fool, idiot or dork. I don't know any person let alone an Indian, or Pakistani who behaves anything like the men (or should I say "immature boys") in this movie. It seems the creators of this movie want to copy the American screwball comedy formula but, that's not a good idea unless you have good writing, interesting characters, etc. This movie lacks in heart and doesn't deliver on a fascinating idea - a film exploring the lives of American born Indians.


This movie is brilliant! I loved every minute of it and I couldn't stop laughing! Every Indian person should watch this. The storyline is great and the actors and actresses are great in the movie and bring the movie to life. I have no complaints!


I am an NRI (non-resident Indian) living in the Philippines, and I could completely relate with the titular ABCD in the film. Though this film wasn't great.. (too many stereotypes: the "villain" with his side-kicks, the sometimes cliched love story).. and the scene where Salim was burqa-clad during the visit of Farah's parents seemed ripped off from many other Bollywood flicks. Yet this film is worth a watch, especially by NRI's, who are just as confused as Krishna aka Kris, or know another "American Desi" like him.


We all want to give good reviews to desi films- but hey... let's be objective rather than just loyal!

This movie was a complete waste of time for the following list of reasons (these are only SOME of them):

1- Character development: cardboard cut-out, one-dimensional cliches

2- Credibility Muslim girl parties, dances, wears mini-skirts and then dresses like a North African Bedouin at the mosque w/ a veil.... some BALANCE please....

3- Lack of research Hello!!! When you have a character playing a Muslim- get some advice from a REAL Muslim, instead of showing your own ill-informed fantasies. *****NO ONE STOPS PRAYING TO HAVE CONVERSATIONS. *****YOU CANNOT BOW DOWN IN PRAYER IF SOMEONE IS SITTING IN FRONT OF YOU. (when saleem is praying, the sikh friend is talking to him while sitting in front of him- IMPOSSIBLE!)

4- Story Third-rate, B-movie high school flick with a completely unbelievable character development (chauvinistic Muslim guy changes his entire mind-set after wearing a Burqa (hello?) and ridiculous soppy ending

5- Humour (or lack therof) various gags lifted from other high-school/ college flicks

This movie was almost as bad as "Wings of Hope" and "ABCD". The only half decent desi films out there are"Hollywood Bollywood", "East is East", and "Bend it like Beckham". (And the best of course is "Earth")


I liked this film, and I think other user comments are unduly harsh.

The script is more innovative than most crime thrillers. The script design -- of having interlocking baby monitors in next-door apartments -- and working that into the danger of the young children, is unique.

The acting is very good. True, the last five minutes are Hollywood Stale, and some of the things in the plot are unbelievable, but the film holds my interest.


When you watch you WILL cheer for the babysitter and the husband. The wife is a horrible beast of a woman. This should be kind of a cult movie if nothing else. You will hate her for minute one. The cheating husband is likable. There is one saving spot in the movie when you think "I wish he would do this or that to that witch and HE DOES".

I am watching this right now with about 20 or so minutes left and do not know the outcome. I just hope it is that he leaves his wife, sues for full custody of his kid and builds a life a with the babysitter.

That is my hope... which is a lot to ask in the last 20 minutes of the movie.


"Baby Monitor: Sound of Fear" was shown on BBC1 last week without "Baby Monitor" in the title, in a bid to make it sound less silly. The attempt succeeded with the title, but that still leaves the movie itself.

A remake of the German TV movie "Babyfon" (!), it's the heartwarming story of a beautiful nanny (Josie Bissett), the employer she loves and who loves her (Jason Beghe), the son she dotes on, and the wife (Barbara Tyson) who won't be running for the president of her fan club; the stage isn't set for a riveting thriller, less due to the cast (which isn't all that good for the most part, especially the boy playing the whiny little brat our heroine takes care of - quite frankly, I was rooting for him to be rubbed out) than do adaptor-director Walter Klenhard. I've complained about his work before with "Rush of Fear" (there's that word again), and while this isn't quite as awful, it does rank just as high on the idiocy scale.

While in the right hands the scenario of an innocent woman at the mercy of psychos with neither knowing where the other is can be (and has been) done effectively, here Klenhard's sloppy directing and slack writing wipe out any suspense and rack up the unsubtle hints ("You could scream for days and nobody could hear you") while the implausibilities steadily get in the way of any effectiveness - one of the few decent moments comes when Josie is trying to get out of the locked-up condo where most of the action takes place and finds she's trying to force the gate open with the plank the villains used to beat her friend to death, but then you're wondering why they dragged her corpse out of her apartment in the first place. And why she's never mentioned again afterwards (even in the denouement). And why nobody seems to be in that building but them. And marvelling at the way setups are so blatantly contrived throughout (watch for those blankets).

If nothing else, "Baby Monitor: Sound of Fear" does deserve credit for getting so absurd that the jaw-dropping final act actually sends the movie into so-bad-it's-good territory. And it is still better, as stated earlier, than the same director's "Rush of Fear" - which I sincerely hope BBC1 doesn't show in the same slot that this TV movie was in; it would hurt us Rosanna Arquette fans a lot if it was scheduled after little sister Patricia in "Medium" as well...


Low-budget, unknown movie with very bad actors. It looks like Scream without suspense, blood and scenario. Josie Bissett's boy could play in a Fisher Price commercial, Josie Bissett could play in Baywatch or Melrose Place(she does), her lover could not play in anything and her lover's wife could play in a South Park realistic movie(she could play Kenny). The story(if I can use this word to describe the scenario) is the following: A man cheats his wife with their son's babysitter. Then, the man learns that the babysitter is pregnant and his wife secretly learns it too. One night, the man and his wife are gone to a party and the babysitter is attacked by two criminals paid by his wife to kill the babysitter. Guess what happens....yes you got it...the babysitter kills the criminals and the man discovers that his wife paid the criminals...woooooo!!!!! Deja-vu all over again? yes, that's right. I give it 1out of 5.


I am the son, yes the son of Tacey Robbins. I have to tell you that I thought it was a miracle that Al and Tacey pulled off this movie. They had $2000, and a bunch of contributers who wanted to see Al's movie career and Tacey's singing career blossom. It took months to shoot it, and in my opinion, it was the perfect "C" movie for the cheese/sleeze era. It had a super cheezy plot, and wonderful music to accompany it. Remember, it was supposed to be a spoof on Go-Go girls who drove men crazy. Well, even the songs were meant to be spoofs and the whole idea is to make it fun and "cult-serious". YES, the acting wasn't perfect, and of course the movie was not without potholes, but I am telling you, as far as the movies of the time, Tacey and Al did a great job putting it all together and making it "campy" and goofy like it was intended. If you take this movie serious, you are wasting your time watching it, or you are some moron who just graduated from the New York School of Movie Ratings and need to find a new job.


here's the thing about this movie, and movies of its kind - they have to be judged on a different scale. there's no way anyone should compare a movie like this to "citizen kane" or, to a greater extent, "gone with the wind" because those are epic films with a lot more money backing the project. this isn't even a "b" studio film, it's an indie flick and, therefore, should be judged accordingly. the soundtrack has very little to do with the ebb and flow of the film, the directing and editing are amateurish, but not horrible, the acting is over-the-top in almost every instance (though roy morton has a good performance as a super-sleazy sex-driven criminal) and the color is garish. but all these things create a certain 60s "b-film" aesthetic that you can choose to like or dislike. if you're willing to go along for the ride then this film can provide some entertainment, if you're not then steer clear. while most aspects of the film are just average and add to the b grade aesthetic, the cinematography is noteworthy. considering the source, the cinematography stands out as rather good. unfortunately the dvd transfer puts the film in full frame, but one still gets the impression that the cinematographer knew what he was doing. who is the cinematographer? vilmos zsigmond, winner of an academy award for cinematography for his work on the deer hunter. he also worked on flesh and blood with verhoven, blow out and bonfire of the vanities with depalma, mccabe and mrs. miller with altman, and close encounters with spielberg. as for the story - it's a typical heist gone wrong tale with a nice touch here and there; not half bad. C.


And here I was thinking all movies from the 60's that ended in "a go go" had to be terrible. I was wrong."Psycho a go go" is a very underrated gangster-horror flick that definitely deserves better than an average of 2.1 on IMDb. It definitely looks very artistic at times, for example, the scene where the killer strangles the girl in a hotel while the neon lights lighten the scene.(This is probably due to expert cinematography from Vilmos Zsigmond). Also, I'm sure this couldn't have been the inspiration for "The Shining" ,because I'm sure only a handful of people have seen this, but the scene at the end where(spoilers, I guess) the killer chases the little girl and her mother through the snow and the end scene from "The Shining" are eerily similar. All in all, this could have been a more well known picture today if the film was cleaned up a bit, had its draggy scenes removed, had the cheesy bullet sounds taken away, and maybe had a more competent director.


