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Ignore what you've heard bad about this movie. Some writers might be upset that the movie doesn't go too into detail about actually putting graffiti up or saying that it's using incorrect terminology but those people completely missed what's good about the movie. First off, the actual presentation, filming, camera movement, effects, etc. are all extremely artistic and original. The entire movie just makes you feel empathetic for the characters. The atmosphere, the scenery, all of it. Interludes between scenes of the main character always running, just running away. The music is good too. It's all done by El-P, for anyone familiar with Def-Jux. The whole movie though, it's just amazing... So many people overlooked this. Everything is just done so brutally realistic, how the way characters react and think, how life really can just be ****ed up. It's a powerful movie and the ending is the best part. (be warned though... it's sad...) | -1no label
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This was a rather pedestrian version of the Agatha Christie short story thriller (Philomel Cottage). Of course, the original short story confined itself to the time the couple spent on their honeymoon, although the subsequent adapted theater play expanded on the plot. Sylvia Sidney came off as a kind of Betty Davis type with a distracting edge to her delivery. John Hodiak's performance started off with subtlety but towards the end it deteriorated into melodrama. I agree with another reviewer that I couldn't help thinking that this would have gotten a much better treatment from Alfred Hitchcock. The plot development was implausible at times. Although the beginning was cogent and mood-setting, I was disappointed by the lack of subtlety in the ending, which differed from the Christie ending. The story should have been about the psychology of predator and prey, but that aspect was muted. I have not read the theater play, so I don't know how its ending compared to the wonderful Christie ending. | -1no label
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Anyone who thought exploitation movies were invented in the 1960s will know better after having watched Night Nurse. It's a strange mix of comedy, drama and mild sleaze. The story is pretty weak but for fans of Barbara Stanwyck this is an absolute must see. Her performance is very energetic (aggressively shoving her face very close to that of other people, punching big guys, hurtling bottles of champagne around etc.) and she really comes through as a sensuous albeit tough as nails - nurse. For some time she must wear a tiny band aid on her chin which makes her even more attractive. Joan Blondell is also great as her gum chewing friend, setting the standard for vulgarity. The movie basically deals with the ethics of the medical profession which is treated with amazing cynicism. The highlight for me was the conversation between the excited Stanwyck character and an older Pappy-type doctor. The nurse suspects foul play in a particular medical case and Pappy tries to calm her down with sensible arguments. The nurse quickly loses her patience and her temper, shouting. Aw, ethics, ethics, ethics! I'm through with ethics!" It's really a well played scene which brings the character and temperament of the nurse to the fore and reflects the atmosphere of the whole movie. I also liked the unethical doctor with his facial twist and snazzy uniform which must have influenced people who created the wardrobe for Starship Enterprise. His big office has very elegant Art Deco trappings and is in stark contrast to the rather cramped conditions in the ethically operated hospital shown in this movie. | -1no label
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] |
I saw the cartoon 'Page Miss Glory' on TURNER CLASSIC MOVIES for the first time in about 10 or 15 years and it brought back for me good memories of when I was a kid and a rushed home because I knew that the 'good' cartoons were going to be on Channel 5 here in New York. This is back in the days when we only had seven channels, kids. Channel 5 showed the Warner Brothers cartoons and 'Page Miss Glory' was always one of my favorites along with the owl who wanted to singa about da moona and da junea an da springa and the one with the elephant who sang the 'Hut-Sut Song'. Thanks to TCM for showing this wonderful cartoon and reviving such wonderful memories from my youth. | -1no label
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] |
I resisted watching 15 Park Avenue despite of recommendations, discarding the movie as a clichéd topic of extreme emotional dramas and over-the-top acting. Once in a while, movies like 15 Park Avenue come by and sweep you off your feet. The movie grasps your attention pretty early on and there is no moment to rest after that. Aparna Sen has done a wonderful job of gluing the audience to every line of the movie. The impeccable character development, "just right" amount of emotions and an enigmatic end to match it all... I have a renewed respect for Konkana Sen Sharma, who convincingly plays the schizophrenic Mithi. She beats expectation yet again after Page-3 and Mr.& Mrs.Iyer. Prof. Anjali's role is very well developed and Shabana does full justice to the character. Rahul Bose, Shefali Chaya, Waheeda Rehman add incredible flavor to the movie. I define "shower moments" as thoughts of scenes from a movie that you ponder over in your shower endlessly, till your wife/girlfriend/mom bangs at the door. 15PA delivers many "shower moments" especially the conversation between Anjali and her mother where the mother is cautious when talking to Anjali about her thoughts. It immediately brings out Anjali's personality to the audience. The end is a very bold statement by the director; probably too westernized for the Indian audience; yet delivers the elements to promote the movie from a "good" to a "great" status. | 1pos
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] |
Stalker is right! Girl sees guy, girl wants guy, girl contrives mundane ways to keep bumping into him, girl won't leave him alone, girl pretends to be a patient, girl can't stop talking about him, girl pretends to love another guy (or two), he doesn't pay attention to her because she's annoying, girl STILL won't leave him alone. Played right, Drake's character could have been charming but she's completely, wholly, unrelenting in her pursuit of Cary Grant's character, her girlfriend-in-cahoots is dull, and sadly, Drake's attempt at playing, "charmingly screwball" comes off as, "disturbingly demented." Grant is himself, as usual, which is fine for Cary but it's as close to a phoned-in performance as I've ever seen from him. The direction is lackluster and the dialog is just plain dim. Screwball comedy is very difficult to do successfully and when it fails, like in this stubbed-out butt of an attempt, it just stinks. Worse still, Drake spends the entire film in need of a lot of Valium and a restraining order. She ruins any humor to be found in this drier than mummy dust relic. | 0neg
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] |
One of the best sitcoms to run on Indian television along with Dekh bhai dekh and Idhar udhar. Great acting, well paced and an extremely amusing script made this a truly memorable series. The fun filled opening montage (sung by none other than the inimitable Kishore Kumar)gave a very accurate picture of what one could expect. I used to borrow it from my local video library years after Doordarshan had stopped airing it. I wish Indian television would revert back to serials such as these rather than the asinine saas-bahu soaps and reality television which is all its good for these days. Anyone who's found of genuinely good comedy ought to go and get this series. You'll might also enjoy a couple of Pakistani sitcoms such as ups and downs and aik aur aik which are certainly comparable to India's best. | 1pos
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] |
I just have to say that this movie SUCKS!!!!!! The storyline is stupid. The effects are bad. Bad. The 'scary' shadow looks like the spray paint you can use on the simple computer drawing program Microsoft Paint. Wow.... I don't particularly like scary movies, that's true. I was kind of nervous about seeing this, but it wasn't creepy at all!! I simply didn't believe in it for one second. Yes, the story is meant to be surreal, but it needs a certain credibility anyway! The only creepy part was actually 'hero' or whatever Vassey. Not the shadow builder or crazy man or anything. | -1no label
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] |
It starts out really good, with a lot of elements and characters laid out to build suspense and great atmosphere, but by halfway through it narrows itself down to characters seriously wondering if an escaped stallion is behind the murders. Yes, a horse. And it tries to achieve a feel of all Hell breaking loose at the end with some psychedelic lights and crazy acting which both miss the mark. Worth seeing once, but I consider it to be to period-piece Hammer horror films what Space Mutiny was to Star Wars. Oh, and in a dinner scene about halfway through, our heroine wears an outfit that somehow achieves an insupportable cleavage-to-breast ratio. Science geeks may want to study this scene just to see if they can figure out what laws of physics her corset's breaking. Really. Seriously. Recently bought this in the Nightmare Worlds DVD 50-pack. Not sure if it's gotten its own release. | -1no label
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] |
Aside from the gunfight scene, I felt the movie was a waste of celluloid. Robert Duvall, Kevin Costner, and Annette Bening could have played those roles in their sleep. The dialog was marginally tolerable (and there was plenty of it--no one sat together quietly in this movie), the plot was all over the map as if they could not decide how many themes to cram into the story, there was no subtlety at all--foreshadowing hit you between the eyes and they led you by the nose through most of the story (I think they added all the dialog to make sure you didn't miss anything), and the editing really needed tightening up (each actor's screen time was more quantity than quality--again, too much dialog). The entire story took place over the course of a few days, but everything that happened took on epic proportions, much like how day-to-day happenings seemed HUGE to you in high school, but in the grand scheme really weren't THAT important. Yes, the bad guys beat up and killed Mose, they beat up Button, they killed the dog--all things which would get Boss and Charley's blood up. But the importance was diluted by all of the "deep, meaningful" conversations which dominated most of the movie. These guys worked together for 10 years and they're just now talking about this stuff? The only time there wasn't much dialog was in the gunfight scene--which is probably why I liked it. Finally, someone give Annette Bening a hairbrush! The wispy strands of hair around her face that were (I suppose) to make her look a bit more romantic actually made her look a little deranged. If she worked outside the home, it would have made more sense. Plus, why WASN'T she married already? There seemed to be several "kind and gentle" (her words) single men in town aside from the marshal and his cronies. In fact, none of the bad guys seemed to want her either (a usual plot device in other movies). She stayed cooped up in the house most of the time and really didn't seem to have much connection to the people in town. Makes you wonder...... In all, the movie was entirely too long, too chatty, and too contrived for me. It felt like a star vehicle with lots of screen time for the big stars, but not enough character depth to interest me, despite all of the dialog. | 0neg
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] |
I rented this movie because I am a huge Dudikoff fan. I figured it couldn't be that bad. Boy was I wrong! At the 15 minute mark , I was begiing the others to let me rip the DVD out and fling it back to the rental store, but they refused. They swore it had to get better. They were wrong! This movie was lacking everything. The actors delivered their lines with as much emotion as a comatose rock! The plot was ridiculous and I was offended that Hollywood assumed people were dumb enough to enjoy it. None of the characters interacted very well with each other. Ice-T gives one of his worst performances here. After watching footage of the wrong plane, bad guys standing up to get shot, and clips being emptied and missing everything, I wanted to scream and bang my head on concrete. The movie hit its plateau of ignorance when the people on the space station used an elevator to travel. Space suits are not needed and there is gravity in space regardless of what real astronauts may say. I didn't finish this movie and hated it. I don't want to finish this movie. This is slow suicide. I could feel my cerebral cortex planning to avenge the torture I put it through. | 0neg
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] |
Terrible acting, terrible plot, terrible dialogue, terrible soundtrack, terrible dubbing, and a terrible waste of time. It wasn't offensive, just completely and utterly boring. I'm a BIG fan of lots of low budget or B grade movies, but usually they have a great plot or a good idea behind them. I watched this with a friend who loves B grade horror movies and he actually fell asleep through it. This is something maybe a 5 year old kid would find amusing, but you'd have to find one of those kids who giggles every time somebody says the word 'butt'. He wouldn't be laughing at the movie, just the word 'butt'. To give you an idea of how juvenile this movie is, they use the word 'poop' a lot but never say the S word (that would be rude wouldn't it?) however they occasionally use the F word. It felt like a Disney movie, designed not to offend anybody. It doesn't fit into the 'Comedy' genre and doesn't fit into the 'horror' genre either. The most amusing thing about the movie is the name. I can only assume the movie is so far rating at 7.3/10 after 30 votes is because every single member of the cast voted 10 for it. PLEASE DON'T WASTE YOUR TIME WITH THIS!! I implore you! Stop giving people who make these movies your DVD renting money! Then maybe they will stop making movies like this. I've seen movies in the IMDb Bottom 100 that were far more entertaining than this. | -1no label
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] |
