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Answer: I enjoyed this film. It was lighthearted, delightful, and very colorful. You can see that MGM was showing off Technicolor. There are hardly any colors that do not appear in this film. Every scene is packed full. The choreography was great. Gene Kelly is a wonder. He is so talented. The dance numbers in this film are all perfectly executed, and perfectly designed. He understands that the dances can tell the story as much as anything else. The last section of the film, the grand dance sequence, is very impressive. What makes this film very special is Gershwin's music. Few American composers have had a better gift for melody. I very much enjoy Gershwin's music. It is enchanting. Ira Gershwin is definitely one of the greatest lyric writers. He is so witty and charming. This was a highly entertaining film.
An example of a movie review. positive (OPTIONS:
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A: This is a really great short from Hal Roach. This is because of two main reasons: The littlest kids in the short are among the cutest to have ever been on film and the plot has so many funny and well-written elements.

As for the littlest of the Little Rascals, I honestly can't think of a cuter kid than Spanky at about age four. Despite being a rather chubby and unattractive kid in later years, he was just precious here. And, placing the little tiny boy in charge of babysitting the even younger kids was not only funny, but once again high on the cute factor.

After the older kids blackmail Spanky into doing this awful babysitting job, all kinds of funny mayhem breaks loose. The gags are pretty effective and well-done for the time--with an accidental crank call involving a murder and a final scene where Spanky FINALLY gets control of the little ones being the most memorable. I haven't seen these shorts in many decades and I am glad I gave this one a chance.
Q: What's an example of a movie review?
An example of a movie review is here: I was 10 years old when this show was on TV. By far it was my favorite. The actors were very credible. Alexandra Bastedo was just gorgeous.... I just order the DVD (15 episodes). They didn't have super-powers. They just had superior human skills (strength, hearing, sight). The 3 actors were very good in their rolls, very believable. There was a good story in each episode. At the time, there were no special effects or explosions everywhere, so the script was suppose to be good, and the characters performs were great. There was no fancy stuff, like in other shows. They didn't try to make a joke every 2 minutes to make a light show. I highly recommend this TV show to anybody that like good stuff.
Problem: Write a positive (OPTIONS:
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Answer: If there is a movie to be called perfect then this is it. So bad it wasn't intended to be that way. But superb anyway... Go find it somewhere. Whatever you do... Do not miss it!!!
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Answer: SPOILERS This is a gripping movie about grifters. But who is conning who here? When does the hunter turn into the prey? This gritty, dark movie is slow moving and seductive. It pulls you in and drags you down the proverbial garden path, only to waylay you just as you think you are safe.

It has a riveting script, with good acting (at least from the leads). I didn't notice the background music, but it was never jarring, so it must have been done right.

I was very surprised that I liked this movie, because I don't usually go for this genre but this one sucked me in and kept he hooked until the end.
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Answer:
Warning: Spoilers Galore!

Tim Burton remaking this sui generis movie is about as sensible as remaking Psycho - oh, that's right, some idiot already did that - I rest my case.

Movie opens with chimpnaut blundering a simulation, proving he's not that smart from the outset. Marky Mark appears in shot without his characteristic underpants showing, then is turned down by a plain woman who prefers the touch of chimpanzees.

The perfunctory establishing shot of the space station orbiting Saturn for no apparent reason, interior of ship a-bustle with genetic experiments on apes. Must we travel 1,300 million kilometers to Saturn to conduct these experiments? The special effects team decrees it.

Marky's chimp gets lost in that staple of 60s sci-fi cinema - the Time Warp. Marky then demonstrates the space station's mind-boggling security ineptness by stealing a pod without anyone noticing, while simultaneously demonstrating his abject stupidity in mounting a deep-space rescue mission into a worm-hole for an expendable test chimp, with a million dollar vehicle with limited fuel and oxygen supplies.

Before anyone can say 'Pointless Remake' Marky has surfed the worm-hole, crashed on an alien planet, removed his helmet without any thought to the lethality of the atmosphere and is being chased through a sound stage that almost resembles a lush rainforest, if it weren't for the kliegs backlighting the plastic trees.

