Problem: OPTIONS:
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- positive positive
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Answer: You've never seen anything like it. Once the coup begins, it's the most dazzling, edge-of-your-seat thriller you'll ever see -- even though you know the outcome. And it's all real, because it's a documentary -- amazing.

By the time it was over, it was on my Top 10 list of All Time Great Movies.

Disregard the slobbering right-wing fanatics. Everyone I know who has seen this film gives it the 4-star rating. Even if you don't care about politics or about Venezuelan politics, you will find yourself nerve-racked and -- believe it -- on the edge of your seat.

It's a roller-coaster ride.
An example of a movie review. negative (OPTIONS:
- negative
- positive).

A: In case half of this film's footage looks strangely familiar, it means you watch way too much of this gory Italian cult-crap! For you see, the notorious demigod Lucio Fulci did not only produce this movie, he also took the liberty of re-using the most sadistic killing sequences in his own (and more easily traceable) "Cat in the Brain". The opening scene already, in which a prostitute is brutally decapitated with an axe, features in Fulci's later film and so do another handful of killings and sleaze moments. Andrea Bianchi's "Masssacre" fails miserably as a giallo, since the search for the sadistic killer among a movie-crew shooting a horror movie is all but compelling and suspenseful, but it's still good entertainment if you're into cheap 'n shlocky horror trash. The incoherent script introduces a whole bunch of repugnant characters who're all potential maniacs, but none of the red herrings Biachi comes up with are plausible and you can point out the killer almost immediately. Whatever remains to enjoy are the truly misogynous make-up effects and the hilariously awful acting performances of the ensemble cast. Whenever there isn't any bloodshed on screen, like between the first and second murder, "Massacre" is a slow and almost intolerable with its inane dialogs and thoroughly unexciting photography. Thankfully in the second half, there are women getting impaled on fences and males being stabbed repeatedly with rusty spikes. The music is crap and the use of filming locations is very unimaginative. My advise would be to skip this puppy and go straight for the aforementioned "Cat in the Brain". That one features ALL the great moments of "Massacre", and then some.
Q: What's an example of a movie review?
An example of a movie review is here: Evil Breed is a very strange slasher flick that is unfortunately no good.The beginning of the film seems promising but overall it's a disaster.The dialogue is pretty bad but not near as bad as the acting.The acting is brutal and unbearable.Most of the characters deliver there lines horribly and even if that is on purpose the method doesn't work because the characters become annoying.Some of the kills are innovative but it took far too long to get to them.After about a half hour through the movie we get the first death (other than in the beginning)and then almost every other character is smoked within the next five minutes.The movie then turned into sort of a spoof with ridiculous looking characters,unrealistic karate like fights,and a scene in which a man gets his intestines pulled out of his a*sscrack.None of it is funny it's just plain ridiculous.The film then becomes ultra gory and ultra pointless.Most of the characters are cliched even for slasher standards and are as solid as butter left on the counter for 5 days.Evil Breed isn't even laughably bad therefore it fails in it's main task.Watch Texas Chainsaw Massacre,Just Before Dawn,or See No Evil for a real slasher.
Problem: Write a negative (OPTIONS:
- negative
- positive) movie review.

Answer: Unlike endemol USA's two other current game shows (Deal Or No Deal and 1 vs. 100), the pacing in this show is way too slow for what is happening on the screen.

DOND and 1 vs. 100 can get away with slow pacing because the games can change pace--or end--at any moment. There is risk involved in every action the player takes, the rewards are wildly variable, and it is difficult for the players to leave with a significant amount of money. Suspense is usually put to good use.

Show Me The Money, on the other hand, is just too slow-paced. When a question is revealed and it is obvious that the player knows the correct answer, you can rest assured that absolutely nothing exciting will happen in the next few minutes. It would greatly help the pace of this show to reveal the correct answer FIRST, and THEN have the player select a dancer, instead of Shat wasting time talking about what will happen if the player gets an answer wrong when we all know they're right. The random dancing is filler that actually feels like filler. Too much time is wasted while not enough is happening... and the fact that players cannot choose to quit the game early guarantees that there WILL be a lot of time wasted.

Oh, and I have NO interest in watching Shat shake his groove thang, especially right after I've eaten dinner.

I am a lifelong game show fan, but even I had a lot of trouble sitting through an hour of this. It either needs major changes or early retirement.
Problem: OPTIONS:
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Answer: Firstly, I have heard great things about this film, not least among the retro/vintage scene and the stockings lovers who absolutely love Bettie Page and it did not disappoint. Shot in very clean black and white with colour added for key scenes, the film gives a documentary feel to the early life and career of Bettie Page.

There are many things I did not know about Page. Firstly, there was the gang rape, later on, there is her early attempts at developing an acting career and then glamour pictures, firstly with a camera club peopled with men who can't get enough of her and later with the Klaws, Paula and Irving, who despite their taking of bondage and fetish photos, come across as extremely pleasant and friendly people. If only modern pornography producers were like that, perhaps better porn would be a consequence! For the most part, the film is neither a diatribe against the evils of pornography but an attempt to show the kind of environment that existed in the 1950s for those producing fetish and nude pictures of women. This environment was extremely repressive, perhaps in a good way because it meant that there was none of the 'saturation' effect that we have today, when it comes to pornography. It also appeared to be much less harsh. Page comes across as someone who enjoys her work and doesn't appear to be degraded by it. In many of her photos she is seen tied up and gagged (and trying to hold a conversation), brandishing a whip with a flourish, thus exciting the photographers taking her pictures and seen in 'initiation style' girlie bondage movies which look quite tame compared with the hardcore stuff we have now.