This movie was talked about in Fangoria where I heard about this, it was interesting to me mostly becuase it was direct-to-video and I recognized two of the stars on the cover, James Marsden of Disturbing Behavior and Christine Taylor from The Craft. And to my surprise on Valentine's Day when I was searching through the horror aisle to find it on the shelf! I immediately had to grab it. Me and my brother and our girlfriends watched it and to my surprise it was pretty good, the tales were interesting and for once they were actually SCARY, unlike a lot of other horror movies being made recently. Some of the plot I do not understand but once I watch it again I bet I'll get it. And to even more of my surprise there were other stars I recognized including one of the girls from the TV show My So-Called Life and Jacinda from The Real World, I'm not sure why this movie was only direct-to-video, with a little advertising this movie could have at least made up for how much money was spent on making it. The only problem I have is that since it wasn't released in theatres I guess I'll never be able to view it in widescreen. You should definitely take a chance and rent this one. | 1pos
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] |
I have seen the movie,In the Indian film industry the Tamil movies taking a good path, because of the creators as well as directors.The movie February 14 is simply superb, and the movie takes a beautiful love subject which feels a heart of love and romance. And the director controls the movie in excellent screenplay.And the cast performance is excellent and the animation character gives a grade for a entire movie. Each of the multi-ethnic characters is surrounded by irony, as each time a scene rewinds from another's perspective we find that the characters are not in fact what the other(s) perceive them to be, despite the actions that brought them to intersect. Thanks to director for giving a good movie like February 14. | -1no label
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] |
Falls into the film category of "Way too ridiculous in the dialogue and execution departments to be taken seriously". Whereas Shriek If You Know What I Did Last Friday the Thirteenth or My Boyfriend's Back know they are bad, Scarecrows doesn't. Evil Dead set such a high standard for the comedic horror on a budget genre, that Scarecrows is simply out of place. Suspicions of inexperience are immediately at play as there are no hints of noise or vibration in the hull and cockpit of an airborne plane. The repeated display of a picture of 3 men just screams for a story arc, but nothing comes. Although the men are obviously the scarecrows, there is no explanation. Knowing this film is too serious for it's own good may produce some grins. I don't recall if Joe Bob Briggs ever previewed Scarecrows, but I believe that he wouldn't stoop this low. However, with an IMDb rating of over 6, there are many people that disagree. | 0neg
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] |
Assy McGee is an out-of-control, hard-nosed detective based on the countless examples from late 20th century police dramas. The twist here is that Assy is literally a walking buttocks. The cheap, low-brow facade of the show belies its cleverness and hidden satire. That is not to say that Assy is devoid of fart jokes, just that the toilet humor is used sparingly enough to elicit consistent laughs, not groans and eye-rolls. The title sequence of the program demonstrates the clever, subtle humor used throughout. The sequence consists of panning photos of the city set to a jazzy 70s cop theme. In one photo, a police cruiser is shown and the "camera" zooms in on the front license plate holder, which is vacant. The meaningless zoom-in satirizes the production of the typical 70s-80s cop drama and, incidentally, makes me laugh every time. All the typical characters are included: the frustrated police chief who can't control Assy; the loyal, minority partner who acts as a foil to Assy's recklessness; the regular cops who detest Assy's means.... all are accounted for and all are hilarious satires of the typical police drama. The voice acting, primarily performed by Larry Murphy, is nothing less than spectacular. Assy's voice--breathy and gruff with a bit of a drunken slur--is so clever and unique that it ranks alongside all-time greats like Stewie Griffin (Family Guy) and Homer Simpson (Simpsons). Though the voice is slurred, the diction is somehow clear and easy to understand. This is a nice change from other Adult Swim program voices that often require closed captioning to understand. Besides the fantastic production and voice acting, the script is also hilarious. Assy's no- nonsense directness fuels most of the humor, particularly in his interactions with citizens outside the police force. If you have access to the Adult Swim comedies, Assy McGee is certainly worth the watching. Each episode clocks in at a mere 8-9 minutes, so you really have little to lose. | 1pos
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] |
Rude, crude, amateurish, self-indulgent and just plain unfunny. When I first heard what these people were trying to do with this movie, I was confused. After reading the script and seeing the movie's description in Ralph magazine, I am even more confused. The storyline seems to be a joke that someone made over the breakfast table, and didn't realise it should have stayed there. For the little bit of "story" that is there, it does nothing but to string together jokes which are either weak or stolen from other places, sitting in sequence in a disjointed, incoherent manner. Thank heavens that this will never be seen in cinemas (and in my opinion should not even be on this site), and please, let us be spared of any other nonsense that these hacks try to impose on audiences | -1no label
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] |
this film was shrouded in scandal for so long that it became a very sought after item...the outrage, the mystery, etc. it had everything to be a great piece of film-making, but ultimately fails in every extent. it's a terribly bad comedy, a pathetic horror movie, a lame erotic film. the 2 disc DVD includes a gorgeous booklet with stills, interviews, essays on bestiality, etc. as well as an extensive interview with the more-than-pretentious director. for those who have heard about it but never seen it, the package will seem fantastic until one actually sees the film. disc 1 contains the edited film, badly translated to English but with good visual quality. disc 2 contains the director's cut, in an awful transfer, in french. what can I say about the actual beast? a hand puppet of Kermit the frog would have been more effective and shocking. | 0neg
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] |
Not the worst movie I've seen but definitely not very good either. I myself am a paintball player, used to play airball a lot and going from woods to airball is quite a large change. The movie portrays similar qualitys First of all the movie starts off with this team that apparently is trying to shoot this "Phantom" guy or whatever, they appear to be a professional team and wear jerseys and shoot mags, autocockers. One guy sporting a bushy. Not much wrong with the movie but more how it's perceived it was very cheesy. A bunch of kids who are the good guys are woodsball players who don't appear to have much money and have dreams of getting "better guns". Another team constantly picks on them and insults them because they play woods and blah blah blah The phantom helps these woodsball kids out and trains them and all this crap, he gets them to play airball and basically defeats all the teams including the "professionals". So what exactly is wrong with the movie? Well the budget is a huge thing, a paintball movie WOULDN'T be bad but the budget is pretty low and the movie feels like it was done by an amateur. There are no big names in this film and the acting is very cheesy. The perception of paintball is pretty bad too. They seem to imply that everyone is going to speedball and all this other crap. It just was a lousy movie in my opinion and doesn't give a real perception what paintball is. To be honest real paintball isn't all buddy like, it's a lot of cussing and bonus balling not "respect" and playing by the rules. Don't watch this movie and then expect to go to a field screaming "4 is 1!!" | 0neg
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] |
An overlong, but compelling retelling of the friendship between civil rights leader Steve Biko and Donald Woods. The first half of the film is the strongest where we see the bond formed between the two men, and how they help each other out, but the second half isn't as strong, due to the elimination of the Biko character. Still, its a compelling film with great performances by Kline and Washington, in the film that put the latter on the map. Washington was also was nominated for best supporting actor for the first time. Overall, a well made film that could have been trimmed down a bit. 7/10.____________________________________ | 1pos
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] |
Firstly, I won't tell you WHY I rented this movie, as I'm still confused myself... Air Rage is much like any movie I've seen where a plane is hijacked. There is of course that one important person on the plane, and the hijacker looking for revenge. The sad thing is, some of the methods to stop the hijackers have already been used in other movies. Are we really becoming so unoriginal so quickly? Although it's Ice-T (who for some incomprehensible reason makes painful attempts at ACTING while he's not busy putting the "c" back in front of rap) who is glorified on the cover, the movie actually stars the less than amazing Kim Oja as a stewardess who is 'surprisingly' OVERLOOKED by the five hijackers, which naturally comes back to haunt them. As for the rest of the cast, the only person I managed to recognize was Steve Hytner, more commonly known as Kenny Bania from "Seinfeld". I can't forget to leave out my favorite part of the movie, when a hijacker used about a POUND of PLASTIQUE to blow a lock off a door... BRILLIANT. The plot was unnaturally predictable. The script - atrocious. It got to the point where I could say something, which I felt would make a stupid comment, and it would be the next line in the movie. As for special effects... the only thing special about this movie is that I wasted the cost of electricity to run my TV and VCR for 100 minutes. And the title - the movie DID take place in the Air. But due to the less than stellar performances, the only Rage in the movie was that of the viewer. So, if you're in the mood to even pick apart a movie, just because it's bad. Please SAVE YOURSELF, don't choose this. | 0neg
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] |
Not that "a film by Ulli Lommel" filled me with hope, but I must confess that ZODIAC KILLER managed to sink beneath my lowest expectations. There is a recent trend among young filmmakers of utilizing digital video for their early projects, which is all well and good for giving these kids the opportunity to create work without spending all their money on expensive film stock. But many of these young filmmakers have also wised up to the notion of filtering the finished movie so that it appears qualitatively more like celluloid. The effect is never perfect, but it helps. Unfiltered digital video really only works for the "mockumentary" style, because it never looks like anything other than video. Therein lies the primary trouble with ZODIAC KILLER. Watching the movie feels like watching a daytime soap opera about a murderer. It does not feel like watching a movie. And what's even more unforgivable is that the Lommel is NOT a young filmmaker. He ought to know better. He ought to know that it's virtually impossible to generate horror (or even suspense!) on video. For the love of god this guy has been directing since the sixties! He may be the only director who has failed to improve over a forty year career in the business. And lucky us, he wrote the script too! So you can expect convoluted actions that mean nothing, unjustified behavior, and at least one truly pretentious plot element that will leave you utterly unsatisfied. Please, please miss this film. You'll thank me later. | 0neg
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] |
National references and debates of explicitness aside, this film has some very interesting uses of photography. The director creates spaces with an unreal or detached feel to them (thanks in a large way to the way the sound is used), which perhaps allude to the unreal place the main character inhabits at that time in his mind. Surprisingly, there are also a few touches of humour (two incidents in particular involving passengers in cars), which serve to break up some a monotony which could develop around what is a very bleak picture. In conclusion, not spectacular, but a promising turn in the development of this director, in what is an interesting study on the extremes of desire. | -1no label
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] |
i can't say i liked this movie very much.it has some amusing moments,but it doesn't seem able to make up its mind whether it is a comedy or a drama.it doesn't really work as either.it's too light in tone to be a drama,and the amusing moments are few and far between.it also doesn't make a lot of sense.things seem to happen for no reason.and it's also extremely convoluted.i feel like they just made things up as they were going.if they had just taken a bit of time to explain things,this might have been a better movie.i would say the ending was anti climatic, but that would mean the rest of the movie had actually been building up to something,which it didn't.it just sorts ends,and that's that.i didn't find it boring,really,but like i said,there there just isn't any point.i'll give Winter Kills a reluctant and weak 3/10 | 0neg
| [
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] |
