Problem: OPTIONS:
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Answer: Joe Buck (Jon Voight) decides he's going to leave his small life in Texas and make it big in the Big City. The women are there for the asking and the men are mainly "tutti-fruttis." Wide-eyed, he comes to New York City, not prepared for the series of humiliating misadventures he experiences, one worse than the other. In the middle of that chaos, he meets and befriends Rico "Ratso" Rizzo (Dustin Hoffmann), a homeless-looking man who lives in an apparently condemned building.

There isn't much of a story as MIDNIGHT COWBOY is a series of vignettes destined to bring forth not only Joe Buck's plights in the City, but also inter-cut to his past and show us in shock cuts and semi-psychedelic dream sequences snippets of his past: his failed relationship with his girlfriend Annie (Jennifer Salt) who was gang-raped, his abandonment by his mother, and his apparent abuse by his grandmother, who also had a habit of hustling men for money. An air of pessimism dominates the film almost from the wistful beginning as Nilsson plays throughout the opening credits his deceptively flowery "Everybody's Talking'"; we feel that even while we want Joe to eventually make his mark in the City, the odds are high he won't and will end up working for pennies in a dead-end job -- shown in a masterful shot from his outside point of view later in the film as he watches a man work as a dishwasher in a soup kitchen through a window and sees himself. We know from the look in his eyes he does not want to end like this.

A dark story of dashed hopes, John Schlesinger creates haunting images of lost souls at the end of the 60s, and at the center, the prevailing friendship between two men as they struggle to make some sort of meaning to their lives amidst the elusive comfort of a dignified life. There is the implied notion that they may have been lovers -- Ratso's reaching out to hug Joe in the party scene and their the final embrace at the end certainly points at this -- but this is essentially a buddy film, one that manages to survive, literally, to the death, and bring some form of hope to Joe who at the end in Florida seems much changed, older, wiser.
An example of a movie review. negative (OPTIONS:
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A: This is just a joke of a movie,they lost me already at the opening scene (Spoilerwarning) dangerous creature kills other creature in his cage,this is watched by a scientist that works there on a monitor and guess what she does,well lets go in to the cage to check the stuff out,omg how dumb do those writers think human beings are come on thats the same like jumping in a fish tank with a great white shark because it ate your goldfish...Pretty useless and even more dumber.And i will not even talk about the cast because they aren't worth the effort. why they didn't fired the guy that wrote that immediately is a mystery to me.....And this kinda dumbness continues the entire movie. Only good thing where the cgi that is better then average for these kinda low-budget movies.

If these kinda things don't bother you go see it,but be warned if your IQ is above 60 you will probably hate it.
Q: What's an example of a movie review?
An example of a movie review is here: I loved this movie and will watch it again. Original twist to Plot of Man vs Man vs Self. I think this is Kurt Russell's best movie. His eyes conveyed more than most actors words. Perhaps there's hope for Mankind in spite of Government Intervention?
Problem: Write a positive (OPTIONS:
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- positive) movie review.

Answer: This film was an interesting take by Hollywood on the novel by of the same name by Pearl S. Buck. While some today might think it is rife with racial stereotypes, for the time the very idea of Chinese protagonists was progressive in and of itself. I found that the white actors playing Chinese was not as bad as I expected, that it wasn't the Asian equivalent of blackface. Back then there were not really any Asian actors in America (not even George Takei was acting) and Rainer did a good job with her part. It wasn't the greatest performance I have ever seen but for old-school pre-method acting it was nice. The locust scene was very well shot and contained convincing special effects.

I wonder that the timing of the release during the Great Depression sort of turns this film into an allegory. Especially the political upheaval bewildering the peasant farmers and how them seem to be left behind by all of it.

The film had some parallels to the John Ford style, but I think the Eastern influence affected it as well. If this had been an western family, the locusts would have won at the end, punishing the farmer for his pride, lust, and gluttony. However here he learns his lesson, then wins.
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Answer: !!!! POSSIBLE MILD SPOILER !!!!!

As I watched the first half of GUILTY AS SIN I couldn't believe it was made in 1993 because it played like a JAGGED EDGE / Joe Eszterhas clone from the mid 80s . It starts with a murder and it's left for the audience to muse " Is he guilty or innocent and will he go to bed with his attorney ? " , but halfway through the film shows its early 90s credentials by turning into a " Lawyer gets manipulated and stalked by her client " type film which ends in a ridiculous manner , and GUILTY AS SIN has an even more ridiculous ending in this respect .

This is a very poor thriller but the most unforgivable thing about it is that it was directed by Sidney Lumet the same man who brought us the all time classic court room drama 12 ANGRY MEN
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Answer:
Updating of the Bliss theme is merely the latest in a lengthening queue of bad-to-average local comedies which appeal to the conservative cinema-going set. (For the record, this list, all of the films on which appear to be attempting a Castle-esque miracle, includes, Strange Bedfellows, Thunderstruck, Bad Eggs, The Honourable Wally Norman, Horseplay, The Wannabes and The Nugget. The only one to have worked has been Crackerjack.)

Here, the performances never mesh, as John Howard doesn't even look like he's in the right film though perhaps that was the intention, as Franklin plays sleepy, conservative suburbia against its more interesting inhabitants. 20-year-old virgins who live with their parents are becoming rarer on-screen, but this is hardly a reason to watch the film. In fact, the only reasons may well be (1) Howard's bizarre but quite fun performance, and (2) the 'suburban nightmare' theme, which has run through Somersault, Strange Bedfellows, Tom White, Alexandra's Project, Danny Deckchair, The Rage in Placid Lake, Traveling Light, Teesh & Trude, Swimming Upstream and Lantana, many of which are very good/excellent. Enter at own risk! May be one for people who titter at the word 'penis'. 4/10.