Problem: OPTIONS:
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Answer: I caught this movie about 8 years ago, and have never had it of my mind. surely someone out there will release it on Video, or hey why not DVD! The ford coupe is the star.......if you have any head for cars WATCH THIS and be blown away.
An example of a movie review. positive (OPTIONS:
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- positive).

A: I watched this movie when I was almost quite a kid, and, naturally, was moved to tears by this story of a fox family. The fantastic scenery at Hokkaido, the excellent storytelling and last not least the wonderful soundtrack provide a rare intimacy with the protagonists. I am still searching for some copy of the gorgeous soundtrack. To German viewers it might be useful to know that the DEFA-dubbing is the only one worth listening to. I taped both (DEFA and BR) but I keep viewing the first one only.
Q: What's an example of a movie review?
An example of a movie review is here: I question its importance to Queer Cinema as it seems to be more about having a homosexual encounter via violent behavior than making any clear statements regarding homosexuality and violence.

Three tales are tangled together in a rather sloppy manner. I found myself trying to untangle the messy narrative in the first 15 minutes, that alone didn't sit well with me. Weak plot points were endlessly repeated as though we might not have gotten it the first 10 times.

There was a feeling of padded dialog throughout the film. More like a 45 minute Boy's Brief short rather than a fleshed out full-length film. It had a certain erotic flair, male nudity and sex appeal but overall the sum did not equal its parts.

The 1st part: Boxer/Stalker storyline was the strongest and yet it too felt like it had been pulled thin. Bob has been following Tim for four years and only now is he confronting him? I felt as though their cat-mouse game was not developed enough to merit its conclusion. We needed more information about them and less Parking Lot/Locker scenes with Tim relentlessly saying "What do you want?"

The 2nd part: Danny wants his buddy, Tony, to beat him up while he jacks-off. Tony doesn't seem to mind, but he doesn't even appear interested in exploring the implications of his homo erotic hobby -- not even after they do it in the nude. This tale lacks the all-important transition from "I'm a straight boy smacking my guy friend around for fun" to "I think I might be gay and hitting him because I'd like to spread his ass and do him S/M style." A very important thing to leave out.

Clearly these stories each could have conveyed their points in half the time. The 3rd part with the man and woman slapping each other around adds to that thought. Furthermore, it was unnecessary and added nothing to the film. Yes, the actors did a fine job under the circumstances and the four male leads were very sexy. The make-up (bruises and cuts) however was on par with a grammar school talent show.

There wasn't enough meat to this story to have any impact on the gay politic. The film made no statement, squandered time, and is not engaging or worthy enough for thoughtful investment. Its fatal flaw is its amateurish approach, that makes it ultimately impossible to take seriously.
Problem: Write a negative (OPTIONS:
- negative
- positive) movie review.

Answer: "National Lampoon Goes to the Movies" (1981) is, simply put, the worst movie ever made, far lamer than even the inept "Plan 9 from Outer Space."

The Lampoon film is told in three segments, each one supposedly a spoof of a conventional movie genre, but each one landing at our feet with a sickening thud. There is no rhyme or reason for these execrable vignettes, and no discernible story lines.

Another reviewer on this site has written that the only good points about the film are the nude scenes. True, Misses Ganzel and Dusenberry do flash a bit of flesh, and very nice it is too. But the directors seem not to realize that even T&A needs a good story to surround it. There's none of that here.

Probably the worst of the three segments is the last one, featuring Robby Benson and Richard Widmark. Here, we see Benson as a young, eager-beaver policeman being paired with a cynical oldtimer played by Widmark. And for just a moment, those of us who are still watching this odious cinematic exercise are heartened by the thought that we are about to see a redemptive tale about how the young, idealistic cop brings about a purifying change in the old-timer's approach to police work. But no such luck. As we've said, this film has no redeeming values. It is sickening all the way to the final fade-out -- which, perversely, is stretched out longer than it should last on the screen. Apparently the film makers knew they had a bad thing going, and wanted to make the least of it.
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Answer: A terrible movie containing a bevy of D-list Canadian actors who seem so self-conscious about the fact they are on-camera that their performances are overly melodramatic and quite forgettable.

This film is badly written, badly edited, and badly directed. It is disjointed, incomprehensible and bizarre - but not in a good way. McDowell does a great job with what he is given, but is the only one in this film to do so - he really has a bad story and script to work with. It's not even camp enough to be funny.

I have yet to see Van Pelleske act in a credible manner, and even the sub-characters like Eisen (with his nasal, whiny voice) confirm that we are on a lot in Toronto rather than on a barge off Africa.

Didn't the director see that the 'creature' looks like a jazz dancer in an alien suit? The fight between the blue bolts of lightning and Pelleske's orange wisps of 'magic' (!?! for lack of a better word), is obviously the result of bad actors, with no choreographer, overlaid with completely derivative special effects. Was there even a director on set or in the editing room for this disaster film (not the good kind)?

Learn from the mistakes of others ... don't even waste your time with this one, you'll regret it like I did. I have nothing more to say about this waste of celluloid.
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Answer:
Sur mes levres or READ MY LIPS is fine little thriller that also examines the lives of 'outsiders', people who live in the periphery of our vision who struggle with the need to 'fit in'. Director Jacques Audiard with and co-writer Tonino Benacquista have created a tense, tight, completely entertaining little thriller that makes some significant statements about out of the norm individuals and their plights.

Carla (Emmanuelle Devos) is a plain Jane, mostly deaf, thirty something unnoticed secretary for a company whose life is one of social and sexual isolation and whose view of the future is rather bleak. Enter Paul (Vincent Cassel) a recent released ex-con parolee who responds to an ad to be Carla's assistant. There is a mutual physical repulsion at first meeting: Carla had hoped for a well-groomed, genteel man who might fulfill her fantasies and Paul is a coarse, unkempt sleazy guy who is not impressed with being a clerk. Their concepts change rather quickly when Paul salvages Carla's job by filling her request to steal a letter that would cost her her job and Paul discovers Carla's lip reading ability which he sees as a way to spy on the criminals from his past who threaten his life for money owed. So this odd couple of a team join forces and together enter a dangerous suspense filled ploy to gain Paul's safety and freedom. The relationship is full of twists and edge of the seat suspense with each of these unlikely characters fulfilling roles in their lives that fill the chinks in their walls of isolation in surprising ways.

Devos and Cassel deliver bravura performances and the remainder of the cast is uniformly strong. Once again Alexandre Desplat has produced a musical score that enhances the tension and cinematographer Mathieu Vadepied finds all the right lighting and angles to suggest the worlds of isolation of the characters as well as the Hitchcockian sense of suspense. Director Audiard wisely manipulates a factor that is at once sensitive and transformative for the story: he shows us the difference between 'hearing' the world with and without hearing aids and in doing so makes some powerful social comments. This is a fine film that remains in the ranks of the best of the French film noir genre. Recommended. Grady Harp