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This movie is really not all that bad. But then again, this movie genre is right down my alley. Sure, the sets are cheap, but they really did decent with what they had. <br /><br />If you like cheap, futuristic, post-apocalyptic B movies, then you'll love this one!! I sure did!<br /><br />
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Columbo movies have been going downhill for years, this year it may have reached the bottom. Peter Falk gives the same uninspired performance and comes over as creepy in this movie. As is usual in this series, crime scene protocols are unheard of so plausibility is always lacking. Brenda Vaccaro chews the scenery and pulls pantomime faces and Andrew Stephens is a pretty unconvincing lady's man. (His faint, though, was a hoot!)The script was by the numbers and its delivery patronising. They should never have brought Columbo into the nineties, just left us all with one or two happy memories of clever plots, better scripts and sharp characterisations.
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Generally I like horror movies, but unfortunately this fell out of the one pound bargain bin into my friends hand. We sat down to watch it, ready to be scared and ended up spraying food everywhere we were laughing so much. The concept isn't that bad, but why they decided number ten in the series would be lucky I don't know. The worst thing about the movie is the actors. The camera work was poor, the special effects are actually not bad if I am being generous, but overall the story failed to connect on any levels because the actors were as effective as a small lump of badly charred elm. They were wooden beyond measure, especially a foppish young actor who was fifteen years too young to be taken seriously as any kind of government agent. He looked more like a public school boy in fact. There was a really amusing sex scene where he looked like he was bobbing for apples as a busty lady rode on top of him and later his nappy sized underpants were hysterical, but then I remembered it wasn't supposed to be a comedy. I'm desperately wracking my brain to find something positive to say about this movie apart from the occasional flash of breasts, but there simply isn't. Let's hope ten was the lucky number and they don't do another one, I'm not sure my ribs could take it.
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Here is the example of a film that was not well received when it was made, but whose standing seems to be raising in time. 'The Tenant' is quite an interesting work by Polanski, one of the first of his European exile. It is set in Paris, and as in so many other exile films the city, its streets, the Seine and especially the building where the action takes place play an important role. It is just that Polanski chooses his principal character not to be an American (as in 'Frantic' for example) but a Pole, as himself was when going West. There is actually a lot of personal commentary in this film, made at what must have been a time of crisis in the director's life, and the fact that he decided to play the lead role (and does it masterfully) may also be seen as some kind of exorcism.<br /><br />It's in a way a circular story. The hero named Trelkovsky rents an apartment in old Parisian building, inhabited by what seem to be first a well assorted team of grumpy old or just ridiculous neighbors. The previous tenant tried to commit suicide by jumping out of the window of the flat, and Trelkovsky has just the time to visit her in the hospital before she dies and meet there her young and beautiful friend Stella (a spectacled Isabelle Adjani in her first role after Truffaut's 'L'histoire d'Adele H.'). Soon the neighbors do not seem to be what they are, it's a conspiracy to make him crazy, or to make him enter the life and role of the dead girl. He fights, tries to run, enters the game and ends by entering the circle and slowly becoming her. The circle is closed.<br /><br />It's not the most believable story we may have seen or heard, but the strength of the film does not reside in the story but in the details of the psychology, in the slow degradation of the mental state of the hero, in the permanent balancing game between reality and delusion. To a certain extent it is not what happens on the screen that matters, but how it happens, reminding the classical 'Knife in the Water' made more than a decade before, at the end of the Polish period of Polanski. There are many details that are never explained, but then this is how mystery films must be and this is actually how life is sometimes. The feeling of claustrophobia slowly contaminates the viewer. Unfortunately some of the graphical details in the last part of the film are not too well executed and the English spoken dialogs (the film was made in English) almost neutralize the overall atmosphere. However, waiting for the final punch scene is very worth the patience.<br /><br />It's not the best film that Polanski made, yet has many good parts, it shows the hand and the style of the director, and was a significant step in the building of his career.
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Someone mentioned editing. This is edited badly and what started out as somewhat intriguing became an incomprehensible mess. For starters, let us know what it is you are trying to do with these experiments. Why are these people the best choices for the type of experimenting they are involved in? And, what exactly are they testing? Apparently there is some grand plan that some agency is going to exploit. The acting is pretty bad. Everyone is emoting. Everyone is keeping secrets. They frequently mention that if it weren't for the money, they'd hang it up. There's a deranged minister who spouts scripture. On and on. But, again, the biggest hang up is the lack of laying out a playing field for the actors. There are some really cheesy elements. Those little rooms and those chaise lounges. The awful wallpaper (was it wallpaper?). It was interesting, but didn't seem to go anywhere.
