An example of a movie review. positive (OPTIONS:
- negative
- positive).

A: Think Pierce Brosnan and you think suave, dapper, intelligent James Bond. In this movie, Brosnan plays against type - and has lots of fun doing so (as does the audience). This is a film about a hired assassin who befriends a harried businessman... and it works!

This is a fun movie, with very good scenes (a riveting, on-the-edge Brosnan and a good, compliant "off"-the-edge Kinnear have some good lines). My only cavil is that Hope Davis, playing the oh-so-tolerant wife ("Can I see your gun?") doesn't appear more often: she could have been a marvellous foil to these men.

This movie is like a matador: it plays with the audience, while "going for a kill". The ending is awesome because a storyline (with a positive moral!) emerges: this is a frenetic, frantic and fun movie, which does deserve a wide audience.
Q: What's an example of a movie review?
An example of a movie review is here: "Midnight Cowboy" was never a great movie to start with but it is a classic. You know it's a classic the moment its insistent theme song, 'Everybody's Talking' starts up on the soundtrack, (actually not written for the film), and the way the camera introduces us to Joe Buck, (naked and in the shower). We had seen Jon Voight before but had never really noticed him but when he tells us he's 'one helluva stud' who's to doubt him? This was a great performance that had iconic star status as well as a complete grasp of the character and if Voight had never done anything else, his performance here would still be legendary. As it is Voight has seldom disappointed on screen; even a piece of ham as well cured as his performance in that glorious rubbish "Anaconda" is a source of pleasure).

The film became famous and infamous almost overnight. It was a crowd-pleaser, (even with its downbeat ending), funny and sexy and recognizably 'real'; (it was the tail-end of the sixties and all the characters rang true). It was also the first 'X' rated film to win the Oscar as the year's Best Picture. Adapted, (brilliantly), by Waldo Salt from a James Leo Herlihy novel it was probably the first main-stream commercial American movie to deal with 'taboo' subjects such as homosexuality and drug-taking in a matter-of-fact manner. Everyone is recognizably human, warts and all, and everyone is treated sympathetically. Voight's Joe Buck is an innocent abroad, a Candide who comes to New York to seek his fortune as a hustler, (a profession he sees as glamorous and not seedy; he's a cross between a gigolo and a social worker). But when he himself is hustled by a scraggy, wormy little con-man called 'Ratso' Rizzo, (Dustin Hoffman, fresh from "The Graduate" and he's a revelation), he realizes that perhaps the reality is a little different from the pipe-dream.

Essentially it's a male love story, (though totally platonic), between these two not so unlikely bedfellows. Both totally alone, both totally needy each becomes the protector of the other, (Voight with his physical prowess, Hoffman with his street-wise savvy). They are misfits adrift from the mainstream, tolerant of their own peculiarities and the deviances of others. Though 'straight' Voight isn't beyond a homosexual encounter in a 42nd street cinema with a boy even lonelier than himself. (The whole film posits a strangely 'Christian' attitude).

It's also magnificently acted. While Voight and Hoffman hold the screen throughout there are superb vignettes from the likes of Brenda Vaccaro and Sylvia Miles as well as John McGiver, Bob Balaban and Bernard Hughes as sundry customers and hangers-on, beautifully delineated little character studies that seem to transcend acting altogether while John Schlesinger's direction gives the film the feel of a documentary as well as an alien's totally detached eye-view of the American under-belly without rancor and without criticism. On second thoughts, maybe it is a great movie after all.
Problem: Write a negative (OPTIONS:
- negative
- positive) movie review.

Answer: This piece of crap might have been acclaimed 60 years ago, but it is one of the most racist movies ever made with the Native American Indians played by white men. The right-wing Republican James Stewart was a huge racist in real life, just like his close friend John Wayne. In 1971 Stewart had actor Hal Williams fired from "The Jimmy Stewart Show" (a short-lived series that mercifully flopped) just because Williams was black. As if that were not bad enough, this film is very dated and boring. Watch "Dances with Wolves" instead for a less racist view.

Stewart was in his forties when this awful movie was made, and even with his ridiculous wig he still looked like a paedophile chasing after 16-year-old Debra Paget. I'm surprised it was even allowed.

