Problem: OPTIONS:
- negative
- positive negative
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Answer: I guess it's Jack's great empathic ability that makes him the powerful performer that he is, but empathy comes at a price like all things-when he's surrounded by mediocrity he instinctively lowers the standard and becomes one with it. He is a joke as a mafia-hit-man(also because the part doesn't suit him one bit, him being so extroverted)and just grazing avoids making a fool of himself in this.Kathleen Turner had a much tooooo long career just by being tall and blonde, because her acting ability is limited to that thing she does with her eyes, when she opens them wide which she's convinced is sooooo damn sexy and Anjelica Huston is the absolute same(granted interesting) in everything, just like Robert Loggia.

The movie is a lame draft(and this will be the only mention of the rag they call script) of a gangster-movie, with a cast that was probably only interested to get to the after-party faster(they certainly gathered the party-going elite in this). What, did they shoot it in 1 day?-cause that would be the only explanation.
An example of a movie review. negative (OPTIONS:
- negative
- positive).

A: German filmmaker Ulli Lommel has managed a task many horror fans thought was impossible: he's unseated fellow Teuton Uwe Boll for the crown of director of the worst horror film ever made.

Lommel is truly the Ed Wood of the new millennium. This film is as shoddy and laughable as the best-worst of EW. I am both proud and embarrassed to say that I watched it in toto, morbidly fascinated to see just low the bar could be set. The answer is: subterranean; Lommel dug a pit and buried it.

The fun begins with the cast of international nobodies. Only someone who has lived in Los Angeles, where every auto mechanic, doctor and mailman is an actor or screenwriter waiting to be discovered, could easily understand how Lommel managed to find so many wannabe actors willing to spew his ridiculous dialog with a straight face.

The main character, a villainous beat cop, is played by a German actor with a thick German accent. Aside from being a serial killer, he is also the oldest beat cop in LA. Despite the fact that he stops innocent women drivers and takes them into custody, then drags them into his home (which inexplicably is the top floor of a furniture warehouse), and does all this in plain sight of his rookie partners, the LAPD refuses to investigate, going so far as to physically attack one of his accusers in a ninja style raid on his apartment.

The sets are excruciatingly bad. The production designer's budget apparently included just enough money for a can of paint; enough to paint "Precinct 707" on a cardboard wall.

Since the actors were obviously unpaid non-professionals--a sad assortment of European emigres (possibly deportees if they acted in their native lands), bimbos, mimbos, and desperate middle-aged women--and since little if any money was spent on sets, special efx, locations or other production value, it is only fair to mention that they did spring for a few genuine-looking police uniforms. Sadly, they couldn't afford a police car; the uniformed cops cruise the streets in a shiny new Mercury rental.

More than half of the story focuses on the dirty deeds of our deranged German LAPD officer and the futile efforts of two young rookies to stop him. One of these young actors is especially pitiable because he's the only actor in this whole mess with even a vague shot at a real career in the movies. The other fits right in, with a rockabilly hairdo and tortured Brando posing that needs to be seen to be appreciated.

The latter part of the film is where the title gets its zombie, as the victims of our killer are resurrected after he murders a girl who had just visited some voodoo priestesses to have a protective spell put on her. Don't ask why a girl from Romania would resort to voodooism in anticipation of being murdered, just accept Lommel's logic and enjoy the absurd ride.

After much prolonged hand-clawing out of straw-covered roadside graves, the zombie girls manage to make their appearance. They look exactly as they did before death, maybe even prettier, with black glamor make-up generously airbrushed around their eyes. Looking nothing like zombies, they look more like high fashion models ready for the runway.

At this point in the movie Lommel borrows a creative note from his lauded countryman Boll, and injects large doses of cheesy Euro-trash techno into the soundtrack. We're talking prehistoric electronic bumblebee noise. Stuff they might have played in an Ibiza disco when Lommel was still young enough to shake his booty.

Unlike other zombies, Lommel's girls speak and function as normal... er, I mean, as they did before becoming zombified. This gives our auteur ample opportunities to shower us with more of his golden dialog. Yes, a golden shower it is.

I won't spoil anything by revealing the shock ending. All I can say is it's perfectly in tune with the rest of this masterpiece. The spirit of Ed Wood lives on... or should I say his geist.
Q: What's an example of a movie review?
An example of a movie review is here: HOLLOW MAN is one of the better horror films of the past decade. The sub-plot is original and the main plot is even better. The special effects are brilliant and possibly the best I have ever seen in a horror film. Kevin Bacon proves again that he can handle any role that comes his way.

Claude Rains shocked the world with THE INVISIBLE MAN in 1933, well now, Kevin Bacon has shocked *us* with HOLLOW MAN. One of the most thrilling horror films ever. The action is intense and the chills are true. You may actually find yourself jumping if you are watching it in the dark on a stormy night. The supporting cast includes Elizabeth Shue, Josh Brolin, Kim Dickens, Joey Slotnick, Greg Grunberg, and Mary Randle. All of whom do an exceptional job.

