Problem: Write a positive movie review.

Answer: Simply, one of the funiest movies i've ever seen. It's a parody of crime-life, parody of everything that represents the Chicago 1930.- There is no realy need to underestimate this movie because rating is under 5. Its a opinion of a mass, and mass is hypnotized. Who decide to watch it - it will regret, Who decide not to watch it - will regret more.

Problem: Write a negative movie review.

Answer: What exactly was going on during World War 11 in New Zealand when American forces were there?

This awful story of 4 sisters was really pathetic to view. Can you imagine casting Joan Fontaine as the older sister to Sandra Dee? Fontaine looked more like her mother. Even funnier was that Fontaine becomes pregnant in the film.

Piper Laurie and Paul Newman who showed such great on screen chemistry 4 years later in "The Hustler," have no scenes together in this film. Laurie plays another sister who goes off to Wellington to tramp around there, despite the fact that she is married. Woe to her when her husband comes back from the war.

Jean Simmons is widowed and finds romance with a much subdued Paul Newman. There is even romance for the young Miss Dee here.

The picture has little to no meaning. Are they trying to say that all is fair in love and war? If they are, they did a poor job in selling this.

The conflict of interest with Newman and Simmons is quickly disposed of. That is what should have been quickly done to this terribly disappointing film of 1957.

Problem: Write a positive movie review.

Answer: I had the pleasure of screening "The Big Bad Swim" at the 2006 New London Film Festival last week. The festival highlights some of the best independent and non-mainstream films from the past year. It was my assumption that "The Big Bad Swim" was chosen for screening at this festival for the simple reason that it was shot locally in and around Eastern Connecticut. However, as the credits began to roll I could only think about how well "The Big Bad Swim" compared to the others featured during the festival. By far it topped my list, followed by "The Puffy Chair", "Who Killed The Electric Car" and "Transamerica".

The "The Big Bad Swim" is an engaging, truthful and often-humorous look at several adult education swim class pupils and their likable yet troubled instructor that has a depth that I've not seen on screen in quite a while. The interweaving character development and plot lines derived from something as absurd as adult-swimming lessons works in subtle and endearing ways which I found refreshing. The plot doesn't beat you over the head with a direction; rather it builds and grows organically with a pace that was spot on. I was never bored. I never cringed. I never stepped out of the story on the screen.

The humor of the film is something like "Napoleon Dynamite" meets "Old School". The acting from a group of relatively unknown actors was credible and their dialog never seemed awkward or contrived. Obviously not being a multi-million production the camera shot weren't all awe-inspiring and clear, but adequate and well done for the budget. The lighting and filming technique for scenes filmed in the strip club setting were particularly eye catching because of a more realistic approach than a similar themed scene found in "Closer". I also found shots filmed underwater of the class from the waist down seemed to be just as much a portrait of character as a shot from the shoulders up could be.

I sure it's said over and over from many in the independent film industry, but I have to say it: If "The Big Bad Swim" isn't picked up for some kind of distribution I would extremely disappointed. "The Big Bad Swim" needs to be seen. If you have the chance to see this film, SEE IT! Disappointment is impossible!

Problem: Write a positive movie review.

Answer:
Several posters have quoted Renoir voicing his desire to make a film showing Ingrid Bergman smiling to camera. The short answer is wouldn't we all whilst the harsh reality is that only a select few got to do so. At this stage of her career Bergman couldn't get arrested; in 1949 she left Hollywood to make a picture in Europe, fell for director Roberto Rossellini and never looked forward. After five turkeys in Italy she was probably ready to open a vein but within the year, after making this for Renoir, she was back where she belonged and with an Oscar to boot for Anastasia. This is one of three movies that Renoir made in color around this time and on balance it's better than The Golden Coach, which isn't hard, and about even with French Can Can. Renoir probably figured that with so much going for her Bergman could get away with a couple of wooden leading men and Renoir picked two doozys in Jean Marais and Mel Ferrer, solid mahogany in both cases. The plot is actually based on a real incident in French history but Renoir is content to give it a once-over-lightly and concentrate on replicating the paintings of his father in set up after set up. In its pastel colors it resembles another film of the period Les Grandes Manouvres which is no bad thing. All in all it remains a pleasant trifle showcasing a beautiful and charismatic actress.