Page never became an actress and instead deserted pinup when she was in her thirties for 'Jesus Christ'. Her belief in God and Jesus never goes away, even when bound and gagged she still insists that she has been given a 'gift' by God to do 'this thing'. Seeing this film, I am more knowledgeable about Page and in awe at her modesty, beliefs and demeanour. She is one of a kind, compared with the identi-kit clone blondes we have today and someone who can actually say 'There is life after porn'.
Problem: OPTIONS:
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Answer:
I've been waiting for a superhero movie like this for a long time. "Mystery Men" takes its place among the classic comic-strip spoofs on TV like "Batman" and "Captain Nice" and cartoons like "Underdog" and "Super Chicken." The same spirit lives in all of them: the comic tongue-in-cheek tone; the courage to aim for the heroic in life at the risk of looking ridiculous; the not-so-sure-footed way that these characters manage to prevail over their adversaries. It's the misfired spark of nobility igniting in the weak and the ordinary, and it's wonderful to see it glow so high and bright here.

"Mystery Men" opens on a party at a nursing home. I wish Kinka Usher had had the sense to give more energy and life to the old people in the scene. As it is, it looks like something George Romero might have devised. We need to get the feeling that these old people are as sharp as everyone else, or it feels patronizing. By the time the Red Eyes crash the festivities, you half expect Tom Waits who plays a weapons inventor with a penchant for ladies in their eighties to stand up and shout: "Just what this party needs--a little excitement!" If writer Neil Cuthbert had any sense, he would have had Waits mixing it up with the intruders and egging on the partiers to do the same. It would have made for a rousing beginning, and a better introduction of the troublesome trio: the Shoveler (William Macy); the Blue Raja (Hank Azaria); and Mr. Furious (Ben Stiller), who seem to come out of nowhere to save the day.

There are many other problems to "Mystery Men" than I care to go into; among them that the villain Casanova Frankenstein needs to have as cultivated a sense of the absurd as the rest of the people in this movie, and he doesn't. Geoffrey Rush is the wrong actor for the part; he needs to be way over the top to make the conflict between good and evil a galvanic one. And Rush has never exhibited a talent for the outre. You hope for the ripe theatrics of a John Lithgow in "The Adventures of Buckaroo Banzai" or the dry, debonair diffidence of a Paul Freeman in "Raiders of the Lost Ark." Instead what we get is pastiche; something half-baked and not fully realized.

There are too many ideas running through "Mystery Men" for anyone to tie them neatly together, and that may be its deepest problem. But whatever kind of a mess it is is the kind of mess I love. Ben Stiller has always seemed to be slumming in the roles he takes. This one is no exception, but he goes at it with such conviction that you come away feeling that he'd learned something about comedy growing up in a household run by Jerry Stiller and Anne Meara. His Roy is related to all the put-upon, overly sensitive, chronically defensive types that Woody Allen made popular. And whether it's wheedling his way into the affections of the waitress at his favorite hangout (the sleek Claire Forslani), or questioning the wisdom of a fellow superhero (Wes Studi as the Sphinx), or giving a new member of their "elite" group (Jeaneane Garofalo in what are possibly her funniest moments on screen) a hard time, he makes it always fun to watch. I couldn't exactly say that about him in "There's Something About Mary."

Jeaneane Garofalo proves with this performance that she should have been the star of "One True Thing," not Renee Zellweger. I don't think I have ever seen funnier exchanges between a daughter and father (okay, so he's dead and his skull is in a bowling ball, so sue me) in the movies. And the funny part about this role is that it feels like a screwball reprise of Emily Watson's spellbinding talks with God in "Breaking the Waves." And in this version, the girl doesn't die, and bells don't ring in your head.

William H. Macy does something very difficult; he makes stolid magnetic. You understand right away what's attracted Jenifer Lewis' Lucille to Eddie. You can also understand her exasperation. The barbecue alone would be enough to drive me over the edge, but when Eddie's adorable, half-breed son looks up at his father and says "I believe in you, Daddy." to which Lucille sighs and exclaims, "Roland, don't encourage your father," you feel like standing and hailing Neil Cuthbert as a first-rate wit.

With Hank Azaria (whose only moment of note in film up to this point was his bare behind in "The Birdcage") and Louise Lasser (Has it been more than two decades since we first took note of her in "Bananas" and "Mary Hartman, Mary Hartman?") as son and mother who share a fondness for silverware; Greg Kinnear as Captain Amazing and Ricky Jay as his publicist; Kel Mitchell as "Invisible Boy"; Paul Reubens as "The Spleen;" and Lena Olin who, if she didn't have the few lines in this movie that she has, would seem to be visiting the set.