Surprise! It's APES doing the chasing - or at least, it *would* have been a surprise if no one saw Planet Of The Apes THIRTY-THREE YEARS AGO.

Since Marky Mark did not get to show his pecs, take down his pants, or bust his lame whiteboy rap, he was characterless. Michael Clarke Duncan's gorilla teeth being inserted crookedly helped immensely in establishing *his* lack of character. Helena Bonham-Carter (aka irritating chimp activist), at a loss without a Shakespearean script, did a fine job of outdoing both Marky and Clarke as Most Cardboard Cutout. Paul Giamatti, the orangutan slave trader, secured the role of token comic relief and interspecies klutz. Though I have grown bilious in hearing puns relating to this movie, one review headline captured the essence of this Planet Of The Apes 're-imagining': 'The Apes Of Roth'. While everyone else minced about looking like extras from One Million Years BC or Greystoke, Tim Roth, as Chimpanzee Thade, chews massive amounts of scenery and hurls kaka splendiferously. As entertaining as his portrayal of the psychotic Thade was, his character lacked a behavioral arc: Thade is mad when we first meet him... and he's pretty much at the same level of mad at film's end. Nice twist.

The original POTA (1968) featured a leading character, Charlton Heston's Taylor, who was so disenchanted with mankind that he left earth for space with no regrets - yet as that film progressed, Taylor unwittingly found himself locked in a battle to prove mankind's worth - as their sole champion! The original film was ultimately a tale of humiliation, not salvation: when Taylor discovers the Statue of Liberty, he is forced to realize that his species had NOT prevailed. Is there anything that cerebral or ironic to Marky Mark's Leo? Or Roth's Thade? No, but there's lots of running.

The slogans cry: Take Back The Planet .but it's the APES' planet. In this movie, humans and apes crash-landed here together, the humans having degenerated to cavepeople, allowing the apes to acquire speech and sensual body armor; the apes DESERVED to inherit the planet! Along comes Marky Mark, in true anthropocentric arrogance, taking it for granted that humans HAVE to be the apex predators, simply because they're there. 'Taking it back' is as ludicrous as apes landing here in 2001, complaining, 'A planet where men evolved from APES??!!' and then causing trouble with their overacting and hairy anuses.

Heston was cast in the 1968 POTA because he had established his reputation as a maverick: he WAS Ben-Hur, Michelangelo, Moses! To cast him as the mute, dogged animal in an alien society was to stupefy an audience's expectations: how crazed must a world be where Our Man Charlton cannot command respect? Marky Mark has currently only established that he has tight underpants.

Though Heston was denigrated constantly by the ape council, he dominated the screen with his charisma and stupendous overacting. When Marky Mark tries to instill fervor in the mongoloid humans, it's like that unpopular guy in school suddenly being made classroom monitor, who tells you to stop drawing penises on the blackboard and you throw a shoe at him. Burton tries to elevate Marky to humanity's icon, but he comes off as a chittering deviant. In the original film, the apes deem Taylor a deviant, yet he was, to audience and apes alike, an icon of humanity. That irony again.

It was apt that a man who elevated scene-chewing to an acting technique - Heston - should play the father of this film's primo scene-chewer, Thaddeus Roth. As Roth's ape-dad, Charlton utters his own immortal lines, turned against the HUMANS this time, 'Damn them! Damn them all to hell!'

The movie gets dumb and dumber towards the end. While Thaddeus is giving Marky an ass-beating lesson, a pod descends from on high with Marky's chimpnaut in it. Apes demonstrate their hebetude by bowing in obeisance to this incognizant creature, while Marky proves his own hebetude by muttering, 'Let's teach these monkeys about evolution.' Firstly, they're not monkeys, you ape! Secondly, it was genetic tampering and imbecilic plot fabrications which brought the apes to this point, not evolution. And what you intend to teach them by blowing them away with the concealed lasergun is called misanthropy, not evolution.

Giving away the twist ending would only confuse viewers into believing that Estella Warren's half-nekkid role was actually integral to the plot (be still my pants.).

No matter that he was humankind's last underpanted hope; in the end, cop apes take Marky away to Plot Point Prison where he was last heard ululating, 'It's a madhouse! A MADHOUSE!!...'