An example of a movie review. negative (OPTIONS:
- negative
- positive).

A: And I thought The Beach was bad, with the difference that this movie has one of the greatest actors of our time, Nicolas Cage. Don't blame him for the awful script, if any one can make any sense of what the hell was the point of that movie, give your self a pat on the back. Its a cross between The Village and a crappier script. Its starts off kinda catching your eye, and then as it goes further into the plot, it just makes no sense, and don't get me started about the ending!!!! What was that? The only thing that makes this movie exist is Nicolas Cage usual great humor, and his ability to be funny in the weirdest situations. If you go to a blockbuster and this is the only movie to watch, save yourself five bucks and just go back home and turn put some thing on fire and when some ones asks you why, just say the stupidest thing that comes into your mind, and there you go!
Q: What's an example of a movie review?
An example of a movie review is here: EDMUND LOWE (who reminds me somewhat of Warren William), heads the nice cast of an interesting little mystery that moves at a brisk pace and runs just a little over an hour.

Douglas Walton plays the unlucky jockey who appears to be intent on his own demise (hypnotism, anyone?), and the suspects include a good number of the supporting cast--everyone from Virginia Bruce, Kent Smith, Frieda Inescourt, Gene Lockhart, Jessie Ralph, Benita Hume, Rosalind Ivan and H.B. Warner. As an added bonus, there's Nat Pendleton as a dimwit detective--and furthermore, get a load of that art deco set decoration for the fancy interiors of a wealthy home. Must have been a set that was used in many a subsequent film.

On the plus side, the mystery is not so complicated that anyone can follow the plot with reasonable assurance of not being too baffled. It's all suddenly clear to detective Philo Vance--and then he has a final confrontation with the murderer that gives the film a nifty five minutes of unmitigated suspense.

Nicely done and passes the time in an entertaining manner.
Problem: Write a negative (OPTIONS:
- negative
- positive) movie review.

Answer: Before writing this review, I went back and reread the reviews of others. This movie was a particular disappointment to me, since it features two of my favorite dancers, Gene Kelly and George Chakiris, boasts a score by the often wonderous Michel LeGrand ("Wuthering Heights," "Ice Station Zebra," "The Thomas Crowne Affair"). The dancing was stilted, unmotivated and unoriginal, the songs forgettable, the story a joke. Even the costuming was not particularly flattering. Only the photography correctly captured the proper mood and spirit. I'm glad other people enjoyed "The Young Girls of Rochefort," though I most certainly did not.
Problem: OPTIONS:
- negative
- positive positive
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Answer: I'm sitting here Nov 2006 and I still can't help rave about this movie. Arnold's best movies came in about a 4-5 year span. Running Man, Predator, and Total Recall (1990). All 3 are amazing. The cheesy one liners by Arnold in this movie will make you laugh on more than one occasion. I find the acting in this movie surprisingly good as was the case in Predator and Totall Recall. They did a great job in trying to make the scenes futuristic as it is supposed to take place in 2017, but you can't help but snicker at the 80's style haircuts on the men and woman in the crowd and the normal television monitors in the Running Man studio which we all know here in 2006 are on the way out with the emergence of flat panel and HDTV's. Also the computer graphics of the "The Running Man" game show intro would not look like that in 2017. Nevertheless the storyline is absolutely fantastic. Not once during this movie did I want to get up and not care about the ending which is something I do often with today's movie's. I really think that Arnold's acting is much better than he's given credit for. Now I would not have elected him governor but that's California for you. Buzzsaw, Dynamo, Fireball, SubZero are fantastic "stalkers" as well and I find the producers don't try to overkill the fight scenes. When the stalker is dead...he's dead. It doesn't go on for 20 minutes each. The stalker scenes are quick and entertaining but they don't try and overplay it. I give this movie a 10/10 and that's coming from someone who doesn't enjoy a lot of movies these days. If you get the right actors and the right story then the futuristic graphical displays that you'd see in 2006 are not important or necessary.
An example of a movie review. positive (OPTIONS:
- negative
- positive).

A: If TV was a baseball league, this show would have a perfect record! With an excellent cast, and a perfect plot, this show gave 8 amazing seasons and a great joy to TV after dinner. With the constant changing of relationships and finding out who Hyde's real dad is, this show was a hit when it started in August of 98, though it was set in 1976. And hanging out in Foremans basement was always the thing to do back then, and it still is today, along with circles.This show gave great laughs in premieres, and it still does during re-runs. If you watch a few episodes of this show, you will get everything and want to get more. Now only is this show one of the best ever created, it is clever and funny.
An example of a movie review. negative (OPTIONS:
- negative
- positive).