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Herbie, the Volkswagen that thinks like a man, is back, now being driven by Maggie Peyton (Lindsay Lohan), a young woman who hopes to become a NASCAR champion. The only thing standing in her way is the current champion, Trip Murphy (Matt Dillon), who will do anything to stop them.<br /><br />The original love bug wasn't that good. Even as a kid, I remember not liking it very much. I had some hope for the sequel though. I mean the cast is pretty good and the trailer makes it seem like a pretty fun movie. Unfortunately, Herbie is no better now than he was before. The film is defiantly weak for people over the age of 12. It will probably entertain the kids but that's all.<br /><br />I realize it's a kids film and all but they could have made the film a little more interesting. There were very few laughs and it got boring near the end. Most of the actors seemed dead in their roles too. Lindsay Lohan was alright as Maggie Peyton. She usually gives better performances like in Freaky Friday and Mean Girls. Matt Dillon gave the best performance out of everyone. He was very good as the bad guy even though he didn't have a lot to work with. Justin Long, Breckin Meyer and Michael Keaton are really just there and they don't do anything special.<br /><br />Angela Robinson directs and she does an okay job. She tries to keep the film interesting but she's working with a weak script. Thomas Lennon and Ben Garant wrote the screenplay and would it be any surprise to you that they were also responsible for Taxi and The Pacifier? These two make light films yet they fail to really make the stories interesting or enjoyable. It's not completely their fault but hopefully next time they will try harder. In the end, Herbie is a safe, predictable family film that's worth watching if you're a kid. Everyone else is better off skipping it. Rating 4/10
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BEWARE SPOILERS. This movie was okay. Goldie Hawn and Chris Sarandon were the best two in it. Okay, so the goofie foreign guy who (SPOILER HERE) trades with the biker for his clothes was funny. This guy's boss was good, too. But the movie really belonged to Sarandon and Hawn. These two should have had a lot more time on screen together. They're chemistry was great. The bathroom scene-WOW! Romantic, sweet, yummy.<br /><br />Hawn is a goofy cocktail waitress who saves a foreign man and ends up at the whitehouse in the middle of a plot due to the greed of politicians. To talk about Sarandon would be to give a lot away. SPOILERS This is a rather untypical romantic/political comedy, and it satisfies both somewhat-the political side a whole lot more than the romantic. It touches on political issues, and just barely skims on romantic areas.<br /><br />
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Just like last years event WWE New Years Revolution 2006 was headlined by an Elimination Chamber match. The difference between last years and this years match however was the entertainment value. In reality only three people stood a chance of walking out of the Pepsi Arena in Albany, New York with the WWE Championship. Those men were current champion John Cena, Kurt Angle and Shawn Michaels. There was no way Vinnie Mac would put the belt on any of the rookies; Carlito or Chris Masters. And Kane? Kane last held the WWE Championship in June 1998, and that was only for one night. It was obvious he wasn't going to be the one either. Last years match was a thrilling affair with six of the best WWE had to offer. 2006 was a predictable and disappointing affair but still the match of the night by far.<br /><br />The only surprise of the evening came after the bell had run on the main event. Out strolled Vince McMahon himself and demanded they lift the chamber. It was then announced that Edge was cashing in his money in the bank championship match right then and there. With no time to prepare and just off the back of winning the Elimination Chamber match John Cena did not stand a chance and dropped the title after a spear to one of the most entertaining heels in WWE. This was the only entertaining piece of action that happened all night.<br /><br />The undercard, like last year, was truly atrocious. Triple H and The Big Show put on a snore fest that had me struggling to stay away. HHH picked up the win but that was never in any real doubt was it? Any pay-per-view that has both Jerry Lawler and Viscera wrestling on the same card will never have any chance of becoming a success really does it. The King pinned Helms (who books this stuff?) and Big Vis tasted defeat against the wasted Shelton Benjamin with a little help from his Mama.<br /><br />The women of the WWE also had a busy night. There was the usual Diva nonsense with a Bra and Panties Gauntlet match which was won by Ashley and the Woman's Championship was also on the line. In a match, I thought would have been left to brew till WrestleMania 22 Mickie James challenged Trish Stratus in a good match. Trish won the contest but it was evident that this is going to continue for the foreseeable future.<br /><br />The opening contest of the night pitted soon to be WWE Champion Edge against Intercontinental Champion, Ric Flair. This could have been better but it was a battered and bloody Flair that retained after a disqualification finish. Edge obviously had bigger fish to fry.<br /><br />So New Years Revolution kicked off the 2006 pay-per-view calendar in disastrous fashion. The only good thing from that is knowing that for the WWE the only way is up. They don't get much worse than this.