A March 1947 New York Times article described Crossfire as one of the first Hollywood films of the 1940s to "face questions of racial and religious prejudice with more forthright courage than audiences have been accustomed to expect." While RKO was producing Crossfire, Twentieth Century-Fox was making Gentleman's Agreement, another story about antisemitism. RKO raced to beat the much "ballyhooed" Fox picture to the theaters, releasing Crossfire several months before Gentleman's Agreement. In July 1947, RKO screened Crossfire for representatives of various Los Angeles religious groups. In addition, several surveys, which were designed to gauge the audience's prejudices, were conducted before and after screenings of the film. Crossfire received both praise and criticism for its depiction of antisemitism in America and was the subject of many editorials. Crossfire received an Academy Award nomination for Best Picture, but lost to Gentleman's Agreement. It was also nominated for Best Supporting Actor (Robert Ryan), Best Supporting Actress (Gloria Grahame), Best Director and Best Screenplay (Adaptation). In September 1947, Crossfire was named Best Social Film at Cannes. In December 1947, Ebony magazine, an African-American publication, gave the film its annual award for "improving interracial understanding." Loved this movie. If you get the chance to watch it, see it. | 1pos
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] |
Words are seriously not enough convey the emotional power of this film; it's one of the most wrenching you'll ever see, yet the ending is one of the most loving, tender, and emotionally fulfilling you could hope for. Every actor in every role is terrific, especially a wise and understated Jamie Lee Curtis, a tightly wound and anguished Ray Liotta, and a heart-stopping turn from Tom Hulce that should have had him up for every award in the book. (He's the #1 pick for 1988's Best Actor in Danny Peary's "Alternate Oscars.") The last half hour borders on melodrama, but the film earns every one of its tears--and unless you're made of stone, there will be plenty of them. | 1pos
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] |
whomever thought of having sequels to Iron Eagle must be shot. In this case once was enough. Iron Eagle was a good movie to watch. Even though it is unrealistic, it is still entertaining. Iron Eagle II has a senseless plot and can be used to as a cure to insomnia. I didn't even bother to watch Iron Eagle III, but from looking at the R rating, I assume it's more violent than the past 2 movies. Well, Iron Eagle IV is probably the most inane sequel. Lou Gossett Jr. returns as the always delightful "Chappy" Sinclair. Another Jason returns to fill the role of Doug Masters (Canadian Jason Cadieux, who looks just like Jason Gedrick from the first Iron Eagle). But wait(Here comes a possible spoiler).....Wasn't Doug killed in Iron Eagle II? The writers must've been desprate for a story so they revived Doug Masters by saying he was a prisoner of the Russians. This movie was the cheapest done of all the Iron Eagle films. Why do movie makers find it neccessary to make sequels to unappealing movies? (ex. Police Academy movies). I have always liked Gossett Jr.'s work in these films. He was the only one holding this turkey together. Let's hope this was the last of the Iron Eagle sequels. let it rest in peace. | 0neg
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] |
Had the filmmakers not tried to introduce a bit of artistic license into the film, I'd simply write it off as a sub-par slasher flick. But the lame effort put forward by this crew gives dilettantes a good name. The only positive thing one could say about this film is that the production values aren't horrid. That script though...my lord. Would it have hurt the filmmakers (as much as I was by viewing this junk) to invest even an hour thinking of something mildly original. Renting a film like this, I really don't expect much, but I did expect something. If you're thinking of watching this tripe, do yourself a favor - attack your brain with a fifth of tequila or something similar before settling into this garbage. Must pass... | -1no label
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] |
This is a gritty, seedy, film noir that can be ranked with the best American Noirs from the 40s. It is interesting for many reasons: the post-war Japanese mind-set of the characters. A handsome young Mifune(but already very good at seething, glowering, and ranting:"WEAR THE DRESS!") The plot that parallels the cop with the killer, psychologically. It's very well done. Visually rich. Location shots, tracking shots, compositions, all very nice. I liked this one more than "Throne of Blood" but I'm a big Noir fan. There are some scenes that go on too long, and the first half is a bit slow. But the last 20 minutes are perfectly orchestrated, with beautiful tight editing and small visual touches. The final meeting between the cop & criminal at the train station is a classic sequence. | -1no label
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] |
What can I say... well first off this is John Fallon and Christian Veil's new film which has been in the making for a little while now. When the movie began I was surprised at how quickly it got itself into the mind of the viewer. Just the beginning alone is a testament to the violent brutality yet to come. It has been a long time since a film has begun with such a brutal punch! Along the way there are a couple of interesting plot turns and character development but not many. This is a straight forward revenge flick deeply rooted in gritty 80's fare such as Death Wish and The Exterminator. Fans of those particular movies will find themselves at home with Deaden while others will be surprised that such a movie could be made. John Fallon's performance definitely shines as the walking revenge machine. He takes out people like no other and seems to bring a dark humorous vibe to the whole piece. Direction is handled pretty good as well considering the budget restrictions and all. Overall it is an entertaining piece of gritty film making. John and Chris are on their way up! | -1no label
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] |
The Attic Expeditions was a superb film, from first time director Jeremy Kasten. I was first interested in this film because Seth Green was starring in it, but i got a lot more than i bargained for. I am literally speechless about this film. It is a wonderfully written script with characters that engulf you in their world. The plot is full of twists and turns, and really makes you think. Make sure to be awake when you watch! The movie doesn't make sense until the last scene of the movie, so don't give up. I wouldn't recommend the movie for younger viewers, considering it deals with adult themes. There is nudity, swearing, drug use, violence, gore, and sexual scenes, along with some things that would just freak a kid out. | -1no label
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] |
On the plus side, "Camp" has a lot of energy and loads of affection for it's young characters. Some of the musical numbers are fun ("Turkey Lurkey Time" from "Promises, Promises"; the funny All About Eve-ish scene with Sondheim's "I'm Still Here;" the Todd Rundgren song at the end). So you can't really dislike the film. However, the bad far outweighs the good. Director/writer Todd Graf has done good work as an actor, but his dual turn here is far from promising. The dreadful script leaves no tired cliche or cliched character unturned & the dialogue is stilted and amateurish. Some of the scenes are just plain unbelievable (e.g. the straight hunk suddenly trying to come on to the gay kid). Some are groan-inducing: for example, when the group starts doing a new piece by the cynical, self-pitying, alcoholic composer, it brings him around and he joins the band. Also, the film stretches credibility with some of the choices of shows the kids do - would anyone really try to put on a production of "Follies" or "Who's Afraid of Virginia Woolf" with teenagers? These scenes exist for nothing more than easy laughs. The cast of unknowns are a mixed lot - some are more personable than others, some are a little awkward, but the dialogue doesn't help any of them. Graf based this film on his own experiences at a summer theater camp for teens, but you'd never know it. There's not one fresh or uncontrived moment in the film - it could have been made by anyone who's seen "Fame." | -1no label
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] |
This film, winning Im Kwon-Taek the Best Director at Cannes in 2002 (tied with P.T. Anderson for Punch-Drunk Love), is about a 19th century Korean painter with a commoner's roots and significant impact on Korean painting. One of the strengths?of the film is that Im tries to help us see with the eye of a painter, so we see multiple scenes and objects which help our drunken painter friend, Jang Seung-up (Choi Min-shik),?receive inspiration. The costumes and the art direction are all impressive and the acting is even along being good. It's not a movie that moved me, but it was one that made me think about art and what it means to find your own voice in it. That's pretty cool. It's also interesting to see a version of Korea during those times right before the turn of the century, where Chinese and Japanese powers are both in Korea and the Chosun kingdom is coming to an end. More than one revolution and political ideology are gathered in the film, but are never the center. It's firmly on the painter. In the end, it's a well made film about the life of a painter. But it doesn't exactly have the regular three-act structure plot, so you have to be able to take a non-standard Hollywood story to watch it. Yay for art! 8/10 | 1pos
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] |
This is a film for entertainment; I did not think the world made social commentary from one small film. I personally find this film funny, audacious, and memorable. It is a fantasy not unlike a cinder girl becoming a Princess. This film was done very well I might add, in the 70's a time of the best experiments in film with being able to mention a person's sexuality. This movie is not about a person being homosexual or not, it is however about love, in all it's strange forms. This film does show some of the realities of being gay in the 70's in Hollywood, or in California. Pretty boys being looked after by older not so pretty men. Women who had to stay deeply locked in the emotional closet or risk not having a career. Bathhouses were an integral part of the gay community. THEN the fantasy begins!! Let us mix a lesbian with a gay and add some liquor and what do we have? Well this movie, which in ANY way was better than that dismal redo "The Next Big Thing". Perhaps someone should have asked the entire crew to see this movie and then try to do better. I enjoyed this movie when I saw it in the 70's and it still brings a smile to my lips now. I heartily advise anyone who wants a funny, tender movie- to curl up with some popcorn and have some fun. Some people need to lighten up!!! And this is the film you should do it with! | 1pos
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] |
Even Sean Connery lowered himself to appear in a 70's disaster film, and it was a really bad one too. The effects were terrible, laughingly bad even for 1979. This film was so bad even Sean's wig refused to appear. As I watched it I have expected Roger Moore's 007 to blow up the Meteor on the Space Shuttle he had in Moonraker, to put the real James Bond 007 (Sean) out of his movie misery. Luckily Sean would bounce back in the likes of The Name of the Rose, The Untouchables, Indiana Jones and the Last Crusade, The Rock etc. The Meteor must be his worst film by far. | -1no label
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] |
Capturing the sexual revolution of the late sixties, this comedy presents two married couples, free-thinking and ready (or so they think) for an open marriage Bob (Robert Culp) and Carol (Natalie Wood) and their best friends, a more traditional couple, Ted (Elliot Gould) and Alice (Dyan Cannon). I love the film and I believe that it has aged very well. Its theme and the way it was presented are definitely not dated. Many scenes are hilarious and superbly acted by all four main characters, Gould and Cannon being outstanding. I also believe that 60s was the best dressed decade for women (don't like pirate shirts for men, though :)) and I enjoyed the beauty of the film. It's got real class that is timeless. | -1no label
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] |
Although not a very well made movie (the writing and editing are especially weak) the late Raul Julia's performance is stunning, as are the performances of many of his supporting cast. The journey his character (and presumably the actual archbishop Romero) makes from innocence to awareness is deeply moving and very convincing. His story is remarkable and well worth forgiving the director and editor for not realizing it's full potential. The impact is in Julia's performance and you'll be with him from the moment he fills the screen. Probably one of Raul Julia's most remarkable performances. Another performance worth note is that of the late Richard Jordan who, as Father Grande, helps lead the archbishop to an awareness of the suffering of his people. | -1no label
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] |
If you are sick and tired of Shahrukh Khan playing the same role all the time (until recent Swades), watch some of his old flicks. If you think, he is only good at one role, you are wrong. He is a versatile actor, and one of my favorite actors. He is truly a good actor, and luckily he is playing different roles after Veer-Zaara (but Veer-Zaara and Main Hoon Na were kind of different). Over here, he is a continuation of his perky self in DDLJ. The concept of the character may be different, but who cares as long as he doesn't bore. The concept of the movie is very interesting. I personally thought real people can relate to this (dictating bosses taking pride possessions). The movie does bore you at moments, and it has it's usual clichés. This movie is from 1997, but outdated looks always gets in the way of the movie. But it's the actors who are the real stars. Juhi Chawla also blows you away with a charming performance (and beautiful looks). We know she is above this level, and it's sad how she departed from commercial cinema. But if we are patient, she might come back. Aditya Pancholi was perfect. I may have not liked the character, but wait..... wasn't that the point. You know when a character is hated when he is supposed to, the actor does no wrong. Johnny Lever, Gulshan Grover, and that friend of Shahrukhs were all adequate. The songs were very nice. My favorite song, in general, was Jaata Hai Tu Kahan (Where Do You Go?) presented in a perky matter. However Main Koi Aisa Geet Gaoon (If I Sing a Song Like This) and Chand Taare (Moon, Stars) were also nice and creative. Suniye To (Listen So) tried to be another Rukh Ja O Dil Deewane (DDLJ), but the choreography couldn't match up. But Ek Din Aap (One Day You....) succeeded in becoming a Hum Aapke Hain Koun. This movie is a must-see for Shahrukh Khan and Juhi Chawla. | -1no label
