Problem: OPTIONS:
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Answer: 'Una Giornata Particolare' is a movie that has a title that sounds so familiar I thought I had seen it more than once. Now that I finally I have seen it, I am very glad. This is one of the better Italian movies I know, with one of the most wonderful performances by Marcello Mastroianni, who stars in other masterpieces such as 'La Dolce Vita' and '8 1/2', both from the great Federico Fellini. Directed by Ettore Scola, this is a movie that takes the time to introduce the characters and slowly develops a story on a special day, the day Adolf Hitler visited Rome.

Marcello Mastroianni plays Gabriele, the neighbor of Antonietta (Sophia Loren). She is a member of Mussolini's party, pretty fanatic in her thoughts, and he is a member no more. The reason for that I will not reveal. On the day every person from their building, including her husband and children, is out to see Hitler, they are still in the building. Antonietta's bird escapes and flies to Gabriele's apartment, and this is how the two meet. Right before Antonietta went to Gabriele he thought of killing himself, again for reasons I will not reveal. How the story develops from here I will not reveal, but it is what happens between the two that makes this such a special day, not the fact that Hitler is in Rome.

Like I said, Mastroianni has a wonderful performance. You see he is a man who desperately wants someone around him, although at first we don't know why. May be he likes Antonietta, may be he is in love with her, may be there are other reasons. Antonietta feels what we feel. What does this man want from her? She likes the attention anyway. We see how she does her hair to look attractive for the man. Loren plays the scenes very good as well. We understand her questions, although we can't be sure what her intentions are. The moments where we find out both their secrets, if that is what you can call it, is a great moment. How the story develops from there is even more interesting, but I don't want to spoil it for you. This is a movie you should see. Great performances and a beautiful cinematography, and the message it gives us still stands today.
An example of a movie review. positive (OPTIONS:
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A: This Schiffer guy is a real genius! The movie is of excellent quality and both entertaining and educating.

I didn't know what a weather girl was before I learned it here.
Q: What's an example of a movie review?
An example of a movie review is here: A charming little film set in the UK about the reunion of a WWII all girl (almost) swing band. A fine cast of oldsters bring lighthearted perspectives on life to this fun tale with an award winning performance by Dench and Laine's always great "pipes". Time well spent and a fun watch for all.
Problem: Write a positive (OPTIONS:
- negative
- positive) movie review.

Answer: I think Lion King 1 1/2 is one of the best sequels ever as if not the best out of the three Lion King movies! In the movie Timon and Pumbaa tell us where they came from and having trouble fitting in with others such as Timon having trouble digging tunnels with other Meercats! Timon and Pumbaa journey off into finding their dream place and find it and soon find it and also Simba who they raise but soon they must choose between their dream place or helping Simba face his evil Uncle Scar and proclaim his right as the Lion King of Pride Rock! Filled with wonderful new characters like Timon's Ma(Julie Kavner) and Uncle Max (Jerry Stiller). I think my favorite character was Uncle Max because he was very funney and was voiced by a funney comedian Jerry Stiller the father of Ben Stiller. Disney was smart to cast Stiller in that role! Filled with wonderful characters, animation, and story and music Lion King 1 1/2 is in my opinion the best of any sequel and better than Simba's Pride even though I will admit I really did like that one too! Lion King 1 1/2 is a great Disney sequel the whole family can enjoy! It's got a good story and is very funney! 10 out of 10!
Problem: OPTIONS:
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Answer: There are some movies you just know they are going to be bad from frame one. Even if you were totally oblivious of Ed Wood's work, one look at that commentator from "Plan 9 from outer space" and you just KNOW you are not gonna see the next cinematic masterpiece. Just like that, when I saw the first shot of Uwe Bolls masterpiece "House of Dead", with that guy sitting at the front of the house starting his introduction while trying desperately to sound like he just arrived from Sin City, I knew I'm in for a helluva ride.

So, the movie starts like this - first the lead character says that everybody else is going to die. You know, to keep you wandering. Then he starts introducing the rest of the characters with lines like "Karma..thinks she's Foxy Brown" or "Alicia..my ex.. we broke up recently.. I had to study and she had to fence". No, I'm not kidding.

Anyway, this bunch of 20-somethings who couldn't act their way out of a wet paper-bag are going to the "Rave of the century", rave in question being a few tents, a port-a-potty and a shoddy stage located on small island in the middle of the Pacific. Our gang missed the ferry, but thankfully will find a way to get there, the way being a fisher-boat ran by Kirk (Cpt Kirk? Get it? Man, whoever wrote this script is a genius) and his sidekick who is a bastard child of Simpsons' Cpt McAllister and that hook killer who knows what you did last summer.

