input: I really, really didn't expect this type of a film outside of America. How anyone can take the subject of sexually abusing children and turn it into a "thriller" is just sick. Auteuil (whom I had previously admired) going around like some sort of child-saving Rambo was ignorant and insulting to all the children being sexually exploited around the world.

What's doubly depressing is that the stunning and ground-breaking film "Happiness" came out the year BEFORE this film. Menges and his cohorts should be ashamed of themselves. It's admirable to read some of the comments by the more intelligent viewers out there. They were able to see the shoddy and ridiculous handling of this topic. Those of you who think this is great cinema display a disgusting amount of ignorance and you need to watch "Happiness" to open your minds to the true horrors of pedophilia.

Do you think your child is more likely to be kidnapped and sold into sexual slavery or be molested by a neighbor, teacher, friend or even a relative? Hmm...I wonder. If they are going to make a film about international child slavery of whatever kind they owe it to everyone to make it realistic and emotionally involving instead of this button-pushing crap. 1/10

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pos/neg ans: negative

input: Luchino Visconti was light years ahead of his contemporaries. The great directors of Italy of the 40s and 50s were men who understood the medium, but it was Luchino Visconti, a man of vision, who dared to bring a film like to show what he was capable of doing. He clearly shows his genius early on in his distinguished career with "Ossessione", a film based on James Cain's "The Postman Always Ring Twice", which was later made by Hollywood, but that version pales in comparison with what Visconti achieved in the movie. Luchino Visconti and his collaborators on the screen included an uncredited Alberto Moravia, a man who knew about the effect of passion on human beings.

The film has been well preserved in the DVD format we watched recently. The film is a must for all serious movie fans because we can see how Visconti's vision translated the text into a movie that rings true in a plausible way, something the American version lacked.

What comes across watching the movie, is the intensity which the director got from his key players. The magnificent Clara Calamai does an amazing job as Giovanna, the woman who has married an older man, but when Gino appears in her life, all she wants to do is rid herself of the kind man who gave her an opportunity in life. Giovanna is one of the best creations in Ms. Calamai's achievements in the Italian cinema. The last sequence of the film shows Ms. Calamai at her best in the ironic twist that serves as the moral redemption for the monstrous crime that was committed.

Equally excellent is Massimo Girotti, one of the best actors of his generation who appears as Gino, the hunky man that awakens the obsessive passion in Giovanna. Gino is the perfect man for Giovanna, something that Mr. Girotti projects with such ease and sophistication not equaled before in the screen. Mr. Girotti makes the man come alive in a performance that seems so easy, yet with another actor it might not have been so apparent. Juan DeLanda is seen as Giuseppe, the older man who fell in love with Giovanna. In fact, his character rings truer than his counterpart in the American film, where he is seen more as a buffoon.

The film is beautifully photographed by Domenic Scala and Aldo Tonti. They gave the film a naturalistic look that was the way Italian directors of the era favored. The original musical score of Giuseppe Rosati is perfect. Visconti, a man who loved opera and was one of the best directors, also includes arias by Bizet and Verdi that fit well in the context of the movie.

"Ossessione" is a film to treasure because we see a great Luchino Visconti at the top of his form.

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pos/neg ans: positive

input: I read Holes in 5th grade so when I heard they were doing a movie I was ecstatic! Of course, being my busy self, I didn't get chance to see the movie in theaters. Holes was at the drive-in just out of town but, alas, We were just too busy. I was surprised to hear that all my friends had seen it and not one of them had invited me! They all said it was good but I've read great books that have made crappy movies so I was definately worried.

Suddenly the perfect opportunity to see it came. It was out that week and my parents were going on a cruise and I was left to babysit. My sister, who is 9, and I watched it and absolutely loved it! I then took it to the other people I was babysitting's house and their kids, 9 and 4, liked it too. Even my parents loved it and they're deffinately movie critics. Overall, I recommend this movie is for anyone who understands family morale and and loves a hilarious cast! This movie should be on your top 5 "to See" list!!!!

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pos/neg ans: positive

input: This is very dated, but that's part of the charm with this 1933 movie. You can say the same for most Pre-Code films; they're just different, and usually in an interesting way.

It was the short running time, the great acting of Spencer Tracy and the beautiful face and sweetness of Loretta Young's character which kept me watching and enjoying this stagy-but-intriguing film.

You'd be hard-pressed to find a nicer girl than "Trinna," played by the 20-year-old Young who was already into making her 50th movie! (She started acting as a small child. That, and the fact they made movies quickly back in the old days.) The camera, although in soft focus throughout much of the film, zoomed in on Loretta's face and eyes many times and I was mesmerized by her beauty.

Playing a crotchety man with a cynical outlook on life, Tracy's "Bill" slowly transformed into a loving man, thanks to Trinna. Spencer delivered his lines here with such naturalness that you hardly knew he was acting.

Although they have small roles, supporting actors Walter Connolly, Marjorie Rambeau, Arthur Hohl and Glenda Farrell leave lasting impressions long after viewing this 75-minute film. I was particularly fascinated with Connolly's role as the minister/father figure of the camp.

The story is a little far-fetched but - hey - that's the movies. This story is about two lonely Great Depression victims trying to survive in a "Hooverville"-type camp and it winds up to be a very touching tale.

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pos/neg ans:
positive