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] |
This movie came out in Belgium in 2003 but I waited to see this wonderful movie until now. The story is simple but the movie is great. Benoît Poelvoorde is playing Bernard, a bank clerk of the greatest dullness. A job he had to take 'cause his wife couldn't stand living with a dual-personality (or as she's called NO personality). So he promises her never to do the man again. His great obsession is the french star Claude François. Bernard is the perfect double of the star, no, resurrection is the better word. When there is a competition 5 years after the Promise, there's a competition for doubles on television and the best claude françois wins 100000 euro (125000 dollar) Bernard wants to compete and starts his old routine but he thinks he IS the star and starts acting on it. The actors are one for one top quality but the star is indeed Benoît Poelvoorde from my beloved country. His splendor, to be able to show a character that you can hate and love at the same time, is remarkable. I really can recommend this one Some pointers for the people oversees (United states): If you don't know claude françois it's easier to look at the movie like Claude = Elvis. Then it's easier to understand the hype If you look carefully: you can notice the original french version of 'my way' by Frank Sinatra or in this case 'comme d'habitude' | -1no label
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] |
Aside from Prince of the City, Robert Daley's work has fared poorly in film adaptations. This dreadful, obnoxious Mickey Rourke vehicle throws out 95% of the novel (one of Daley's best) and substitutes a plodding, dull, flat storyline that only occasionally threatens to engage the viewer's interest. Mickey Rourke is as offensive as usual, strutting and preening his way through the film as if he's deliberately trying to be as unlikeable as possible. John Lone does what he can with a poorly written role, but even the one or two good scenes in which appears can't save this train wreck. It's not just that I loved the book and hated to see it trashed like this. I first saw the movie in a theater years before I read the book. After reading the novel I gave the movie another chance and liked it even less. Whether you liked this movie or not, you should at least give the book a chance. Robert Daley's story is so much better than Oliver Stone's version. | -1no label
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] |
One of the smartest, funniest, and exciting buddy pictures ever made. It has never received the wonderful attention it justly deserves. The performances by the two leads (De Niro and Grodin) are wonderful and they get outstanding support from Joe Pantolino, Dennis Farina, and Yaphet Kotto. But what separates this picture from all the other action / comedies ever made is that the screenplay is so sharp and original. Easily my all time favorite movie - you know how I know that? I must have seen "Midnight Run" at least thirty times and every time I see it, it gets better and better. A true film classic and is getting rereleased on DVD in June of 2003. | -1no label
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Even though this film is 11 years old, I just rented it yesterday, and I found it to be a really touching film. The story of true friendship in the face of a very real monster is an inspiration and quite touching. While I did not care much for the amount of language used by some of the young actors--especially from Renfro--I understand that art is imitating life. Renfro once again does a magnificent job of the rough-and-tough, very (and I mean VERY) disturbed wannabe bully (his role in The Client comes to mind), and Mazzello does a wonderful job of the witty, somewhat quirky, Dexter--a child who realizes that his life must end too soon. While there are so many touching and funny moments in the movie, I have to say that my favorite was when the boys were cornered by Pony in the abandoned church, and Dexter (Mazzello) cut himself, saying his blood was poison. While very resourceful, and somewhat amusing seeing a grown man running away from two little kids, it's one of the hardest scenes in the film. Definitely check this one out, but prepared with your Kleenex--you'll need it! | 1pos
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] |
One of the most unfairly maligned programmes of all time, 'Terry & June' was also one of the most popular sitcoms of the '70's and '80's. It started life as 'Happy Ever After', but when Eric Merriman decided he didn't want to write any more, it changed into this, hence the dropping of 'Aunt Lucy' and the Fletcher's becoming the Medford's. Yes, it was cosy, domestic, middle-class stuff; the plots ran the gamut of clichés from the boss coming to dinner, the vicar organising a jumble sale, and unwanted relatives coming to stay for the weekend. It was certainly not 'dreadful lazy comedy'. As for it being 'not clever', it was not meant to be. It was funny and well performed, and that was enough! I too loved the 'alternative' boom of the '80's ( 'Spitting Image', 'Black Adder', 'The Young Ones' etc. ) but also enjoyed conventional stuff such as this. If nothing else, it provided alternative comedy with something to be an alternative to. I found it sad though when the likes of Ben Elton took against both this and Benny Hill. Well, family oriented comedy has all but vanished from our screens, but where has it left us? Take a look at the latest T.V. schedules. All soaps and reality dross. The few comedies left are aimed at teenagers, meaning they are jam packed with swearing, bodily function jokes, and explicit sexual references. And they are not remotely funny either. The 'alternative comedy' boom was good in many ways, but had a dark side. It made conventional sitcoms appear old fashioned, drove away talented writers and performers such as Spike Milligan, and ultimately led to such unspeakable drivel as 'Little Britain' and 'Tittybangbang' ( heaven help us ). If it ain't broke, don't fix it! | 1pos
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] |
I just watched Lonesome Dove, Return To Lonesome Dove, Streets Of Laredo and Dead Man's Walk. All excellent. This sorry hunk of junk is cheaply done and poorly acted. In the previous series, Captain Call and Gus McCrae come off as tough respectable cowboys. Despite the fact that Caption Call is played by a different actor every time each one quickly won me over. In Dead Man's Walk the boys are believable as the younger versions of the experienced Texas rangers. In Comanche Moon they are just a couple of chubby rednecks. I had to stop watching. I suspect many of the glowing reviews for this show were written by the people who made this stinking pile. It's a sorry end to an otherwise great franchise. | 0neg
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] |
Death bed: The bed that eats. Judging from the title, you can guess what this movie is about. And yet there is a lot more (background) story to this film then one might suspect. Okay, so the main plot is about a bed eating people and food, but there are also a few subplots. I won't spoil them for you, but they're a nice touch. Sadly, the acting in this movie is very mediocre. The fact that most dialog is not even spoken by the actors doesn't really help to improve the quality of the movie as a whole. Because there is a lot of voice-over work. The thoughts of characters are also revealed to the watchers. Sometimes it works, sometimes it doesn't. The effects are fine. Sure, it could be a lot better if you compare it with today's movies. But you really shouldn't; just judge the movie as it is and don't take it too seriously. You have to admit that a killer BED is quite creative. If you are easily spooked, don't watch this movie. You might never want to sleep again... Death Bed: The bed that eats is a strange horror gem with a low budget, but I'd still recommend it to fans of horror movies. In conclusion, I give this movie a 7 out of 10 stars for it's creative story and unexpected twists here and there. | 1pos
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] |
Well I watch tons of movies and this one really sucked ... BIG TIME. I am sure we are all sick and tired of the low budget ploy to make Vampire Movies using some "Martial Arts Teacher" turn "actor" type of movies. I am also so tired of the guy knowing some form of fighting technique and then able to fight his way through a somewhat boring Movie. I forced myself to watch it and one of the main reasons were that the Lead Actress is quite Pretty (Ha-Ha) Well I hope this helped a bit and if you have time and want to give your Brain a rest Watch it!!! Well hopefully one day this type of movies will not be released but then hey where will all the Low Budget actors go :-) The movie also contains many Bloops but that I will leave to you to find because it adds quite a bit of fun while watching and also if you a bit of a perfectionist it will bother you ;-) Cheers!! | 0neg
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] |
When this film was over (saw it on a late show on Christmas Day), I knew I had just experienced one of the most powerful cinematic masterpieces of my life. "The Curious Case of Benjamin Button" is quite possibly my favourite film of the last 5 years (not since Sofia Coppola's "Lost In Translation" a contemporary film had moved me so much). I had high expectations for it, and they were way surpassed (fact: after "Se7en", "Fight Club" and this, nobody will deny David Fincher and Brad Pitt make great films together). "Benjamin Button" is the story of a man who ages backwards. Played and narrated by Brad Pitt, BB is the epic account of this extraordinary life, with focus on all the special women that were part of it (Taraji P. Henson as the mother, Cate Blanchett as the love interest and Tilda Swinton as a married woman he has an affair with). As a humorous, romantic, melancholic and visually stunning tale of a sweet-natured man who's different from most people, the film reminds me of "Forrest Gump" (which was also adapted to the screen by Eric Roth), but it is even more groundbreaking. It's hard to see a film that has it all, but TCCOBB is one of those. It's like a great epic from Hollywood's Golden Age, when a good story was as important as the magnificent sets (the art direction, cinematography and make-up are all fantastic, by the way, as is Alexandre Desplat's musical score) that populated them something very rare today, when CGI dominates most movies. We had a few great films this year from the king of blockbusters (Christopher Nolan's "The Dark Knight") to a compelling biopic (Gus Van Sant's "MILK") to brilliant indies like Danny Boyle's "Slumdog Millionaire", Mike Leigh's "Happy-Go-Lucky", Charlie Kaufman's "Synecdoche, New York", Thomas McCarthy's "The Visitor", Courtney Hunt's "Frozen River", Tomas Alfredson's "Let The Right One In" and Jonathan Demme's "Rachel Getting Married", but I doubt I will see anything as good as David Fincher's masterpiece so soon. In other words, an instant classic (there, I said it). 10/10. | -1no label
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] |
Gave it two stars because the DVD cover was good enough to make me buy this piece of horse manure. I paid a dollar for it at the local DVD exchange and I want my money back. I have a couple of good movies(at least I think they're good) that have never seen the inside of a video store. After seeing this, I'm really insulted by that. Light years worse than anything I've ever seen, I can't even recommend this as a campy joke movie. It is so bad, instead of making you laugh it makes you angry. How did this awful film find any kind of distro? I can only believe it was self distributed as the amateurish DVD authoring would suggest. To the producers of this "movie" get out of the business, it's obvious you have no talent for it. | 0neg
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] |
This delightful and oh-so-sophisticated combination comedy/drama was my personal favorite at Cinefest. With clever dialogue, fetching lead actors and delicious directing, I was hooked at the onset. Beautiful Ann Harding is seen cooking and explaining to her engaged sister (Lucile Brown) that to men, business is business but that marriage is the business of women. Harding sets her sights on William Powell, a super smooth playboy who inherited a struggling shipping line. She sets a trap arranging for her sister to send their father (stern Henry Stephenson) to Powell's apartment for the purpose of catching Harding and Powell alone. To save face, Powell agrees to marry Harding, at least for a while. On the honeymoon, Powell suggests a divorce, while Harding coolly recommends they wait six months so as not to seem too obvious. She then starts steering him to leading his company back to profitability by looking at it as a challenge. With his talents now attending to business and not bedroom conquests, Powell starts to enjoy his newfound success and begins to fall in love with his bride. In the meantime Harding's jealous sister, now unhappily married, has been living beyond her means and needs money fast. She blurts out the truth of the marriage trap when Harding refuses to again pay off her debts. Powell leaves, disillusioned. Harding's father has arranged for a huge business deal to be offered to Powell at a formal dinner party at their home that very night. As Powell is boarding a ship to Europe, his frazzled wife is at home greeting guests and trying to maintain composure. One by one, each guest is involved in a personal crisis and is pulled away from the dinner party from hell, presided over by blustery Reginald Owen as the butler. I can't go on with out spoiling the best joke. This forgotten film is four stars all the way. I saw this film in March of 2004 at the CINEFEST film festival in Syracuse, NY. Thank god for film festivals like this one that make rare films like this available and the folks who provide comments to IMDB for others to share. Please support the IMDB and early film festivals! | -1no label
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] |
