Problem: OPTIONS:
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- positive positive
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Answer: I liked this movie very much. Although this movie doesn't boast of big (or even known) names, its very charming. Its one of those feel good types where you know that everythings gonna be just fine in the end. My favorite scene is with the baby elephant part. I rate this movie at 7.5
An example of a movie review. positive (OPTIONS:
- negative
- positive).

A: don't mind the soundtrack, which is played out by now.

Still, Debra Winger is always interesting and while this was an earlier role for her, she is quite good as Cissy, girl from the wrong side of the tracks, lived in trailer with Bud, (Travolta), only to be replaced for a time by city slicker Madolyn Smith as a rival.

I agree with an earlier review regarding Scott Glenn, he is used for plot only, thrown in to the mix to create suspense; the story is predictable and contrived.

Also, even though I am from the east, many of us did NOT like "Saturday Night Fever", while it had its moments, the perpetual stereotypes are beyond criticism at this point.

Worth seeing for Debra Winger; she is still so likable, and never had that Hollywood persona we are subjected to by too many actresses today. 7/10
Q: What's an example of a movie review?
An example of a movie review is here: He's stocky, sweaty, slightly cross-eyed and restless. He stands in front of us and calls himself a pervert. He claims that we the film viewers perceive the screen as a toilet bowl, and are all secretly wishing for all the s**t to explode from the inside. He's unpredictable and scary. Well? Come on, you could have guessed by now: he's one of the leading philosophers of our age.

Slavoj Zizek is both a narrator and a subject of Sophie Fiennes' extraordinary new film, A Pervert's Guide to the Cinema. Fiennes illustrates a feature-long lecture by Zizek, and does so in two ways: by providing exemplary film clips and putting Zizek on real (or reconstructed) locations from the movies he speaks about. It's always nice to watch neatly captioned scenes from great movies (although Revenge of the Sith got here as well), but the main attraction of A Pervert's Guide is Zizek himself. What makes the movie such fun to watch is the unanswerable question one cannot help but ask over and over again: what is more outrageous, Zizek's views or Zizek's screen presence? In a documentary by Astra Taylor (Zizek!, 05), Slovenian philosopher at one point confessed his fear of being silent. Because, he claimed, he feels like he doesn't exist in the first place, the only way to make all other people believe he does is to talk constantly and feverishly. And talk he did, and how. Also A Pervert's Guide is dominated by his voice delivering perfect English in most crazy way, and making some astonishing points about the cinema.

What are those? Well, for example he sees Chaplin's reluctance towards talking picture as a sign of an universal fear of voice itself (kind of alien force taking over the human being think the ventriloquist segment of Dead of Night [45]). He says that the perverse nature of cinema is to teach us to desire certain objects, not to provide us with them. He identifies Groucho Marx as super ego, Chico as ego and Harpo as id. He says a million other interesting things, and all the time we cannot take our eyes off him, so persuasive (and captivating) are his looks. At some point I couldn't help but stare at his thick, scruffy hair and wonder what kind of a brain lays stored underneath. Craving, of course, for more insights.

Most notable are Zizek's readings of Lynch and Hitchcock (which comes as no surprise since he has written about both of them). The cumulative effect of many brilliantly edited clips from their respective work made those parts of Zizek's lecture memorable and unlike others difficult to argue with, since he seems to really have gotten things right on these two directors. This doesn't go for his reading of Tarkovsky for example, upon whom he relentlessly imposes his own utterly materialistic view of reality, dismissing precisely what's so remarkable in all Tarkovsky (namely strong religious intuitions and images).

The question isn't whether Zizek is inspiring and brilliant, because he is; or whether Fiennes film is worth watching, because it is likewise. The real question is rather: are Zizek views coherent? One smart observation after another make for an overwhelming intellectual ride, but after the whole thing is over, some doubts remain. For example: while considering Vertigo (58) Zizek states that what's hidden behind human face is a perfect void, which makes face itself only a facade: something of a deception in its own means. However, when in the final sequence we hear about the ever-shattering finale of City Lights (31) as being a portrait of one human being fully exposed to another, it's hard not to ask: what happened to the whole facade-thing? Why should we grant Chaplin's face intrinsic value of the real thing and deprive Kim Novak's of this same privilege in two bold strokes? Or maybe that incoherence might also be read in Lacan's terms? (The name of the notoriously "unreadable" French psychoanalyst is fundamental to Zizek's thought.) The film has all the virtues of a splendid two-and-a-half hours lecture: lots of ground are covered, many perspectives employed, even some first-rate wisecracks made (when Zizek travels on a Melanie Daniels' boat from The Birds [63] and tries to think as she did, he comes up with: "I want to f**k Mitch!"). But it has also one shortcoming that isn't inherent to two-and-a-half hours lecture as such: it's almost obsessively digressive. Zizek's yarn about how far are we from the Real is as good as any other psychoanalytic yarn, but after some 80 minutes it becomes quite clear that one of Zizek's perverse pleasures is to ramble on and on, changing subjects constantly. Overall effect is this of being swept away by a giant, cool, fizzing wave: you're simultaneously taken by surprise, refreshed, in mortal danger and confused no end. As you finish watching, your head is brimming with ideas not of your own and you're already planning on re-watching some films but you also share a sense of having survived a calamity.

The ultimate question is: did Zizek lost it? Or haven't we even came close to the real thing? Once cinephilia becomes punishable by imprisonment, we shall all meet in a one big cell and finally talk to each other (not having any movies around to turn our faces to). I dare you all: who will have enough guts to approach Zizek and defy him? My guess is that once you look into those eyes in real life, you become a believer.
Problem: OPTIONS:
- negative
- positive negative
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Answer:
Just plain good old stupid.

I mean really stupid, not the good stupid like Killer Tomatoes, or Ed Wood movies, this is probably the most stupid movie I ever have seen. To give this movie an golden Turkey is an insult to turkeys. To call this movie dumb is offensive even to dumb people.

If this is the future of American cinema and art we are better off to really start world war 3 and 4 at the same time and let the cockroaches run the show after.

Now I have to get drunk to wash this insult to my single braincell off....

This is a really good movie if you are suicidal.