Q: Words can hardly describe it, so I'll be brief. "The Thief of Bagdad" was my favorite movie as a child, and it has never ceased to astound or enchant me. I loved this film from the first moment I saw it, when I was a boy of six who had started reading "The Arabian Nights." I remember walking into the TV room in the middle of Sabu's battle with the giant spider and being instantly beguiled.

Rarely has so much beauty, magic, and wonder been captured on film. Sabu and John Justin are superb as the dashing heros, Conrad Veidt is throughly delightful as the wicked villain Jaffar, and Rex Ingram is a joy to watch as the sardonic genie. Georges Perinal's photography is some of the best use of Technicolor. One of the three credited directors is Michael Powell, a filmmaker who has been rightfully heralded by the critics but is often overlooked by audiences for his remarkable films, including "A Matter of Life and Death" (aka "Stairway to Heaven") and "The Red Shoes." He is one of the true masters of the camera, right up there with David Lean, Akira Kurosawa, and Orson Welles.

As with all great works of art, the beauty of "The Thief of Bagdad" lies in the detail. Every frame has its own magical charm. The story never lags, and the characters and their actions are always involving. Here is a film that will never grow old.
A: positive
Q: Please do not let the cover of this movie fool you. And if you're looking for a cheap horror movie to laugh at: this isn't it. Usually I will go for stupid if it's funny, but this stupid was so stupid it almost (or possibly did) make me stupid.

The film quality is better than a handheld, but not by much, and it's quite possible the music was created by pressing the Samba 2 key on a Casio keyboard. These problems should never really be a deterent from seeing a horror movie but add this amazing (weep) cast, and you have a real humdinger.

The story is about a guy who invites his friends up to his family cabin in Texas for the weekend. He also extends the invitation to his lady crush in his office. On the way there they meet a female in distress, who is then invited to come along by the other girls.

The stay at the cabin includes sex and nudity and soon everyone's panties are in a bunch when one girl disappears and odd items turn up in the house.

From there you (the audience) and the morons, um, actors, try to figure out what's going on and they soon begin to distrust one another. Overall I think I have made it sound better than it is. The main struggle with this movie is that the characters are very underdeveloped, the plot contrived, the acting bad and the motivations clueless. Once more this could be forgiveable it it was the least bit funny but alas, it is not.

The twist ending is only a twist in that no one would guess it simply because if you really thought back through the movie it would not have made sense anyway. Please don't let this review stop you from seeing the shear wonderment of this movie. (Woah, my nose just grew eight inches.)
A: negative
Q: After you've seen this small likable and comical film, you will for sure feel better. Cheer to Yves B. Pelletier to have given birth to this small magnificent movie moment, that according to me, will be recognized as a marking movie of year 2004 for the Quebec. The actors Isabelle Blais, Emmanuel Bilodeau, Sylvie Moreau and Stephane Gagnon all deliver a touching performance. I would compare the feeling that this wonderful story gives you to the ones that Le Fabuleux Destin d'Amelie Poulain have given me. So if you've like the Jean-Pierre Jeunet magnificent film, I would say that you should also like the first movie from Yves B. Pelletier, Les Aimants
A: positive
Q: John Waters most accessible film to date is one of his better ones, considering it cut down on all of the campiness and outright vulgarity which seem to litter most of his previous work. Sure, the nudity and the sexual references are still there, at least it is presented in a fashion

that cannot be deemed too foul or disgusting. Due to some great casting choices, this film really brought out the silliness associated with modern art and the subjective nature of your modern artist. Funny and somewhat lighthearted (if that is possible for Waters), this is one of those films I would watch on a rainy day.
A: positive