They can be an awful film more then this? I saw the promos i was interested especially the first promo but the last few promos gave away and i hoped the film won't be as bad but the film is worst Abbas-Mustan tried to make a commercial potboiler instead just to appeal to the masses who like such nonsense films The film starts off okay, 2 songs at the start itself and then slowly each characters are introduced but then the film gets boring because All characters are jerks Paresh Rawal- Johny scenes are stupid and too loud and crass Shahid- Kareena scenes are worthless and boring They is little hope when Isha is murdered but the director is too involved with comedy, romance and nothing makes sense in the end The Johny- Tanaaz finding a dead body in the briefcase is too childish and then the entire investigating scenes are not that great But the end takes the cake, one of the worst climaxes ever Even the CID episodes have better culmination Abbas-Mustan give their worst ever film Music is good Shahid and Kareena who were a pair that time are truly wasted Shahid just keeps making big eyes trying to look funny and make weird noises while Kareena irritates Akshaye imitates his dad Vinod Khanna at places and is the only actor worth mentioning here Tanaaz and Johny overact Paresh Rawal overacts too while Payal Rohatgi and Isha are dismissal Upen Patel with a dubbed voice is painful rest are poor | -1no label
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] |
This movie was given an 8/10 purely because of Meryl Streep's forever amazing performance. This movie is truly haunting. "...There are still some things we have yet to imagine", is the slogan of this movie. This is true because some of the things in the world are just too difficult to imagine. Sophie's Choice dares to show us those true horrors of life. Kevin Kline was also incredible with his portrayal of someone with a schizophrenic disorder before the time when that sort of thing was recognized. Peter MacNicol had an easy, but still memorable performance. This movie has a place in history, due to it's disturbing and unimaginably painful decisions and ideals it drives our minds to, and Meryl Streep has raised the bar in way that almost no one could ever surpass. | -1no label
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] |
This movie was DEFINITELY very true to life. The characters have a lot of depth -- even the minor ones -- and it allows you to definitely connect with the main characters. A very sentimental, very honest look at adolescence and growing up. Being the biggest Noah Taylor fan, bought it off ebay, unsure what to expect, as I am usually unwilling to just purchase movies I've never seen. This one did not disappoint and I recommend it highly. The girl that falls for the dumb jock instead of the guy she SHOULD have fell for, and Noah Taylor is a genius portrayal of the "boy next door." And if you're a Nicole Kidman fan, she's in the sequel, so this would give you a little background on Danny for "Flirting." | -1no label
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] |
Robin Williams is probably the best Peter Pan I've seen. Well, at least, a grownup Peter Pan. It's not a usual role for Robin compared to Mrs. Doubtfire or Good Morning Vietnam. He's a workaholic to get away from his family, along with his drinking. Then, his kids are gone and look who tells him that Captain Hook kidnapped his kids. In comes Maggie Smith. She is a wonderful Wendy!! This movie has it's ups and downs, of course. But, Robin's humor along with Dustin Hoffman's performance as Hook and Julia Roberts as Tinkerbell makes this movie a perfect childhood movie that can be watched with the whole family! | -1no label
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] |
I had seen all the "faces of death" films ,i wasn't shocked or anything at all with these films and as said before they had some documentary feeling However... watching this film (partly)i had the same feeling.... until the incredible evil torture against animals,this is so sickening violent that i had to to something,if only to warn people not to spread this filth,(as a torrent,(OR ANY OTHER WAY)To my amazement i saw that this movie is widely sold and advertised. Why anybody would wanna see this as entertainment is totally beyond my (and any sane person IMO)comprehension,so if the people who are making these films get a commercial success out of it, they are gonna repeat it! So the viewer will be responsible (to a certain extend) of what he sees. Think about that when u see this! i would say ignore it,also there are certain people like myself who would (and will!!!!!) pay a small fortune to get my hands on any of the persons involved in making the animal clips in this film,or providing someone else with the means necessary to make it for them! (ADMIN,IF YA WANNA DELETE MY POST WATCH THE FILM AND YOU WONT!!) "BARBARICFELLOW" | -1no label
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] |
This is a good movie to sit and watch on a night when you have nothing else to do. It's an interesting character movie where you sit and watch the life of a person for a short time frame out of his life. Nothing special, but if you like movies like me, then every once and a while a good independently made character film is enjoyable to watch. Steve Busceme's character was interesting and he played it well. An interesting slice of life yarn about a man down on his luck. I will rate it 7 out of 10. Based on the IMD rating scale this achieves the minimum 7 rating, that in my opinion, makes a movie worthwhile to watch. | -1no label
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] |
Duvall is, without doubt, one of the finest actors on the C20th screen. Unlike so many superstars (Nicholson, Pacino, Hoffman), you forget he's Duvall within the first couple of minutes of his performance. "The Apostle" is no exception. Here we have a completely three-dimensional view of a man carrying personal demons and plenty of psychological baggage. Duvall certainly deserved his Academy Award nomination. The central idea of the movie is also very strong: preacher seeks redemption from past deeds by once more bringing the power of the Word to a small community. But Duvall the actor, executive producer and director is not equalled by Duvall the writer. I sat watching with the constant niggle that something was missing. And as the final credits scrolled, and reminded me that Farrah Fawcett, Billy Bob Thornton, Miranda Richardson and a handful of others had been on screen, I got the sudden revelation that none had had a part anywhere near as round as Duvall's. This truly is a one-man movie. Even though the director is on screen for virtually every shot, it's not an egotistical piece. But it's not a deep as it could have been. Which is a great shame. Because with an antagonist of some kind, this would have risen from good film to masterpiece. Watch it, but only for the central performance. And for the two black children playing their ukelele. They're great. | -1no label
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] |
this is an excellent film that most have never heard of because it was made for TV (turner)and never shown in the theater.not much to add except that the film sheds light on the short and little known 1898 Spanish-American war which while trumped up by the media(newspaper publisher William Randolph Hurst played superbly by George Hamilton)catapulted the up until then isolationist united states on to the world stage for the first time and which gave the united states control of Spanish territories around the globe-Cuba,Puerto Rico the Philippines,wake island,Guam and the Marshall islands.and allowing the united states to flex its military might globally for the first time.there are some historical inaccuracies(such as the imperial German army advisor's aiding the Spanish, director john milius also made the turn of the century imperial Germans the bad guys in his 1975 film THE WIND AND THE LION in which Brian Keith played teddy Roosevelt as president during an international incident resolved by his big stick diplomacy-sending the marines.if you liked rough riders see the wind and the lion. | -1no label
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] |
I had heard about this film and about how underrated it was,then last week i saw a copy of it on ebay on VHS PAL UK.I was really surprised as i didn't think it had ever been released in the UK.It must be one of the rarest videos in Britain as sadly not many people have heard of it.Luckily i won it for just over £3 not bad eh.So if any one else is interested in buying a copy,there must be others available in Britain,if you really look around.I couldn't wait to watch this film,and i must say i wasn't disappointed.Its starts off a mildly amusing story that suddenly gets sadder and sadder until it reaches a climax to a very tragic ending.I must admit the last 10 seconds of this film does bring tears to the eyes,i wont say why,but try and see this movie and you will see.The acting between Gary Cooper and Anna Sten is first rate,her character is very likable as she is totally unselfish,and is trying to please everyone,so she does deserve happiness.Garys character,well he is married and his wife is not a monster and she does love him,so you feel sorry for her as well,i think you have to decide for yourself in a triangle like this someone is always going to get hurt,but you don't know who.Also this is a very early film showing us cultural differences and the sort of conflicts that can arise when two people from very different back grounds want to be together.Can it work?he is from a literate sophisticated family,she is from a poor immigrant family that is still trying to learn new ways.The answer is if two people really love each other then they can over come their differences as true love conquers all,i think overall this was the strongest message that comes out of this film,to some people the married issue may be the point of the film.Any way this is a very haunting film and well worth watching if you get the chance. | -1no label
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] |
Holy Cross purports to be a true representation of the horrifying and shaming events in Belfast back in 2001 when Catholic schoolgirls were subjected, by protesting loyalists, to a tunnel of verbal and physical abuse on their way to classes. But the whole film is filled with fictional episodes and characters which seek to condition the audience into a deeper understanding of the background to the story. There is a wholly moral line of thought which suggests such attacks on children require no forgiving back story and are disgraceful in themselves, with or without the nod of history, but that doesn't seem have occurred to the makers (BBCNI, of course). In their heavy-handed attempt to rewrite the facts any understanding of why the loyalists behaved in such a shocking manner is put well beyond use. This is one of those films where editorial and political concerns about content seek to revise the truth. And under those strictures any comment about performances or technical graces is irrelevant. Absurdly this one part drama was split into two pieces by the BBC on the night it was shown, interrupted by the news - this only added to the fiction of the whole film. | -1no label
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] |
Anita and Me seems to be little more than an excuse for Meera Syal, the author of the novel and screenplay, to air her prejudices, grievances and general antipathy towards the English. The general sentiment of Indian superiority over the English in this film is foul. The English people in this film are portrayed as overweight, violent, foul-mouthed, promiscuous, engaging in child neglect, stupid, uneducated, racist, ugly, eating poor food, and dim-witted -- tellingly, only by turning to Indian culture can the local priest be "redeemed" at the end of the film. By contrast, the Indian family are beautiful, clever, educated, can speak many languages, are caring and loving parents, and grammar-school fodder. The film is so insidiously prejudicial that I am astonished the BBC funded it at all. Had it been the other way round, an English family in an Indian community depicted this way, the film would have been seen as racist. There were a few moments where my eyebrow shot so far up my forehead, I thought it would lodge in my hairline. First, the gossip scene between the women at the Divali celebration -- undertext: the English are dirty and promiscuous -- and the men -- undertext: English women are prostitutes. Second, the meal with Anita where Neema's family lie to her about cutlery -- undertext: the English are so stupid, you can make them do anything. But the underlying contempt towards anything English -- even English weddings are an object of scorn -- is evident all the way through the film. The character of Anita was drawn so appallingly -- almost the fallen woman trope -- that I finished the film feeling angry. This is not a "Bend it like Beckham" where the humour is focused on loving exaggerations of a community's behaviour and customs from somebody within that community, and is a film about two girls from different backgrounds coming together. Instead, Anita and Me seems to convey that a form of cultural apartheid is inevitable, as the English are almost an version of the Indian Untouchable caste, and this is underscored by a thinly-veiled series of attacks upon the film's "other" community: the English. I felt Anita and Me is a hate-filled, grievance-based piece of work. On that basis, the BBC should not have funded its production. | 0neg
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] |
Apparently this was an award winner. Apparently someone had a gun against his/her head and was force to nominate Maize: the Movie. Or this must have been a mistake. This is the most unwatchable movie ever made. The screening and the editing is the biggest horror of this movie. Two little girls get lost in a cornfield and get stalked by someone who can be heard laughing under his rubber mask. The little girls run into their hero dad, and then runs away from him, W.T.F.? The hero dad in the movie keeps losing track of them in the few minutes of watching this. The girls obviously weren't trained actors, and had no common sense to them. They were so annoying and so infantile in the movie, it not even remotely comedic. Hearing them scream over and over again like a broken record was the reason why I got up and left. You can't even listen to this movie without nearly going into convulsions. I can puke a better award winner than this garbage. | 0neg
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] |
