Problem: OPTIONS:
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Answer: I don't know what the Oscar voters saw in this movie, but they must of seen some pretty hard stuff to see in it to be able to award it with the best picture Oscar. All I know is that fortunately there was Gene Kelly to play in it or this would have been twice as bad as I believe it is. First of all, I don't think Leslie Caron was really fit to play such a role. She isn't that talented, she isn't a great dancer and she's not good looking at all. It's a shame that one actor or actress may ruin a movie just like by playing in it because if Leslie Caron hadn't been in this, it might have made a terrific movie. The story was intelligent, the directing wasn't bad, and, as I said, Gene Kelly was pretty good. Now I'm not saying all this stuff about Leslie Caron just to criticize her, I'm just saying it because I think that's what the worse part of the movie is. She's probably a good actress but I can't tell because I haven't seen her in anything else but I think she was pretty bad in "An American in Paris". So if you want to see it, go ahead but I'm telling you, you're way better off watching "Singin' in the rain".
An example of a movie review. positive (OPTIONS:
- negative
- positive).

A: The only other film besides Soylent Green that has such an air of hopelessness is On the Beach. Both films deal with the consequences for the species and the planet from man made cataclysms. On the Beach with nuclear war and Soylent Green with the environmental poisoning of the planet.

Maybe there's cause for some optimism because as of 2007 we haven't reached either of the worlds described in those films and we were supposed to by now. New York City still has about 8 million people not the 22 million by the turn of the millenia as described in Soylent Green. Environmentalists always hail this film as showing the consequence of global warming. For myself it also shows the Right to Life ethic run amuck. Obviously there's no family planning in this world either.

Charlton Heston is an NYPD detective who lives with room mate Edward G. Robinson who's old enough to remember the Earth before catastrophe struck. There's been a murder committed, Joseph Cotten an executive with the Soylent Corporation, a multi-national concern that has come up with a food product, some kind of wafer in many colors to feed the world's population. It's latest product is Soylent Green.

The investigation finds Charlton Heston getting his man, but also it leads to some horrifying truths about the Soylent Corporation and the future of mankind. As Heston shouts in the end that Soylent Green is made of people, that we've become a race of cannibals, the horrifying thing is that there is no alternative. We've exhausted the planet and we have to eat our dead to survive.

This was the farewell performance of Edward G. Robinson and in his memoirs Heston spoke movingly of Robinson even though they had differing political views. A few weeks after Robinson wrapped that final scene of his screen demise by consented euthanasia, he passed away in real life. Not many did, but Heston knew that Robinson was terminally and there was no acting involved in that final death scene between the two of them.

Though the timetable was off, it doesn't mean that the world envisioned by Soylent Green may not come to pass. Hopefully we'll have not just the intelligence, but the sense of shared responsibility to keep that from happening.
Q: What's an example of a movie review?
An example of a movie review is here: The acting is some of the worst I've ever seen, the characters are totally unconvincing. This could be overlooked to some extent if the plot was interesting, which the plot to "The Prodigy" was not. It's sort of a bad mix between "Fresh" and "Animal House", except that both of those movies were good.
Problem: Write a positive (OPTIONS:
- negative
- positive) movie review.

Answer: It's good to see that Vintage Film Buff have correctly categorized their excellent DVD release as a "musical", for that's what this film is, pure and simple. Like its unofficial remake, Murder at the Windmill (1949), the murder plot is just an excuse for an elaborate girlie show with Kitty Carlisle and Gertrude Michael leading a cast of super-decorative girls including Ann Sheridan, Lucy Ball, Beryl Wallace, Gwenllian Gill, Gladys Young, Barbara Fritchie, Wanda Perry and Dorothy White. Carl Brisson is also on hand to lend his strong voice to "Cocktails for Two". Undoubtedly the movie's most popular song, it is heard no less than four times. However, it's Gertrude Michael who steals the show, not only with her rendition of "Sweet Marijauna" but her strong performance as the hero's rejected girlfriend. As for the rest of the cast, we could have done without Jack Oakie and Victor McLaglen altogether. The only good thing about Oakie's role is his weak running gag with cult icon, Toby Wing. In fact, to give you an idea as to how far the rest of the comedy is over-indulged and over-strained, super-dumb Inspector McLaglen simply cannot put his hands on the killer even though, would you believe, in this instance it happens to be the person you most suspect. Director Mitch Leisen actually goes to great pains to point the killer out to even the dumbest member of the cinema audience by giving the player concerned close-up after close-up.
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Answer:
When someone remakes a classic movie, the remake is always unfavorably compared to the original. Also, there's a chance that the remake is so radically different that it is just too unfamiliar to audiences.

Well, the 1973 TV version of "Double Indemnity" has almost identical scenes and dialogue as the 1944 original. The main difference is that the remake just seems to have no energy at all. Fred MacMurray was great as the lecherous, leering insurance agent Walter Neff in the original; Richard Crenna just seems world-weary and tired. Edward G. Robinson brought great manic energy to his role as MacMurray's boss Barton Keys; Lee J. Cobb, a fine actor, appears almost bored with the proceedings. Samantha Eggar is all wrong as the conniving, back-stabbing Phyllis Dietrichson; while Barbara Stanwyck was just superb in this wicked role, Eggar is overly polite and mannered and just seems way out of place.

Robert Webber, in the old Richard Gaines role as Robinson's boss Norton, and John Fiedler taking the Porter Hall role as the crucial witness, bring some life to the movie. In particular, Webber recreates the Norton role well in a 1970s context.

However, after the movie starts, the whole thing just sort of lies there, without any life or electricity. This is one film that never should have been remade.