Q: All you need to know about this film happens in the first five minutes: it looks cool, it has a solid original soundtrack reflective of the late-60s period, and all but a couple of its characters are unlikeable. Once you get that message, you may as well switch to another film.

Davies's protagonist ignores his beautiful girlfriend, one of the few people in his life who cares about him. Then by the time he takes her advice to join her in the real world--instead of living a fantasy film of which he's the imagined director--he does so by pushing her aside and pairing up with an actress he's idealized beyond reason. A couple laughs and some thoughtful art direction are the only things worth watching here.

The film is also interesting as documentation of Jason Schwartzman's fall from Mount Rushmore. In Rushmore, Schwartzman's annoying brattiness was something to be overcome, but here it's his character's only quality. Schwartzman's family connection clearly landed him in this role; here's hoping his choices improve.
A: negative
Q: Maaan, where do i start with this god awful movie. Bad bad bad story telling. I do not know what the director was thinking when he made this movie. Namaste London was quite an enjoyable movie to be honest..even the soundtrack was good. But in this one..oh my good..for a movie which is supposed to be a musical one..the songs are soooo bad. AR Rahman should have been the music director.

Given two great actors a much better job should have been done by the director. Even though the first half sucks, the last 30 mins of the movie are OK. Performances from Salman and Ajay save the movie from being a total disaster.

Watch it if you have nothing better to do. The last good movie from Bollywood i watched ( and i do watch a load of them) is Dev D and Wake Up Sid.
A: negative
Q: Engaging, riveting tale of captured US army turncoat who has to prove his innocence to avoid the hangman. Paul Ryker dodges friendly fire in a seemingly doomed attempt to convince a military court that he was actually a US spy on a secret mission in Korea.

In the vein of classic courtroom dramas, "Sergeant Ryker" is an extremely well crafted mystery, ably guided by an outstanding cast, director Kulik's constant momentum, and effective plot twists and turns.

This film was originally made as a television movie in 1964, and subsequently beefed up for this revision with the presence of many "name" actors, and some action sequences. Dillman, reprising his role, is spot-on as the doubting defence attorney, whose attentions sometimes stray to the personal plight of Ryker's supportive, yet somewhat distant wife, played with aplomb by Vera Miles. Rounding out the frontline is Peter Graves for the prosecution, and Norman Fell and Murray Hamilton in key supporting roles.

Marvin's interpretation of the Paul Ryker character is a balanced depiction of a simple but dedicated man whose normally laid back demeanour is challenged by the desperate circumstances in which he's placed. Marvin switches perfectly from resigned indifference, to passionate determination, giving a convincing, often intense performance that is the highlight of this otherwise small-scale drama. It's this performance that should elevate the film to a platform where it occupies a place on the best-ever lists of courtroom dramas.

However, despite its apparent obscurity, "Sergeant Ryker" still remains a taut and compelling examination, like a book that you just can't put down. Highly recommended.
A: positive
Q: I'm going to have to disagree with the previous comment and side with Maltin on this one. This is a second rate, excessively vicious Western that creaks and groans trying to put across its central theme of the Wild West being tamed and kicked aside by the steady march of time. It would like to be in the tradition of "Butch Cassidy and the Sundance Kid", but lacks that film's poignancy and charm. Andrew McLaglen's direction is limp, and the final 30 minutes or so are a real botch, with some incomprehensible strategy on the part of heroes Charlton Heston and Chris Mitchum. (Someone give me a holler if you can explain to me why they set that hillside on fire.) There was something callous about the whole treatment of the rape scene, and the woman's reaction afterwards certainly did not ring true. Coburn is plenty nasty as the half breed escaped convict out for revenge, but all of his fellow escapees are underdeveloped (they're like bowling pins to be knocked down one by one as the story lurches forward). Michael Parks gives one of his typically shifty, lethargic, mumbling performances, but in this case it was appropriate as his modern style sheriff symbolizes the complacency that technological progress can bring about.
A: negative