Feroz Khan made several great entertainers like QURBANI, JAANBAAZ but this is his poorest work and his last try too at direction

He seems to want to glorify himself and his son and hence made this excuse of a film

The film goes around with sub plots, sudden songs, long bike chases and then a melodrama about Feroz-Fardeen

The film has a weak screenplay and seems all choppy

THe romance angle is puerile

The film actually is laughable The film shifts from 1 plot to another suddenly All doesn't make sense and plus the scenes are so badly handled The last scene is a perfect e.g. of a bad scene plus Fardeen's bad act

Feroz Khan makes an embarrassment of a film Music is okay

Feroz Khan is repetitive, Fardeen Khan is bad Celina is awful


The famous Feroz khan used to be noted for his modern lavish productions that pushed the boudaries of indian cinema but sadly this film despite the slick promos falls flat on several occasions. What starts off as a poorly acted and insesitive film ends up being poor. Sadly the main fault in this film lies in its story that is a poor mish mash of poor D grade bollywood storylines, it has everything thrown in... murder, revenge love, action and of course the hoards of bikini clad women who really serve no purpose at all. without the bikinis the songs as just plain forgettable. The superbike championship was a nice innovative idea that tries but fails. this film is also choppy and bitty. scene's that do not seem to flow together.songs thrown in hap hazzardly. A very poor attempt by the man who brought us classics like "App jaisa koi" in Qurbani.


Tommy Lister is on hand as a police detective looking for the missing daughter of an affluent man, and runs into the vampire clan that have kidnapped her. A second plot has the detective's step-son going to Vegas to get hitched and running afoul of the same vampire clan. Yet a third plot has blacksploitation greats Richard Roundtree and Fred Williamson as ex-cops who go to Vegas for the hell of it and run afoul of, yup you guessed it. Other the vampire connection none of those three plots feel connected to one another in the least until the end when they had to be tied together somehow. It's done in a pretty convoluted way sadly. And it still felt like the writers had no clue what each other were doing. Plots are dismissed, and new ones take their place willy nilly. It definitely didn't help having 5 writers pen it. (too many cooks and all that). The thing that got me to rent this is the fact that Williamson (who also directed) and Roundtree were starring, both of which I respect and enjoy seeing a lot. But they have basically the shortest screen time of all the major characters and are a bit insubstantial. Still when they DO have scenes they're OK. Tommy Lister is the real star of the movie and he does the best job that he could have done with such ridiculousness. The one thing that REALLY got on my nerves bad (I mean besides the vampires dancing like zombies half the time), was the fact that logos on shirts were blurred out, and since a good deal of the cast wears a jersey during the first half of the film, this became extremely distracting and almost made the film unwatchable. The ending leaves room for a sequel, but I can quickly exclaim 'fangs, but no fangs' to that prospect. Oh and you might have noticed I didn't mention Baldwin in my review, this is simply because he's only on-screen a whopping two minutes or so of the film and is a glorified cameo. On a side note, the DVD is as bare-bones as can be with absolute zilch for extras. The movie and chapter stops is all you get.

Eye Candy: there's a gratuitous 5 girl topless dancing scene in the middle

My Grade: D


Well, I would've given this a half-point, if I'd been able; one is being generous. This makes John Carpenter's 'Vampires' look like fine film, and 'From Dusk Till Dawn' look like an academy award winner. Barely a plot, dialogue, uh... did anyone go to school?, special effects imported from a bad video game, vampire teeth that were 100 for 99 cents, characters that were such low-life losers that I was hoping the vamps would get them, just to put me out of my misery.

Someone should keep Daniel Baldwin away from the buffets, and let's hope the producers of this mess never get it into their heads again that they should make a movie. It wasn't even bad enough to be funny. Best line in the film? "Don't let him bite you!"


This film appears to be scraps from an editing room floor that were very, very poorly spliced together into a completely incoherent and ridiculous mess. I can enjoy a really bad horror film, but this one is so bad, there isn't even one redeeming quality to be found. I rented this because Tommy Lister is in it and the premise looked amusing. Unfortunately Tommy's part was dull and one dimensional, and not even one of the scattered plots managed to be redeeming.

The fact that I rented this is proof that there is far too little to do in the town I live in, and that I will, in fact, rent absolutely anything. I have to say "hats off" to anyone that got paid for any portion of this film. Hopefully it was some kid's film school project, and said kid has subsequently decided to find a more suitable career.


Overall, a rather bad movie with a few redeeming qualities. Vampires in Las Vegas run amok and are hunted by a variety of police officers, who eventually defeat the vampires with the help of a sexy nun. Naturally. There are a number of flaws in the movies: day turns to night and night to day in the middle of scenes; characters' appearances change between cut away scenes, only two vampires combusted when exposed to daylight while many others walked around during the day without problems. The number of gaffes in the film provide the viewer ample opportunity to play "find the error." The main premise of the movie seems adequate (hunting down a 300 year old vampire who has returned to seek a new wife), but there are too many sub-plots floating around that provide tenuous links to the main premise.

Three characters stand out for their contributions to this film. Eric Etenari does an excellent job as the main vampire's henchman, a smooth talking, lady's man who provides the boss with his victims. Comic relief is provided by two legendary stars of the 1970s, Fred Williamson (who also directed the movie) and Richard Roundtree (best known for his role as Shaft). In some sense, Vegas Vampires seemed to be an effort, though largely deficient, to remember the days of the blaxploitation films in which Roundtree and Williamson starred in the 1970s.


As someone who loves blaxploitation movies and modern vampire movies (i.e Lost Boys, Interview with a Vampire, and Underworld ) and paranormal TV shows (i.e. Super Natural, True Blood), I can say this is hands down the worse vampire film I have seen that was made in the past 20 years. It was the kind of movie you watch because it is so bad you can't stop but watching it to see if it gets worse, and you know, it does get worse. I really wonder if the actors knew the movie was as bad as it was while they were making it. The only reason I gave it a 2 out of 10 is because there were a few fine chicks in it and it showed a little booty. Otherwise, this is garbage!


The hands down worst movie I have ever had the misfortune of watching. I can't believe I actually watched the whole movie and feel dumber as a result. This is truly a case of the train wreck syndrome and I simply could not stop watching because it was so awful. I kept thinking that it had to get better and was always amazed at how it progressively got worse. From the acting to the script to the editing to the photography, absolutely terrible. I can't believe that somebody actually made this movie and thought "wow, this is great piece of cinema!" If I could give it a lower rating than 1 star I would. I highly recommend this movie for all film students as an excellent example of what should never be done in cinema.


This movie is so bad, that it might be a waste of time for you to read any further adjectives that I will use in order to fully describe it's utter suckiness. Think about every terrible aspect that a movie could possibly possess, and then add them up. Now, take that number and multiply it by a million. However, would I recommend this film to you? Absolutely. I have never laughed so hard at any movie in my life. Tears were streaming down my face from this movies level of enjoyment. If you want to laugh for a good 2-3 days straight, please, do yourself a favor and rent this movie. No comedy ever written, however classic and hilarious some are, could come close to bringing you the sheer joy you will feel when the credits roll on this film. All people associated with this film are probably either out of film making or have been taken out of the business from this unimaginable monstrosity.


Vegas Vampires (2003) is a low budget film directed and co-starring Fred Williamson. A vampire is running around Las Vegas creating problems for the local police, especially two of them (Tiny Lister and Glenn Plummer). During this time, a P.I. and his buddy (Fred Williamson and Richard Roundtree) decide to have some fun in Vegas. An outbreak of vampires starts to slowly spread about the city and our heroes and a lot of innocent people are about to get caught up in a vampire holocaust. Entertaining and funny, it was great to see Richard Roundtree and Fred Williamson kicking arse and taking names.

Two problems I had with this movie, one was blurring of name brand t-shirts and jerseys. That was a big problem, it was such an eye sore. The second one was the lead role given to Tiny Lister. He's good as a secondary character, but the man's not a lead actor. He wasn't that good. Otehr wise I enjoyed the movie. It was a big shock. I would rather watch this than have to suffer through another viewing of UNderworld.

cheers,


Officer Johnson (Tommy "Tiny"Lister) is tracking down a string of murders in Las Vegas and his son-in-law just happens to attract the attention of the local vampire ring. When his partner is murdered and a vampire is caught, Will he finally believe? Or does it take a super sexy nun to show him the vampire fighting way? Well, it is obviously the second option.

To start off, this is a great cast featuring "Tiny" (Friday), Richard Roundtree (Shaft), Daniel Baldwin (Vampires), Glenn Plummer (Saw II), and Kurupt (rap group, Tha Dogg Pound). There is also an appearance by K-ci & Jojo. And I did a bit of snooping around here and noticed an A. Demetrius Brown listed as Writer/ Executive Producer. Now that means he is either the guy serving time in prison or the kid from the band B2K that broke up.

Combining hip hop, vampires, Las Vegas, cop melodrama, and blaxploitation, this could have easily have been a failure. But it wasn't. Surprising, the production values were very high with great locations, fantastic musical backdrops, and an amusing cast.

There are some scenes and dialogue that are obviously corny. For instance, why would the vampires feed in public where they can, and do, get caught? And they break a rule that vampires cannot enter a residence unless invited. And that Black nun sure was sassy for a follower of the lord. But the silly scenes are overshadowed by some funny moments, like when a girl is running to her truck to get away and drops her keys right as she gets in. But before I could roll my eyes, she swung the door knocking the vampire over and took the keys from him. There is also a scene where Roundtree karate kicks a vampires head right off! There is a brief topless vampire orgy scene for anyone interested in that. Gore includes a decapitation, vampires burning in the sun, neck suckage, and bullet wounds. I just wished there was more of it and they focused less on the young kids. The "flying vampire" effects were simple, but effective too. Instead of hooking someone up on a wire and swinging them around, they added some effect afterwards to blur out the image and make it appear as though he is moving extremely fast.

IMDb will have this listed as Vegas Vamps (2003), but the actual DVD release is Feb. 27th 2007 under Vegas Vampires by Code Black Entertainment and runs at 89 minutes. The film quality is good and if it was shot on video, I couldn't tell. The SFX was good when it occurred, which wasn't enough.