For anyone who's judged others at first meeting, here is the perfect tutorial on depth of character. The grumpy old lady has a soft, thoughtful heart - and needs new friends. The flighty, unsure, 'ditsy' dame who makes inappropriate, uncomfortable comments - sees deep into your soul and has pure love for all. The cold, prim, proper, neglected wife has passion simmering that could boil over at any minute - given the right setting. The perfect beauty - rich, sweet, partying, pursued by throngs - wants peace, quiet, and love without possessiveness. By taking the time to look beyond the surface, you will find treasures in everyday life, from the least expected sources. All it takes is patience and a touch of enchantment. | 1pos
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] |
Although I wished it had included all of the songs from the opera, this production was still a good way to get acquainted with the "Yeomen of the Guard." The sets and costumes were very well-done. Missing from this performance were both of Fairfax's solos, as well as "when a wooer goes a-wooing", "strange adventure" and the duet "Rapture, rapture." Joel Gray is a very nimble Jack Point. My favorite portrayal was Alfred Marks as Wilfrid Shadbolt. His duet with Gray, "hereupon we've both agreed," was my favorite number. Elizabeth Gale made a very touching Elsie, singing with a lot of emotion. Fairfax did the most he could with his role, considering both of his solos were left out. | -1no label
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] |
The budget for Mars was about $1 million US. That wasn't much money, and almost all of it went to the film's paltry CGI effects, and one explosion scene. The film was shot by a first time director in an abandoned shopping mall. Most of the places you see in the film are converted retail stores like Gap or Foot Locker. The surface of mars is a truckload of sand that someone dumped in the food court and died red. If you look closely at the costumes, you can see that the futuristic breathing equipment is made from pool toys that were spray-painted black. You just can't make this stuff up. Sharon Belafonte tries to make a comeback in this film... and fails. She looks good for her age though. Grunier does a good Terminator impression, as in, shows little or no emotion for the whole film. | -1no label
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] |
I never saw an Audie Murphy film I didn't like & this one is no exception. It is a real action packed shoot-em-up, but it also has a better than average plot to hold your attention between the action sequences that were Audie's trademarks. I knew Audie quite well, we used to shoot together at the various "fast draw" contests in CA that were popular back in the '60's. I can tell you this, anything you saw Audie do on film, he could do for real. He was one of the fastest guns in the movies, & he could do it with real bullets, not just blanks or wax bullets! He became a fine horseman, even riding some of his own horses in his films. Watch for Flying John, his horse that he rode in "Night Passage". Audie was a much better actor than he was ever given credit for, or allowed to be in Universal's films. | -1no label
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] |
This 1935 film showed recently on a TV movie channel and proved an innocent delight. The story line is simple, the ending happy, the people snappily dressed and the sets splendid. A fading prima donna is fired from the Met and starts her own opera company. A renowned conductor comes from retirement to conduct, and hires baritone Lawrence Tibbett, one of America's first operatic super stars, whose superb singing is the chief attraction of the film. He has a rich, focused voice and agreeable good looks. When the prima donna's voice fails, the conductor quits and all is about to fall apart, until the heroine Alice Brady, who wanted to be an opera star on her own, turns out to be an heiress and saves the day.The sound track suggests that someone has done a spectacular job of restoring the print; Tibbett's ringing voice impresses in baritone favorites, "The Road to Mandalay," "Largo al factotum" from Barber of Seville, "The Toreador Song" from Carmen, and "Si puo," from I Pagliacci. | -1no label
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] |
A spaceship in some unspecified future where human beings are equipped for space travel and have laser guns for weapons, crash lands on a strange young planet where dinosaurs are coincidentally also evolved and only on this world, have not gone extinct...yet. The survivors of the crash, roughly ten bland characters wearing blue, white, and yellow suits, fight for survival against the alien prehistoric monsters. "Planet of the Dinosaurs" is a peculiar movie. Like I said in my summary above, the stop-motion animated dinosaurs in the film are the only colorful actors. The models are crude, but effectively animated. And they are much more fascinating and intriguing than these characters portrayed by inexperienced actors and speaking lines from a script that must have been written overnight without a single revision. Obviously, most of the budget was put into the dinosaurs, and although there is a fair share of them, there's not nearly enough to save us from our boredom. These human characters are only there to scream, run around, and mutter these poorly-written and verbose speeches about survival. And unfortunately, not nearly enough of them get eaten by the dinosaurs. Overall, "Planet of the Dinosaurs" is not a film I plan on seeing again. Some people will simply love it for being so cheap and so poorly made. Sometimes, I enjoy movies like this. But this particular film is just too long, too boring, and very exhausting on the mind. | 0neg
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] |
Come on! Get over with the Pakistan bashing guys. Bollywood can not only make brilliant movies- but can seriously affect a generation of viewers. I am a HUGE Bollywood fan- but anti-Pakistan movies just make me wince too much to enjoy screenplay, cinematography, action sequences- everything. I'm really happy to see that viewers on both sides of the border are rejecting propaganda, and there are movies like Main Hoon Na out there that have done brilliantly not only because they deserved to because of the quality of its Bollywood masala- but also because it tries to say: give peace a chance and shows that there are crazies out there on both sides who do not represent the masses. | 0neg
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] |
The Best Man is a very entertaining romantic comedy. The ensemble cast clicks and clashes with one another at just the right moments. Taye Diggs's character, Harper, is charming and charismatic, but WHY would he write a book that causes pain to those close to him? Is it to enlighten his friends or to reveal his own frailties? Perhaps, a little of both. There is a good mix of very funny and also intense emotional moments and the audience is captured; cheering some of the cast and hissing others. It's quite uncanny that transformation occurs for certain characters especially when it's needed. Terrence Howard's character, Quentin, is a prime example. At the beginning of the film Quentin is basically a guy who lacks direction and propriety in his behavior. Over the course of the film, he becomes the voice of wisdom and the glue that holds it together for those closest to him. Malcolm Lee's directorial debut is quite admirable in this well paced, universally appealing film. Don't miss it. | -1no label
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] |
I came across this little lions gate gem by accident. And yes I must say that i was a bit impressed by it, maybe cause my expectations fell so low. But i think not. Sure the film's acting isn't great, but it's very few films especially in the genre that measure up. The spfx are non existent, the camera effects are a bit annoying but the sound and the storyline are pretty damn cool. plus the guy who wrote and directed this has some talent and will probably be going places very soon. The film centers around a young woman named Laura who was brutally attacked by a stalker. Because of the incident shes sustained agoraphobia ( for anyones whose seen Copycat-it's fear of leaving the place you find safe.) Unable to leaver her apartment she finds herself being haunted by a violent ghost. She almost immediately enlists the help of an internet fake who ends up being interested in becoming the real dead. the film has some nice twists and turns, most of which are quite surprising. But the big question here is how and why this film hasn't been talked about more. sure it looks a little like one of my weekend film projects but like mine this film has some real potential. it's obvious that everyone associated with the film are genre fans and it really shows. Kudos to the cast and crew of Ghost Watcher let the buzz begin! 7/10 | -1no label
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] |
I first heard about this movie from my parents, who said they were surprised by how raunchy the film was. I saw it and loved it, and didn't find it too dirty at all -- although the naked pictures with balloons were a bit weird. Say no more, you'll have to see the movie to get that reference. Julie Delpy, writing, directing, editing, and starring as lead Marion, is a great neurotic photographer in the spirit of a Woody Allen film, and Adam Goldberg, as Jack, is her neurotic interior designer boyfriend. The film is simple in its plot, but I think Delpy's just so good she makes it look easy. After an anticlimactic romantic getaway in Venice, a frustrated Jack and Marion stop for 2 days in Paris before returning to New York. Right off the bat, the dialogue is fast and funny, with a hilarious scene with Jack encountering some American tourists from the heartland. Jack meets Delpy's eccentric family, her beautiful sister, and her artistic friends and many ex-boyfriends -- leading him into hilarious fits of jealousy. Overall, the film is great fun and has a brain. Delpy strikes a good balance of showing the positives and negatives of her home country and the U.S. -- for example, the French are a classy, exciting people, but cab drivers make openly racist jokes -- it's still a slightly backwards place. Adam is a stereotypical New York guy -- half Jewish, half Catholic, with hipster tattoos all over his body, slightly whiny, but acerbically funny and cynical. In one scene, when Marion takes him on the Paris metro, he begins tensing up with fear, and starts talking about 9/11. It's a sensitive moment that people outside NYC wouldn't really understand. But then his fear manifests itself, when a creep on the train stares openly and lustfully at Marion. Jack tries to scare him off, gives up, and it ends up being a funny moment that scares away fear with laughter. Delpy's wonderful touch with these delicate moments makes the movie a winner, even though the ending feels like it could have gone either way and probably came off the editing room floor. A film this good doesn't need a better ending -- you kind of wish it just kept going. | -1no label
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] |
Although he seemed to be somewhat disappointed by his movie, and from what I gather so did most of the reviewers and audiences, I found this to be one of Kevin's better movies. Maybe it was because I saw this one after I had already seen Dogma and Jay and Silent Bob Strike Back, but now I got some of those great "in-jokes" that were included in those movies. Of course the running gags and themes that present themselves from one movie to the next make this a real gem. Anyone who doesn't appreciate these films and this writer and director needs serious therapy....And no, I am not related to the guy.... | -1no label
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] |
I watched it hoping there was going to be a lot of good quality, wholesome American nudity, however there ended up being nothing remotely redeeming about the film. The least they could have done to make it interesting was to add nudity! Usually a film like this gets by on gratuitous sex, but alas there was none to be found. If you have a chance to see this movie, watch something else instead or just go to bed. If you wish to torture your friends or family for awhile, then put this film on the big screen and watch everyone squirm in their seats with boredom. This film is a poorly done reincarnation of the lameness of a movie such as The Coneheads from the eighties. Avoid it and save yourself! | -1no label
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] |
I must first mention that as a group of mates, we often find entertainment in wacthing films which are known to be terrible for comedy value, hence our rental of Camp Blood. Camp Blood was the first film which we'd rented that had been shot on what looks to be a camcorder, and was so rubbish it wans't even funny. The DVD was returned and a refund was demanded, with the added suggestion some sort of quality control is implemented to prevent such utter rubbish being stocked. Don't do what I did, and let the curiosity get the better of you, it's so bad it's not even funny. | 0neg
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] |
I admit some of the quips from the commentators were funny, but I have to disagree with a lot of what is said. For instance, when they ruthlessly make fun of Meatloaf's "I Would Do Anything for Love (But I Won't Do That)", they say it doesn't make sense - what won't he do? Uh, well, if you listen to the end of the song you'd find out. Sure, some of the songs deserved to be on the list, but many were great songs, and did NOT deserve the trash talk so given by the comedians. It is also inaccurate to call this show "50 Most Awesomely Bad Songs...Ever", because after it was released at least a dozen more "awesomely bad songs" appeared on the radio. | -1no label
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] |