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I have seen this movie a whole dozen times and it's awesome. But the only thing with it was that in the beginning, there was too much talk of who's going out with who. I think that it would be interesting to do a remake of it. But on the official site, they said that they will not be making a remake of it because so many people have gotten saved when viewing it. What's even happened to Patty Dunning now? She is a pretty good actress. She has done several other movies in the 70s and 80s, but we haven't heard from her since. I know for sure about Thom Rachford, who plays Jerry, works for Accounting at RD Films. But overall, I have to say that the series itself is like Left Behind gone old school.
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Randolph Scott is heading into Albuquerque to take a job with his uncle. However, on the way there, the stage is held up--even though they are not carrying a strongbox. However, a nice lady on board is concealing $10,000 for her and her brother's business...and the robbers seem to know this.<br /><br />Once in town, Scott goes to this uncle about the job. However, he soon learns that this uncle is a jerk--the typical bad guy from Westerns. You know, the rich guy who only wants to become richer by cheating and stealing and threatening until he owns everything. And, it just so happens that this jerk was behind the robbery. Scott demands that the uncle returns the money and then Scott goes into business with the nice lady and her brother.<br /><br />Not surprisingly, this is NOT the end of the problems---just the beginning. Again and again, intrigues of various types occur to try to crush the uncle's opposition. One trick is to bring in a pretty lady to befriend Scott and his partners. She's a crack shot and it looks bad for Scott--until he figures out why she's come to town.<br /><br />Unlike most later Randolph Scott films, this one shows Scott as a bit more headstrong man. All too often in his films he's the last one to suggest violence, but in this film he's quick to suggest a lynching (screw the law, let's have a hangin') and later he's quick to threaten the uncle. What a surprise to see him as such a hot-head--though in most other ways, he's the same old Scott you'd expect.<br /><br />As far as the film goes, there's nothing particularly unusual about it. Gabby Hayes plays the usual character, Scott is a hero, the baddie cannot be reasoned with and ultimately is destroyed and Scott gets the girl. Despite this very typical plot, it's all handled very well and as a result is well worth your time.<br /><br />By the way, there are two weird scenes in the film. First, late in the movie, there is a fist fight between Scott and the uncle's #1 henchman, Lon Chaney, Jr.. In it, Chaney smokes as he fights--something I never saw before and I did admire how he could puff away as he got his butt kicked. Second, get a load of that runaway cart scene with the whip--now THAT was one impossible feat!
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Riding Giants is a brilliant documentary that dives deep into the world of one of the most under-appreciated sports and brings to the surface a very human and raw emotion that only director Stacy Peralta could capture. Everything from the structure, to the players, to the amazing stock footage, to even the style in which this was filmed only reinforced the beauty and power behind the sport of surfing. Of all the surfing films that I have seen (Endless Summer, Billabong Odyssey, and Step Into Liquid) this was the most consistent and relevant. Beginning with the early ages of surfing (a brief history lesson) lasting all the way till Laird's infamous ride, Riding Giants goes further into the mind, heart, and soul of the sport than any of these other documentaries. How does it do this? By giving us the whole story, from start to finish, without fictionalizing or jig jagging from wave to wave.<br /><br />To begin this film was structurally sound. In the other films that I have seen about surfing, you sometimes find yourself jumping from new person to new person, wave to wave, event to event, without any knowledge of why or who? In Riding Giants, we have a very small cast of veterans and newbies. This allows you to really go deeper into the mind of each one. Also, instead of just riding waves, we are handed more history and more personal insight to the world than before. This is what really attracted me to this film. I was impressed that instead of showing all these big waves (because it is a big wave movie), we listen to stories and see first hand what these surfers had to overcome to get to those waves. I loved the information about the "beach bums" or father's of surfing. I am still floored by the amazing tales of Greg Noll and his early adventures into the harsh deep blue. Then, to see him in person, talking about what was going on in his mind, only added more fuel to the fire. The straightforward structure that Peralta followed allowed me to follow and walk away with more knowledge of the sport than with any of the earlier films. Peralta shows so much emotion and passion that you cannot help but be amazed by what these brave people have done, and where the sport is going.