DVD Extras: N/A. It was a screener and I cannot find any info from other sites.

Favorite Quote: Girl accidentally runs over her boyfriend in truck and asks him, "Oh my god! Are you okay?" Boyfriend replies, "No, you just hit me with a truck dumbass." Bottom Line: Pretty tame blaxploitation vampire flick with some fun to be had though.

Rating: 7/10

by Molly Celaschi


To me, I know what to expect when I see a video box that has a woman on the front cover wearing a bra and holding a machine gun, along with a 4-Star Rating from Joe Bob Briggs. It always amazes me that people rent this stuff, apparently expecting Bergman or something, and THEN decide they have to write negative reviews denouncing the overall silliness, bad acting, cheap production values and amount of nudity and/or violence. To me, HARD TO DIE delivered exactly what it promised on the box...action, blood, babes, machine guns, Corman references (this is, after all, a New Horizons video) and loads of cheesy fun.

Five scantily-clad young women (Gail Harris, Karen Mayo-Chandler, Deborah Dutch, Melissa Moore and Bridget Carney) are hired to work a temp inventory job at "Acme Lingerie" in a closed down for the night high-rise. They all get naked in a touching group shower scene that alludes to the powers of female bonding (HA!), try on the new Fall lineup of underwear, then accidentally open a "soul box" containing the spirit of Hockstetter, the notorious "sorority house killer" (last seen in Wynorski's similar SORORITY HOUSE MASSACRE 2). Someone in the group becomes possessed by the evil spirit and starts killing the others with a hook. Thankfully there's an armory shop in the same building, so the surviving girls get to defend themselves with high-powered machine guns! Big Peter Spellos returns from SHM2 as hulking Orville Ketchum, who is mistaken for the killer and outlives a dozen or so knees to the crotch, stabbings and gunshots (not to mention a fall off the roof!).

If you decide to take these zany proceedings seriously, that is your choice, but approached in the right state of mind, it's often hilarious. There's B-movie ingenuity at work here in this silly time-waster. It is action, nudity and in-joke packed and the ladies are all all pretty fun and energetic, so it's fine viewing for the audience intended. If you do not like these films, simply do yourself a favor and stop watching them.

Score: 7 out of 10


***SPOILERS, IF I CAN REMEMBER THEM***

A college roommate introduced me to this unforgettable little film, based on my love for laughably bad movies, and it did not disappoint. Purely a vehicle for slasher T&A, the movie makes no excuses and doesn't really take it itself all that seriously - what movie COULD, after having a man fall off a 15-story building and walk away?

To me, the shower scenes were just a softcore running gag, but I suppose some people could be turned-on, by them. It's just funny, for me, thinking about the writers' meeting that must have taken place ('Okay, the story's finished. Now, how do we get all of them into the shower?').

The highlight of the film, for me, was the irrepressible Orville coming back from one death after another, and not seeming to hold all the abuses against anyone, when it's over. Favorite scene: Orville pulls the mail spindle he has been stabbed with out of his heart, and uses a stapler to attach a bandage to his chest.

Worth the 99-cent rental fee.


I loved this movie. It was pure entertainment the entire time. This, and the three other movies Spellos starred in as Orville Ketchum, are some of the greatest films i have ever seen. Anyone who thinks otherwise, should go through the amount of punishment that Orville's body takes.


In the 80's and early 90's, one couldn't do any better for entertaining movie mega-cheese than Jim Wynorski or Fred Olen Ray. Ironically enough after the two collabreated on "Hollywood Scream Queen Hot Tub Party", neither's subsquesent movies were as entertaining. But I Digress, anyway this Wynorski film is about 5 girls doing inventory and stumbling on a puzzle box that contains the spirit of the guy from "Sorority House Massacre 2", but featuring clips from "Slumber Party Massacre" So of course they take turns showering, making insipid comments, running around in lingerie, and getting killed by a maniac. In short, great cheesy goodness.

My Mega-Cheese Grade: B

DVD Extras: Theatrical Trailer; Trailers for "Don't Sleep Alone", "Concealed Weapons", and 1997's "Expose"

Eye Candy: nearly all of the actresses get nude, take showers, or both


You have got to admire a movie that sets and then surpasses its own goals. HtD gets right up in your face and asks you if you want to see a slasher movie with five luscious babes (each with a distinct personality, of course) dressed in lingerie (unless they're in Daisy Dukes or in the shower without any clothes at all) running around a building after-hours and firing automatic weapons. Of course you do! Well, HtD delivers. Throw in Orville Ketchum, some irrelevant filler material shot at a porn filming session, and a bizarre cameo by Forrest J. Ackerman, and you've got a most-excellent B-film!

Keep in mind that Jim Wyrnoski is not shy about using material from other films. In Sorority House Massacre II (which beats out HtD only marginally as the best B-movie, because it actually features a haunted house,) he used lengthy unrelated scenes from Slumber Party Massacre as back-story to SHM II. In HtD, he uses the events of SHM II, as well as the same footage from SPM, as a back-story. What makes this more than mildly amusing is that most of the actors/actresses, and many of the scripted characters, in HtD are the same as in SHM II. HtD acknowledges the events of SHM II with a wink at the fact that most of the characters in that movie died. You owe it to yourself to see SHM II prior to seeing HtD.

I won't spend a lot of time on the plot. Let me just say that, through a series of improbable and illogical events, the five female leads end up wearing virtually nothing as they are stalked through a closed office building one Saturday. Quite a few people die, though usually off-camera and unrealistically, and "Orville Ketchum" lives up to his reputation as one of the funnier and more-difficult-to-kill B-movie actors. (The scene where he staples a bandage to his abdomen is priceless.) One final observation...unlike many of the straight-to-video movies being churned out today, HtD actually has some decent production standards. Cheap, yes, but competent. The film has been correctly exposed and color-compensated. The audio levels and re-recording are quite acceptable. There are no artsy-fartsy camera angles or unnecessary CGI effects. It is simply a better-produced movie than most of the dreck out there today.

And it is a hoot! Either you get it, or you don't. Highly-recommended for nekkid-wimmen-in-slasher-films fans.


This mountain of melted cheddar is dumb, dumb fun. Director/producer Wynorski (who also helmed the raucously cheesy Chopping Mall) proves himself to be the unsung B-movie hero. Wynorski's films win because he creates schlock that believes in itself. This production doesn't have an air of superiority. It carries its ludicrous premise with a conspicuous joie de vivre and at a boisterous pace, all while avoiding the doldrums of self-parody. Wynorski also succeeds in that his intentionally funny and over-the-top ending is actually funny. He thus accomplishes the rather difficult task of creating a film that people will laugh at AND laugh with.

This film is actually the third entry in the Sorority House Massacre series, but stands just fine on its own (I've never seen the two preceding SHMs). It may be the best of the trilogy, downplaying the derivative slasher element that defined the first two films and instead taking an exuberant action-horror-comedy slant (the title, in case it wasn't obvious, is an obvious spoof of Die Hard). Just the image of our trashy-lingerie-wearing, bloody-breasted heroines brandishing automatic firearms is enough to alight the predilections of any cult film fan.


Jim Wynorski knows how to make a movie! He doesn't skip on the T&A and never takes his flicks too serious. If you're familiar with Wynorski you'll love Hard To Die, it has all the same elements of Sorority House Massacre II, pretty much the same story with the same girls running around in lingerie being stocked by the spirit of Hudsacker which has taken over a girls body. Our friend Orville is back too. He's trying to help the scantily clad girls, but they just keep killing him. And much like SHM II, it takes the time out to for the girls to all take showers, God bless you Jim please make more movies! Its perfect for movie night with your friends. Check it out!


ORVILLE KETCHUM WILL NOT DIE!!!!!!!

that is the overall theme of the unsung hero in this movie. ORVILLE KETCHUM RULES!!!!!!!!!! if you want to see plenty of hot chicks showering Goofy violence and the overall awesomeness of Orville check this movie out i first saw it on USA network years ago and have been wanting more Orville ever since Check it out!! and bring back Orville!!!!!! but what this movie is about is basically a serial killer chases around scantly clad women who have the weird urge to take showers while they are running from the killer. Orville is stabbed thrown off the building and other ways that would cause the demise of ordinary men. but not Orville. i think this movie is very underrated and wish that they would bring it back to put it on DVD. a famous quote from Me Ketchum throughout the film is "I Just Got To Tell You..." what does he have to tell the girls..... just watch to find out!!!


"I just want to get my clothes on and get the hell outta here!" shouts Jackie hysterically. It may hide behind the alternate title "Hard to Die," and utilize the stage name "Arch Stanton" (the name on the grave in The Good, the Bad and the Ugly) for director Jim Wynorski, but with most of the same cast returning and with reused ideas and recycled flashbacks, Sorority House Massacre III is still very much the same cheesy movie. The character names have changed (except for Orville Ketchum, now the janitor, and through the majority of the film practically a zombie), the goofy synthesized piano music is back, and the cleavage is as prominent as ever. Since the film doesn't take place in a sorority house, the working titles "Hard to Die" or "Tower of Terror" are more appropriate, but the film is practically identical in story and tone to the series the director took over.