Man this is AWFUL! You're dropped right into the deep end of a very cheap looking movie & given a female vampire & a 1st death VERY early into the film (the opening credits hadn't even finished!) & a stupid hand to hand fight (why bother when you've got a handgun?). The vampire's easy death looked far too fake & predictably was. If they were trying to say praying over water makes it holy (sorry, you need a high level priest to bless water to make it holy) then that's just bad research. Cutting to the diner and the acting in there was truly awful indeed. The guy playing the clueless highway patrol officer is a dire actor, not once does he return fire when shot at. The girl playing the special agent generally over-acts in most of the scenes she's in and the whole film seems very much like it was made by students as an end of year project. The whole "scared of mice" thing seemed like it wasn't going to go anywhere. I do agree that the incidental music is just plain awful and clearly added on very late in production as an after thought. We are finally given an explanation that German Zombies from WW2 are hunting down and killing the Americans that killed them. Yes, a stupid idea for a plot but it's certainly never been done before. The very notion that they'd recognise people after 60 yrs has passed is one of the minor plot flaws. The fact that their uniforms are in such great condition is another one. The reason for the dead Germans wanting revenge is how they were mistreated before they were killed and it seems they can only be killed by the WW2 weapons. In the final encounter the local cop is bitten and infected and the special agent goes 1 on 1 with the last German Zombie (why she pulls her modern gun on him I don't know) but it seems the final Zombie has a death wish and is strangled by the last living GI. We find out that the special agent herself is a Zombie and she cures the local cop and she advises him to join her in the fight against monsters. Bad ending to a truly awful film | -1no label
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] |
Willie Stargell was the last card he needed for what set? He had a place for the card in a scrapbook with cards from 1953!?? The space for Stargell in the book wasn't large enough for a 1971 Stargell super card. Why in the 7th game of the series do all the Detroit fans cheer when Pittsburgh wins? Why in two different games when the visitors are up the scorekeeper changes the home team's score? Why would the owners of a tobacco company live in Pittsburgh? Especially, right across the street from the Hentons. Mandy said she regretted leaving Honus, but never mentions her husband, Mr Young. (Unless she just changed her name to prevent Honus from finding her, still in Pittsburgh. I don't even think Piedmont was a person's name. I believe it is a region in South Carolina, but I understand this was just done for dramatic purposes. Why would anyone think an autographed T206 Wagner is worth more than an unautographed card? It's not mint anymore. Why did it look like the card was signed in ink when Wagner asked to borrow a pencil? The kid never stops him to tell him to use a pen. Why put a $400,000 card in your pocket, pass it around to everyone, and tap it against your head? Why didn't he buy something to protect it when he was at the card dealer? Also the card seemed a little off center which would ruin the 'mint' appraisal. Why wasn't he more upset when Wagner threw the cards in the fire. Joe could have kicked the fire out and saved the cards, enabling him to go back to 1985 and give back the one card to her, while still have plenty for himself. How could Honus throw the cards in the fire knowing how important they were to Joe? Lastly; how could Joe go back to 1985 and explain to the card dealer that the card he showed him before now is autographed. (This would probably drop the value of the card to about $100,000.) | -1no label
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] |
Everyone who took part in this movie should be ashamed.Even actors who I actually like have totally collapsed before my eyes.Seeking any deep meaning and symbolism in this movie is just absurd.It completely lacks any originality.Istead there is some kind of redneckish humour in which there can't be any allegory - it is what it is - incredibly flat and superficial.I love sex jokes but they should at least be funny,not just a line of dirty words and gross images of horny old people.I voted with one star just because there is no option to vote with half or less,but this movie doesn't deserve even that much (well,maybe for the music,but that is quite merciful).Seriously,one of the worst movies ever made. | -1no label
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] |
This is a review of 'Freddy Mercury The Untold Story,' theatrical release, Chicago Int. Film Festival, 2007 One of the phoniest, uninspired and most tedious biographical documentaries I have seen. If the film I saw in a movie theater was originally released on TV, I would plead with its producers and distributors to not fool a paying audience with the false promise of a cinematically worthy documentary feature. Even as a made-for-TV documentary, the sentimental piano solos accompanying interviewees sitting in front of flower arrangements in hotel rooms and the pompous, pseudo-literary narration rang more true of a sleepapedic bed Infomercial. The only redeeming aspects of this "The Untold Story of Freddy Mercury" -- or, uhm, was it "The Untold Story of Princess Diana" are the original concert, video and TV footage -- unabridged Freddy Mercury and Queen. Testimonial interviews with irrelevant eye witnesses with insights, such as: "He was a free spirit," (really.. I thought Freddy Mercury was a company man...) belittle those Freddy testimonials, by Brian May or Montserrat Caballe that shed new and affectionate light into Mercury's complex life and character. And... what up with the Harry Potter-like boarding school segments? How did the interview with the first girl-crush ("...who now works in a travel agency") and members of Freddy's first school band contribute to what I really want to know about Mercury? Vital milestones of his personal life, his sexuality, his artistic style and growth, Queen, the band remain unexplored. These filmmakers don't ask a single, provocative question, nor do they engage in independent or visionary research of their subject, instead delivering a tedious montage of politely clean and vastly empty comments about an enigmatic and brilliant rock legend, who doesn't deserve to be remembered by this History Channel biography your grandparents can doze off to on a Sunday night. | 0neg
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] |
`Full Frontal' is maybe my greatest deception this year. Directed by Steven Soderbergh and having such a cast, I would not believe that the film could be such a crap. There are lots of characters, but none of them is well developed. Therefore, the viewer sees many famous actors and actresses on the screen and is not able to understand who they are, what are their motives, where they are. The plot is very confused, and some actors and actresses perform more than one role. The image and photography are horrible, using a kind of fake Dogma '95 style. I do not know how such talented people could be part of such a mess: friendship or big money? Anyway, a huge waste of talented people and of my time and money, in a film that never works. My vote is three. Title (Brazil): `Full Frontal' | -1no label
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] |
The opening was a steal from "Eight-legged Freaks", a film that is everything this one isn't. Stilted and pedestrian are the words that apply - along with others that can't be repeated..! Drifter type returns to his home(?)town, meets up with old friends etc.... the usual annoying kid, single mother,local loudmouth and so on..Bad special effects, alien ship, atmospheric disturbances, (hey, didn't the Director see "Close Encounters"?). Good acting? Good story? Good camera angles? Good cutting? Not here! Do not rent, unless you are sharing the cost and have a lot of beer handy. Do not watch on TV, go and drink a lot of beer instead - you'll enjoy it more! | 0neg
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] |
This movie had horrible lighting and terrible camera movements. This movie is a jumpy horror flick with no meaning at all. The slashes are totally fake looking. It looks like some 17 year-old idiot wrote this movie and a 10 year old kid shot it. With the worst acting you can ever find. People are tired of knives. At least move on to guns or fire. It has almost exact lines from "When A Stranger Calls". With gruesome killings, only crazy people would enjoy this movie. It is obvious the writer doesn't have kids or even care for them. I mean at show some mercy. Just to sum it up, this movie is a "B" movie and it sucked. Just for your own sake, don't even think about wasting your time watching this crappy movie. | 0neg
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] |
Armando Crispino's "Autopsy" begins deliciously enough with a two minute montage of solar flares and grisly suicides over the orgasmic moaning of a woman. We then find ourselves in the city morgue where we're introduced to the protagonist - a young, beautiful (is there any other kind?), and bra-less forensic pathologist (Mimsy Farmer) - who begins hallucinating that the mutilated bodies of the suicides are rising from their slabs. Regrettably, the remaining eighty-eight minutes illustrate that Crispino didn't have a clue what to do next. The stylish and intriguing opening is a bait-and-switch to lure us into a substandard drama about family blackmail, treachery, murder, and the 70's mindset that all a troubled woman really needs to feel better is to be roughed up and screwed. Farmer, who spends most of the film in shirts opened to her naval , is a sexually repressed woman who teams up with a priest with a past (again, is there any other kind?), to investigate the apparent suicide of his sister, and together they uncover a scheme about... well, I'm not really sure. There is lots of gratuitous nudity, bad dubbing, and lousy foley. Don't bother. | -1no label
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] |
I guess it's Jack's great empathic ability that makes him the powerful performer that he is, but empathy comes at a price like all things-when he's surrounded by mediocrity he instinctively lowers the standard and becomes one with it. He is a joke as a mafia-hit-man(also because the part doesn't suit him one bit, him being so extroverted)and just grazing avoids making a fool of himself in this.Kathleen Turner had a much tooooo long career just by being tall and blonde, because her acting ability is limited to that thing she does with her eyes, when she opens them wide which she's convinced is sooooo damn sexy and Anjelica Huston is the absolute same(granted interesting) in everything, just like Robert Loggia. The movie is a lame draft(and this will be the only mention of the rag they call script) of a gangster-movie, with a cast that was probably only interested to get to the after-party faster(they certainly gathered the party-going elite in this). What, did they shoot it in 1 day?-cause that would be the only explanation. | 0neg
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] |
It's a good thing The Score came along for Marlon Brando as a farewell performance because I'd hate to think of him going out on Free Money. Not what his fans ought to remember him by. Brando in his last years is looking more like Orson Welles and Free Money is the kind of film Welles would have done looking for financing of his own work. Brando is the warden of a local prison which in America, when it's located in a small rural setting is usually the largest employer in the area. That gives one who is in charge a lot of clout. Unfortunately he has one weakness he indulges, his two twin bimbos otherwise known as daughters. Even when they get simultaneously pregnant by a pair of losers, Charlie Sheen and Thomas Haden Church, their hearts still belong to Daddy. Not to fear because Brando's willing to give them jobs in the prison where they work under conditions not much better than the convicts have. What to do, but commit a robbery of a train which goes through the locality every so often carrying used money to be burned by the Treasury. Although Free Money has some moments of humor, for most of the time it's quite beneath the talents of all those involved. Some of them would include Donald Sutherland as an equally corrupt judge and Mira Sorvino as his stepdaughter, but also straight arrow FBI agent. Of course these people and the rest of the cast got to work with someone who many rate as the greatest American actor of the last century. Were it not for Brando's presence and were it some 40 years earlier, Free Money would be playing the drive-in circuit in red state America where the populace could see how they're being satirized. Or a feeble attempt is made to satirize them. | 0neg
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] |
Angel-A is a change of pace for Besson; monochrome, mawkish and rather mediocre. It is well photographed on location in Paris, although subtitle-readers should note: quick-fire dialogue AND good cinematography may make for frustrating viewing. This film is no "Wings of Desire" or "Wonderful Life". Despite its shared themes (heavenly intervention averts suicide, angel/mortal relationships ensue), Besson does nothing to enlighten or inspire us. Even the well acted, teary moments, rapidly descend into toe-curling sentimentality. The film's flawed ideology irritates; an Angel whose message of love and respect for self is constantly undermined by her own violent and promiscuous behaviour; a "happy ending" which negates the hero's supposed journey from helplessness to self-esteem and independence. Verdict: Quite nice to look at but confused moral and philosophical messages tarnish the film precisely where it should shine. 4/10 | 0neg
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] |
This film is bad. Not so bad it is good. Just bad. It is however hilariously bad. I watched it out of some morbid curiosity and never intend to watch it nor any other Chuck Norris film ever again. If you have to choose between this film and death, you should happily choose this film, however, as it is is a masterclass in terrible film making (hence the hilarity). It is a constant depression to me, as I grind away at my desk job, that some people get to be involved in movie-making and decided to produce things such as this. 1 out of 10. Still better than "Starship Troopers" however. | 0neg
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] |