<br /><br />Add to a immaculate structure some intense and creative cinematography, and you have darn near perfect film. Using techniques that I last saw in The Kid Stays in the Picture, Riding Giants creates some scenes that almost feel as if they are jumping out of the screen. While it isn't 3D, it is that flat dimensional feeling that you get when you put two pictures on top of each other. In this film, it worked. It created more depth to the scenes, and really added to not just the shock value (man these waves were huge), but also the danger that these guys constantly faced. If it broke differently or they maneuvered wrong, these waves would kill them. Some did die, but it didn't stop the sport. It only created more excitement and more passion to do better. It is this love of the ocean and sport that leads me to my final point.<br /><br />The human element. So many of my earlier adventures in the world of surfing documentaries left me with beautiful waves, but very little about the people. The films knew that people were watching for the waves, so it would basically go from wave to wave to wave and the maybe a short second about the person. This film was the direct opposite. Peralta created this masterpiece by still giving us the waves, but devoting so much more attention onto the surfers and the immortal question of why they do this everyday. What rushes through their minds, what pushes them to go further, and the bonds that are formed while out there on the wild blue yonder. I felt like after watching this film that I not only knew more about big wave surfing, but also about the emotional side to the sport. This was an element not as developed in the other films and pushed Riding Giants to a whole new personal level.<br /><br />Overall, this film was brilliant. Never have I witnessed so much passion, devotion, and love wrapped in a structurally sound film. From beginning to end, I was impressed. I would be very happy if this film won the Oscar this year for Best Documentary, and to see a new rebirth in the surfing world and open more doors for films of this nature.<br /><br />Grade: ***** out of *****
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This movie is just truly awful, the eye-candy that plays Ben just can make up for everything else that is wrong with this movie.<br /><br />The writer/director/producer/lead actor etc probably had a good idea to create a movie dealing with the important issues of gay marriage, family acceptance, religion, homophobia, hate crimes and just about every other issue effecting a gay man of these times, but trying to ram every issue into such a poorly conceived film does little justice to any of these causes.<br /><br />The script is poor, the casting very ordinary, but the dialogue and acting is just woeful. The homo-hating brother is played by the most camp actor and there is absolutely no chemistry between the two lead actors (I think I've seen more passion in an corn flakes ad). The acting is stiff, and the dialogue forced (a scene where the brother is feeding the detective his lines was the highlight).<br /><br />I'm just pleased to see that the creator of this train wreck has not pushed any other rubbish out in to distribution, and if he is thinking of doing so, I have some advise - JUST DON'T DO IT.
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"The Godfather" of television, but aside from it's acclaim and mobster characters, the two are nothing alike. Tony Soprano is forced to go to a psychiatrist after a series of panic attacks. His psychiatrist learns that Tony is actually part of two families -- in one family he is a loving father yet not-so-perfect-husband, and in the other family he is a ruthless wiseguy. After analysis, Dr. Melfi concludes that Tony's problems actually derive from his mother Livia, who's suspected to have borderline-personality disorder. Gandolfini is rightfully praised as the main character; yet Bracco and Marchand aren't nearly as recognized for their equally and talented performances as the psychiatrist and mother, respectively. Falco, Imperioli and DeMatteo are acclaimed for their brilliant supporting roles. Van Zandt (from the E-Street Band) plays his first and only role as Tony's best friend, and is quite convincing and latching. Chianese, the only recurring actor to have actually appeared in a Godfather film, plays Tony's uncle and on-and-off nemesis. Many fans also enjoyed characters played by Pastore, Ventimiglia, Curatola, Proval, Pantoliano, Lip, Sciorra and Buscemi. Tony's children are "okay" but not notable (with the exception of Iler's stunning performance in the third-to-last episode, "The Second Coming"); Sirico and Schirripa are unconvincing and over-the-top, but the show is too strong for them to hold it back. Even as the show continues for over six season, it ceases to have a dull or predictable moment.<br /><br />**** (out of four)
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this one of the best celebrity's reality shows a ever saw. we can see the concerts we can see the life of Britney, i love the five episodes. i was always being surprised by Britney and the subjects of the show i think that some people don't watch the show at all we can how a great person she his. she his really funny really gentle and she loves her fans and we can see how she loves her work. i just don't give a 10 because of k-fed he his a real jerk he doesn't seem to like Britney at all. I they make a second season of this great show because it shows at some people how Britney really is. Go Britney your the best and you will never leave our hearts.
