Q: What's an example of a movie review?
An example of a movie review is here: Steven Spielberg produced, wrote, came up with ideas for and even directed episodes of Amazing Stories, so naturally this would have to be the greatest anthology ever right? Unfortunately wrong. Some episodes are just fantastic, but all too often it was a mixed bag. In fact, that might have been it's downfall is it was way too mixed. Some episodes were light comedies, some were dramas, some were horror, and one was even animated, which made this a similar, but not as good 80s version of the Twilight Zone (which also was around).

Normally I'd like having a mixture of stories in an anthology show, but they just didn't fully work here. Some of the more fantastical dramatic episodes felt like they would be better being shown late on night on the Lifetime network, like the episode "Ghost Train", which was directed by Spielberg himself. In that episode, it gave the message of hope, and gave us a fantasy story, but overall it was just a build up to the ending which didn't blow me away anyways. The horror episodes tended to work better than the drama, but there were far more dramatic ones, and they grow tiring to watch. Acting wise, this anthology got some big stars, similar to the original Twilight Zone. Kevin Costner, Kiefer Sutherland, Milton Berle, Dom Deluise, Harvey Keitel, Beau Bridges, Charlie Sheen, Forrest Whitaker, Tim Robbins, John Lithgow, Rhea Perlman, Danny Devito, Patrick Swayze, Christopher Lloyd, June Lockhart, Kathy Baker, Weird Al Yankovich and many other well knowns have been in episodes of the show. It's fun to see well known actors in almost every episode of the series. Great directors have also had part in episodes including Spielberg himself, Clint Eastwood, Burt Reynolds, Bob Clark, Joe Dante, Mick Garris, Paul Bartel, Joe Dante, Robert Zemeckis, Danny Devito and even Martin Scorsese. I'd actually recommend this more to fans of the directors and/or the 80s than anyone else.

Amazing Stories was sometimes amazing, usually good, occasionally mediocre, and every once in a while a real stinker came out. But, this show has nostalgic value to me, and it's sort of fun to sit on boring afternoons and watch some episodes. John Williams' theme music for the show is sure to be caught in anyone's head who watches this, too.

My rating: Good show. 30 mins. per episode. TVPG
Problem: Write a negative (OPTIONS:
- negative
- positive) movie review.

Answer: This movie doesn't even deserve a one. This was an utter waste of time. It was a waste of film and money. It was not offensive but everything was provocative and disgusting. My spoiler is one that I think should be read by everyone. There is full frontal nudity and disgusting language. But not only that, there is NO plot line, the actors are terrible, the accents are horrible, the actors are small time and I was even EXCITED to watch this movie!

The only reason I rented it was for Brian van Holt (who got only a fifteen second part, by the way). I think this might have been a mistake on the directors and editors parts but they repeated the same segments two or three times, adding only a new sentence.

A film similar to this is Eraser Head, possibly the most disturbing movie in existence. There is no plot line, and is not funny. Although it isn't trying to be funny. DO NOT WATCH EITHER MOVIE.
Problem: OPTIONS:
- negative
- positive positive
=++++=
Answer: Director Samuel Fuller concocts a brilliant visual set-up: cocky pickpocket unwittingly lifts some microfilm from a woman's purse; it turns out she's a courier for the Communists, and now she and the grifter are being watched by the police. The Film Noir Formula is all its glory--before the ingredients became cliches--including waterfront locales, floozies, saxophones on the soundtrack, and one hell of a climactic fistfight. Performances by Richard Widmark and Jean Peters are right on target, and the smart, sharp script is quite colorful. Fabulous Thelma Ritter received an Oscar nomination for knockout supporting role as a "professional stoolie". Exciting, atmospheric, tough as nails. *** from ****
An example of a movie review. positive (OPTIONS:
- negative
- positive).