Four department store employees (Dawn, played by Robyn Harris; Jackie, played by Deborah Dare; Tess, played by Melissa Moore; and Shayna, played by Bridget Carney) arrive for the yearly inventory at Acme Lingerie and meet up with the newly hired girl Diana Farrow (Lindsay Taylor). While working in the dusty basement, the sprinkler system is accidentally activated, getting the group of seductresses suitably wet (yes, that was a major plot point). After cleaning up in the manager's office, they discover a mis-delivered occult witchcraft soul box that unleashes an evil (and poorly animated) spirit. The mysterious package was intended for Dr. Newton (a man who casually reads from the book "Demonology and You") at the museum, who attempts to warn them of the dangers - until the phone goes dead. Meanwhile, the same two detectives from Sorority House Massacre II decide to investigate the lingerie store and their old pal Orville, who they both finger as a mass murderer. As the five isolated girls wait for a Chinese food delivery, they are quickly slaughtered by a hooded assailant, armed with a diabolically evil metal hook.

It's especially funny to see the desirable vixens talk about the sorority house massacre that happened in the previous film, considering they played the victims, most of whom didn't make it out alive. And that film reused an introductory plot from the Slumber Party Massacre films. It's like a remake of the previous film, shot for shot, but with a new location; it's even more absurd if you've just seen the previous movie. Both of Wynorski's sequels are completely unrelated to the first Sorority House Massacre, rendering that film obsolete for either understanding the inconsequential plot or enjoying the scatterbrained characters and their extremely toned bodies. Even the first fight scene with Orville is choreographed in an identical fashion (the knife to the guts is in the same place, as is the strangulation by handy extension cord). The repetition is just plain obnoxious (except for the copious nudity, which somehow never gets tiresome).

The same girl manages to take a shower first again (Melissa Moore), her spontaneous undressing moderated by remarkably silly saxophone riffs. And the others aimlessly slip into sexy lingerie in short order. Even the creepy janitor eyes the girls in the same way, and once the bloodletting starts, the splattering of blood and gore is all too familiar. The only major difference is the immoderate amount of machinegun fire. Some people consider this to be a softcore parody of Die Hard, but it couldn't be further from it  if anything, it was simply a gimmicky title choice. Ultimately, who cares? There's plenty of flesh on display, and none of it is unappealing (except maybe for the odd food delivery girl dressed like a clown). It's all in the interest of conceding to the target audience's poor tastes.

- Mike Massie


I simply love this film. The five main characters are just gorgeous. Sure this movie is badly acted, but its lots and lots of fun. Rent it and you'll see how the director exploits the babes' bodies. IT HAS LOTS of nudity, some blood, barely dressed chicks shooting each other, a lot of screaming and a really high sense of fun. I am proud to say I own a copy of this film and its one of my favorite slasher movies from the 90's.


I know, you want to see it because the cover shows a hot female body holding a machine gun, and because it's been out of print on DVD for years and now there's a certain level of mystique about it... but I'm telling you, there is absolutely NOTHING here that's worth looking at! I was shocked by how boring the whole thing was. Nothing transpires that is even remotely cool. I went into it knowing that it was a B movie, most likely made for video (perhaps with an ultra-brief theatrical release) and that the title was a play on DIE HARD. Still, with my expectations at their lowest setting, I was disappointed beyond belief.

The acting - or lack thereof - is the worst I've ever seen, and I've seen a lot of trash. There's really no action in it, either. The girls weren't even hot enough to grab my attention. That's right... Ugly girls, no action and a hokey horror sub-plot that will have you shaking your head violently.

I have seen this DVD sell for more than $100 on Ebay, simply because it's not being made anymore. People love to track down video rarities. I know, because I'm one of those people. However, HARD TO DIE is not only unworthy of paying to see, it doesn't deserve the 90 minutes of your life required to view it. Utterly worthless.


This movie sucked. The box claimed that it was the female version of Die-Hard, this movie was anything but that. It started out as soft port then a horror flick and finally an action sequence. The only redeeming quality was that it was only 80 mins. I was really disappointed since I thought this movie was similar to Die Hard but I guess not. Grrrrrrrrrr.


A truly awful movie. Amazingly bad from the start to the finish. The Invisible Maniac, Sorority House Massacre 2 and Hard to Die are in a sense a trilogy because they all have Melissa Moore, nudity and bad acting. The other two movies are better than this one. Moore's nude in all three, and all of the other actresses look like they came straight off the corner.


Several years ago, when I first saw this movie, I felt that it was melodramatic with awkward dialogue and clumsy direction, and not worth my time, except for the dancing segment with Moira Shearer and James Mason ("Jealous Lover"). After this recent viewing, I have a better appreciation of the finished product and wonder at the curious division of directors, Minnelli and Reinhardt, and committee of script writers, which may account for the structural and dialogue flaws in the film. Throughout the movie I had the curious feeling that the influence of the great team of Michael Powell and Emeric Pressburger was haunting the producion. Both script and direction fall short of their work, such as "The Red Shoes" or Stairway to Heaven." Yet on this second viewing I still felt it worth my time.

First, the casts are well chosen and the camera loves them, especially the three female leads: Shearer, Caron and Angeli. One cannot find three more gorgeously photogenic and sensitive faces captured by Hollywood and its lenses than these -- and without excessive makeup. Being English, French and Italian (in that order), they also embody the international strength of post-war Hollywood, and are strong complements for the male leads, Mason, Granger and Douglas, all of whom made their careers in America (Mason was born English, I believe). These three leading ladies were certainly chosen for their youthful radiance and sensitivity, and the luminous close-ups plus the saturated color and lush music by the great Rozsa (who appears as the conductor in the first segment) lend a baroque richness to each of the segments reminiscent of Visconti's "Senso," or possibly even "Il Gattopardo."

Second, the camera work and lighting are excellent, both subtle and dramatic at the same time, fully enhancing the flashback aspect and sense of fantasy in all of the stories and revealing the delicacy and individuality of the three women, not to mention the great Agnes Moorehead in the first segment. The delicacy of Shearer, Caron and Angeli with the differences in each of their coloring and bone structure, contrasts dramatically with their respective male leads, the forceful articulateness of Mason (given an incredibly weak script stilted and overwrought when compared to P & P's dialogue for Lermentov in "Red Shoes"), the boyish tenderness of Granger in the second segment, and the snappy personality of Douglas in the high wire segment.

In the latter, which other reviewers seemed to like the least, I found Angeli's combination of vulnerability and inner strength very moving, all of the emotion held back, but pouring out of those great expressive eyes. Her subtlety provided the proper foil for Douglas's aggressive, almost animal energy and line delivery. I am not by any means a fan of

Douglas (except for his "Lust for Life"), but I liked him in "Equilibrium," and was impressed that most of the aerial stunts seemed to have been done by him. Certainly the circumstances of the war that led to Angeli's suicide attempt in the story lent a depth to the plot that was very much of the time and may be difficult for Americans to understand today. However, Europeans were still deeply affected by the war even in the mid-fifties (see "Act of Love," another film of Douglas's).

What each of the female stars gave to the film, as the focus of the "three loves" of the title -- Shearer in her role as a ballerina with the exquisite choreography by Frederick Ashton (celebrating the centennial of his birth this year); Caron, in an early non-dancing part actually using her French in the dialogue if not in the poems by Verlaine; and in Angeli cast as a victim of the war-- was a sense of authenticity and genuineness. I find these qualities very much lacking in the majority of American films, certainly those made by recent directors.

One final thing I liked about "Equilibrium" was showing how Douglas trained Angeli step by step in the high wire act to build up her strength and courage. One doesn't usually see this in a film. It also looked as if Angeli did her own stuntwork. Even if she didn't, it was effectively shot.

In all, a film worthy of renewed viewing. Of four ****, I give three and a half


Each of the three love stories would have been worthy of a movie to itself. The second, with Leslie Caron, must rate at least a 7 for anyone who enjoys her, but her work in Lili outshines everything else she has done. The third, with Pier Angeli and Kirk Douglas was a treat even for a viewer who does not usually like Kirk Douglas. It rates a 9 on the basis of the marvelous sequences as he teaches Pier Angeli the art of high wire performance. But it is the first, which deserves 11 out of 10, which makes this film a "must see." I know of no other film in which great orchestral music has been treated with such respect and insight. There are long, uninterrupted sequences of the marvelous Moira Shearer dancing to one of Rachmaninoff's fabulous Variations on a Theme of Paganini. The combination is superlative ballet, and superlative interpretation of a great orchestral work of the late romantic school. As icing on the cake, James Mason is the audience of one as she dances, an irascible impresario who is, quite understandably, overwhelmed by the magic of Shearer's performance. The story ends too soon. At full length, with three times the dancing, and a better love story between Shearer and Mason, it would be a movie I might expect to see in Heaven. It makes the whole film easily worth a 9.


I loved this movie especially the the third segment featuring Pier Angeli. She really did her best portraying a suicidal widow of a Holocaust victim who becomes a trapeze artist after she is saved from drowning by Kirk Douglas's character. I am pretty sure that she relied on her own childhood in Rome for inspiration. She grew up in Rome when World War II was occurring. Her emotional scenes were the best. I can see why Kirk Douglas fell in love with her. It is hard to believe she was only nineteen when she filmed the movie. It is the first color film she did. I think it was be remembered by devoted Anna Maria Pierangeli fans for years to come.


Although this movie has three rather uneven stories in separate segments, the overall package succeeds, is quite beautiful artistically and is highly entertaining. For once, I think this movie on IMDb is UNDERRATED. However, I must say that I've seen this film several times and it did get better the more I watched it.

