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

Answer: Quentin Crisp once stated that when things are shown too beautifully, one is a romantic. When things are show unbearably grim, they are realistic. And when something gets the ironic treatment, they're spot on. Unfortunately for Leon de Aranoa, he falls into the second catagory. This director has obviously tried too hard to make a Spanish "Ken Loach" type movie, without being able to capture the comedy, and warmth between the characters, that elevate Loach movies from merely being 'depressing'. Los Lunes al Sol, is just that, only depressing. Things are unrealistically grim. The characters ultimate moments of misery all reach a climax at the same point, and if the glum story isn't enough, Aranoa washes the tale over with a visually grey and grimy colour palette. The films was ridiculously over-rated at the Goyas. A movie that shows empathy for the weaker citizens in society, in this case unemployed harbour workers, does not automatically make for a good movie, even though I would be the first to sympathize with the fates of these people. This movie only manages to make me grow disinterested in their fate. In 21st century Spain, unemployed people do not live like beggars, and the public transport ferries have decent restrooms, and it's hard to come across a bar with so few punters and such little happiness to be encountered in it. Leon de Aranoa obviously doesn't have a clue about working class Spain, and does it no favours. Pretentious is the only conclusion I can draw. The scene where the men watch a football match for free, has been directly copied from a film which deals much more 'realistically' with the subject of the 'poverty' trap, namely "Purely Belter," which is afar more engaging, humorous, and yet sad.

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

Answer: I read the book and saw the movie. Both excellent. The movie is diamond among coals during this era. Liebman and Selby dominate the screen and communicate the intensity of their characters without flaw. This film should have made them stars. Shame on the studio for not putting everything they had behind this film. It could have easily been a franchise. Release on DVD is a must and a worthy remake would revive this film. Look for it in your TV guide and if you see it listed, no matter how late, watch it. You won't be disappointed. Do yourself another favor - read the book (same title). It'll blow you away. Times have changed dramatically since those days, or at least we like to think they have.

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

Answer: I must admit, when I read the description of the genre on Netflix as "Steamy Romance" I was a little bit skeptical. "Steamy"? In a movie from 1968?? I was prepared for disappointment. And when I realized it was shot entirely in black & white, I knew my erotic hopes were dashed.

Boy, was I wrong! Not only does this film have all of the elements of a steamy romance -- the discovery of first love, fear of the secret being found out, a sudden unexpected end -- but at times this movie was downright erotic. You will soon forget that it is shot in black & white. The cinematography deserves every accolade it has received over the years. And the performances from the two stars (Essy Persson and Anna Gael) are intense and memorable. OK, so they're both in their mid twenties trying to play school girls. It's 1968. Do you really expect teenagers from the '60s to be able to effectively explore a lesbian love story like this? Many adult women were still trying to come to grips with their sexuality back then. Anyone looking for real teens here is expecting too much.

I think this movie was way ahead of its time. The level of eroticism was an unexpected pleasure; yet it still managed to leave a lot to the imagination, opting instead to give us poetic descriptions to add to what we were shown.

I have no doubt lesbians will identify with the characters here. As for you straight guys who love watching lesbians in action: Although it won't be all you expect, I don't think you'll be too, too disappointed.

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

Answer:
When I really began to be interested in movies, at the age of eleven, I had a big list of 'must see' films and I would go to Blockbuster and rent two or three per weekend; some of them were not for all audiences and my mother would go nuts. I remember one of the films on that list was "A Chorus Line" and could never get it; so now to see it is a dream come true.

Of course, I lost the list and I would do anything to get it back because I think there were some really interesting things to watch there. I mean, take "A Chorus Line", a stage play turned into film. I know it's something we see a lot nowadays, but back then it was a little different, apparently; and this film has something special.

Most of the musicals made movies today, take the chance the camera gives them for free, to create different sceneries and take the characters to different places; "A Chorus Line" was born on a theater stage as a play and it dies in the same place as a movie. Following a big audition held by recognized choreographer Zach (Michael Douglas), Richard Atenborough directs a big number of dancers as they try to get the job.

Everything happens on the same day: the tension of not knowing, the stress of having to learn the numbers, the silent competition between the dancersAnd it all occurs on the stage, where Douglas puts each dancer on the spotlight and makes them talk about their personal life and their most horrible experiences. There are hundreds of dancers and they are all fantastic, but they list shortens as the hours go by.

Like a movie I saw recently, "A Prairie Home Companion", the broadcast of a radio show, Atenborough here deals with the problem of continuity. On or behind the stage, things are going on, and time doesn't seem to stop. Again, I don't if Atenborough cut a lot to shoot this, but it sure doesn't look like it; and anyway it's a great directing and editing (John Bloom) work. But in that little stage, what you wonder is what to do with the cameraWith only one setting, Ronnie Taylor's cinematography finds the way, making close-ups to certain characters, zooming in and out, showing the stage from different perspective and also giving us a beautiful view of New York.

In one crucial moment, Douglas tells the ones that are left: "Before we start eliminating: you're all terrific and I'd like to hire you all; but I can't". This made me think about reality shows today, where the only thing that counts is the singing or dancing talent and where the jury always says that exact words to the contestants before some of them are leaving (even when they are not good). It's hard, you must imagine; at least here, where all of them really are terrific.

To tell some of the stories, the characters use songs and, in one second, the stage takes a new life and it literally is 'a dream come true'. The music by Marvin Hamlisch and the lyrics by Edward Kleban make the theater to film transition without flaws, showing these dancers' feelings and letting them do those wonderful choreographies by Michael Bennett. The book in the theater also becomes a flawless and very short screenplay by Arnold Schulman; which is very touching at times. So if it's not with a song it will be with a word; but in "A Chorus Line", it's impossible not to be moved.

During one of the rehearsal breaks in the audition, Cassie, a special dancer played by Alyson Reed, takes the stage to convince Douglas character that she can do it. The words "let me dance for you" never sounded more honest and more beautifully put in music and lyrics.