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Italian horror/suspense film about a wealthy English lord who cruises pubs and taverns for girls with red hair just like his recently deceased wife Evelyn. You know he must have really loved his wife, because he brings them to his home - a huge, rotting castle - and makes them disrobe and then tortures them, whips them, and kills them. The most bizarre aspect of this film for me was that somehow by the film's end, we see this guy played by Antonio De Teffe as the HERO of the film. Anyway, soon, under the advice of his playboy uncle Roberto Maldera, De Teffe settles down with a girl he meets at his uncle's party. She moves in and strange things begin to happen to De Teffe's fragile state of mind. He begins to see and hear his dead wife and finally, well, just look at the title if you are still curious. Also, family members and friends begin to die in the most brutal fashions. Poor Aunt Agatha(she looks like she might even be younger than De Teffe and they have her in a wheelchair and trying to look old) meets her fate in a foxy fashion. Another man is injected and then buried alive. And of course, there is a whole explanation as to why/how Evelyn did what she did. Director Emilio Miraglia does do some things fairly well: the settings in the film are well-suited for this film though trying to make us believe it is England is ludicrous at best. None of the actors look English. Many having dark black hair and Mediterranean complexions and wearing clothes an Englishman wouldn't be caught dead in. The cars drive on their wrong side of the road. But all that notwithstanding, the crypt scene was effectively shot and I liked the cheesy resolution too. And of course any film with the sultry, red-headed Erika Blanc is always a plus. There is a streak of sexual perversion; however, which I found somewhat appalling with the idea that torturing women was quite alright and healthy in order to relieve one of his mental demons. C'mon.
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In one instant when it seemed to be getting interesting, it never got there.<br /><br />The people are going from one point to another point, with really no point (if there was one it was very dull). There was no action, suspense or any horror and the characters were pretty heartless, so there was no caring what happened to them.<br /><br />All together the movie was pretty boring.<br /><br />I give it a 3/10.<br /><br />I like that it wasn't shaky choppy camera-work and if there was music it didn't annoy me like some really bad movies and the acting was not horrendous.
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The first of the Tarzan movies staring Johnny Weissmuller. The plot has already been summarized so i wont go into it again. Just know that The actors who play Jane and Tarzan were born for the role. If you have not seen this film and you only have the modern day Tarzan films as a reference..you are missing a Real treat. Doesn't matter how far we've come in movie making, makeup set designs...no one will ever play Tarzan as well as Johnny Weissmuller did. He was and is Tarzan.
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Watching David&Bathsheba is a much better way of getting your bible lesson that going to Sunday school. Despite a script that at times is unintentionally funny the film is highly entertaining. The studio system had its faults but it spared no expense when a lavish production was called for. Peck portrays King David as a lusty but tormented poet who commits what is tantamount to murder to bed a sexy Bathsheba, Susan Hayward. Raymond Massey as the prophet Nathan delivers his usual saturnine and ferocious performance. Look for the silent screen star Francis X. Bushman as King Saul and a young Gwen Verdon as a dancer. Hooray for the Old Testament and Hollywood.
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The story: Young-goon is a girl whose family has a history of mental illness. She ends up in a mental institution after she starts believing that she is in fact a cyborg. In the institution she meets Park Il-sun, a young man who develops a bond with her.<br /><br />If you're reading this you probably already know how talented Chan-wook Park is. But 'I'm A Cyborg...' is a big departure from familiar, and (sadly) stronger territory. I'm a big fan of any film or story which is attempting to do something different. God knows, we all get subjected to enough crap at our local cinemas. The main point about the movie I need to say is, that it fails to say anything about mental illness, or create a characters that you care about.<br /><br />This story has to be one of the weirdest things I've seen in years...but weird isn't enough. There's no heart to the movie...just surrealism and confusion. Confusion does seem to be the main theme of the movie. The characters all try to make sense of their own problems, but it's Chan-wook Park himself who proves to be the most confused of them all.
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The Wooden Horse is a very clever movie about a very clever and successful escape plan worked out by British POW's during World War II. It is superbly acted with a wry sense of humor, especially the lines expressed by the acid-tongues Leo Genn. Anthony Steele and David Tomlinson (later George Banks in Mary Poppins) are marvelous as the two heroes. The direction is taut and fast-moving throughout. Highly Recommended.