The first story is the best. It concerns Moira Shearer as a ballerina who has a heart condition but MUST dance, as to her ballet is a compulsion. The music by Rachmaninof is VERY haunting and I got it stuck in my brain for weeks following the movie. This segment reminded me of The Red Shoes (also starring Shearer) but was thankfully MUCH shorter and interesting--a definite plus for those like me who really DON'T like ballet!

The second is about as good and is a cute little fantasy involving a little boy who is magically transformed, temporarily, into an adult. As a child, he said how much he hated his governess, but as a man, hormones kick in and he is naturally drawn to the vivacious Leslie Caron (who wouldn't be?). It's cute and a bit sad as well.

The final is the weakest story about a trapeze artist who lost his last partner but now has discovered another,...and LOVE! It's a decent portion but is just overwhelmed by the quality of the other stories.


This is one of the few movies that I've watched repeatedly or when I need an attitude boost. (Others are Harold & Maude and What a Wonderful Life.) I walk away with renewed sense of empowerment, purpose and determination. In addition to that, I enjoyed: 1) the timing--the movie consists of three shorts and I appreciate the order in which the three are presented; 2) sense of humor--the second short is quite charming and I thought well written from a child's point of view--it avoids being an adult pretending to be a child; 3) long dance scenes--there must be several three minute scenes with no editing cuts (the music is so strong that whenever I hear a piece by Faure, if it's not the piece in this one scene it reminds me of it, that I must stop a few seconds because the memory is so alive); 4) the deep exploration of "what is right" --I not only appreciate the presentation of the two sides of every decision presented in all of the shorts, but also that a quick Hollywood solution is resisted; and finally 5) a young Kirk Douglas--which is the old fashioned manly-man. My only wish is that is would be shown on the big screen more often.


Here's a tip for all aspiring screenwriters out there. If the middle part of your script really has nothing to do with the beginning or ending, that means you've written a bad movie and need to start over. The people behind Klepto never learned that lesson, so they wasted their time and mine making this dog of a film.

It starts out as the story of Emily Brown (Meredith Bishop). She's a young woman of average attractiveness who also happens to be a compulsive shoplifter. She doesn't steal for money, she just takes things to make herself feel better. Emily is seeing a therapist and taking an enormous amount of medication to deal with her OCD, but her need to steal is getting worse and she's becoming more reckless. When we find out her mother is coming for a visit and witness a couple of flashbacks to Emily's childhood with a man who's face we never see, it seems like Klepto is going to be a family drama about the secrets of the past and how they've shaped a young woman in unfortunate ways.

However, the movie largely ignores all of that after the first 20 or so minutes and instead focuses on the story of Nick Diaz (Jsu Garcia, whose first name appears to be missing at least one vowel). Nick is a store security guard who sees Emily stealing and lets her get away with it because he's inexplicably captivated by her, even though he's actually prettier than she is. Nick is a former criminal with a very bitter ex-wife. He's trying to go straight and start his own security agency, when he's not trying to get into Emily's pants. Nick can't get a bank loan, so he lets his degenerate friend Marco (Michael Irby) talk him into doing a drug deal. The plan is that Nick will get the money from an Armenian gangster he knows named Ivan (Henry Czerny), buy 20 thousand pills of ecstasy from one of Marco's contacts, give Ivan the pills and keep a cut of the money for themselves. Things go wrong, a couple of things happen solely because the story needs them to happen, and Nick ends up asking Emily to steal something for him.

At this point, the movie seems to suddenly remember it was supposed to be about Emily, her compulsive shopper of a mother, Theresa (Leigh Taylor-Young), and the supposed secret of their family. The utterly underwhelming secret is revealed, Nick demonstrates for the audience that most career criminals are immensely stupid and then the story ends without ever coming close to justifying the hour-and-a-half of my life I threw away watching it.

With the director also being a co-writer and the two leads also serving as producers, I think it's fair to say that Klepto is one of those movies that gets made so the filmmakers can enter it into festivals in the hope of getting noticed by some studio executive. But no studio executive, no matter how high on cocaine or distracted by hookers, could ever look at this movie and think the people who made it are worth a minute of his time.

This story has absolutely nothing intelligent to say about compulsive shoplifting, compulsive shopping or childhood memories. Nick Diaz' story is nothing but a string of clichés interrupted only by moments when the Almighty Plot Hammer blatantly pushes the story along. The acting is perfectly fine, but the only character who does anything even remotely interesting is a drug dealer played by Michael E. Rodgers. When the best role in your film is a bit part that's barely on screen for 5 minutes, that's another sign you've written a bad screenplay.

The direction of Klepto is professional-looking but never more than ordinary, except for one long tracking shot that's clearly in the movie just because the director wanted to show he could pull off a long tracking shot. The effect is a bit like making macaroni and cheese out of the box and throwing a hot pepper in the mix, just for the heck of it.

Klepto is one of those movies that make you shake your head and shrug your shoulders. It doesn't have anything to say, yet also fails to say nothing in an intriguing or provocative way. Given the time, energy and money that goes into even a low-budget film like this, it's a mystery why any of the people involved ever thought THIS was the movie to which they wanted to devote themselves.


This film ultimately fails, and its really a shame. About halfway through the scriptwriters appear to just walk off and leave and the rest of the film falls flat on its face.

As a movie in its own right, Klepto is a disaster, however as a directorial debut (is it??) it is actually not bad - some of the use of music and the editing reminded me of the film Primer.

If the plot and script clumsinesses could have been resolved, this would be a film I could recommend to others. As it was (I bought it cheap), I kept the blank translucent box spare but threw the cover insert and the disc in the rubbish bin.

To the actors, director and writer(?) - please don't give up, you failed this time but you showed enormous potential.


The premise of the film is a good one...girl gets her jollies from stealing stuff, and she ends up in a bit of trouble when a security officer notices her. Unfortunately, the film drops the girl's journey at this point and focuses on a myriad of issues that it will drop later, leaving you asking "Why?" at the climax rather than caring about what is happening.

The film looks pretty good on-screen...I wish they had used some of their time in writing a decent script, and not just in the editing bay. Little of the dialouge is believable, and instances that bring people together are better written in soap operas than they were here. The film invests in characters it throws to the wolves later, making you wonder why you even watched the life of this person. Silly tricks start subplots, and dialouge rather than action end them. The big moment in the film is something you figure out as soon as the crisis is introduced.

I saw the trailer after I saw this film, and it reinforced my thought that the idea behind the film is intriguing. The log line on this film is a good one...but the film itself doesn't stick with it. If you're going to make a film about a girl who is addicted to stealing, make it about that girl. Don't use the middle of the film to take me five other places and then later come back to this girl and expect me to care. And if you're going to write a film with a female protagonist, give us a character that is written as a person and not as a guy's idea of what a girl is/should be.


"rolinmoe" from austin hit the nail on the head. this movie had an interesting idea behind it, and started well. the time spent developing the chars in the first half was great.

then, the film suffers from an identify crisis. the characters deflate, doing & saying things that were very hard to believe. by the end it was obvious that the film itself was "out of character".

btw, biggest "Huh?" moment -- the main dude pulls his elaborate heist because he cant find the Scottish drug dealer and, inconveniently, his buddy died (er, nice plot device). OK. but *then*, after the heist he finds the scotsman on the street by chance -- and leaves him w/o getting his money. WHAT?? this is the guy that his very own life depends on finding! why did he leave him in the alley!? were we supposed to believe he inadvertently killed him w/ 3 punches? no way. anyway, a completely contrived, pointless scene.


If I may be so bold as to add to heatherbennett from Canada's review, regarding the acting, I thought I should warn people about the special effects here.

The special effects on this movie looked so fake that I was sure this movie was a minimum of 30 years old. I was incredulous when I saw that it was done in 2004. This is 21st century special effects? Oy Vey! Nothing looked real, no one reacted realistically, and what really got me was that some of the areas nearest to the landslide didn't even feel the ground shaking, but others who were supposed to be farther away looked like they were put into a blender! Of course, this was hardly the worst part. I'm trying to figure out how two kids on bicycles could (almost) out race the landslide when a bunch of cars didn't have a chance in hell. Or how is it that the dust clouds look painted on? Oh, yeah, I guess they were painted on.

Then there's the bit where the dirt pushes one house over by 90 degrees but the couple inside are holding onto their furniture for dear life. Yes, their furniture! Why? Because it was attached to the floors! Now, if these people thought enough of the dangers of where they were living to nail their furniture down so strong that even a landslide wouldn't budge it, don't you think they might have decided AGAINST living there? But the best bit is how the lady gets out of her car after its been hit by the landslide and - oh, thank heavens - her cell phone is only two feet away from her, lying safely, right on top of all the dirt and is just a little bit dusty. I didn't know that cell phones could float on dirt. And apparently her son's disk-man has the same dirt-floating ability, since otherwise her husband wouldn't have been able to find him under the slide. How lucky and convenient.

No, there are NO spoilers in this comment - I'm only talking about what happens in the first 15 minutes of this movie. And since it isn't worth anyone watching any further, I think I'll stop here.

Don't bother - this movie is AWFUL!


Low-budget Porchlight Studios regulars Neil Kinsella and Peter Beckwith both worked on "Trapped: Buried Alive," in which a condo is buried by an avalanche caused by an evil corporate developer who attempts to stymie rescue efforts to cover up his wrongdoing.

By replacing snow with dirt, they coughed up "Landslide," in which a condo is buried by a landslide caused by an evil corporate developer who attempts to stymie rescue efforts to cover up his wrongdoing.

