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This is definitely a 'must see' for those who occasionally smoke a reefer in their secret hide-out, trying to avoid being caught by parents, teachers, the police, etc... The protagonist is a lady in her forties, living in her mansion, breeding orchids, and absolutely unaware of the fact that her so-called rich and truthful husband is actually broke and cheating on her. When he all of the sudden dies, she is confronted with the truth. The bailiff comes by to tell her that she is in a huge debt. She doesn't know what to do, until her gardener tells her about the recent success of marijuana in Britain. She decides after some long thinking to get rid of her flowers and start breeding pot instead... The story is quite original, the performances outstanding! I can think of only a few movies that made me laugh more than this one. Still, the melodramatic touch is present. The film is typical British: the jokes aren't vulgar, there is no violence involved. It shouldn't be mentioned that it is recommended to have taken a few draughts before watching 'Saving grace'. It will be so much more fun! Especially the scene with the 2 old ladies in their tea shop is hilarious. I thought my jawbones would burst. 9/10
An example of a movie review. positive (OPTIONS:
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A: When an actor has to play the role of an actor, fictional or factual, the task becomes much more difficult than playing a role. In A Double Life,Ronald Coleman surpassed himself as Anthony John, the tortured double personality. He put into that character all his talent and sincerity. The facial expressions, mannerisms,gait and stance spoke eloquently of what Anthony John was going through while playing Othello on stage. Coleman also did extremely well as a Shakespearean actor in those short scenes as Othello that were part of this gem of a movie. Closups of Coleman's face as Othello tortured by doubts about the fidelity of Desdemona were in themselves scenes worth watching.Add to that, his character's off stage desperation and only someone with Coleman's depth of acting perception can achieve. It was like watching Spenser Tracy as Dr. Jekyll and Mr. Hyde, except this double role was much more profound and poignant. Shelly Winters looked so sweet, vulnerable and gorgeous at the same time and added her talent to the movie. It is believed that Ronald Coleman liked his role in this film above all others he played and went on to win the Oscar for Best Actor in 1947. I would see this movie repeatedly and never feel bored.
Q: What's an example of a movie review?
An example of a movie review is here: Wow, I knew this film was going to be bad but not this bad. Spoilerific comments ensue.

Roddy Roddy Piper is sickly sweet retired cop (cliche!), helping out everyone - smiling like a post-op lobotomy patient through-out and lamenting over his dead son. His adopted son returns from Armed Forces "Special Ops" and because he's "seen things" - portrayed by clenching his teeth if anyone mentions anything about the past. Time to clean up the streets from another guy who once knew Piper and his dead son (who the bad lad killed) and his adopted son.

Oh, the love interest is a pretty young lady who decides for no reason that she wants to jump the bones of the ex-Army bloke. This happens in about 2 minutes of 1 scene.

The action could have saved this film, but it's even worse than the storyline and acting. It's all been done before, it's all been done much much better (Ong-Bak is a prime example). This is the worst film I've ever seen - and I've seen Waterworld, twice.

Erm, the film is called HONOR (Spelt Wrong for the Americans) and the tag line has "from the makers of Bloodsport and Kickboxer" - check out Director David Worths other films and you'll soon realise why they put these 2 films on there, even though they are over 10 years old. Such classics as "Shark Attack 3: Megalodon" - says it all really.

I'll give you 10 if you don't go to see this film.

PS - Apologise for not know character names, tells you something though.
Problem: Write a negative (OPTIONS:
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Answer: This is an installment in the notorious Guinea Pig series. A short lived japanese TV-show, that got cancelled after a psychopath admitted to being inspired in the killing of a young schoolgirl by the show. This short in the series is, like all the other films in the series, practically without any story. A group of guys have captured a young woman. They tie her down and proceeds to torturing her to death while videofilming her. They beat her, pour boiling oil over her, use pliers on her and finally, in "loving" closeup, push a needle through her eye. This is the most straightforward of all the Guinea Pig movies, and one of the first. It was probably this film, more than any of the others, that gave Guinea Pig the rumour of being snuff. They certainly gave inspiration to Nicolas Cage's movie "8 mm.". These movies have gotten quite popular in horror circles. They have progressed to more polished, but equally graphic movies like "Naked Blood". They probably fill the void left by the Mondo movies, that got slightly cleaned up and became reality TV. Not recommended, but will probably allure those who will see anything once, and wonder why afterwards, I know I did.
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Answer: Even though the book wasn't strictly accurate to the real situation it described it still carried a sense of Japan. I find it hard to believe that anyone who was involved in making this film had ever been to japan as it didn't feel Japanese in the slightest. Almost everything about it was terrible. I will admit the actors were generally quite good but couldn't stand a chance of saving it. Before the film started I was surprised that there were only ten people in the cinema on a Friday night shortly after the movie had opened in Japan. 30 minutes in I was amazed they stayed. I stayed so I would have the right to criticize it. The whole movie was punctuated my groans and suppressed laughs of disbelief from my Japanese girlfriend. Everyone I saw walking out of that cinema had looks of confusion and disappointment on their faces.

To the makers of this movie, you owe me two hours.
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Answer:
"Kings and Queen" is a bloated French drama that rambles on for an interminable two hours and thirty-two minutes to no discernible point or purpose.

The film features two stories that seem unrelated at first but which eventually connect with one another about halfway through the movie. The first centers around Nora and her struggles with various men in her life, including an elderly father who discovers he has only a few days left to live. The other story involves a young man named Ismael, a violinist who finds himself placed - unfairly, he believes - in a mental institution through the machinations of an unknown third party. After traveling along on separate tracks for awhile, these two narrative strands eventually come together when we learn that Ismael is a former lover of Nora's and the man she has chosen to adopt her son from an earlier, tragic relationship.

With a bit more focus and a considerable amount of streamlining, "Kings and Queen" might have been a potent, engrossing drama about modern day relationships. It certainly has moments of tremendous insight and emotional power, and the performances are, for the most part, complex and touching. But, taken as a whole, the film meanders and maunders to such an extent that, quite frankly, it begins to wreak havoc on our patience and to wear out its welcome early on. Even more distressing is the fact that, even though we spend what seems like a mild eternity in the company of these people, we really don't know quite what to make of any of them when the show is finally over. For instance, Nora's father, on his deathbed, writes a withering diatribe against his daughter's character that simply doesn't gibe with the woman we've been looking at for well over two hours. Nora is admittedly no Mother Theresa (then, again, who is?), but she certainly doesn't deserve the invective thrown at her by her very own father. Nora could be accused of being confused, indecisive, a bit self-absorbed at times, but evil enough to have her father wishing he could give her his cancer and make her die in his place? I don't think so.

Perhaps this film is simply operating at a level of depth that I was unable to fathom. But my suspicion is that even writer Roger Bohbot and co-writer/director Arnaud Desplechin would have trouble fully explaining their purpose here. This is a well acted, pretentious bore of a film that takes the viewer on a long, rambling voyage through a sea of personal crises, a journey that leaves him no wiser or more enlightened at the end than he was at the beginning.