A: The first time I saw this film in the theatre at a foreign film festival, I thought it intriguing, fascinating, the sensitive bi-sexual artist. So very European, so very Dutch! I recently rented it for a second viewing and could hardly keep from laughing at that overworked theme of the mad writer with a religious-sexual orientation persecution complex. Get a grip! This guy is a freeloader, living off of society. I suspect that the real reason he is having these fantasy-nightmares about the "spiderwoman" is that his guilt complex is kicking in after year's of ignoring mother's advice about getting into cars (and bed) with strangers! Not only is he making outrageous sums of (probably taxfree) loot for making up stories (lying guilt trip) but he is too cheap to pay for a hair cut, hence he hustles the beauty salon owner. Then he has the nerve to complain about the bill! But I also suspect the world has changed alot since this film was made. On a serious note it was entertaining to see some of Jan de Bont's camera work and one of Paul Verhoeven's earlier films. Hmmm, maybe the world hasn't changed so very much after all?
Q: What's an example of a movie review?
An example of a movie review is here: I can see the guys doing the budget preparation for this flick. "Well lets see now, we spend 50% getting Dirk Benidict, cause Battle Star Galactic and the A-Team were cool. The we spend 40% making a Demon Costume, never mind that the Demon is supposed to be incorporeal in the script. And we spend the rest making the movie." This was pretty bad and VERY cliche.... Have a loved one present when watching (or bring a good book)
Q: What's an example of a movie review?
An example of a movie review is here:
It's hard to say which comes out on top, James Cagney's charm and energy or the mouth- opening excesses of Busby Berkeley's three grand showstoppers at the close. I give it a tie, with Footlight Parade one of the funniest and quickest of the early Thirties musicals. Although the movie clearly belongs to Cagney, Joan Blondell adds immeasurably to the good-natured story line.

And what's the story line? It's about Chester Kent (Cagney) who produces musicals, and who now is just about out of business as the talkies take over. He starts doing Prologues, live musical entertainment offered on stage before a movie starts. He gets the idea to do bigger ones and more of them, moving them around the country. He's a ball of fire and ideas, and he needs all the ideas he can get to keep relentlessly producing these things. But a rival is spying on him and stealing his ideas; Nan Prescott (Blondell), his wise-cracking secretary, loves him but he's too busy too notice; an office girl in black-rimmed, round glasses (Ruby Keeler) wants a chance to dance; his wife turns up saying she didn't divorce him after all; a blonde gold-digger is setting her hooks in him; his partners are cheating him...my gosh, what's next? This may all sound like a lot to digest, but everything happens fast, with Cagney bouncing, strutting, striding, finger-snapping, barking orders and occasionally - until the big last number when he goes all out singing and dancing -- doing a step or two just to show how it's done.

Instead of "Let's put on a show, gang" we have "We need to build three shows in three days, so lock the doors and let's start rehearsing." These three super Prologues are going to feature 40 chorines, spectacular effects and will mean a rich contract, with forty Kent units in deluxe movie houses...the whole Apollo movie house circuit! Exhaustion threatens, feet ache, but all those unbilled chorines in skimpy costumes (which include Ann Sothern and Dorothy Lamour; you can quickly spot Sothern but Lamour is more generic) stay the course, dancing their hearts out, giggling and chattering and looking remarkably unsweaty.

And then the curtains go up as each Prologue is presented in separate movie houses, one after the other on the same night, with the owner of the Apollo circuit going to determine that night whether he'll save Chester's skin or not.

First up is "Honeymoon Hotel" with Dick Powell and Ruby Keeler in a 9 minute production number that features a lot of wholesome lasciviousness, with brides and grooms (some might even be married), bedrooms and beds, and doors with "Do not disturb" signs.

Then on to the next theater and 11 minutes of "By a Waterfall" that probably had the Warner Brothers accountants worrying about bankruptcy. This number is so excessive -- dozens of swimming girls, trees, fountains, a huge grotto with waterslides, a giant pool -- you'd never think there was a Depression on. Berkeley pulls out all his tricks -- synchronization, human patterns, legs and arms doing all sorts of precision things -- and he does it in the water, with a lot of underwater photography looking up. The girls are sure game. They come up smiling with water in their eyes and still hit their marks. The whole thing must have been incredibly difficult and exhausting. Ruby Keeler, who has a couple of quick shots in the water, is the only one who looks a bit cautious.

And finally, the smash finale...11 minutes of Cagney dancing and singing with Keeler to "Shanghai Lil," with all sorts of bar girls and their customers, unusual in that the races are mixed up. There's Cagney and Keeler dancing on the bar, dancing on a table, Cagney fighting. There are what looks like fifty or sixty marching marines, hupping back and forth, rifles tossed and caught. Then...this is true...a human picture forms of Franklin Roosevelt and the NRA eagle. This may be the only Hollywood musical production that has ever featured Roosevelt, a big federal agency and a bevy of sexy Chinese prostitutes.

That's entertainment, folks. It's great!

Of course, Chester's Prologues get the big contract and Nan gets Chester. The movie is full of juicy cliches that make us smile. Ruby Keeler is so endearing as she earnestly stomps out her taps with her arms flying that you want to help her along. Joan Blondell makes us forget about a lot of Hollywood females who might have been more beautiful but who had a lot less wit and personality. The movie, however, belongs to Cagney, who grabs and shakes it, and to Berkeley, a man for whom too much was never too much.