Q: This movie is very important because suggested me this consideration: sometimes you can wish to be sick ... sometimes you can wish to have a syndrome ... sometimes, for example, you can wish have Goldfield Syndrome... that way you'd not remember this boring movie ... and above all you'd not remember Adam "superfluos" Sandler... sometimes, simply, you can wish... have rented another movie...

My vote? 3 out of 10. My suggestion? If you are neither a fan of boring romantic comedies or Adam Sandler (...it's a joke don't exist Adam Sandler's fan...I want to hope it), save yourself... Someone to save? Drew Barrymore. ... perhaps.
A: negative
Q: Ella was excellent, Franchot was unavoidably over-the-top (But he played similar parts in other films such as "The Man on the Eiffel Tower") and Alan was nearly non-existent but the film certainly "thrilled".

*mild spoiler ahead*: I wonder how many times Elisha Cook got strangled in his films but I seem to recall various other examples. I will avoid naming the murderer but I think it's necessarily obvious because of the plot "thriller" demands.

A very well-done but dated film noire (for example: everyone smoked like crazy and the police were really stock characters. And no dead bodies were ever shown, unlike today's gore fests.) done in the familiar short-scene tableaux format of the period.

8 out of 10.
A: positive
Q: Michael Bennett and Nicholas Dante's Broadway show ran for years, but evidence of its power and charisma is lost in this movie adaptation, which most likely stems from the choice of director (Richard Attenborough, as far from B-way as you could get) and lead actor (Michael Douglas, who plays a director-choreographer like a slimy corporate lawyer). The slim story, about a grueling audition for a Broadway show which turns into a therapy session for the actor-dancer-singers, is pushed right up on us, with loud, brassy talents playing to the rafters. Nothing is modulated or subtle, particularly a laughable subplot about a ex-dancer returning to the theater and butting heads with old-flame Douglas. The over-eager hopefuls are filled with promise and heartache, but their personal stories of angst are a little embarrassing; this, matched with Attenborough's sluggish pacing, spells disaster, and even the now-famous songs fail to break through the artificial wrapping. *1/2 from ****
A: negative
Q: Yes, The Southern Star features a pretty forgettable title tune sung by that heavy set crooner Matt Monro. It pretty much establishes the tone for this bloated and rather dull feature, stunningly miscast with George Segal and Ursula Andress as an adventurous couple in search of a large diamond. Add in Harry Andrews (with a strange accent, no less) chasing an ostrich, tons of stock footage of wildlife, and poorly composed and dull photography by Raoul Coutard, and you end up with a thoroughly unexciting romp through the jungles of Senegal.
A: negative