Problem: Write a positive (OPTIONS:
- negative
- positive) movie review.

Answer: Director Samuel Fuller concocts a brilliant visual set-up: cocky pickpocket unwittingly lifts some microfilm from a woman's purse; it turns out she's a courier for the Communists, and now she and the grifter are being watched by the police. The Film Noir Formula is all its glory--before the ingredients became cliches--including waterfront locales, floozies, saxophones on the soundtrack, and one hell of a climactic fistfight. Performances by Richard Widmark and Jean Peters are right on target, and the smart, sharp script is quite colorful. Fabulous Thelma Ritter received an Oscar nomination for knockout supporting role as a "professional stoolie". Exciting, atmospheric, tough as nails. *** from ****
Problem: OPTIONS:
- negative
- positive negative
=++++=
Answer: I saw this movie in a theater in Chicago and should have enjoyed it, since I love Nemesis but if the first half an hour is skillfully done, the rest is just sub-Predator video fodder, a long chase through those post-modern empty factories Pyun affectionnates. My girlfriend fell asleep. I still like Pyun though, but not this
An example of a movie review. negative (OPTIONS:
- negative
- positive).

A: Hey look, deal with it, there are much better portrayals of the hardship of black America than this. Although I think this story is weak, my criticism is focused on the poor execution of the story, which I have mentioned, blows.

This was made in the mid-80's and is horrible in the music/score department. It's funny to see Oprah as a latter-day crack-whore type.

The scene where Bigger stuffs Elizabeth McGovern into the incinerator. Pure classic cinema. First off, I don't care how drunk you are, you will react to 1200F degree flame (no matter how bad your acting). But they really milked that scene...it was comical. I'll tell you what though, I had great satisfaction in seeing Elizabeth McGovern burn in a faux death; she annoys me.
Q: What's an example of a movie review?
An example of a movie review is here: 'Where the Sidewalk Ends (1950)' opens, appropriately, with Dana Andrews' and Gene Tierneys' names inscribed on the sidewalk, as dirty water streams down between the bars of a sewer grate. The sidewalk represents respectability, integrity and morality only crooks and delinquents walk in the gutter. But even the most honourable of men have a tendency to misstep on occasion, and, when the sidewalk abruptly comes to an end, sometimes it proves impossible to avoid getting one's shoes wet. Mark Dixon (Dana Andrews) was born in the gutter, his father a professional criminal, and has spent his entire life clawing his way back onto the sidewalk, perpetually balanced on the edge of the kerb. As a police detective, Dixon wants nothing more than to display the decency and integrity that his father lacked, but he possesses a mean-streak that he can't escape. When his quick temper leaves a murder suspect dead, Dixon finds himself becoming the very father whom he despised, a cheap criminal who'll cheat and lie to cover up his offence.

'Where the Sidewalk Ends' was the only film to reunite Dana Andrews, Gene Tierney and director Otto Preminger after the superb 'Laura (1944),' though the two films, as far as noir goes, couldn't be further apart. Whereas the earlier picture had the strong intimacy of a country-house murder tale, this film is more conventional as a gritty urban police drama. Given her ravishingly memorable performance as Laura Hunt, it's unfortunate that here Tierney is grossly underused, occupying the typical niche of the pretty, helpless romantic interest {much as she did that same year in Jules Dassin's 'The Night and the City (1950)'}. Andrews, on the other hand, has rarely been better, exhibiting a toughness and unhinged anger that I hadn't expected of him. Gary Merrill is suitably smug as the crime boss Scalise, but he doesn't seem mean enough for the role, and I think that an actor like Richard Conte (who played Mr. Brown in 'The Big Combo (1955)') would have better suited the character; I hadn't realised this, but Conte appeared just one year earlier in Preminger's 'Whirlpool (1949).'

The tension, as Dixon attempts to cover up his accidental crime, is absolutely riveting certainly among the most suspenseful sequences of its era though I feel that the situation still wasn't exploited to its full potential. The taxi driver is the only person who could have decisively identified Dixon as the perpetrator, but Preminger hurriedly skims over the moment when he passes Dixon on the stairs. Had the witness been brought in as Dixon was re-enacting his own movements outside the apartment entrance, we could have had some genuine fireworks. And why, for that matter, couldn't the taxi driver's testimony have immediately absolved Jiggs Taylor (Tom Tully) from suspicion of murder? Niggling inconsistencies such as these tarnish an otherwise excellent screenplay from Ben Hecht, who infuses his gritty criminal underworld with hard-hitting cops and wise-cracking felons. Andrews' seething and implosive law-enforcer, tormented by rage and remorse, has rarely been done better, at least the equal of Robert Ryan in Nicholas Ray's 'On Dangerous Ground (1952).'
Problem: Write a positive (OPTIONS:
- negative
- positive) movie review.

Answer: An entertaining and substantive film, Non-Stop has drawn deserving comparisons with "Run Lola Run". The film quickly develops into a chase sequence, during which the viewers learn about the three main characters through flashbacks and daydream sequences. The chase serves not as as a fast-paced climax, but as a journey that makes up the majority of the film. During the "run" we see the characters grow and momentarily forget about their dreary lives, about the "macho" roles they've bought into, and eventually forgetting about why they started running in the first place. Much like fighting provided a "clarity" for the characters in "Fight Club," running provides this film's characters with a means to step away from the false values that we all allow society to create for us. Their running serves as way to truly taste life from an unclouded perspective, and all three find some level of clarity and joy in the process.

My appreciation and enjoyment only wavered slightly in the ending of the film, where instead of learning from their experience, the characters seem to revert to acting out those false macho roles I thought they had escaped from through their journey.

Still, the only true problem with this film is that it wasn't distributed outside Japan sooner.
Problem: Write a negative (OPTIONS:
- negative
- positive) movie review.

Answer:
OK, plain and simple, if you are a fan of the other Tomb Raider games (yes, even AOD) KEEP AWAY FROM LEGEND.

It is, without doubt, the most disappointing TR game yet. It looks very nice, it sounds very nice, but it is totally unplayable and I've given up. I feel like I've been robbed by Eidos.

It's very simple. TR was a PC game before anything else. You control Lara using the keyboard. In 6 Tomb Raider games the controls were standard. In AOD they were 'tacky', but still the same general control sequences. In Legend they have changed her movement and control methods completely and she is totally uncontrollable.

I have seen comments elsewhere from people who say 'Use the mouse'. No, why should I? Others say 'Use a gamepad'. No, why should I? Others say 'But this has been the standard for 3rd person controls for years' Well, I don't care, it is not the standard for any other TR game so why mess with it. Oh, I know, because they couldn't care less about their original, loyal fan base, they want to cash in on the new kids who hadn't even heard of the series until the movies came out and make lots more money. Pathetic.

My advice to any serious TR fan is keep away from this game, and if you do buy it complain to Eidos. I have seen masses of other posts, mainly on the Eidos forums, from people telling them how rubbish it is, perhaps they will listen.