0/10.
Problem: OPTIONS:
- negative
- positive positive
=++++=
Answer: Madhur Bhandarkar has given it all raw. But the best part is he hasn't forgotten to give the ingredients. It has come short and crisp to the viewer and it is the audience to make the choice now. Page 3 is a revelation of the naked truth irrespective of the crudeness attached to it.

Madhavi (Konkan Sharma) is a journalist and enjoys her work. A simple and peaceful life adores her with a caring boyfriend and a nice roommate Pearl. She covers the Page 3 (Celebrity Page) of Nation Today, where she has a very supportive editor Deepak Suri (Boman Irani.) But life takes turn for her as she hits the first bump and takes herself away from Page 3 and goes into Crime bit. Omigosh! a whole new world was waiting for her there. She is shocked, excited, stunned with the revelation. Her reaction has resulted in losing the job. At the end she is back to Page 3. Now when she meets any celebrity in a party, she knows the actual looks of each, hidden under the illusive face.

The movie has a message and it is crude. The audience needs to get it in their own color. The theme and the screenplay was fantastic. There are some very good thoughts applied to prepare the audiences. Like the foreplay-club is shown before the pedophiliac exhibition, the short suspense before gay-actions in bathroom. The dialogs are strong and the actors are really good at delivering it. Charu Mohanty's 2 words speaks volumes and he is very successful in uttering those two words with such ingenuity, it leaves an impact. The set selections could have been better. The songs don't stand anywhere; but they were needed in the background. Atul Kulkarni has a small role with high-impact. There were a few flaws visible. Atul Kulkarni explaining Konkan Sharma that honesty should be tagged along with intelligence. There could have been a better dialog as this sounds like a preach. The meeting between Thapar and his daughter doesn't call for acting. That scene looks very unprofessional.

Overall it is a must-watch movie with selective options before the pedophilia incident. That may spoil your mood.
An example of a movie review. positive (OPTIONS:
- negative
- positive).

A:
(There isn't much in the way of spoilers, since there isn't a plot to reveal, but still, I guess I describe some of what happens so...) This is it. This is THE most nonsensical film I've ever seen. There are simply no words to describe this movie, although "bizarre" "ridiculous" and "ego trip" are pretty close. the opening half hour or so are really, really weird music videos, with absolutely no plot or continuity, apart from that MJ falls into some from the previous. One of the highlights of this part of the "film" in the section where MJ is flying a merry-go-round aeroplane through what seem to be half-arsed bond intro rejects and sections cut from Yellow Submarine (dear lord you could not make this up).

Then, with a little over an hour remaining, the "film" begins, with a lot of claymation (some of it really creepy) spotting our "hero" and chasing him looking for an autograph. Obviously, this leaves our as of yet mute (discounting songs) lead somewhat worried, and he manages to temporarily lose them. Fortunate for him, because it means he can witness a falling star and, and again, I'm not making this up, turn into a claymation rabbit. He uses this cunning disguise to try and sneak past them, but, for reasons I can't recall right now, they see through it (oh no!) and the creepy chase begins again. Cue another song (big shock there).

Shortly after the end of the chase, MJ somehow brings the rabbit to life, until he is busted by a policeman (in the middle of the desert) because it is, apparently, illegal to dance there.

The rest of the film is equally as strange, highlights including MJ cleaning up a bar to the tune of Smooth Criminal, including shooting a man with his finger, not only killing the guy, but burning his shadow into the wall, a la nuclear fission weapons. Another good moment is when MJ, seeing, Mr Big (Joe "what the hell happened to his career at this point?" Peschi) kidnap one of the children he was friends with, magically creates a tommy gun, and in another moment of violence that pepper this film seemingly at random, opens fire at everything that moves. A final moment I shall mention is when MJ, surrounded by Mr Big and his private army. Seriously, this guy has dozens of people working for him, and they're decked out more like commando units rather than mobsters, which I guess they are. How does he get out? Why, he turns into a robot, complete with weapons and shield. This is the third of four transformations he makes, almost always when backed into a corner and/or on the run.

This film is quite, quite surreal, with little in the way of plot, and virtually no continuity.