Q: After going for a bike ride that day, lying beside a lake in a nature reserve, spending half an hour feeding and talking to a donkey who lived in a beautiful field with a small wood in it, this film made absolute sense to me.

The imagery of the film was beautiful and that is all you need. Switch off the conscious control knob of the mind and job done.

Reminded me of Baraka (1992) but with the added lesson of my previous paragraph.

This comment requires a minimum of ten lines, ten lines is the minimum not 9 lines but ten. After finishing counting all the lines you realise that there are less than ten even though less than ten lines is all that is needed to make my comment.
A: positive
Q: *McCabe and Mrs. Miller* takes place in the turn-of-the-century Pacific Northwest. Into a soggy, muddy mining camp John McCabe (a hirsute Warren Beatty) comes barging, full of cigar smoke and big ideas about building a proper saloon/whorehouse for the town, replete with a trio of the sorriest whores in movie history. He also comes with an unearned reputation as a gunslinger: too shameful about this to blatantly advertise it, but not exactly afraid to use it in order to assert alpha-male credentials amongst the locals. And thus he wrangles the boys into building his saloon at the rate of 15 cents an hour.

It looks to be a rather sorry operation until Mrs. Miller (Julie Christie) shows up on a startling contraption that's half-railroad car, half-automobile (where did Altman find that thing?). Mrs. Miller immediately takes on McCabe as a business partner, with the aim of classing up the new joint with proper whores and an insistence that all visitors take a bath before entering. Noting that McCabe doesn't know how to add, she also insists on handling the accounts. It's not clear what McCabe's function will be.

The plot thickens when a pair of oily representatives from the mining company show up in town and offer McCabe to buy him out for five grand. McCabe tells them to buzz off -- he's holding out for fifteen thousand. The company finds negotiation distasteful, so they hire a trio of assassins to simply kill McCabe . . . though how they think they can get away with murdering a man in broad daylight in the center of town is as unclear as McCabe's function in the whorehouse partnership. (Excusing this whopping plot hole on the grounds that the locals would be too cowed to talk doesn't cut the mustard when one considers that any reward-money offered by the local Marshal would be pretty tempting.)

*McCabe and Mrs. Miller*, purportedly "classic Seventies cinema", should be a lot better than it is. The movie tells a pretty good story; the main characters have the potential to be interesting. There are some striking scenes, especially one involving what looks to be a 14-year-old stone-cold killer. But it's really, really hard to enjoy a movie when you can hardly hear what anyone is saying and when you can hardly see what anyone is doing. Once again, this director hijacks his own movie with sheer barnyard laziness and sloppiness. According to the trivia-sheet here on IMDb, the movie's editor griped to Altman that the sound was muddy; Altman disagreed; and when everyone said the sound was muddy after the movie's release, Altman blamed the editor. (Nice.) Along with the bad sound, the movie has an atrocious look. Only Robert Altman can hire a world-class DP like Vilmos Zsigmond and make a movie that looks as if they sprayed the camera lenses with dirty dishwater. Reviewers here who praise the "dark brown glow" of this picture have GOT to be kidding me. The interiors are shot through what appears to be a dark scum. The exterior photography is even worse: it's as if Altman placed 500 fog machines behind the copious trees. During the climactic stretch, when Beatty is dodging the assassins while the local church is on fire, Altman insists on pretty much wholly obscuring the view with an animated snow-fall that reminds one of a Rankin-Bass Christmas special.

Look -- I can't watch a movie under these conditions. Get back to me when you learn how to place boom mikes, when you remove all that annoying "Altman-esque" overlapping dialog, and when you wipe the lenses with some Windex, or something. 3 stars out of 10.
A: negative
Q: The story and the characters were some of the best I've ever seen. the graphics were good for the PS and the cut scenes and voice overs were amazing. I beat the game at least 3 times and loved every second of it. I felt the problems the protagonist faced were believable and realistic and i believe it deserves a sequel. or at least a remake. If they remade it for the ps3 i would buy the system for just that game and maybe mgs4 its amazing also the idea and execution of the dragoon system is enough to warrant a rental and on top of that ad the inventive although sometimes cheating(stupid buster wand) combat addition system and the plot makes this game a definite buy.
A: positive
Q: Polyester was the very first John Water's film I saw, and I have to say that it was also the "worst" movie I had seen up to that point.

Water's group of "talent" included several people who I am sure worked for food, and were willing to say the lines Waters wrote. Every thing about the movie is terrible, acting, camera, editing, and the story about a woman played by 300 lb transvestite Divine was purely absurd.

That said, I have to recommend this film because it is very funny, and you won't believe the crap that happens to poor Francine. Her son huffs solvents and stomps unsuspecting women's feet at the grocery store. Her daughter is the sluttiest slut in town. Her husband is a cackling A-hole of a pornographer who does everything in his power to embarrass and humiliate poor Francine.

Francine's only friend is played by Edith Massey, possibly the worst actress ever. Edith looks and sounds like she is reading the lines off a cue card and has never seen the script prior to filming.

Despite all of Francine's travails, Waters cooks up a fabulous Hollywood ending and everyone (who survives) lives happily ever after.
A: negative