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Funny, sexy, hot!!! There is no real plot but you needn't anyone...<br /><br />so the naked or almost naked girls and the typical fights between college-cliques need no development!<br /><br />All in all the whole seems to be known from simply every film in this category but the reissuer reached the goal that this film can be recognized out of thousand others.<br /><br />Last thing I've got to say. Unbelievable funny!<br /><br />You've got to see it!!! <br /><br />And if you are young and you want know more about the female body you've got to see it twice
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Before this made for TV movie began, I had relatively low expectations. That's because it was made after the final episode of the series had aired and many of the series originals were gone. There is no President Sheridan, Delenn, Lennier, Londo, Vir, G'kar or Lyta. If you remember, on the second to last episode of the series, all the regulars except Zack, Vir and Captain Lockley left B-5 permanently. Now for this film they did bring back Garibaldi (who was not in the last B-5 movie) to join Zack and the Captain and the Doctor makes a brief and irrelevant appearance. But because so much is gone of the old chemistry, this film already is severely handicapped.<br /><br />The movie is about a Soul Hunter (Martin Sheen) who is led to Babylon 5 in search of a globe filled with souls that had been stolen from a hidden repository by an archaeologist (Ian McShane). A lot of spooky mumbo-jumbo stuff occurs but frankly it was all pretty silly and pointless. Yeah, yeah, the station nearly blew up but was saved and all, but frankly I felt like it was a case of "been there done that--and done that a lot better in the past".<br /><br />The secondary plot, provided more for comic relief, was much more interesting, as an entrepreneur installed a holo-brothel and those in command weren't sure what to do about it and when they tried to pressure them to close, they were slapped with a lawsuit. This was fluff, but it did provide a few laughs--something the other dreary plot was surely lacking.<br /><br />By the way, Sheen at first did a good job playing the Should Hunter--with his wild eyes and bizarre delivery. However, repeatedly throughout the episode he fell out of character. This should have been spotted and corrected.<br /><br />So the final verdict is this is only for total die-hard B-5 nuts (like myself). Others seeing it might assume the series sucked--which is a great injustice. This is a great example of a show not knowing when to quit.
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"The Last Big Thing" is a wonderful satirical film that sardonically whips pop culture to the point of humorous self-desctruction. The characters are so interesting and fun to laugh at/sympathize with. Which brings me to an introduction to the characters I liked best...<br /><br />Simon Geist is a man in his late 30s/early 40s who creates a pop-culture driven editorial magazine called "The Next Big Thing". Thing is, this magazine doesnt really exist, and it is only an excuse for Simon to get close to actors by interviewing them, only to bitch-slap them silly, insulting their way of buying into pop culture. His live-in female friend, Darla, is also writing a magazine (which is real), which mainly has to do with her and Simon, as well as her and her father. Darla is a genuinely loveable (or loathable) character, depending on how you view her muted neurotic behavior. Magda is a prostitute, the character i liked the best. Brent is a flat character with not much to him, as is Tedra, the music-video queen for a bunch of B-rated rock bands. Still, these characters weave a very interesting web together. And this movie questions all the motivations that people have for what they do and why they do it. Its a wonderful film and I suggest you see it if you're in the indie/art house crowd. Mark my words!<br /><br />
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Flynn, known mostly for his swashbuckling roles (and his bedroom antics!) takes a different tack with this film and it works beautifully. Playing real-life boxing champ Jim Corbett, Flynn turns on the charm full blast as he makes his way from a stifled San Francisco bank teller to a celebrated pugilist, all the while setting one eye on society deb Smith. He and best pal Carson attend an illegal bare-knuckle fight and are arrested along with scores of other men (and a dog!) including a prominent judge. The next day, he gets a chance, via Smith, to gain entrance to the judge's private club. He uses this opportunity to weasel his way into the good graces of its exclusive members and land a spot as the club's resident boxer. His unusually adept skill in the sport soon has him taking on all comers, up to and including the world champion John L. Sullivan (Bond.) Flynn is downright magical here. He is the epitome of charm, charisma and appeal in this role. He looks terrific (especially in a hangover scene with his hair mussed and wearing a white union suit) and does virtually all of his own stuntwork (impressively!) His line delivery is delicious and he is credible and sympathetic and at the same time duplicitous and rascally. Smith exudes class and taste from every pore and is a good match for Flynn. At this stage, he needed a female costar who could stand up to his advances and reputation (he was undergoing statutory rape charges at the time) and she does so admirably. She is repulsed by his freshness and cavalier attitude, yet can hardly help but fall under his enchanting spell. Bond is incredibly burly, brawny and towering, yet tender when the script calls for it. Amusing support is provided by a young and ebullient Carson. Frawley is his dependably cantankerous self as Flynn's manager. The rest of the cast is excellent as well including Flynn's rambunctious family and an assortment of stuffy Nob Hill types. The whole thing is beautifully appointed and securely directed. A few of the sets are amazingly presented. Some of Smith's gowns border on the garish, but she suits the upswept hairstyles very well. It's a terrific glimpse into the earliest days of championship boxing, but it's also so much more. Some of it (like the character traits shown by Flynn) is enhanced or exaggerated for entertainment purposes, but a lot of it is authentic (like the methods and costumes shown in the fight scenes.) One line is particularly memorable: "I believe you like me more than I like you, but it's entirely possible that I love you more than you love me." It's classic romantic dialogue (and there are more than a few zingers sprinkled throughout the script as well.)
