Problem: Write a positive (OPTIONS:
- negative
- positive) movie review.

Answer: Punctuating the opening credits sequence is a swarthy man having a strange, all-too-real nightmare. Closing in on its dystopic 2054 Paris, the film begins to follow a woman into a grungy club, where she and a Slavic bartender convene outside on the deck. They toss exclamations at each other to the effect that she owes him more money although she believes she's paid it all. Another woman obstructs the budding violence, only to have a bitter fight with the woman herself. The initial woman storms out, and she is kidnapped. Christian Volckman's Renaissance appears to be another one in an assembly line of recent motion-capture-animated sci-fi noir pictures, but in spite of whether or not that is essentially true, it tells a neatly arranged, classically unraveling detective story that keeps us in the dark in its opening minutes, even whilst introducing Karas, the hard-boiled cop we recognize from the beginning as the man awakening from a terrible dream.

The rudiments of classic film noir are all hit upon without any anachronistic changes, for all intents and purposes. It is in the harshness of its monochrome that Volckman's French thriller has followed no example. For the film's animators, unfettered by the challenges of physical lighting that would normally be faced, have been able to begin with a totally black frame, and to affix utter pitch-white according to the action on screen. As they scrupulously imitate the effects of real light sources throughout the frame, the distinction of black and white here is full-blown without even any of the slightest shades of gray to tone with the characters' less starkly definite moral codes, and the outcome is a harsh and judgmental vision of the direction in which commercial civilization is going, sporadically caused to undergo the most blaring and ruthless of illumination. It is the artistic study of film noir taken to their visual boundary of its philosophy, and nothing before has ever shared quite the same execution of this visual concept.

All the characters in this decent cyberpunk film seem as if to have been walk off with purely from a Gothic comic book in black ink, but all together their physical responses, their motions and the nuances of their facial expressions look ashore within a clear humanity. Normally, films that try out new developments in animation allow their technical advances upstage all other facets of production. Sin City, for example, left substance and overall good screen adaptation from its source material to be desired.

It may not be mind-blowing, it may have its narrative conventions and its voice-over cast may simply be adequate, but Renaissance, made for $19 million over six years, not only feels like actual noir instead of a rashly penned appropriation, but also is not secondary to all the visual innovation, which is played as if to be incidental. One leaves thinking not so much about how cool it is when Karas is evading bullets shot through a crowded glass Parisian street, but more about its ponderance of life and death, how life's tragedies, such as death, make life meaningful.
Problem: OPTIONS:
- negative
- positive negative
=++++=
Answer: There's not much to say about this one. Gammera is some kind of fire breathing turtle. He is loosed by a nuclear explosion. He heads for land and begins to destroy building and tanks and other junk (oh yeah, power lines. I almost forgot). At one time, early in the film, he befriends a little boy, and instead of just throwing him away, or squashing him, he places him down on the ground. Safe. From then on we have to watch this chubby faced little twerp show up and run away, show up and run away, show up and run away. For some reason, Gammera is able to hear this kid from 20,000 feet away. Oh, well, the plot is to try to get Gammera to get to a place where he can be put on board a rocket and shot into space. As usual, the monster is lumbering and uncoordinated (a guy in a Gammera suit). The Japanese army (with the help of Americans), uses up enough ammunition and fire power to solve the national debt, and, of course, it does no good. They should know this anyway. We've seen a lot of monsters stomp on Tokyo. Not to put these down because they can be fun, but it's really not very good.
An example of a movie review. positive (OPTIONS:
- negative
- positive).

A: As I saw the movie I was really shocked to see what the 60's was about. I know I may be wrong about some things, but it seemed like the 60's really had an effect on people of the time. Some people said they would want to go back to the 60's. From what I saw I would say yes for the excitement and no for the outcome. But that's my opinion.
Q: What's an example of a movie review?
An example of a movie review is here: Ah, Domino is actually a breath of fresh air, something new to the cinema world. I enjoyed the movie a lot because of the intricate plot, the varied characters, and the intense camera effects. I've seen some complain about the camera work and, in fact, according to the creators themselves, the flashy and wild shots were all the culmination of mistakes made through time. All of what you see was the desired effect. Perhaps some complain because something quite like this has never been done before, although that's what sets it apart. In a deeper aspect, what you are seeing is just how Domino sees things through her eyes, think about it.

When it comes to the story, I don't see anything quite bad about it. Despite it's "messy" nature, according to some, it is in fact just a rapid form of storytelling. The plot really isn't all that hard to follow, if you actually focus on what's going on. Maybe it's just me because I see movies from many different aspects such as the acting, the plot, etc. I'm no "interpreter" or anything who picks movies apart, it just comes to me. With that said, I believe this is quite an excellent movie indeed, despite it's future as a cult-classic, blockbuster, or whatever.

And the characters, well there's no doubting how varied the cast is. I believe the cast is excellent as they all do fine jobs portraying their characters effectively, that's what makes a movie ladies and gentlemen. The characters are all very unique and a plus is that you get to witness a small piece of each one of their lives, setting them apart even further. Basically, I personally loved the cast and characters.

All those who bash and burn this film perhaps just don't see it as I do, or it just doesn't appeal to them. No matter, this is a great film in it's own right, no, it's a great film period.
Problem: Write a negative (OPTIONS:
- negative
- positive) movie review.

Answer: This was an excellent idea and the scenery was beautiful but that's where it ends. It seemed like a lackluster Set It Off meets The West. The plot barely made any sense. There were so many characters and not enough time to develop their personalities. There were too may unnecessary things going on that didn't pertain to the plot nor did it help further the story along. There were also long blank moments where the plot could have been explored but was used for silence or unnecessary conversations. The script should have made more sense as well as the directing. I had a huge question mark on my head watching this movie. But the casting was great in my opinion. If you're only watching for eye candy then this is the movie for you.
Problem: Write a positive (OPTIONS:
- negative
- positive) movie review.

Answer:
Due to the invention of a "The Domestication Collar", flesh-eating zombies are brought under control, and become productive members of society; however, they perform menial tasks. The servile dead attend to those living in fenced US 1950s-styled small towns, while untamed zombies roam around in "The Wild Zone". In the town of "Willard", pre-teen K'Sun Ray (as Timmy Robinson) lives with parents Carrie-Anne Moss and Dylan Baker (as Helen and Bill Robinson). Alas, the Robinsons are the only family on their street who do not own a zombie; their new neighbors, the Bottoms, have six. So, to keep up, the Robinsons obtain zombie Billy Connolly (as Fido).

Unfortunately, Mr. Connolly's "Domestication Collar" is damaged by an old lady's walker, and he eats her; then, new and hungry zombies infest the town. Meanwhile, young Ray has grown attached to Connolly (the boy and his zombie are like TV's "Timmy and Lassie") and, the Robinson family find it difficult to cooperate with the controlling "Zomcom" authorities.

"Fido" doesn't go far enough into its own intriguing "Wild Zone"; but, it is a colorful, stylish, and amusingly satirical addition to zombie film lore. Ray and the cast perform well, individually; with nubile zombie Sonja Bennett (as Tammy) and owner Tim Blake Nelson (as Theopolis) the most memorable pair. Director Andrew Currie and crew, including Rob Gray (design), Jan Kiesser (photography), Don MacDonald (music), and James Willcock (design), deservedly won awards.

******* Fido (2006) Andrew Currie ~ K'Sun Ray, Carrie-Anne Moss, Billy Connolly, Dylan Baker