In both movies, a dysfunctional family is made whole again by the ordeal, a new life is brought into the world, dark secrets are revealed, blah blah bling bling blah. Some details change, but otherwise Porchlight's disaster movies might as well be rolled off an assembly line. (It's telling that "Landslide" is currently available on DVD under the title "Buried Alive." Why they didn't just call it "Trapped: Buried Alive 2" is beyond me.) The titular disaster strikes early in the picture; the effects are moderately snappy for a no-budget video, but never once achieve realism. In fact, watching what appears to be a mudflow and duststorm chase two bikers through the trees--trees that aren't knocked over by the slide--will be the comedy highlight of the picture.

After that, it's stumbling around in dirt and wrecked sets. Some rattlesnakes slither around for twenty minutes without getting out of position, and a firefighter torches and blows up a car for...well, for SOME reason, but aside from that, everyone trapped waits to be rescued, engaging in long stretches of soap-opera dialog about life, and "funny" bits that will make you wince.

Meanwhile, outside, the evil corporate developer does his best imitation of Robert Wagner from "The Concorde--Airport '79" doing HIS best imitation of Snidley Whiplash, preparing to set off another slide to bury everyone who knows his guilt.

...Well, except that's not true. Several people safe aboveground know what he's done, and he's VERY aware of this because they keep telling him that they know (*cough*). He ignores them but remains determined to go through with his evil plan, because, you know--he's eeeeeeeeeeevil.

He gives a little speech near the "climax" about how he'll tell everyone he "did the best he could with the information he was given," and how he'll discredit one (of many) witness to his crimes by portraying her as "a grieving widow driven insane by her loss." When it hits you that this is supposed to represent George W. Bush and Cindy Sheehan, you may burst into laughter or vomit on the carpet, but you won't be admiring the writer's talent, regardless of your politics.

And when everyone's standing around running their yaps while a character they supposedly all care about lies suffering from snakebite--EVEN WHEN AN AMBULANCE IS WAITING TO TAKE HIM AWAY FOR TREATMENT--well...shoot. I'm running out of ways to say this movie stinks.

The two characters involved in the "pregnancy" subplot might as well be edited in from another movie. One of them (literally) runs into the hero at the beginning, and then they're isolated for the rest of the picture. Their rescue attempt is even left off-screen.

MST3K fans might recognize Peter Beckwith's name from "Time Chasers." Since then, he has produced a string of derivative embarrassments including "Radical Jack," "Avalanche Run," "Lightning: Fire From The Sky," "Psyclops," "Frozen Impact," "Arachnia," "Killer Flood," "Ice Queen," the aforementioned "Trapped: Buried Alive," and this mess.

Someone has to sit him down and tell him to stop.


There already is a TV series called "Buried Alive" directed by Patrick Cowap:

http://www.imdb.com/title/tt0421302/

Based on the DVD cover, my girlfriend bought the Lions Gate DVD thinking it was an interesting science fiction movie.

This movie is really just about a man made "Landslide" hitting a condominium complex.

There is no science fiction, terrible special effects and a predictable plot.

Save your money and watch something else.


Truly terrible. A movie populated by the kind of actors that prompt an "Oh, it's that guy!" recognition - you know you know the face, but heck if you can recall the actor's name! Any hope of investment in a plot evaporated when we noticed that the license plates all said "Vermont" and not, say, Colorado or Arizona, which actually have Diamondback Rattlers within their borders. The "twist" was too incredible - as in, NOT credible - to bear support. "Landslide" kinda went downhill from there, ortortort.

The big event happens within the first minutes of the movie: the remainder of our time is spent wondering how those trapped will escape and will they do it in time to avoid the dastardly plot of the Bad Guy, in this case the eely Stuart. Apparently, massive landslides that take out power towers are minor disturbances in bucolic Vermont - or perhaps the developers' privacy takes precedence in an emergency. In either event, the landslide occurred, condos were buried and nary a cop nor firefighter nor EMT guy was to be seen until the very tail end of the movie. Are these guys all powerful or what? Of course, there's little edge and the plot is your generic, paint-by-numbers, connect-the-dots formula requiring only adequate suspension of belief to be moderately enjoyable. If you're the least thoughtful of viewers, you'll enjoy this for its MST3K potential. In fact, it's about the only fun we had with this one.


I was so bored one night, I ordered this flick off a pay per view at home. It sounded good, a landslide, terror, a fear of snakes, etc., the whole underhanded land developer scheme. The acting, it was so bad, I laughed at half the comments the actors made to each other while they were buried under the landslide. The birth scene was laughable at most, ridiculous comments from the woman in labour and her friend.. " I hate you!" "You can't hate me, I organized your baby shower for you!" " That's why I hate you!" -pregnant woman to her friend while she gave birth under a pile of rubble after attending her own baby shower.

I can't believe that the actors carried on filming the movie. A boy gets bit by a snake, and the Dad, a fireman from New York, somehow gets the boy to walk. When the boy loses consciousness and his Dad "blows" in his mouth to give him CPR, (I'm not kidding here) the boy opens his eyes and says something like " am I sounding OK?" Dad, calm as ever says yes.... It was embarrassing. It almost made my teeth fall out.


i love disaster movies; the carnage, the struggle for survival, the bonding between victims, all of it. however, the biggest disaster with this film is that it got made. the plot is completely predictable after the first five minutes, the acting is hammier than a pig farm, and there is nothing special about the special effects. any shots of destruction look like they were filmed using a set made of Lego. i can't possibly say just how bad this film is, because a word has not been invented yet to do the job. if you have nothing to do for 2 hours, read a book, go for a walk, organise your shoe collection, anything. just don't watch this film. life is too short to waste a second on this garbage.


I am actually watching this garbage on MyNetworkTV on a Sat. night. Yep, that's what we Bakersfield viewers got stiffed with with our ex-UPN affiliate; the cable-only WB affiliate became CW. "Landslide" looks to be as memorable as "10.5" or "10.5: Apocalypse." I should point out that there's only one major landslide; the rest is pretty much a imitation of "The Posideon Adventure" except w/ soil. & I wasn't paying 2 much attention, but did the trapped guys have enough oxygen to survive during the film? There's only one notable washed-up thespian on this movie, nee Alexandra Paul, the most streamlined female lifeguard on "Baywatch." Damn, I wish I coulda been a screenwriter for a natural disaster TV pick. I'd b stinkin' rich! (sort of) As of now, it's 9:32, so about ¾'s of the movie have passed, & those damn guys are still trapped. & there's a guy preparing some TNT or whatever. I think he's preparing another landslide or something. Also I've got the TV on mute since I don't like listening to the dialogue. & I didn't even know there was a inside joke about Cindy Sheehan in "Landslide"; guess the writers managed to read a newspaper while preparing this crap.


This was horrible! Millions of people? The earth opens up? This movie description was so misleading and untrue. I expected a truly grand scale disaster, man against nature perhaps, with only brilliant and heroic ways to save the victims. Sand? How scary can sand be? Woohoo. I wasted two hours I can never get back. Cheap special effects, errors in editing, bad acting, poor sets, costume errors, and a cheesy, flawed storyline. Characters were superficial with little depth and finally a sudden family bond and understanding develops in a Disney like fairytale ending. This is so bad, even for a made for TV production. Just a suggestion to run away to all those who are interested in this movie.


This was a good movie from what I saw even if some of the drama was cheesy. The suspense was good and I liked the characters. I think its a movie worth watching if you feel like movie that has conflict, suspense, and drama. The fact that the son wanted to spend more time with his dad was good. Also the son being bitten added suspense and brought the father and son closer together. I do think some of the problems were a bit cheesy and too classic (the woman being pregnant and happening to have her baby on that occasion)Overall though it was good. I think it is more suitable for a person who likes movies that have classic morals and simple plots.


For about a dozen years, it was hard to find too many films Richard Gere made which weren't interesting and well-made. This was no exception. Once again, he "delivers the goods" and is involved in an interesting story.

Gere, a follower, I believe, of the Dalai Lama whom the Communists forced out of Tibet, uses this film to get his shots in at his mentor's enemy. Anyone who thinks this is just a coincidence is pretty naive. Nonetheless, the facts support the film's stark, brutal portrayal of Communist China's leadership. At the very least, it shows a regime unwilling to hear both sides of a story. (Hollywood has often given the same treatment to the U.S. government, showing it more often in a corrupt light, which is ludicrous compared to restrictive Communist China.)

Anyway, Gere really dominates this film, being in almost every scene. This is your basic frame-up-then-prove-your-innocence-in-court story. It keeps your attention throughout although I thought the ending was a bit confusing because things happened almost too fast for the viewer to take in. At two hours, the film could have been trimmed a tad but the lulls in here were not much.

Overall, an underrated film and unjustly criticized by the national critics, most of whom don't like it when communism is bashed.


Not well received back in 1997, this film deserved a much kinder evaluation, and in light of present geopolitical and commercial developments even appears to have been prophetic.

But of course hindsight's always easy, and since most people who reviewed Red Corner eight years ago never lived in mainland China, it was likewise not highly probable they would see it through the same jaded, seasoned eyes. And in fact, it helps to be experienced in China living when watching Red Corner, for much of its deeper mannerisms only become apparent if you know how and when to look for them.