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If there were a movie that deserved a 0 out of 10, this would be it. 'House of the Dead' redefines the term "bad movie". Other bad movies, such as 'When A Stranger Calls' or 'Premonition', will actually look much better when compared to 'House of the Dead'. The basic "plot" of House of the Dead is a group of twenty-somethings travel to a remote island to attend the "rave of the century". When they get there, they only find some tents, a bar, a stage, and some bloody t-shirts. They decide to stay anyway, and they are soon attacked by zombies.<br /><br />There is absolutely nothing redeeming about this movie. It is not entertaining. Instead, it is painful to watch because of how terrible it is. The acting is unbelievably bad. In a DVD interview, one of the actors claimed that Uwe Boll, the director, is not afraid to tell someone when they are doing a good job or a bad job in a scene. This is a blatant lie. The script appears to have been written by an 11-year-old, who decided to include a scene of someone throwing up on a girl's chest and to include the hilarious line, "it smells like someone farted out here." The characters have no personality or depth and they do some of the most moronic things ever seen in a horror movie. Somewhere along the way, the characters also magically transform into a SWAT team to take down the zombies. It's like they don't even have to aim their guns and they automatically shoot the zombies in the head.<br /><br />The scariest thing by far about this movie is the directing. There is something wrong with Uwe Boll. Boll's camera work is astonishingly disjointed. His pans to zombies running through the forest are more silly than menacing. Worse yet, Boll actually thought it would be a good idea to include small bits of footage from the House of the Dead video game into the movie. Quite often, and at the most random times, you will suddenly see an animated zombie getting shot. It makes no sense. No one in their right mind would think that was a good idea. It's like Boll wants to remind us repeatedly that this movie is supposed to be based on the video game. Uwe Boll also decided it would be cool to include slow motion 360 degree rotating shots during the action scenes, a la 'The Matrix'. Unfortunately, he does it way too often and each shot is nauseating. The soundtrack to this movie also boggles the mind. Most action scenes are accompanied by loud rap track. This also adds to the ensuing headaches caused by the atrocious 'House of the Dead'.<br /><br />'House of the Dead' isn't bad because it's based on a video game. In fact, it has very little to do with the video game. It also does not fit into the category of 'so bad that it's good'. It does however fit into the category of 'so bad that it's painful'. This movie just plain sucks. Uwe Boll should never be let anywhere near another movie set. Even his presence will curse a production. To all the directors out there: whenever one of your movies gets a bad review, all you have to do is remember that you didn't make 'House of the Dead' and you will feel much better. I will never get those 90 minutes of my life back. To sum it up, words really cannot describe just how bad this movie is. Everyone involved in the production of this film, especially Uwe Boll, should be ashamed of themselves. Although what I have said may make 'House of the Dead' sound funny, it really isn't. Nothing about it is funny. Avoid this at all costs.
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It's common practice for a film about repression to be somewhat muted in style and tone. There's a difference, however, between using restraint and encouraging narcolepsy among audience members. In "The Secret Lives of Dentists," starring Campbell Scott and Hope Davis, director Alan Rudolph plays as close to the vest as possible, with the result being a film that never amounts to much beyond a rumination on how teeth are a metaphor for married life.<br /><br />Scott gives a fine performance in the role of David Hurst, a dentist married to another dentist (Davis). Rudolph sets up the dynamic of their relationship quickly - he is completely absorbed in the day-to-day duties of being the parenthood, she is quietly disillusioned with their frantic family life - and then ratchets up the tension when Scott may or may not witness his wife with another man. From this point on, the film focuses on whether or not David is going to confront his wife Dana about her possible adultery, or whether she will beat him to the punch and leave for good. From time to time, David is treated to visits from an imaginary "friend" in the form of a former patient played by Denis Leary (borrowing heavily from Brad Pitt's Tyler Durden in "Fight Club").<br /><br />While there is enough uncertainty about Dana's infidelity and David's instability to warrant examination, the last two thirds of the film are embarrassingly empty of theme or narrative. Instead, Rudolph creates drama out of a nasty fever that travels slowly through the Hurst family, culminating in a pointless hospital visit at the film's climax. The film never picks up on the hints at what David is really capable of if he wasn't so dedicated to his family; neither does it spend much time looking at Dana's precarious balancing act between her family life and her other, more fulfilling ambitions.<br /><br />By choosing to spend the majority of the film worrying over a fever gone awry, Rudolph kills the momentum of his film. By the time the fifth member of the family shows up sweating and sickly, the film has used up all the good graces of Scott's well-measured performance. David and Dana end up retracing their steps over and over again until a less than cathartic finale. With nothing to build on over the last hour, the conclusion seems awkward and patched-on. "The Secret Lives of Dentists" takes a common theme and does nothing to improve upon it. Altogether, a disappointing, unimaginative film.
