input: Boy this movie had me fooled. I honestly thought it would be a campy horror film with absolutely no humor in it whatsoever, boy I got the cold shoulder that time. This movie was, and I'm truthful, pretty damn good. It was not scary at all but the campiness and the sly humor really mad this movie interesting. Some to the horrible acting and cliche killings were so painful to watch, I almost laughed at how bad it was, but to some extent I enjoyed it. The killings all vaguely relate to snow sports and Christmas, which made things more intriguing. The POV camera angles were awesome.

The movie is about a viscous killer who dies in a car accident collision with a chemical truck while being transported to prison. He is later resurrected in that very same chemical with snow spliced into the mixture. These were the ingredients chosen to make the perfect killer snowman. He than takes his revenge, as the snowman, on the police officer who convicted him.

This movie had such bad acting, with the exception of Christopher Allport, that is was funny. I will say that I am also pretty disappointed that this movie was not a horror, but in fact a dark sitcom. They had a great story with a good plot but it wasn't executed right. All in all I like the movie at first but now it is really annoying. But this movie is way better and darker than the sequel.

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pos/neg ans: negative

input: "The Cobweb" is an example of many examples of movies that feature strong, sometimes noteworthy performances and high points, but unfortunately are shattered and slowed down drastically by a murky plot and very little to interest the audience. It stars Richard Widmark as a doctor working at a mental institution whose life becomes in turmoil due to family problems and a rather ludicrous and overworked conflict that really seems like no big deal at all.

The plot is preposterous. Its time for the institution to get new drapes for the library windows. One old woman wants to have her drapes put over them, but a lot of the patients want to make their own. And somehow, this ridiculous and unintentionally loony conflict breaks out into the point where lives are in danger and families start to fall apart. It sounds more like a conflict that would occur between very young children.

The questioning of the logic of the plot and whether it could really happen is so massive that one wonders if only a real-like lunatic could buy it. Don't get me wrong, there's nothing wrong with the acting. The cast following Widmark is composed of other great actors, many of them Academy Award-nominees and winners. And there is occasionally a moment in the film that works out brilliantly, but it always excludes the stupid plot about window drapes. Unfortunately, there is too much about the doggone drapes and thus, the movie slows down. A lot of the takes are long and done from one camera viewpoint, adhering to the slow pacing and lack of viewing interest.

In a short analysis, "The Cobweb" is an unrecognized film and it becomes obvious why to the viewers basically as soon as the plot comes into focus, which it does pretty quickly. It just really doesn't sound like much fun to watch and I tell you that it is not much fun to watch.

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pos/neg ans: negative

input: This film takes you to another time when there was a different pace to everyday life. We get an idea how families had to deal with the war and how quickly we sent young men off to fight. A very touching look at the past and a reminder that casualties of war don't just happen on the front.

Luckily many of us have never had to go through what our great-grandparents, grandparents or parents went through during a war. This film, I think, is a small thank you. Peter Outerbridge looks amazingly like a young Peter O'Toole and Russell Crowe is absolutely charming and as Australian as he can be. It's definitely worth listening to him recite "High Flight" and makes me wonder what he might accomplish with Shakespeare.

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pos/neg ans: positive

input: This series has its ups and occasional downs, and the latter is the case, here. There's an agreeable amount of spatter, with an inventive implementation of the Baby Cart's weapons, but the editing film is a seriously disjointed, the film-making itself rougher than usual. At times, the action slows to a crawl as the camera follows the wordless wanderings of the "cub," who nearly gets lost early on. All in all, disappointment.

That said, there's a spaghetti eastern quality to the music and action that may win the approval of dedicated viewers. This installment spends much of its time following the minor misadventures of the little boy, who begins to stare into the abyss of death his father opened for him.

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pos/neg ans:
negative