Q: i can't figure out who greenlighted this thing! it has no redeeming qualities, none, nada, zip, zilch.

the acting was bad. the directing was bad. the writing was bad. the plot was bad. the music was bad. the editing was bad. ....well, at least the filmmakers were consistent. OPTIONS:
- negative
- positive
A: negative
Q: Maddy (Debbie Rochon) is a mentally unstable young woman with a troubled past who gets more than she bargained for when she goes to a pool party with a handsome coworker. When her date and his friends jokingly say they belong to a 'Murder Club,' Maddy takes it seriously and moves straight up to 'Level 3' by bashing in the brains of a woman in a parking garage (for denting her car!). But is Maddy also the one donning a plastic mask and killing off other members of the group or has someone else lost it?

The plot of this film (originally titled MAKE 'EM BLEED) is very poorly conceived, full of holes and spirals completely out of control before a ludicrous, out-of-left-field twist ending. Some of the dialogue is downright laughable. I didn't have a problem with Rochon's performance, but the supporting cast was atrocious. However, I managed to sit through this Full Moon release thoroughly entertained. There's plenty of skin and blood and it's the perfect type of flick to sit around with a group of your buddies and pick apart. Horror fans may also enjoy the cameos from Brinke Stevens and Lloyd Kaufman (as Debbie's parents) and Julie Strain (an early victim).

Score: 4 out of 10 OPTIONS:
- negative
- positive
A: negative
Q: I had to give this film a 10 simply because it did what so many films thrown at black audiences have FAILED MISERABLY to do. This film was void of all the video whore cliches, and it also skipped the gangsters, rappers, and foul language. It examined several relationships among physicians, African Americans, and African American male/female romantic relationships on a completely new and refreshing level. I was highly impressed with the films careful mix of light headed humor with some pretty tough and heavy issues. The film will leave you feeling happy and sad all at the same time. I saw it at the Boston Film Festival as well. It premiered at AMC Loews Boston and I truly hope this film makes it to much larger audiences. Black People (and EVERYONE else) would LOVE a movie like this- if only the industry was SMART enough to put them out there!

As an extra- if your a doctor, a resident, a medical student, a premedical student, married to a doctor, have a doctor sibling, have a doctor in the family, or know a great doctor period- they would love this film as well. It portrayed residency and the practice in a true-to-life way that was greatly appreciated by the doctors, residents, and medical students who viewed the film. Dennis Cooper completely his residency in internal medicine- so he definitely applied his knowledge/experience to the film and that is greatly apparent. OPTIONS:
- negative
- positive
A: positive
Q: Filmed by MGM on the same sets as the English version, but in German, Garbo's second portrayal of "Anna Christie" benefited from practice and her apparent ease with German dialog. Garbo appears more relaxed and natural under Jacques Feyder's direction than under Clarence Brown's, and her silent movie mannerisms have all but disappeared, which made her transition to sound complete. The strength she brought to the character remains here, although it has been softened, and Garbo reveals more of Anna's vulnerability. The entire cast, with the exception of Garbo, is different from the previous version of the film, and Garbo benefits from not having to compete with Marie Dressler, who stole every scene she was in during the English-language version. In Feyder's film, Garbo holds the center of attention throughout, although the three supporting players, particularly the father, gave excellent performances.

Feyder's direction was more assured than Clarence Brown's, and his use of the camera and editing techniques did not seem as constrained by the new sound process as did those of Brown. The film moves with more fluidity than the English language adaptation, and the static nature of the first film has been replaced with a flow that maintains viewer interest. Even William Daniels cinematography seems improved over his filming of the Brown version. He captured Garbo's luminescence and the atmospherics of the docks with style. Also, the screenplay adaptation for the European audience made Anna's profession quite clear from the start, and the explicitness clarifies for viewers who were unfamiliar with the play as to what was only implied in the Brown filming. However, the film was made before the Production Code was introduced, which made the censorship puzzling.

Garbo's Oscar nomination for "Anna Christie" was always somewhat mystifying, and I suspected that the nod was given more in recognition of her relatively smooth transition to sound films than for her performance. However, some of the Academy voters may have seen the German-language version of the film, and they realized, as will contemporary viewers, that her "Anna Christie" under Feyder's direction was definitely Oscar worthy. OPTIONS:
- negative
- positive
A: positive