Q: Carter Wong plays a noble hero on a quest for a book of healing which leads him seeking ultimate vengeance! The pacing is good in this film and there are a lot of fight scenes to keep the movie going. The flying guillotines look wicked and the main villain has no problems using them. Although the story isn't strong, the action is fun and draws you to the very end (which I felt could've had a sequel).

Campy and dark, this is great ol skool kung fu!!
A: positive
Q: Wow, I can't believe I waited so long to see this film. I just never got around to watching it. The plot has nothing that interests me. I know nothing about soccer (football.) I am one of those American fools that has no clue. I had never even seen David Beckham before this film. I chose to ignore the buzz surrounding this film at the time it was released in America. Enough about me.

Truth be told, it was a mistake to ignore this little piece of movie-making heaven. What a fun film. It's full of color and exuberance. I had a goofy grin on my face through the whole movie. Parminder Nagra is so sweet and lovable, you can't help but root for her. No wonder why the American television show E.R. has snatched her up. I have a new appreciation for Indian culture. Those people know how to have a good time. The wedding scenes are dazzlingly beautiful.

The only problem I had was deciphering some of the British slang and dialogue through the accents. I turned on the English subtitles to make sure I didn't miss anything. (This is not a criticism of the film!) I'm sure audiences worldwide have trouble understanding the constantly changing slang in American films as well.

This is a perfect date film. It has a great sports plot like Rocky, and a strong sense of feminism that is empowering for women. I watched it with my wife, and sixteen year old niece, and we all loved it. I highly recommend it.
A: positive
Q: My first question after seeing this film was, "Why is the title LIAM?" If the intent was to tell a story from the boy's perspective, it was not carried out well. Of course there was the formulaic use of camera angles in the boy's scenes, but much of the crucial action took place outside of his field of view. Having a "main" character unable to speak (obviously suggesting the mute, powerless position of a child) makes it difficult to give that character much depth.

Melodrama is defined as: "dramatic or other literary work characterized by the use of stereotyped characters, exaggerated emotions and language, simplistic morality, and conflict" LIAM fits this definition to a T. The viewer is hit over the head with the typical stereotypes of the fire and brimstone Catholic Church in the stern school marm and the well-fed priest squeezing money from parishioners. (A stereotype which is becoming very tiresome.) What's more--the Jewish characters are money lenders and factory owners!

Much of the film was predictable...Who didn't think that we'd see Theresa scrubbing the toilet after her mother had told her "No daughter of mine will scrub another woman's toilet!" I'm a fan of British realism if it's done well. In my opinion, LIAM is not.

A: negative
Q: Very low-budget police procedural film about homicide detectives trying to solve the murder of a woman whose body turns up in a stolen car in Central Park, and their only clue is a tattoo on her arm. Although released by RKO, this has the look of an independent production that was picked up by the studio for distribution. The cast and crew, with a few exceptions--among them a young and uncredited Jack Lord, director Edward Montagne and cameraman William Steiner--are comprised of complete unknowns, and it shows. The performances are universally sub-par and wouldn't pass muster in a high school training film, the direction is stodgy and choppy and, as mentioned previously, there's no chemistry whatsoever between the lead actors. However, despite the film's many shortcomings, it does have a few good points. The location shooting in New York City, and the film's ultra-low budget, gives it a gritty authenticity much like that of the far superior "The Naked City", a shootout in a dark basement is decently handled, and some of the investigating procedures are clever. Otherwise, it's not much to write home about. It is worth a look, however, for a glimpse at the seamier sections of New York City in the early 1950s, and old-car buffs will be ecstatic to see the legions of '30s and '40s cars in the streets.

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A: negative