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

A: I'm a fan of the series and have read all 7 books. I wanted to see this just to see how it was done. All i can say, is that the only people who should watch this are ones who have already read the series and are curious about it. Its pretty bad, and will turn you off reading them. Not to be mean, but Lucy is so ugly it detracts from the movie. Was she the directors daughter? Seriously, I'm sure the beavers in the movie were jealous of her teeth. She had an overbite that would put any beaver to shame. The movie just loses so much in translation. CS books don't translate as easily as the Tolkein LOTR books, or even Harry Potter.

One thing they did right! Aslan! very well done. Although the other human actors with painted faces ( beavers, wolf) look silly, Aslan was really well done since it was not just a human actor walking around. ( i guess its like that old horse custume? 2 people inside? ) Also, i would be curious what kids think of this movie. Maybe they would enjoy it? But as for adults, safe bet they wont, even if a CS fan.

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

A: Having read the novel before seeing this film, I was enormously disappointed by the wooden acting and the arrogance of the producers in their blatant disregard of the plot. I feel this film in no way reflects the brilliance of Bronte's work, and rather gave the impression of a shallow love story. In the condensing of the film to a short 2hours, the film lost many of the key features which make the book comprehendable and progressional, thus resulting in a somewhat jumpy plot with little grounding. There is no build up to the romance between Rochester and Jane Eyre, so this appears rather abrupt and unfounded since the two characters have such infrequent interaction you cannot help but imagine their 'love' is superficial. This is such an injustice to Bronte's novel;you are given no impression of Jane's quirky cheek and boldness which attracts Rochester to her, and his arrogance which attracts Jane to him.

Despite to poor scripting, I think that a few of the characters were portrayed very astutely, namely Mrs Fairfax and Grace Poole, however overall the production was poor. Given a better scripting, perhaps the film would have been more successful. See "Jane Eyre" (1970) with Zelah Clarke and Timothy Dalton for an outstanding production.

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

A:
Before Sunrise has many remarkable things going on, almost too many to fit into one review like this, but it's suffice to say that it's one of the most observant character studies of the nineties, maybe even in all of contemporary cinema, to be observant not about love, per-say, so much as it's about a human connection. How does one fall in love at first sight? No one does, at least that's deep down the consensus that Linklater wants to show with his film. And *yet* there is the possibility of as intense a connection, of a bond that can form in those that are young and with many ideas that can be expressed articulately and with a breadth of cynicism and is somehow very tender and true at the same time. Linklater here gives us the story of Celine and Jessie, a French girl and an American boy who get off the same train heading to Vienna, and on the way there start to talking about things, at first arbitrary, then personal (Jessie seeing death for the first time in his great grandfather). Jessie persuades Celine to go along with him on a night out on the 'town', in Vienna, until his plane the next morning.

Before Sunrise gives Jessie and Celine, in the midst of the gorgeous Vienna scenery and locales to go on and on about subjects that have a lot of importance, and in a sense is about the act of having conversations, of what it's like to watch people having one leading into another and another. Here it's often about relationships and commitments, as Jessie and Celine tell stories sometimes somewhat inconsequential, or seemingly so, and another that may tell a lot about their essential qualities. We hear confessions of desires for other loves, or what weren't really loves, of being part of a family or part of an upbringing that may or may not inform how you'll love your life, of what it means to believe or not believe in some religious form, or just to have some connection to any faith and the soul (I loved the bit about the quakers in the church), and sometimes laced with cynicism or skepticism. Jessie may be more responsible for that last part, but what's fascinating about the film is that it's never exactly cynical itself, just commenting upon cynicism that lays in the concerns of men and women at that age of their lives.

Meanwhile, it's always great to see Ethan Hawke and Julie Delpy in these roles, where they're not incessantly annoying in that 90s Generation-X mode, but are the kinds of people where if not in the central conceit of the film, which isn't a bad one at all but a necessary one, one might think to find walking along the streets of a city somewhere. The conceit is that of an old romantic picture ala Brief Encounter, only here intimacy is expressed in the central characters either between each other, where sweet asides are actually acceptable ("I have to tell you a secret", Jessie says, and then leans in for a kiss, ho-ho), or in the little moments that pop up with other people along the way. I loved the scene with the poet, where it's very cinematic a thing to suddenly find a random romantic bit player in the midst of a romantic picture with such beautiful words at his disposal, or with the palm reader and how the reactions from Jessie and Celine are that we might share, but really are seeing them do it first-hand. All the while Hawke and Delpy embody the roles interestingly- we can see how neuroses are being formed already for their adult lives- as it may lead off into the future...

Featuring splendid cinematography and a script with an ear for natural wit and a true sense of what it means to have a moment of happiness, however self-contained, as it may lead into something more. Who's to say you can't suddenly be attached to someone, if only for less than 24 hours, and be that much more attached than a married couple? This is perhaps Linklater's thesis, but there's more to it than just that. It's a very dense film, and one that will have me calling back to it repeatedly. One scene especially, which is both cheesy and brilliant is when the two of them are talking 'on the phone' in front of each other mimicking their expositions might go to the other's friend. A+