Problem: OPTIONS:
- negative
- positive positive
=++++=
Answer: This is one of the greatest films ever made. It's an all-time classic. The character played by Ned Beatty undergoes one of the greatest on screen transformations ever portrayed. He is a shallow, almost useless, overweight insurance salesman. He is proud of his ignorance, and yet judges the "backwards hicks" to be the ignorant ones. When he compliments the old man on his hat, and the old man responds, "you don't know nothing'," the tone is set. It's true. He really doesn't "know nothing'." But one backwoods anal rape later, the man is practically a warrior. His shallow fake bravery is toned down into serious resolve. The old self is forever dead, left in some far off woods, soon to be under hundreds of feet of water. And what of Lewis, our intrepid guide? Lewis is a philosopher/hunter/warrior, and he's just about nuts. Burt Reynolds proved himself as an actor way back in 1972 in this film, completely giving himself in to this wonderful role. Who wouldn't want to have a friend like Lewis if one was to venture into the dangers of a forgotten/soon to be left behind world like the one our hapless travelers find themselves in. This film speaks to us on so many levels. The story feels real. It works as a complete action/adventure, with wonderful cinematography, and deliberate, grinding pacing. It works as a bit of a horror film, with the danger and almost surrealism of the encounter with the vile rednecks who objectify their "sow" Ned Beatty. But it also works as an art film, using incredible amounts of symbolism to convey truths that go to our very core. I have seen this film at least fifty times, and every time it comes on, I find I have to watch it. You have to watch it quite a few times to even begin to comprehend it. This is one deep movie. This is one well-acted movie. And this is one hell of a story. I gave it a 10 out of 10, and put it in my 10 all time greatest films ever made, along with Schindler's List, Casablanca, Taxi Driver, and Sling Blade, among others. Movies that make you think. Movies that take you beyond having to think. Movies that use a STORY to make their point, without trying to preach to you. If you think you know Deliverance, you might, but again, you might not. It really is that good.
An example of a movie review. positive (OPTIONS:
- negative
- positive).

A: No Strings Attached features Carlos Mencia doing stand-up that makes us both laugh and think. Not only does he poke fun at racial issues (like many haters claim), but he also talks about the best way to get illegal immigrants out of the country...what women mean when they say they want to be treated equally...why Americans are crazier than Arab terrorists...why nobody needs to pray for the pope - and what he hopes he's doing in heaven...a theory of how Easter (aka Big Ups to Jesus Day) traditions got started...his viewing of the movie Passion of the Christ - and his sub-sequential argument with a woman about whether or not he's affected by Jesus...how society should treat the physically handicapped...and even if you have the right to tell a joke or not.

Also, he never stops reminding us that each of us has a voice. So we should use it to speak the truth, say what we think, and not be afraid if others are offended.

Carlos is the bomb.
Q: What's an example of a movie review?
An example of a movie review is here: The same difficulty I have with the musical version of "Les Miserables" applies equally to "Oliver." Instead of the composers' writing in the stylistic period of the play settings, they merely wrote Broadway-type melodies, which were historically unidiomatic and stylistically skewed.

Too, the blatant brutality and unsavory activities of the dramaturgy do not mix well with some of the sunny ditties which permeate the score. It's a uncomfortable mixture that leaves a decidedly sour undertaste.

The casting of the boy Oliver doesn't help matters: tentative of timbre and vexingly precious, there's something less than solid here. Fagin performs his traditional routine adequately, though the tunes he's obliged to sing have little basis in period manner.

"As Long As He Needs Me" is given a strident rendition, throaty and strained. The two big production numbers, "Who Will Buy" and "Consider Yourself" seem over-produced, with everything but the kitchen sink thrown in. It's one thing to go all out, yet another to cross over the line into excess.

The gloom, despair and depravity of much of the novel does not seem to lend itself to such ditties and choreography. While the novel is considered a classic, I must confess I have trouble with Mr. Dickens' consciousness, in that his works tend to emit a negative vibration. This may be due to the extension of his joyless personal life, which was full of disappointment and regret.

Not all the combined talent of this production, either on- or behind camera, can overcome the unconstructive nature of the basic material. All this results in an uncomfortably downer experience for me.

Problem: Write a negative (OPTIONS:
- negative
- positive) movie review.

Answer: No, this is nothing about that fairy tale with the pumpkin coach, fairy godmother and the glass slippers, but if I were to elaborate, I would have to spoil it for you, which I won't. But don't let curiosity get the better of you, as this movie is not fantastic. It's one of those movies that start off promisingly, before betraying its audience with cheap scare tactics and an incoherent storyline. And that's real horror.

Yoon-hee (To Ji-Won) and Hyun-soo (Shin Se-kyeong) are your ideal mother and daughter. One's a successful plastic surgeon, while the other your dutiful, obedient, and beautiful teenage daughter. Their relationship is like hand in glove, so close you'd think of them more as siblings rather than parent-child. But things start to go wrong (don't they always) when Hyun-soo's friends, whom Yoon-hee has operated on, start to go berserk.

Perhaps it's a warning to audiences, and for those Koreans ladies who don't bat an eyelid when going under the knife, if news reports are to be believed. The only truly scary moments are those scenes in plastic surgery, though somehow, I thought Kim Ki-duk's Time actually had more gore when featuring and describing what goes on during the surgery itself.

It's a tale of two halves, the fist being an attempt to shock audiences with standard scare tactics, which, I admit, did get to me now and then. However, the second half degenerated the movie into mindless mumbo-jumbo melodramatics, and was quite contrived into its forcing its ideas down your throat. Some things begin not to make sense, and while attempts are always presented to explain, you probably won't buy it, not that horror movies are logical to begin with.

The leads are all beautiful, and there is a distinct lack of male presence besides the negligible cop role. But hey, I'm not complaining, though the storyline could have been improved tremendously. I'd recommend you to watch this, only if you're a fan of mediocre Korean horror, on VCD. Watch out for those face off-ish moments!
Problem: OPTIONS:
- negative
- positive positive
=++++=
Answer:
There's no way to confront 'Zabriskie Point' from a rational standpoint or attempt to describe it using words and conventions you'd use for other movies. This is because it isn't a movie. It's an idea and a feeling that the filmmakers have that somehow got turned into an object as mundane as a film. What we see are not the unfoldings of a plot, but rather a sequence of events that we don't see in films every day but only imagine happening as the background we ourselves will supply when we hear about some tragic event in the news of or from friends. We we see is our imagination of people that are abstractions to us- no one we know, but we've doubtless heard of them in a book or on TV or somewhere. So what do we see? Events. We see people arguing, driving, and inevitably, escaping. Only the escape is from something intangible- it is the collective situation and cruelty that the mass of a civilization has allowed to exist though laziness, or...human nature. Set in late 1960s Los Angeles, our players act against and in response to the self-inflicted miseries of modern existence. These creatures are effectively blank slates that can display any trait we can imagine if we desire. Although the actions taken might be seen as criminal or irresponsible, , the characters are not themselves criminals. They are human beings seeking a return to a familiar, non-manufactured existence that is beyond the normalcy they experience everyday. Not that they are ever happy or sad, but they achieve a type of self actualization when they move beyond and away from the suicide of modern living. They only achieve true life in the natural world, even though that is the next victim of modern existence. At the end, 'Zabriski Point' is a eulogy of humanities attachment to the natural world. As even the most desolate pieces of the earth succumb to our notions of progress, we lose our souls on the path to death of the human spirit.