Problem: This review is like what?

Review:Pet Sematary is a very good horror film and believe it or not somebody can make a good horror film out of a Stephen King novel. Mary Lambert does a great job with this film and manages to bring across King's creepy story pretty well. Most people may avoid this, but they should check it out.
+++++++++
A: positive

Problem: This review is like what?

Review:What a powerful start to a film when Julia Roberts character is punched in the face by her abusive and anal husband played by Patrick Bergin and I felt ready to experience a powerful film on the same level as Farrah Fawcett's The Burning Bed. Well, as the summary says I was mis-lead. This film was nothing like The Burning Bed, which had power and Farrah played the part of a woman you truly felt for, and felt her pain and her need to survive. Sleeping with the Enemy drifted off after the first act into cheap thrills with Roberts faking her death to escape her husband and goes to live in Iowa. Her husband at first believes she is dead but starts to grow suspicious that she may still be alive and sets off after her. The rest of the movie is basically a cat and mouse game with Julia getting a house in this small town in Iowa and changing her identity....there is no mention of course how she got the money for this but at this point in the film I did not care all that much. She meets a guy (Mr. Nice wimpy) and falls for him and her husband does finally catch up to her but not before he re-arranges her soup cans and straightens up the kitchen. This was I assume to provide a cheap thrill to the audience. But I did not care much if she was an abused wife because the film as I have said cheated the audience. If it had stayed the course I might have felt for her and her situation. Of course the husband is killed and all is well for little ol Ms Roberts. If only the real world was anything close to this....See the Burning Bed and you understand what a film is suppose to be like on the subject of domestic abuse.
+++++++++
A: negative

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Review:In the mid-1930s Hollywood was regaining its confidence after the difficulties of the talkie transition. Although all the technical problems of sound had been solved very quickly, it took longer to resolve the questions of how talking pictures should look, how they should be structured and how they should be acted. The Informer is a key picture in that it shows the extent to which wordless moments can convey story, asserting the power images without ignoring the necessities of sound and dialogue.

This is not to say the Informer is truly a throwback to the golden days of the silents. For one thing, many silent pictures were not so purely visual in their narrative, and were overburdened with title cards. But what the Informer has is the self-assuredness to extend moments between dialogues, to focus on reactions more than speeches, and to let shots play out simply for atmosphere.

Director John Ford, for all his capability, was a filmmaker who appears to have put in effort in proportion to how interested he was in the material. If he thought a story was silly, he just did it half-arsed. Luckily the Informer, with its depiction of community, honour, working class life and most importantly Irish setting, was everything Ford loved, and the result is one of his finest works. In it, Ford only really employs too kinds of shot. The first is of places the Dublin streets shrouded in mist and darkness so their furthest depths cannot be seen; dingy interiors where the walls and ceilings seem to press in on us. The second is of faces, striking close-ups against plain backgrounds, usually without dialogue, focusing us upon the inner conflicts of these people.

Lead man Victor McLaglen fits perfectly within this character and this manner of filming him. McLaglen's performance does not look like much, being as it is about 90% drunk act. But the other 10% is heartfelt emoting, as here and there his Gypo Nolan has what alcoholics refer to as a moment of clarity. With such performances are Oscars won. McLaglen is backed by a spot-on supporting cast, among whom there are no weak links. In particular it is nice to have Donald Meek and Una O'Connor, usually only seen in comic relief roles, playing straight dramatic parts for once (although Meek's appearance does contain one or two jokes, the tone of the scene and much of his manner is serious). Not only do these two deliver incredibly deep performances, their familiarity to most viewers as comedy players gives an added note of poignancy to their part in this tragedy.

RKO, who produced the Informer, were perhaps the most adventurous and willing to take risks of all the major studios. Thanks to this, we are able to see a dismal story with a despicable anti-hero at its centre, which could easily have been a clunky, over-earnest mess, instead filled with a moody atmosphere and depth of character which keeps us watching and draws us into its world.
+++++++++
A: positive

Problem: This review is like what?

Review:The potential movie extravaganza, set during the 19th century, failed to produce. With big-name actors like Maggie Smith, Albert Finney, and many others, there was no reason for the movie to fail. However, the movie lacked an ending, had a sorry excuse for a plot line, and fell to pieces with its continuity. A typical story of a rich girl and a poor boy, brought together by love and destroyed by beauty (or lack thereof) and disapproval, has a touching side of a mother's early death and an absentee father. The father, played by Finney, is a disturbed man, tormenting his daughter in life as well as death. He believes his daughter's lack of good looks would ruin his fortune by marrying beneath their social status. The actors vainly attempted to salvage what was left of the storyline. Washington Square is a black hole of ruin and destruction, wasting precious time of those who sorrowfully watch. I give this movie a 1 instead of a 0, purely for the actors' attempts. Save yourself, stay clear of Washington Square.
+++++++++
A:
negative