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

A: A surprising misfire from the usually reliable Larry Cohen (God Told Me Too, Q, etc.), Full Moon High tries so hard to be funny and fails miserably, even with decent turns by Ed McMahon(!) and Kenneth Mars. Alan Arkin looks embarrassed throughout his performance and son Adam simply looks numb. This makes Teen Wolf look like a comedy classic.
Q: What's an example of a movie review?
An example of a movie review is here: The kids I took to this movie loved it (four children, ages 9 to 12 years; they would have given it 10 stars). Emma Roberts was adorable in the title role. (Expect to see more of this next-generation Roberts in the future.) After being over exposed to the likes of Britney Spears, Lindsay Lohan, and Paris Hilton, it was refreshing to see a girl who didn't look like she worked the streets. Also enjoyed seeing a supporting cast that included Tate Donovan, Rachel Leigh Cook, Barry Bostwick, and Monica Parker (with a cameo by Bruce Willis). Final takeaway: Cute film.

(Note: I did not read the book series, so my comments are based on the merits of the film alone.)
Problem: Write a negative (OPTIONS:
- negative
- positive) movie review.

Answer: It is enjoyable and fast-paced.

There is no way on Earth that the actor playing Mat could be eighteen. However, the main thing is that he does act eighteen very convincingly. It must be a credit to his audition that he convinced them to cast him. I quite soon accepted him as being a naive young country boy.

While his was the best performance, most of the others were also very engaging. In particular, the interplay between the policemen was natural and well-balanced, and worked very well.

It is only about 45 minutes long, so the plot is not complex. More key is the style of the whole thing. It is very slick and vibrant, and the backdrops are atmospheric, especially from the fact that all the colours are extremely rich. The gangland is identifiable to foreign audiences, but still manages to be distinctly Australian.
Problem: OPTIONS:
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- positive positive
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Answer: I'd even say some shades of Hitchcock...this is clearly better than MMM, which is seen as a guilty pleasure by some if not most Woody fans. By the way, did you know that Annie Hall was first conceived as a murder mystery? Anyhow, Woody reclaims some relevance in film comedy with this one. The plot turns are nice and tight. I will say that in the first 20 minutes or so, some of the actors are a little too hasty at delivering their lines, but stick around. Scarlett Johansson proves well-cast in the Diane Keaton-type role, and at no time is there any uncomfortable moments between her and the much older Woody. No one could imagine a more perfect actor for the role of Peter Lyman than Jackman.
An example of a movie review. positive (OPTIONS:
- negative
- positive).

A: What if a platoon of G.I.'s from the Japanese army were to be send back in time 400 years right in the middle of the feudal wars that led to the formation of the Tokugawa Shogunate? Great pitch right? The movie does exactly what it says on the tin.

Thankfully the writers didn't bother to explain the, usually ridiculous in sci-fi movies, scientific mumbo jumbo of time transport. No how's or why's. They just did. However the time transport sequence itself is trippy as hell and quite beautiful, if not a bit dated. Not as silly as one would imagine.

The rest of the movie follows the premise to a T. But while it loses a bit of steam with the various subplots that follow the G.I.s arrival to medieval Japan, it picks up with a devastating battle sequence. Undoubtedly it's the main order of the day. The whole concept and by extension the movie itself, was probably originated from this simple pitch: what if G.I.'s equipped with the latest in modern warfare were to fight samurais? And boy does it deliver.

The main battle sequence that spans more than half an hour is probably one of THE best of its kind in 70's action/war movies. Not only is it relentless and exhausting in pace and length, it's also a terrific mish-mash of styles and techniques that only unique premises like G.I. Samurai can deliver. I mean, where else would you get the chance to feature tanks, ninjas complete with shuriikens, a helicopter and samurais in the same shot? The G.I. platoon led by lieutenant Iba tears literally through hundreds of extras, gunning them down with machine guns, mortars, grenades and tanks.

This mish-mash of styles is with one foot firmly rooted in the sprawling jidai-geki epic of Kurosawa's Kagemusha or Hiroshi Inagaki's Samurai Banners, while the other is in western action and war movies. There are stylistic touches (like the wonderful slow-motion shots and bloody violence) that bring Sam Peckinpah or Enzo G. Castellari circa Keoma to mind. Japanese cinema has always been influenced by westerns and other Hollywood works and vice versa, and G.I. Samurai effortlessly turns this east-meets-west melting pot into an exciting film.

The film-makers thankfully take the whole thing seriously and the movie benefits immensely from it. Not that tongue-in-cheek mentality is completely absent, it's just that it doesn't try to pander to so-bad-it's-good audiences that enjoy laughing at their movies. The budget was probably hefty, as it is evident in the hundreds of extras, elaborate costumes (very decent for a production that is not a traditional jidai-geki) and special effects. The camera-work and editing are all top notch, almost better than a movie with no higher artistic ambitions deserves.

It's not withouts its flaws either of course. There are many "song" scenes, where all sorts of 70's Japanese rock, disco and country songs play over montages (there's a bonding scene, a love-interest scene, a "war is hell" scene etc). The songs themselves are pretty lame and corny and detract from the whole thing. Although it clocks at a whooping 140 minutes, it flies like a bullet for the most part. Still some scenes, flashbacks and subplots in the first half could have been clipped for a tighter effect.

The cast also deserves a mention, featuring such prominent names as Sonny Chiba, Isao Natsuyagi (Goyokin, Samurai Wolf), Tsunehiko Watase (The Yakuza Papers) and Hiroyuki Sanada, all of them hitting the right notes.
An example of a movie review. positive (OPTIONS:
- negative
- positive).

A:
Alain Delon visits swift, sure vengeance on the ruthless crime family that employed him as a hit-man in the Duccio Tessari thriller "Big Guns" after they accidentally murder his wife and child. Tessari and scenarists Roberto Gandus, Ugo Liberatore of "A Minute to Pray, a Second to Die," and Franco Verucci of "Ring of Death" take this actioneer about a career gunman for the mob right down to the wire. Indeed, "Big Guns" is rather predictable, but it still qualifies as solid entertainment with lots of savage and often sudden killings. Alain Delon of "The Godson" is appropriately laconic as he methodically deals out death to the heads of the mob families who refused to let him retire so that he could enjoy life with his young son and daughter. Richard Conte of "The Godfather" plays a Sicilian crime boss who wants to bury the hatchet with the Delon character, but the rest of his hard-nosed associates want the hit-man dead. Like most crime thrillers in the 1960s and 1970s, "Big Guns" subscribes to the cinematic morality that crime does not pay. Interestingly, the one man who has nothing to do with the murder of the wife and son of the hero survives while another betrays the hero with extreme prejudice. Tessari does not waste a second in this 90-minute shoot'em up. Apart from the mother and son dying in a car bomb meant for the father, the worst thing that takes place occurs in an automobile salvage yard when an associate of the hero is crushed in a junked car. Ostensibly, "Big Guns" is a rather bloodless outing, but it does have a high body count for a 1973 mobster melodrama. Only at the last minute does our protagonist let his guard down and so the contrived morality of an eye for an eye remains intact. Tessari stages a couple of decent car chases and the death of a don in a train traveling through a train tunnel is as bloody as this violent yarn gets. The photography and the compositions are excellent.