For example, Richard Gere (as subtle and low-key as usual) portrays Jack Moore, a US-based business person willing to forego ideals and politics in order to enter the much vaunted mainland market, hyped up to be the best thing since instant noodles, when in fact like everything in life, it too comes at a price. When time arrives to sign a large media contract, Moore wants to pause and assess particulars by the book. He also notices China's newly-found penchant for blunt nationalism (oops, "patriotism", done nicely by a scene where he gauges club-goers' vehement reactions to a coaxing DJ), and doesn't quite feel good about his local contacts (including excellent veteran James Hong).

But as a simple mortal, Moore joins a gorgeous catwalking model (Jessey Meng) at his hotel room for a night of brief pleasures. Brief, because the next morning begins with him dragged away by Beijing cops who, having found the girl's dead body in the room and her fresh blood all over him, proceed to assume the American guilty.

Now, Red Corner's not a racist film. It doesn't fall into obvious stereotypes, nor does it contain any racial slurs (or profanity at all). Asians aren't made to be villains, just as the uncaring US embassy staff do not in any way represent the Western contingent. Having said that, the movie doesn't shy away from painful issues. It clearly conveys xenophobic attitudes found among mainland people and authorities, as many who've lived there can attest to. Of course, not everyone's like that, and competent actress Bai Ling (The Crow, Anna and the King) does well as Moore's honest, crusading defense attorney, Shen Yuelin, during what quickly devolves into a kangaroo court.

Meanwhile, Red Corner shows the abusive treatment our protagonist's subjected to, often to the point of endangering his life. When asked, Shen Yuelin's assistant says that Moore's frequent beatings are simply "because he's a foreigner", a familiar sentiment to non-Chinese residents of the mainland.

Similarly, the Americans involved in this legal fiasco wish to distance themselves from aiding Moore, as doing so might work against commercial interests based on sheer greed. Thus Red Corner preceded its time by faithfully showing how global factions are willing to play along just to get that great juicy carrot dangling from a stick most don't want to acknowledge. As of 2005, companies like Microsoft and HP openly pursue a policy of appeasement when it comes to China, willingly accepting political strings attached to what are supposed to be mere commercial activities.

And if you don't consider all that a sign of the film's credibility, how about the fact that mainland authorities quickly moved to ban it and prevent its cast and crew from entering China? Just for its attempt to challenge an authoritarian mindset and stand for free expression alone should Red Corner be applauded.

Additionally, it's a mostly believable project from start to finish, accurately sampling many of China's social staples through concepts such as "guanxi" (connections) and "da ge" (basically a nickname for somebody more respected than oneself), yet doesn't make any claims of exotica, while steering clear of clichés (save for Yuelin living with her kindly old grandmother). There's one scene showing Yuelin speaking to a police official in English so as to avoid making him "lose face", which is utter nonsense of course (probably the actor doesn't speak Chinese).

Moore himself speaks just a bit Putonghua (standard Chinese), as do many of the business people and newly-arrived in mainland China. Again, familiar from real life, as was the interaction between him and the locals. Beyond that, for something made almost entirely in California, Red Corner passes for Beijing with very few glitches (vehicles sometimes don't look authentic), featuring ample attention to detail and an atmosphere faithful to the original. Certainly, some footage was covertly shot in Beijing itself, yet due to the government's disapproving attitude, production had to relocate back to the States. All in all, Red Corner also plays it fair, going to show that China does have judicial systems with a potential to work as well as any others. It makes a point of addressing the mainland's criminal code, and court hearing procedures all appear in detail. Plus, eventually the truth does come out, and while it's pretty obvious who dunnit from the get go, this isn't the main point here.

The point is a warning against oppression wherever it may be and whatever form it may take, and a cautionary note regarding the perils of blind opportunism. Just because somebody promises you a gilded prize for playing by their rules doesn't mean those rules stop applying once the prize is obtained, if at all. And if we're not careful, there won't be too many reviews of this critical nature in times to come. Relations with China, as with any other nation, should be equivocal and based on standing for your own values, not another's, and that means not compromising liberties and freedoms standing at the very core of enlightened, progressive society. Like Red Corner's tagline says, leniency for those who confess and comply, severity for those who dare resist, that will be our downfall.

Rating: * * * *


After I saw this movie, I had to see it again. Most likely it was because it was on HBO and I missed the first thirty minutes. I'm glad I rented it though. It is a great movie and I would have wanted to see it again anyway.

It was sad though. I spoke with many of my friends after seeing it the second time and told them about it. They just looked at me and said, "Red Corner? What's that?" I was sad that most of my friends have never seen such a great movie! Gere and Bai's performances were wonderful! It is one of the best movies I have ever seen. I hope my friends eventually see it and if you haven't, you should.

********** - 10 Stars


This is a very well written and directed film with good locations and very good acting. The discourse on the Chinese approach to justice and the potential for corruption in their state-centered society is sharp and, from my experience, accurate. It is delivered as part of an entertaining story with very strong performances by the leads. I like Richard Gere in this, as I do Ling Bai's performance. Their chemistry attracts the viewer and helps us through the difficult issues the film addresses. A must see.


Red Corner is quite obviously a comment on the current situation in Red China. Being a good friend of the Dalai Lama and Tibet in general, the "the Chinese government and army are all bad people" argument is what keeps this film going. It could almost be considered a crash course on what is still going on in China today. Don't get me wrong, the film is actually quite well done and has a good story to go with it which makes it more than a two hour CBS special.

The whole plot centers around the Gere character being framed for a murder of a Chinese girl. The girl just happens to be the daughter of an important general which makes Gere's chances of survival all the less. Sure, all of the cliches are built into this film, especially the wrongfully imprisoned man (haven't the 90's been a real haven to these kinds of films ever since "The Fugitive?"). But the plot is still interesting the film throughout and other than a few twists that seemed unnecessary, keeps focus until the end. I never will understand why Gere didn't just stay at the embassy, he must have been somewhat crazy.

The bond between the two main characters starts off very cold and warms until the end with an airport scene that was very fitting. After watching the film you'll know what I mean. The chase scene through the city is very exciting although at times farfetched, but still makes for some good action in between a few dramatic scenes. Even without on screen violence ala American History X or Saving Private Ryan, this film still manages to invoke fear simply knowing that the Chinese will do whatever they please, regardless of human life.

This film only helps to show China as an unhumanitary state with archaic laws and traditions. When one is forced to plead guilty in order to have leaniency directed towards them, something is really wrong. Hopefully this film will open some eyes to the situation and be a catalyst to future change.

7/10 stars.


This film held my interest because of the great acting by Ling Bai,(Shen Yuelin),"Edmond",'05, who is a very educated Chinese lawyer and is placed in a very difficult situation in having to defend Richard Gere,(Jack Moore), "Unfaithful",'02, who is also another lawyer from the United States. Jack Moore gets himself in a very bad situation with a young Chinese woman, he some what falls in love with this gal on first sight and winds up in bed with her and all kinds of problems seem to happen. Jack wakes up and can't remember very much of anything that seemed to have occurred with this young gal and winds up being thrown into jail and having to live like a pig in horrible conditions. Richard Gere and Ling Bai are a great combination, however, the film is rather long and drawn out and intends to become a bit boring.


I think this was an excellent movie. It's hard to believe that this was not filmed in China the settings looked so authentic. The directing was very good. Richard Gere gave his usual superb performance and Bai Ling was brilliant. Some people seem to think that this movie was being too hard on China. I read some of the quotes that the Chinese actors made who were in this movie, they said the movie was being too lenient, I tend to believe them. Just because Richard Gere is a Buddhist doesn't make him biased as some have suggested, he is too gifted an actor and too much a gentlemen to let his spiritual beliefs affect a movie, his compassion sure, but not spiritual beliefs. Too many people think it's hate, but what it is, is his compassion. Just be glad we live in a democracy and have compassion for those who don't. I can't imagine what it would be like to find myself in a situation like the character Jack (Gere) in the movie - it would be terrifying.


Like many movies with political/ideological messages, this movie veers into the preachy at times, but the character development is good. Fine acting from Ling Bai. The plot unfolds well and develops and maintains suspense. A fascinating and sometimes chilling peek into a legal system very different from America's.


This movie is a horrible movie. The setting is totally wrong and ridiculous. The characters wore the clothes from wrong years and spoke weird language that will make any Chinese native speaker laugh. I kind of think the director may never visit china and just shoot the movie from some wrongful reading or whoever gave the money. Anyone who believe this movie is real or good should visit china personally and see it with their own eyes. Although it is 10 years ago, you can still have a better feeling and know how some lies can be so contagious and outrageous. I don't object movies with a strong political opinion. This movie is just too out of line and relay wrong impression on innocent people all over the world. It is not only unfair to Chinese people but to other people who is not familiar with China.


I think nobody else could have played the role of Richard Gere so good as himself. Richard Gere delivered again a great performance as in THE FLOCK. My wife liked RED CORNER a lot because of the romantic touch and the nice music. But I warn you that there are some slow paced scenes keeping anyway high the importance of this message to the audience. Perhaps the running time is a little bit too long. The story opened my eyes again very wide and showed me how the human rights in other countries as in China aren't respected. I hope that this situation will change very soon!

Then I am impressed how many details were integrated in the sceneries to create a real Chinese atmosphere. I saw in a french TV magazine a documentation of the making of RED CORNER. In reality it was filmed in the Californian film studios.

Final vote: 7.5/10.

If you liked it I recommend you to see TEARS OF THE SUN or HOTEL RWANDA.