A:
When I began watching The Muppets Take Manhattan, the choppy presentation and dialogue had me convinced I was watching something recent, so you can imagine my surprise when I came to the IMDb and read that it was made in 1984. Jim Henson may have ended The Muppet Show when it was at its peak, but spin offs like this and Muppet Babies (which apparently is based upon a very terrible sequence in this film) are the absolute nadir of all things Muppet. I used to wonder why Muppets attracted such derision from such film reviewers as Mr. Cranky, so I am glad that The Muppets Take Manhattan (henceforth: TMTM) set me straight on that one. Of course, many series have had a massive drop off in quality when the third episode came around: Aliens, RoboCop, The Evil Dead, even Night Of The Living Dead. So while it is no surprise that TMTM is less than The Muppet Movie or The Great Muppet Caper, the surprise lies entirely in how much less than the awesome debut or its slightly lesser follow-up TMTM is. Not only is the music far less satisfying, the scenes that link it all together are utterly terrible.

There are, of course, some redeeming and genuinely funny moments, but they are few and far between. The Swedish Chef is great in any scene he inhabits, so thank the spirit of small mercies that he appears in one sequence where his eccentricity is exploited to the fullest. The problem is that there are just no scenes that work. The story, such as it is, revolves around a Broadway musical Kermit is attempting to get produced. He goes through many trials and tribulations along the way, including the sneaking suspicion the viewer has that we have seen this all before. The biggest problem is that Kermit does not have a decent antagonist to work off this time. Charles Durning was cinematic gold as Doc Hopper, the proprietor of a fast food chain who wants to exploit Kermit for his business. Charles Grodin was dynamite as Nicky Holiday, a jewel thief the Muppets must fight in order to save Miss Piggy from a lifetime in prison. The saying is that a hero is only as good as his antagonist, and these two are at least half responsible for the greatness of the previous two films.

Charles Grodin also highlights what is wrong with TMTM. Namely, the music sucks. The opening number of the Manhattan Melodies show that is at the centre of TMTM, to put it nicely, makes the drivel that now dominates the airwaves seem coordinated. I might just be letting my peculiar sensitivity to the sounds of words and phrases getting to me, but songs like The Rainbow Connection inspired tears of joy, not irritation. Grodin's big solo during The Great Muppet Caper, while not having the same resonation, he lifts the tone of the film eight steps on his own. He is all class. And if there is one thing TMTM could use, it is rising eight steps in addition to attaining a semblance of class. TMTM also feels severely time-compressed, with the story leaping from scene to scene without any consideration for making sense or giving the story cohesion. Maddox himself pointed out that transition and cohesion make a film feel like a coherent whole rather than a mess of thrown-together pieces. See if you can find them in TMTM.

While TMTM does have its guest stars, they are either poorly utilised (Brooke Shields and John Landis), or totally out of their element (Liza Minelli, Dabney Coleman). To call this a waste of time for puppeteer and actor alike is flattery. The absence of an end credits routine is especially sore here, after Animal's "go home" postscript for The Muppet Movie in particular. Which highlights another problem. The characters are poorly written at best, with none of their individual quirks to be seen or heard. Animal shouts singular words at times, but they have nothing to do with the plot, or the conversation going on around him. Say what you will about set pieces designed to show off characters, but think of Animal's moment after eating the instant growth pills, or his "sowwy" after the incident when he pulled the window down on top of his fellow Muppets. Now see if you can remember a single memorable moment with an individual Muppet other than Swedish Chef's hilarious misunderstanding of three-dimensional film involving popcorn. Give up? Then you have proved my point.

Given that Labyrinth, one of the Henson company's best and most timeless products outside of the Muppets, arrived some two years later, it makes TMTM all the more puzzling. Perhaps this misfire convinced Jim Henson to rethink his strategy regarding character development and usage. Or perhaps the misfire can be attributed to Frank Oz, who at the time had just finished working with George Lucas on what many would agree is the most childish episode in the original Star Wars saga. The writers were also involved with The Great Muppet Caper, so I will let them off the hook for this in spite of the fact that a script is one of the most essential pieces of a film. The production is also substantially improved here, with Muppets appearing capable of moving in ways that were previously beyond them. Had the story and script been better thought-out, TMTM might have been at least comparable to The Great Muppet Caper. As it stands now, it is a great answer to the question of whether Muppets write under the influence, or excrete.

For that reason, I gave The Muppets Take Manhattan a three out of ten. Two to denote its actual quality, and a bonus for the Swedish Chef's moments. Without him, this film would be unwatchable.