Edward Dmytryk's "Crossfire" is a rare film coming from the Hollywood of the 1940s. This was groundbreaking territory for Mr. Dmytryk and the studio because of what the director and his adapter, John Paxton, decided to do with the novel, in which the film is based. If you haven't seen the film, please stop reading now. Richard Brooks novel was about the killing of a gay soldier. In the movie, the subject matter was turned around to prejudice against Jews, a theme that was taboo during that time in the American cinema. It's to Mr. Dmytryk's credit to have had the courage to get involved with this film project, at all. The movie is an outstanding piece of film making because the way the director presents it. Obviously influenced by the film noir style, we are taken to the Washington of the post war. The opening scene about the brutal murder of Samuels shows such unusual cruelty being inflicted to a decent man, who we don't know yet, or why has been killed, but who didn't deserve to die in such horrible fashion. The basis of the murder is prejudice, pure and simple. We realize how in the mind of an ignorant man, the mere fact of being successful and different, plays in the mind of the assassin. Samuels stands as the sacrificial lamb, the same way the gay soldier is the victim in the novel. The parallels are well drawn. This film makes compelling viewing because of the brilliant star turn of Robert Ryan, as Montgomery. Mr. Ryan was an actor that always played interesting roles, but never so well as in "Crossfire". Also, there is a great appearance by Gloria Grahame, as Ginny, the prostitute with her heart in the right place. The rest of the cast play as an ensemble. Robert Young, as the police detective in charge of the investigation plays is a decent man who has known prejudice first hand in his own family and speaks loudly against it. Robert Mitchum plays a cool Sgt. Keeley who is deeply touched by the crime when one of his men is accused of committing it. Sam Levene is excellent in his small role of Samuels. This is a film to watch because of it probably the first to speak out loud against ignorance. | 1pos
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] |
IZO (4+ outta 5 stars) Well, this movie gets only 2 kinds of ratings... either really low or really high. There's no way around it... you will have to see it for yourself to figure out which it deserves. I found the movie a bit confounding at first... but it definitely makes more sense after a second and third viewing. There really isn't much of a plot. Izo, a dead warrior, is flung arbitrarily through time. He kills everyone he comes into contact with... good, bad, he makes no distinctions. The movie is director Takashi Miike's attempt at some kind of philosophical dissertation on violence and religion. Pretentious? Well, of course! When you get right down to it, ALL philosophy is pretentious! But, is the movie entertaining? Yes. Does it provoke thought? Yes. (Even if most people's thoughts will be along the lines of "What the f*** is going on???") Imaginatively-staged action sequences are piled on non-stop, one after the other. Occasionally the action stops for some rousing acoustic guitar and wild folk-singing from Kazuki Tomakawa... who will either have you covering your ears or desperately searching for his records online. Extremely violent movie, very powerful at times ... similar in style to Jodorowsky's "El Topo". If you think you will like this movie based on the descriptions you read, you probably will. If you think it sounds like boring twaddle... well, you better go watch something else. | -1no label
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] |
Good thriller about a couple who hire a guide to take them into the into the desert canyons only to have to all go wrong. The less said the better, not because its bad, rather because its the sort of film that is best left to its own devices. Its also the sort of film that you've seen variations on before. Normally that would make for a dull little film but the combination of characters and location (the photography is great) make for a really good little film.I liked it. Is it perfect? No. Its probably too long, but other than that its a good little film to pas the time. This is also a film thats going to be better on DVD rather than in the theaters where one is a bit more forgiving of the flaws. | -1no label
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] |
Simply put, there are two parts of this series that made me cry till my eyes fell out. First: The part where he was set to wash the toilet, but ended up drinking the toilet water while imagining it was the hot director giving him a golden shower!!! (I laughed so hard!) Second: The part where he tried to prove worthy of a swimming school instructor. He seemed like a pro diving in, but as expected, he couldn't swim (proper at least^^). However the funny part of this was when he finally reached the end and said "how was that" or something. That was so friggin hilarious, I couldn't stop laughing. If you get the chance to see this anime series, I strongly recommend it. One of the best I've seen. Definitely the funniest! | 1pos
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] |
"After the first 5 minutes there is nothing worth watching in this film" (xnix444). Yes, but even the first 5 minutes are really bad. The intro with the sword seems to be stolen by 'Conan the barbarian' (also 1982), but in quality not even close to it. "It has possibly the worst score in film history." (eightx10) Yes, that is also true. The score is scary! "The production values are terrible; the writing, nonexistent." (yngue) Yes, I agree and have nothing more to say about that. Even "The Barbarians" (1987) is a true masterpiece compared to this crap. Rating: 1 of 10. | -1no label
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] |
Dragon Ma (Jackie Chan)is back, having rid the seas of the dreaded Pirate Lo. Back on land, he is assigned to the police force, where he is to clean up corruption and crime in a local suburb. Along the way, he is caught up in the fate of several Chinese patriots attempting to secure sympathy and support for their revolutionary cause. The Chinese Manchu government is after these revolutionaries, and anyone that stands in their way is in trouble, even if they are in the police force. I had big expectations for this movie after i saw Project A. But sadly I was a little disappointed. There is just too little action compared to the first film. There is just one good fight scene until the big ending. That fight scene is in the "gangsters place" and its good, a lot of people flying all over the place and hard kicks and punches are throw. Jackie Chan and his stunt team don't disappoint here at all. The ending is very entertaining, Jackie Chan shows us why HE is the best stuntman in the world. Really exciting stuff! The only bad thing with the ending, is that the fights are too short and forgettable. Conclusion: Many funny moments, good acting and crazy stunts. But not enough fighting for a top rating. | 1pos
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] |
According to the movie slang, a "slide" is a guy so dumb he even has no idea he's being framed on. I wish I know someone that would knowingly allow to be framed, so the term is kind of a lame one to me. Anyway, when you finish watching this movie-crap you feel that someone got framed indeed. You feel like you are the "slide" here. Specially if you paid for the flick. I found it miscast, poorly written and bad directed. But I have to agree with those who still find something enjoyable on it. If you search hard enough you can always find useful things in a garbage dump, as long as you care to sift it out. So maybe I have missed the hidden gems of this one. It's a blessing it went straight-to-video. I mean for Keoni Waxman. It should have gone straight-to-dumpster. | -1no label
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] |
Show Boat is one of my favourite musicals, and I admit to being a solid Howard Keel fan! However, the one thing that gets me, and why they haven't returned it to the original film track, is the dubbing of Ava Gardner's voice. I have a copy of the soundtrack on good old vinyl and have Ava singing her own songs on it and I have to say, in my humble opinion, that she actually did a better job of it, than the person who dubbed her. Maybe in 1951 Ava's rendition was a bit.... too hot for the censors, but today, never. Why can't we have Ava's voice back on the film??? What do the rest of you think? | -1no label
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] |
This movie is not worth seeing, at least not at a cinema. The story is hard to follow and understand (it starts with 10 minutes of something happening 3 years earlier). It's hard to know if this movie is trying to be a comedy or just is so bad/weird that it sometimes seems like it. American sirens and lights on Swedish police cars is just one example. The acting of Persbrandt and Bergqvist is good as usual, but I think Jenny Lampa acting as Jasmin acts very poor. Zara Zetterqvist acts pretty well, she's not been seen as an actor in Swedish movies for a long time. If you still want to see it, wait until it's released on DVD or is shown on TV. | 0neg
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] |
Dustin Hoffman's performance as comic Lenny Bruce is brilliant and I agree with those who say he is one of the greatest actors in cinema history. Indeed the production of the whole film - scripting, acting, directing, editing - is superb. It was obviously shot in black and white to convey a period (early 1950s to early 1960s) documentary feel and it works. There is probably more comedy in some of the off-stage scenes, particularly the courtroom repartee, than the stage performances which seem designed to demonstrate why he irritated a lot of people at the time. By today's standards the "obscenity" all seems quite tame, and comedians such as Billy Connelly and Rowan Atkinson are just as crude and manage to have their performances shown on TV without a whisper of complaint (at least not in this part of the world). The difference is that Lenny Bruce had a lot to say about social and political issues of the day, some of which get presented in this film. It won't be everyone's cup of tea, but highly recommended as an example of excellent movie making. | -1no label
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] |
Lets make a movie about a talk show that already exists and basically have everything that happens on the show! Well if that idea doesn't intrigue you, which it shouldn't, stay away from ringmaster. I had the displeasure of seeing this in the theater and actually being able to sit through this mess of a movie. I guess jerry springer doesn't play himself as it shows from the cheap props for his show (yes it looks even cheaper than the real jerry springer show) and he is only known as jerry in the film. The plot (if you can call it that) is about a daughter while living with her mother decides to start sleeping with the mother's live in boyfriend. So the mother's brilliant idea is to call the jerry springer show as well as getting it on with her daughter's boyfriend. (Is it any coincidence they live in a trailer park). Meanwhile somewhere else in america a woman finds her cheatin' man with her friend in bed together. So of course call america's therapist Jerry springer! I'd talk about the rest of the film but even thinking about the film now is giving me a headache. Jamie Pressly who plays the daughter looks totally unattractive in the movie. And remember Michael Dudikoff the kick ass karate master from the american ninja series? Well take a look at him now as a white trash drunk. The thing is he really looks too horrible and out of shape to call it "getting in touch with his charecter". But if your idea of fun is seeing Jerry Springer sing a country song about his own show or guys hooking up with transvestites...well...JUST WATCH THE SHOW INSTEAD! ... at least steve was smart enough to stay out of this flick. | 0neg
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] |
Dazzle is an enchanting balance of light-heartedness and innocent humor. Surprisingly, the movie is cleverly woven. Nice touches include Tom as an author of children's books about faeries as well as Shakespeare's fairy play within the play, Midsummer Night's Dream. The gnomes Oddkin and Bodkin impart amusement, keep the comedy cheerful, and provide balance for the mildly menacing antagonist, the Collector. Melissa is disarmingly charming. Tom and Crystal share a believable chemistry. Ms. Martinet adds a touch of complication as both the skeptic science teacher, rival love interest, and, ironically, the school play director. Tom's publisher and son help with unobtrusive story exposition. The movie is warm without being maudlin. Highly recommended. | -1no label
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The problem with other actors cast in the rôle of Dorian Gray is that they either looked too old for the part (Hurd Hatfield, Helmut Berger, Josh Duhamel, David Gallagher, Ben Barnes) or that they were unable to pull off the English aristocratic manner without being stilted. Dorian is the perpetual 19-year-old (or so), all milky skin and honey'd locks, as described by Wilde, so the challenge is finding an actor that has the maturity and range for the part (i.e., who can portray the naivité, callousness, and manipulativeness), but at the same time looks like someone in his late teens. And Peter Firth pulls it all off in this excellent British TV adaptation. Gielgud as Henry Wotton, while considerably older than what Wilde had in mind, does wonders with his scenes--Wilde's aphorisms have never sounded so natural and unforced. Especially George Sanders in the 1945 version was pretty feeble by comparison (and his costume didn't fit). Finally, Jeremy Bratt plays Basil as the most masculine and at the same time the most gay of the trio, again a fitting interpretation. In general, the film includes enough gay subtext without turning Dorian himself gay--he's all things to all people and supposedly there's no drug or sexual perversion he hasn't tried in the 18 years covered by the story, but that makes him more narcist than homosexual. He seems to equally wreak havoc on both sexes here, as he should according to the novel. Of course the budget of this production was not very large, so everything feels a little stagey. Particularly Dorian's encounter with Sybil's brother suffers from the obvious studio look. Also, the final shot of Dorian (a puppet I suppose) in his white toad-like make-up is more hilarious than convincing and Basil's death scene is inadvertently funny. (Also, as far as I recall, Basil should have been killed seated at the table.) But all in all, this is a very worthy adaptation. I'm sure Wilde would have liked it. The only thing missing is the sensual side. Not so much sex scenes, but Wilde's decadent world of fragrant flowers, luxurious cloths, and precious gems isn't really explored here, i.e. the aestheticism is completely missing. But like "I, Claudius", the excellent acting makes one easily forget these shortcomings of production values. | 1pos
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