---SPOILERS---

Dr. Sebastian Caine (Kevin Bacon) and his team have discovered the secret to making someone invisible. After animal testings, they move on to human testing. But someone has to be the subject. Volenteering, Caine is turned invisible. But when his team is unable to bring back into visibility, Caine is driven mad by his condition as he seeks his revenge...*end spoilers*

The film has created memorable shock sequences and is destined to become a classic well into the next century. Becoming the basis for a spoof joke in SCARY MOVIE 2, this film grabs you by the throat and never lets go. The first 45 minutes or so are slow, developing the characters and showing how their experiments work. The second half is exciting and appealing to most action and horror fans. Think of DEEP BLUE SEA. Then change the sharks into an crazy invisible man. And then change the water into fire and explosions. A rehashing of a killer shark movie. Interesting... HOLLOW MAN gets 5/5.
Problem: OPTIONS:
- negative
- positive negative
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Answer:
I might not be a huge admirer of the original "Creepshow", but its trashy sequel makes that anthology look like perfection! And to think I was going into this expecting to like this one more. Five years after its predecessor, George Romero gets back on board the EC Comic style trail and on this outing pens the screenplay for Steve King's three stories. Though, the direction is handed off to Michael Gornick. The film mostly falters in that aspect with uneven brushes by Gornick. But most of the blame would have to go to Romero's dreadfully static and unbearably cringe-like script (especially in those dialogues streaming through the first and final story). Moralistic messages (that came from mostly a sour bunch of characters) simply took over the black humour. Oh it was painful and the same can be said about the lively rotten music score accompanying the picture. Loosely linking the three tales (Old Chief Woodenhead, The Raft and The Hitchhiker) together is a mildly curious and effective wraparound story done in nostalgia (80s) animation form. I rather liked this segment and the wisecracking Creep character was a glowing light.

# The first story "Old Chief Woodenhead" sees two elderly proprietors (George Kennedy & Dorothy Lamour) of a general store in a dying native community, Dead River. Get robbed and eventually killed by a couple of punks dying to live it up in Hollywood. In front of the store is a wooden statue of an Indian Chief that comes to live to avenge their deaths.

-Listen to George Kennedy waffle.. And waffle on for 10 minutes about how he's committed to his 'great' community. What a nice touchy feely time. Well, just like Kennedy's speeches, this is one monotonously colourless and overdrawn item that never makes good of a fine premise. The overbearing script is plain inane and the performances are suitably so. These two factors really added to my headache. When the Indian comes alive and turns avenger, the goons meet a very quick (though grisly) death in the proper fashion. The effects were commendably done, but what about that free flowing hair. How could Hollywood knock that lock of hair back? Ugh!

# Second story "The Raft" follows a group of dope smoking and yahoo teens heading up to a secluded lake. After swimming to the raft in the middle of the lake, they get trapped on the platform because of an ominous looking creature lurking in the water.

-Now this is much better, MUCH better. What starts of as your basic teens run afoul turns into a mysteriously creepy set-up that's full of tight and claustrophobic tension. And it doesn't even cop out on the flashes of nudity or spiteful splatter. Quite morbid it is and that goes for its sense of humour too. The surprisingly ironic ending has a beautiful touch to it. The performances from the nobodies are acceptable without making a huge mark. Gornick's direction sticks to the nasty and rather gooey side. While, the alarming music score on this occasion pressed the right chords. The sludge-like creature in the lake (like many have mentioned) looks like an icky black tarpaulin (yeah you're reading that right!) floating on the water.

# Finally number three concludes with "The Hitchhiker". A wealthy, but sexually lacking woman is on her way back home after being with her male gigolo, but she's is running late. Thinking of some ideas to explain for her lateness if needed, she skids off the road and accidentally hit's a hitchhiker. Instead of checking or getting help, she drives off in the hope getting home before her husband. Soon enough she's being terrorised by the mangled corpse of the dead hitchhiker.

-Not awful, but I really didn't get into this laughably ludicrous exercise at all. Compared to the first two this one was so different in tone and tried to tickle the funny bone instead. Lois Chiles was okay in the lead role, but that constant assuring and the little conversations she has with herself became pitifully aggravating and downright tired. The vivid make-up effects are well-displayed and dripping with vision. When she hit's the hitchhiker that's when it becomes hectic, cheesy and over-the-top in its execution. From there onwards we endlessly hear our supposedly dead hitchhiker repeat and repeat and repeat the line, "Thanks for the ride lady!" This happens every time she decides to run over him. Have a little courtesy for the dead darling.

In all, the second short story "The Raft" and the unpleasantly, well-conceived effects is what lifts this extremely inferior sequel.