Q: What's an example of a movie review?
An example of a movie review is here: A remarkable example of cinematic alchemy at work, with a trite'n'turgid lump of lead script (penned by numbingly mediocre Hollywood hack nonpareil Jole Schumacher, no less) being magically converted into a choice chunk of exquisitely gleaming 24-carat musical drama gold thanks to brisk direction, fresh, engaging performances, spot-on production values, a flavorsome recreation of 50's era New York, an infectiously effervescent roll-with-the-punches tone, and a truly wondrous rhythm and blues score by the great Curtis Mayfield.

The story, loosely based on the real life exploits of the Supremes, prosaically documents the arduous rags-to-riches climb of three bright-eyed, impoverished black teenage girl singers who desperately yearn to escape their ratty, unrewarding ghetto plight and make it big in the razzle-dazzle world of commercial R&B music. All the obvious pratfalls of instant wealth and success -- egos run destructively amok, drugs, corruption, fighting to retain your integrity, and so on -- are predictably paraded forth, but luckily the uniformly excellent work evident in the film's other departments almost completely cancels out Schumacher's flat, uninspired plotting. The first-rate acting helps out a lot. Irene Cara, Lonette McKee, and Dwan Smith are sensationally sexy, vibrant and appealing leads -- and great singers to boot. Comparably fine performances are also turned in by a charmingly boyish pre-"Miami Vice" Philip Michael Thomas as the group's patient, gentlemanly manager, Dorian Harewood as McKee's venal, aggressively amorous hound dog boyfriend, and perennial blaxploitation baddie Tony ("Hell Up in Harlem," "Bucktown") King as a dangerously seductive, smooth operating, stone cold nasty gangster. The tone dips and dovetails from funny and poignant to melancholy and blithesome without ever skipping a beat, deftly evolving into a glowing, uplifting ode to the human spirit's extraordinary ability to effectively surmount extremely difficult and intimidating odds.

Veteran editor Sam O'Stern acquits himself superbly in his directorial debut. Bruce Surtees' luminescent cinematography and Gordon Scott's expert editing are both flawless. O'Stern's firm grasp of period atmosphere, keen eye for tiny, but telling little details, and unerring sense of busy, unbroken pace are just as impressive. No fooling about Curtis Mayfield's impeccable soundtrack contributions, either. "Jump," "What Can I Do With This Feeling," "Givin' Up," "Take My Hand Precious Lord," "Lovin' You Baby," and "Look Into Your Heart" are all terrifically tuneful, soulful, almost unbelievably fantastic songs, with the sweetly sultry love jones number "Something He Can Feel," which was later covered by both Aretha Franklin and En Vogue, clearly copping top musical honors as the best-ever song in the entire movie. The net result of all these above cited outstanding attributes persuasively illustrates that sometimes it's not the screenplay so much as what's done with said script which in turn determines a film's overall sterling quality.
Problem: Write a positive (OPTIONS:
- negative
- positive) movie review.

Answer: A clever script from the late SEBASTIAN JAPRISOT and smart performances from the two male leads - ALAIN DELON and CHARLES BRONSON (or should it be the other way around) result in an engaging and entertaining thriller.

Add to the above the competent direction from veteran JEAN HERMAN and a sparse but effective score by FRANCOIS DE ROUBAIX, it becomes easy why this film has an odd timeless quality.

This is a buddy buddy or bonding story with two loners, both disillusioned and world weary, returning, presumably from Algiers. Like the other colonial powers of this time (post WW II leading into the 60s), France had struggled to keep up appearances overseas. Losing Algiers was a bitter blow.

ADIEU L'AMI (the original title) chronicles the actions of our two (anti) heroes as they struggle to make a go of it, after their discharge.

One thing happens after another, and the viewer really has to pay attention, because JAPRISOT is lean and economical with his script: if it is there, then there must be a reason.

Suffice to say, these two men battle it out, physically and psychologically, one long weekend. Their motivation is quite different, their goals are different - their survival depends entirely on each other. That ALAIN DELON and CHARLES BRONSON are outwardly so different - the former, arguably a pretty boy, and the latter an ugly thug, adds to the chemistry.

That quest makes for a great story, which in turn, makes for a great film.

Lest I forget there are women in this film, and true to the Japrisot method, they too are memorable, though not nearly as fleshed out; to say much more would be to spoil one's delight in discovering their true nature.

FAREWELL, FRIEND HAS BEEN RELEASED IN THE UK; AN ANAMORPHIC IMAGE, 16.9 ENHANCED; IN English ONLY (not even subtitles for the hard of hearing); A RUNNING TIME OF 110 MINUTES; MONO SOUNDTRACK but the DE ROUBAIX music has lots of punch!