To make the long story short, the gang gets to the island, finds nobody there except some bloody T-shirts and then decide to run the hell away from there. No wait, they do not, they actually get all happy and like cos there's free booze.

With that scene the movie hits rock bottom and then against all odds proceeds to go further downhill. Some guys in rubber suits start running around, there is some screaming and shooting, our gang goes to some house to meet some other gang, they go out of the house, meet Cpt Kirk and some police woman (who between them have about 500 pounds of weapons) and then decide to go back to the house. Somewhere along the line they transform into a S.W.A.T. team, enter the Matrix, the rubber-suit guys start multiplying like bacteria and I start to cry because I actually paid to see this. To add insult to the injury, every few minutes there are shots from the video game this crap is based on and there is a cute game-over cut-scene for a few characters when they die.

I seriously hate this movie. It doesn't even fit in that famed "So bad it's good" category. It's just plain bad. The script is bad, the zombies are awful, there is no tension, lines are bad, actors are bad.. the list just goes on.

You will probably want to see this movie just because of its reputation of being awful. Don't. There are bad movies that deserve to be watched. This is not one of them.
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Answer:
I admit the problem I have with the much-celebrated Ealing films I've seen so far could be mine. To my taste, either they are black and rippingly funny, or so light in tone to be unsatisfying as comedies or stories. That's a self-important way of saying I wanted to like "The Man In The White Suit" but found myself struggling to sit through its short run time.

Textile worker Sidney Stratton (Alec Guinness) may be meek in manner, but he is doggedly committed to progress in the form of his attempts to invent a strand of fabric that can't be broken or made dirty. Using a factory lab for his latest experiment, he toils against limitations both material and human - the latter being the benighted mill bosses who don't understand what he is up to, then figure it out and become even more committed to stopping him.

"It's small minds like yours that stand in the way of progress," Sidney complains, practicing in the mirror what he struggles to say to the Man.

One problem with "Man In The White Suit" is that Sidney's vision of progress is awfully small-minded, too, more so even than that of the bosses or the laborers who also resent his work. My problem is more elemental: For a comedy, "White Suit" is not funny. It's a rather earnest script which too often tries to mine its feeble attempts at humor from spit-takes, double-takes, triple-takes, and dizzy takes.

The best joke is the sound of the machine Sidney toils at, going "Bleep-Blop-Bleep-Bop" endlessly and fetching queer looks from every visitor until Sidney either extracts his miracle from it or blows it up trying. Like every other bit of stray humor that functions decently in this film, it's leaned on too long.

I've never seen Guinness less affecting in a movie, even though he looks impossibly young and earnest (though actually in his mid-30s). He seems so bloodless, even more so than the wax-faced general he played in "Doctor Zhivago" He's the same cold fish whether he's ignoring the sad affections of the affecting mill girl who offers to give him her life savings when he loses his job (pan-faced Vida Hope as Bertha) or the more sultry charms of young Daphne Birnley (Joan Greenwood), his one real ally in his fight against "shabbiness and dirt", as she puts it, making those words sound as impossibly sexy as only Greenwood could.

Supporting players make "White Suit" work as well as it does. Ernest Thesinger of "Bride Of Frankenstein" fame plays a singularly nasty captain of industry who looks like Nosferatu and makes a laugh like a death rattle. Howard Marion-Crawford as another factory leader is as memorable here as he was playing a blinkered medical officer in "Lawrence Of Arabia". Then there's the undeniable charm of Mandy Miller as a little girl who steals her few moments on camera right from under everyone else.

But most of the scenes are played so straight that one wouldn't think director Alexander Mackendrick had ever worked on a comedy before (his previous Ealing comedy "Whisky Galore" doesn't reverse that impression, alas). Roger MacDougall's play posits the notion of scientific progress as potential disaster, but fails to present dull Sidney in anything other than the most blandly pleasant of lights.

Ealing comedies are remembered for capturing the human side of comedy. Yet the Ealings I've seen never seem to do this, working only when they play aggressively against our own sympathies. "Kind Hearts And Coronets" and "The Ladykillers" (Mackendrick again, go figure) are classics this way. "White Suit", on the other hand, is a pointless ramble that falls apart when it should cohere, just like that unfortunate suit.