This is a poignant film about today's world and how change can come to a country, any country. In this case we are dealing with China. Corrupted people are framing up an American TV man in order to prevent a contract being signed that does not go in the right direction for their interests. The point is that the corrupted and plotting official is the son of a highly respected man, a son who was educated in the West and brought back his corruption, or at least a good knowledge and know how about it, from his foreign sojourn. He is using the opaque situation in changing China to cover up his dealings and has a little group of plotters and accomplices to manage his operations. But the film tries to show how the Chinese today are realizing from their own experience and history, even from their own culture that includes Mao Zedong and a couple other revolutionaries, that they have to change in their own minds and then change their country. This cannot come from outside, especially not from the US that is no model, neither social nor economic nor even political, but it has to come from inside, from deep down in the souls, the minds and the spirits of the Chinese. What is most difficult for us to understand is that the Chinese live on a completely different set of principles and concepts and that they have to invent a new open society from their very concepts and philosophy. Democracy for example cannot be the same thing in China and the USA or France, for the very simple reason that it is not the same in the USA, Great Britain, France of Italy, not to speak of Japan and Finland. There is not one model. There are many models that are therefore no models at all. The film very carefully and cautiously tries to show us how the mind of a person can open little by little when confronted to real life if that person is simply honest with himself or herself, with his or her own principles, with his or her conception of justice. This leads that person to considering the very concept of human being, of individual, of subject, of what is necessary for that individual to feel free and happy. The very point we are confronted to with China is that it is one fourth of humanity or so and no one has any interest in a brutal and uncontrolled change in a direction that is not carried and supported by the heritage of the country, its history, its culture. The United States have a strange but understandable reaction in front of the rest of the world because they are all the descendants of immigrants who left a culture and a history behind them to build out of conscious and willful choices a new history and a new culture, a heritage that became something that had to be built out of nothing or very little. They cannot understand that other countries will not be able to do any change that would break up the fabric and material of the country itself. If you did that you would provoke a ferocious reaction that could just wash you away in one wink of an eye. Actually the Americans today are not better or worse than other countries and peoples. If we from outside told them you have to rationalize your political system on the let's say German model, they would jump to the sky, and yet how can we accept that the political system is not the same in all the states, that citizens have to publicly declare themselves democrat or republican to be able to take part in the primaries, which goes against the very principle of democracy which is the secrecy of our political choices and our ballots. And If Europeans told the United States that they have to ban the death penalty within one or two or three years to be granted the privilege of being recognized as a democracy and keep the status of permanent veto-endowed member of the Security Council of the United Nations that could be withdrawn from them because of their not having banned the death penalty, they would react violently and viciously. Yet to join the European Community you have to ban the death penalty. This film is a marvelous demonstration of this fascinating question, even if it is slightly sentimental.

Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines


this is a great murder mystery/psychological suspense thriller.this time it's Richard Gere who owns film.just a year earlier,Gere was in a movie called "primal fear,in which he played opposite Edward Norton.Norton owned that film,with his performance,and Gere does the same with this film.the film takes place in China,where an America lawyer(Gere) is on business.one morning,his world is turned upside down,as he finds himself accused of murder,with what seems an ironclad case against him. him.he must fight to free his name,all the while battling the corrupt Chinese government and justice system.this movie,like "Primal Fear,will have you on the edge of your seat,right to the end.Gere is brilliant in this here.i highly recommend it.for me,"Red Corner is mesmerizing.as a result,i give it 9/10


"Red Corner" is more message than entertainment. However, there is much to like here.

POSSIBLE SPOILER: An American Businessman (Richard Gere), negotiating a deal in mainland China, is framed for a murder he didn't commit. He must defend himself in a judicial system which has been designed to convict, not exonerate. His only real ally is his "public defender," who doesn't even believe he is innocent.

The ladies carry this movie. Both the murder victim and public defender have the strongest roles. Gere graciously allows his leading ladies to dominate their scenes. The nature of the story requires Gere to remain passive throughout most of the film. The murder mystery is at once both overly complex and too simple. John Avnet's direction seems sluggish; however this is probably more due to the nature of the plot, which tends to paint Gere and Avnet into a corner. The music is excellent.

A small, but worthwhile, test of patience. See it for the ladies and the music.


I like this film plot. The story is really good. It shows how a person is trying his best to proof his innocence. Nice movie but the best.


Saw this movie again. Great performance from the lead roles, great story line and a great score. This has got to be without a doubt a major major movie that is overlooked.


Wow! This takes you into the heart of a different part of the world where freedom is not something that is taken for granted. Richard Gere gets infatuated with the wrong woman, & when he wakes up, she is dead. At first, he doesn't seem to have a say so in his plea. He has to plea with his (female) lawyer to get her to change it. I am glad that our court system is not like theirs. Richard Gere's decision to put himself back into the hands of his lawyer after he is safe at the Embassy shows that he is honorable, & thank God his lawyer can prove his innocence! The story is both moving & touching.


I'm not sure why so many people are giving this film such a poor review. I thought the movie was suspenseful and thrilling. I loved Bai Ling and I thought Richard Gere did an excellent job acting in this film. Admittedly he did carry the film "on his shoulders" as another reviewer suggested, but I don't think that takes away from the movie at all. He was, afterall, the lead role.

I've seen this movie a dozen or so times and my impression of it has never been bad. Again, I've always found this movie to be quite thrilling. And everyone I've shown it to has felt the same way.

Anyway, I thought I should defend the film since so few are giving it its due credit.

Check it out, rent it sometime. Maybe you'll see it's not so bad as everyone suggests. I easily rate this an 8/10.


This is a good movie, not a great one; What would happen if you where framed for murder, in a strange land with strange laws, compared to your own. Fear is what this movie evokes, Richard Gear feels like an outsider, who is viewed of having western decident values, in a society where his lawyer states the groups importance over the individual in society. Admitance to guilt is considered aceptance of society's morality. This film gave me a sence of reality about communist society, and what its like in the comune part. Its a interesting movie. I read some of the reviews, and did not find this movie offenceive, it showed a side, but was not preachy. With movies like "The Texas Chainsaw Masacure, and Deliverence you see very few people complain that this is a bad sterotype of the south, most people find it a small picture of extremes not confused with the whole south. Thoes two movie went much farther then Red Corner.


I started watching this film, thinking that Richard Gere wouldn't do bad ones. And I was absolutely right. The film had enough intensity that I had to see it all. The manuscript was good enough and the scenes were quite interesting. There were romantic scenes as well and they worked.


On the video cover is a four star rating with the large words 'An explosive performance by Richard Gere'. I thought Bai Ling's performance is equally good if not better. It is the performance of these two leading characters that made this a powerful movie. However, I am disappointed that Jon Avnet chose to have the leading lady speak in English on some scenes that could be more authentic if she had spoken in her mother tongue. Still it is a must see! One of the few that will stand the test of time.


The airport runway finale was the most romantic movie farewell since " Casablanca". A don't miss movie,,,Ben Matlock would have been locked up for life for contempt of court.


Another of those above average movies that Gere usually does.He carries the movie on his shoulders here as he gives us a peek into the "guilty untill proven innocent style" justice system of Communist China.The movie tries it's best to be fair but the screenplay and script are so below average,it comes off as forced.The Chinese actress who played Gere's lawyer was very good and if you are a fan of political court drama or a big fan of Gere,you will be satisfied with this movie.....


Smug and dull, Gere brings no sparkle and no real fear or tragedy and no-one else does any better. Most minor parts simply one dimensional, certainly not simply xenophobic but somehow no better than that in its dull thoughtlessness and passionlessness.


Lord, not defending the Commies in China, but this movie had all the subtlety of a moving van. When you get Hollywood wackos pushing their own causes, as is our star, you get hackneyed bludgeoning such as this. AVOID!


Red Corner was not only a good movie, it kept me emotionally engaged for the entire film. I expected Richard Gere to do a good job, he always does, but, Bai Ling stole the movie with a touching performance. Red Corner is very well directed, too, but from Jon Avnet, who would expect anything else?


This propaganda is boring, predictable, and annoying.

Richard Gere, with his loyal support of Tibetan Buddhism, hates China with a passion. However, his attack of the Chinese judiciary system ends up weak.

The movie tries to ridicule the Chinese system one American hero (Gere) and a Chinese altruistic lawyer (Bai) in a bland film.

True suspense fans will find this movie predictable and boring. People who are trying to understand the truth of the Chinese system will find this one very biased. Chinese audiences will find this movie insulting because all but one Chinese character are portrayed as barbaric, cruel, and malicious in this propaganda.

This movie should be shoveled to a back storage of a 49 cents rental store. It is not worth anyone but Gere's time to watch this pathetic one.


"In modern-day China, an American is about to be punished for the ultimate crime his innocence. Richard Gere stars in this electrifying suspense thriller charged with lethal confrontations, raw passion and international intrigue. On the verge of signing a huge business deal, attorney Jack Moore (Gere) is on top of the world. But, his elation soon comes tumbling down after he spends the night with a beautiful woman and is then accused of her brutal murder!" according to the film's official synopsis.

"At the mercy of the strict Chinese court system - where one is guilty until proved innocent - Jack finds himself completely alone. But, when his defense attorney (Bai Ling) unearths puzzling contradictions in the case, she acts against the court and her country, joining him in a pulse-pounding race to find the true killer while both of their lives hang in the balance!" Their pulses may pound, but you might need to check your's during most of this competently made, but unfortunately implausible and dullish, film.

**** Red Corner (10/31/97) Jon Avnet ~ Richard Gere, Bai Ling, Byron Mann