Highly recommended.
Problem: OPTIONS:
- negative
- positive positive
=++++=
Answer: If you're looking for a Hollywood action packed kid-flick with the common bad language and violence this may not be the film to sit down for. If you're on the other hand interested in watching a film with youre children that has actually some values like showing the importance of friendship and truth this is the film to watch. Looking at the program guide this is obviously what millions of other viewers have found. Not many low-budget independent films have ever been aired as much as Mr. Atlas. The film is actually very funny as well as warm hearted and shows some beautiful locations masterfully captured by the sharp eye of the obvious brilliant cinematographer Suki Medencevic. Also if you're interested in looking at a muscular fellow with good looks the ladies can get an eye full. Let's support those who make good childrens film buy buying their videos and watching their products on TV. Enjoy
An example of a movie review. negative (OPTIONS:
- negative
- positive).

A: The funniest scene of this movie is probably when our saviours get their medals and plaques and whatnot. So the basic idea is, the police outnumbers these gangsters by like a million to one, but they're powerless because the villains' guns are just a bit bigger. I guess police ammo just kinda bounces of. They decided to shoot this movie in documentary style with fake interviews and all and seriously, what is wrong with these guys? They're talking like they were armed with rolled-up newspapers. Okay I admit, it's probably still dangerous to be in the line of the fire, even when the situation is so much to your advantage, but don't go nuts. And why the hell did it take 44 minutes to solve everything anyway? I'd say that's a very long time when you have them surrounded and you're allowed to shoot. They're like ten ft. away, they hit absolutely nothing. Then they go and buy bigger guns themselves to increase their heroism. And then yeah, there you have it, one of the cops actually hits someone. Bullet was probably diverted by a lamp post or something. I had a good laugh I guess.
Q: What's an example of a movie review?
An example of a movie review is here:
The movie's storyline is pat and quaint. Two women travel through the middle east and discover themselves. Unfortunately, if you are looking for a movie about the middle east and central Asia this is absolutely terrible.

The producers of the film either did no research or were unbelievably lazy when filming it. To begin with, and most glaringly incorrect, the Nuristanis, as they were known in the thirties, and indeed since the 1890s and their forceful conversion by Abdul-Rahman Shah of Aghnaistan, were not nomads. In fact they have not been nomads since the Aryan invasions of central Asia over three milenia ago.

Second, the city that is filmed as Tehran is not Tehran, which is understandable, however the geography of the area around the city could not be more strikingly DIFFERENT than the city of Tehran, which is surrounded on all side by a large mountain range, which predominates all of the cities views.

Third, Persian, despite the fact it is spoken in Iran and Afghanistan, is never heard in movie. When there are native speakers who do not speak in German they speak in Arabic. The 'Persian' guards at the border, in fact, say to each other 'Ma hadha rujal' (This is not a man) and not 'in mard nist' as it would be in Persian. Also, the love song between the Indian princess and one of the main characters is obviously in Spanish. While talking in the garden one of the main characters says that the Quran uses the words 'Ferdos' and 'jehaan' and makes some reference to drugs afterwords. These words certainly never appear in the Quran as they are Persian for Paradise (indeed, Ferdos and Paradise are very distant cognates between our languages) and 'World' respectively, though Jehaan is admittedly close to 'Jehennan' which is hell in Arabic. When they encounter the nomads in the desert the language spoken is also Arabic, this despite the fact that there are NO native speakers of Arabic in Iran and Afghanistan and its use is primarily religious, with some use in education at that time.

When they are stopped in Iran before they reach the Afghan border the people they encounter are wholly unlike any Iranian group. Their tents are typically bedouin with carpets decorating the walls and a high profile. In Iran it is also extremely uncommon for people to wear Turbans unless they are a cleric. The language spoken is clearly Arabic from the initial greeting of 'Ahlan wa Sahlan.' When they do reach Kabul the desert they find themselves in is sandy, totally unlike the rock dirt that is found in the arid parts of the Hindu Kush mountain range. There is an absence of the light green scrub that covers the ground in the summer and spring. The area is also not wholly consumed by the extreme mountains of the mountain range that won its name, The Indian Killers, because of its difficult and limiting ground.

In short, the story line is the only thing in this movie that holds any water and it is still weak and common place. It lacks any real draw to it, being merely the tale of two women trying to learning about themselves as they get to Nuristan, however, even that is still-born and no real development is felt, leaving the characters in the end just where they were in the beginning and nothing has changed except that world war two has broken loose. In short, this is a really bad movie that I would have rated at one star except for the good footage of Bedouin and the deserts of the Levant, even if they are misnamed.