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

Answer: Joe Don's opening line says everything about this movie. It takes place on the island of Malta (the island of pathetic men) and involves Joe Don Baker tracking down an Italian mobster. Joe Don's character is named Geronimo (pronounced Heronimo) and all he does in this movie is shoot people and get arrested over and over agin. Everyone in the movie hates him, just like everyone hates Greydon Clark. I liked an earlier Greydon picture, "Angel's Revenge" because it was a shirne for thriteen year old boys. Avoid this movie at all costs!!
Problem: OPTIONS:
- negative
- positive negative
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Answer: I found a DVD of "I Dream Of Jeanie" in the $1.00 bin at Wal-Mart. When I saw that it was the "story of Stephen Foster", being a musician and music educator, I had to see it. I had no idea what year it was made for it did not say on the cover, just that it was a remake of 1939's "Sewanee River". Bill Shirley's portrayal of the composer is sometimes painful, sometimes laughable. The man has NO testosterone and is a wimp all the way through! I have a difficult time believing Stephen Foster thought music publishers were doing him a favor by publishing his songs...without paying him for them! In addition to that ridiculous notion, there is a nearly 20 minute segment of Ray Middleton and his black-faced "Christy Minstrels" performing Stephen Foster's songs that was difficult to watch, to say the least. I can hardly believe anyone would consider this movie appropriate to resurrect in our current time. It is an embarrassment and should remain forgotten. Fortunately, Stephen Foster's songs will NEVER be forgotten....also, Eileen Christy's portrayal of Jeanie was certainly the highest point in this lowest point of Hollywood history.
An example of a movie review. negative (OPTIONS:
- negative
- positive).

A: I'll say one thing for Jeanette and Nelson--even when stranded in a mirthless, witless, painfully inept musical like this, there's still that twinkle in their eyes. Yes, the chemistry between the famous duo is there even when the material is paper thin. Even when the score is practically a throwaway, non-existent one depending on just a couple of catchy tunes. And even when the circumstances are so unbelievable--yes, even for a fantasy.

Truth to tell, she has more chemistry with Nelson than with her own real-life husband Gene Raymond in SMILIN' THROUGH, which, nonetheless, was a considerably better film.

Sorry, I love Jeanette and Nelson as much as the next fan, but this is the bottom of the heap. Jeanette is more than embarrassing in her one "hep" number with Binnie Barnes--and Nelson can only come up with a blank stare when faced with the most ludicrous situations.

One can only wonder what this was like on Broadway in 1938. Surely, it must have had more wit and style than is evident in this weak MGM production. Edward Everett Horton fizzles in an unfunny role and none of the supporting players can breathe any semblance of life into this mess. It's like amateur night at the studio even with the few professionals sprinkled among the supporting cast.

Summing up: Painfully clumsy rendering of a Rodgers and Hart musical. Can't recommend it, even for fans of MacDonald and Eddy. And even if Jeanette's close-ups still glow with her gossamer beauty, this film is jaw-droppingly bad.
Q: What's an example of a movie review?
An example of a movie review is here: As the story in my family goes, my dad, Milton Raskin, played the piano for the Dorsey band. After Sinatra joined the band, my dad practiced with him for hours on end. Then, at a point in time, my dad told Sinatra that he was actually to good to be tied up with such a small group (band), and that he should venture off on his own. By that time Sinatra had enough credits 'under his belt' to do just that! Dorsey never forgave my dad, and the rest, as they say, is history.

I have some pictures and records to that effect, and so does Berkley University in California.

I have seen just about every Sinatra movie more times than I wish to say, and his movies never get old . . . Thank you Frank
Problem: Write a positive (OPTIONS:
- negative
- positive) movie review.

Answer:
Emilio Miraglia's first Giallo feature, The Night Evelyn Came Out of the Grave, was a great combination of Giallo and Gothic horror - and this second film is even better! We've got more of the Giallo side of the equation this time around, although Miraglia doesn't lose the Gothic horror stylings that made the earlier film such a delight. Miraglia puts more emphasis on the finer details of the plot this time around, and as a result it's the typical Giallo labyrinth, with characters all over the place and red herrings being thrown in every few minutes. This is a definite bonus for the film, however, as while it can get a little too confusing at times; there's always enough to hold the audience's interest and Miraglia's storytelling has improved since his earlier movie. The plot opens with a scene that sees two young girls fighting, before their grandfather explains to them the legend behind a rather lurid painting in their castle. The legend revolves around a woman called 'The Red Queen' who, legend has it, returns from the grave every hundred years and kills seven people. A few years later, murders begin to occur...

Even though he only made two Giallo's, Miraglia does have his own set of tributes. It's obvious that the colour red is important to him, as it features heavily in both films; and he appears to have something against women called 'Evelyn'. He likes castles, Gothic atmospheres and stylish murders too - which is fine by me! Miraglia may be no Argento when it comes to spilling blood, but he certainly knows how to drop an over the top murder into his film; and here we have delights involving a Volkswagen Beetle, and a death on an iron fence that is one of my all time favourite Giallo death scenes. The female side of the cast is excellent with the stunning Barbara Bouchet and Marina Malfatti heading up an eye-pleasing cast of ladies that aren't afraid to take their clothes off! The score courtesy of Bruno Nicolai is catchy, and even though it doesn't feature much of the psychedelic rock heard in The Night Evelyn Came Out of the Grave; it fits the film well. The ending is something of a turn-off, as although Miraglia revs up the Gothic atmosphere, it comes across as being more than a little bit rushed and the identity of the murderer is too obvious. But even so, this is a delightfully entertaining Giallo and one that I highly recommend to fans of the genre!