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

A: A bad rip-off attempt on "Seven", complete with sub-second-grade acting, awful camera work, half-baked story and strong aftertaste of lame propaganda. Yeah, them "sex offenders", they live next door and you're gonna get raped, really.

No surprises from the vice-terminatrix woman, she acts as always -- as convincingly as a piece of wood. Richard Gere keeps on sliding lower and lower -- and is about as low here as a late Steven Seagal.

The singer woman with the crazy eyes is best when she's dead in bed; and even the wolf was sub-par (although she was the best performer in the movie) -- maybe they fed her before the shots, or something.

Unlike "Seven", which had a (made up, but interesting) story, to which one could relate more or less regardless of the country, this movie seems to focus on a US-only obsession. If one doesn't care much about "sex offenders" -- and the statistics are that lack of exercise and bad diet cause more pain, suffering and death -- there is little reason to see it, or to be afraid.

There are some body part fetishes and some snuff, but the gore is less then mediocre, and fails both as artistic device (because it is pointless) and as gore, because it is not gory enough.

Don't waste time on this one.

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

A: I was bored one night and Red Eye was on and thought why not.

Red Eye is one of the best movies in a long time.

I mean I just got into the movie cause it was just so brilliant.

The story is new and different.

The movie also has two great leads in the movie with Rachel Mcadams as Lisa Reisert and Cillian Murphy as Jackson Rippner.

The acting is just brilliant and you get the feel for the people in the movie.

The music is just excellent, it give you chills and can also make you feel relax.

I just love how the movie was just so well done and it never gets boring.

Red Eye is just phenomenal. Nothing more and nothing less.

It's a excellent thriller.

Overall, I enjoy Red Eye so much that I can watch it over and over again.

If you like Red Eye, then I recommend Elektra and Cry Wolf.

I give Red Eye 9 out of 10.

Great movie

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

A:
Although in my opinion this is one of the lesser musicals of stars Frank Sinatra, Gene Kelly, Kathryn Grayson and director George Sidney, a lesser musical featuring anyone from that line-up is nothing to sneeze at, and in conjunction, the line-up makes Anchors Aweigh a pretty good film despite its flaws.

Sinatra and Kelly are Clarence Doolittle and Joseph Brady, respectively, two Navy men. As the film begins, they're just pulling in to the Los Angeles area for some much needed leave. Brady plans on visiting a girlfriend named Lola. Doolittle is still a bit wet behind the ears, appropriately enough, and seeks advice on women from Brady in private (publicly, scriptwriter Isobel Lennart and Sidney have all of the Navy men comically exaggerating their finesse with women to each other). Brady promises to help get Doolittle hooked up, but primarily because Doolittle won't leave him alone otherwise. A kink is put into their plans when local police basically force them to assist with a young boy who is obsessed with the Navy. He won't give the police any information about who he is or where he lives. Brady helps and he and Doolittle end up taking the boy back home. When the boy's guardian, Susan Abbott (Grayson), finally shows up, Doolittle goes gaga for her. Brady tries to convince him to forget about her; Brady just wants to get back to Lola. But they keep getting coaxed back to Abbott's home, and eventually something of a love triangle forms. Things become more complicated when Brady lies about Doolittle knowing a famous musician, Jose Iturbi, who is in residence at a film studio, and claims that Doolittle has set up an audition for Abbott, who is a singer and actress, in front of Iturbi.

Because of the story, the music is a strange combination of militaristic music--because of the Navy premise, obviously, Broadway pop--what the stars tend to sing in more informal settings, opera--what Abbott's character excels at, Liberace-like popular classical--what Iturbi did, and Mexican music--because Abbott frequents a Mexican restaurant in a Mexican section of L.A. The combination doesn't work as well as it could. Plenty of the songs are good, and everyone involved is certainly talented as a singer or musician, but the genre hopping tends to lose coherence. Worse, there are a couple showcases for Iturbi, who was apparently a big star at the time, that effectively bring the plot to a halt and that seem more than a bit hokey at this point in time. I just watched another film that happened to have outstanding music, Robert Altman's Kansas City (1996), but that misguidedly stopped the plot to periodically turn into a concert film. Anchors Aweigh takes a similar tactic. Yes, this is a musical, but there's a difference between songs that propel and are integral to the plot and concert showcases that seem like contractual obligation material.

There are also some plot problems. It's not very well established why Brady is so against Doolittle's pursuit of Abbott. We can guess that Brady thinks Doolittle shouldn't become involved with someone who has to take care of a kid, and who seems relatively "proper" and traditional, but on the other hand, Brady can tell that Doolittle doesn't have the same womanizing disposition that Brady admits of himself. Abbott seems like a good fit for Doolittle, and furthermore, Lennart works hard to establish that Brady just wants to get Doolittle out of his hair and get on with meeting Lola--it seems that Brady's character should be quickly pawning Doolittle off on any candidate, whether she's a good fit or not. This might seem like a minor detail, but it's actually the hinge for about a third to half of the plot. The story also seems a bit drawn out. Length is a problem. Anchors Aweigh, clocking in at roughly two hours and twenty minutes, should have been cut down by at least a half-hour.

The above surely sounds like I'm complaining about the film too much to justify an 8. I just wanted to stress what I see as flaws, because the conventional wisdom on Anchors Aweigh is much closer to the idea that it has no flaws.

Sinatra, Kelly and Grayson are certainly charismatic, separately and together. They turn in good, interesting performances. Sinatra looks and acts much younger than his actual age of 29 30 while shooting. He plays an unusually naive, virginal character--completely different than most of the roles he would take later, and different than his public image as a crooner. For Kelly, this was his breakthrough film, and rightfully so. His choreography is varied and impressive, as is his acting. Grayson is charming, her performance is sophisticatedly understated, and she's simply gorgeous. All of this helps override the flaws with the script and the drawn out pacing.

And there's even a very interesting element that probably only arises because Sidney was allowed to sprawl over a large variety of moods--the infamous Kelly dance with Jerry the Mouse (of "Tom and Jerry" fame) in an extended fantasy sequence. This is one of the earliest examples of combining live action and animation, and it is extremely well done and enjoyable as long as you're a fan of fantasy. The fantasy sequences tend to be the best of the film. Matched in excellence to the dance with Jerry the Mouse is a long song and dance number featuring Kelly and Grayson, where Brady is imagining Abbott in a scene from a period film while he woos her, having to resort to acrobatic stunts to reach her physically as she stands on a high balcony.

As uneven and flawed as the film is, it is largely successful and entertaining to watch. Fans of classic musicals certainly shouldn't miss Anchors Aweigh, and neither should Sinatra fans, who'll get quite a kick out of his character.