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I've seen a lot of crap in my day, but goodness, Hot Rod takes the cake. I saw a free screening in NY the other night. I can only hope they show the funny version to the paying customers. The big laughs were sparse, the plot was uninteresting, and the characters were one dimensional at best. One highlight is a hilarious dancing scene with Adam Samberg. It was priceless and was the only scene I truly had a hearty laugh at. Other than that, I can only recollect randomness and dead air. SNL & Samberg fans may be disappointed. I know I was expecting more from it. But it short, I definitely would not recommend attending a free screening or paying to watch this film.
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"A Cry in the Dark" is a masterful piece of cinema, haunting, and incredibly though provoking. The true story of Lindy Chamberland, who, in 1980, witnessed a horrific sight, seeing her 3-month-old baby being brutally taken from their family's tent, while camping on the Austrailian outback. Azaria (the baby) was never seen again, and the result of her horrendous disappearance caused a true life frenzy all around the world. Meryl Streep does immaculate justice to the role of Lindy, as she always does. But the one thing that helps "A Cry in the Dark" never fall flat is the brilliant direction. A truly inspired and accurate outlook on this baffeling case, tears are brought to the eyes. The concept is nothing less then terrifying, and afterwards you are left haunted, but also inspired.
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That's a problem I have with movies that come on television, when there is nothing else to watch. I somehow get sucked into really bad movies.<br /><br />But this one was fairly watchable. The concept of being the only ones left on Earth after a comet, then finding out zombies are around makes me laugh. And that's why I gave this movie a 2, instead of 1. The story was stupid...but in that way that makes you laugh (too stupid >funny).<br /><br />I think I only watched it because the guy from Star Trek was the lead. I was surprised to see him as a younger guy...and he was the only funny character anyway.
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How powerful and captivating simple quality filmmaking can be. This film tells it's tale with everyday scenes that manage to revel the poignancy hidden within. It's true as others have stated, how this film really makes it glaringly obvious how lost Hollywood is in it's special effects, overblown emotionalism and over the top climatic endings and have forgotten the essence of a meaningful story told with simple realism. So much of what these characters are going through is implied by the scene rather than spelled out in wordy dialogue. One aspect that I really enjoyed about the film was the contrast of the two brothers, one so very openly expressive in his childlike way and the other completely stoic but both able to evoke deep emotion. The older brother needed to say little, as he usually did, it was all there in that deadpan face of his! Beautiful cinematography, wonderful acting, great direction! Not to be missed!
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Okay this is gona be short and sweet review...Something the movie should have taken a practice ina nd made its life shorter and sweeter than it was.<br /><br />This movie is $^@%. There's a good reason there was a petition with over 40,000 + signatures ALL demanding Uwe Boll stop making movies from franchises people liked. Blood Rayne being a biggie there.<br /><br />The jokes are good...if you've never heard them a THOUSAND times before. THe acting is descent but u can really only blame the script for that. I even a few moments wonder if they're even using a script.<br /><br />The movie has little to NOTHING to do with the original games. HELLO if you've played the games u know the main character has no real motivation outside homicidal urges like mass murder because he stubbed his toe or simular. There's way too much story for such a stupid movie. like I said. I WOULDN'T even steal this movie. ANd for the person who says this is ' Funniest movie of 2007'..........need to take a look around, the news is better than this.
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Slaughter High starts like any other day at Doddsville County High School where little minx Carol Manning (Caroline Munro) has tricked resident nerd Marty Rantzen (Simon Scuddamore) into the girls locker rooms where she tells him to get undressed in the shower, while doing so Carol's gang of friends come in & give the now naked Marty a big surprise as they film him as they stick his head down the girls toilet in an April fool's day joke. The school's sports coach (Marc Smith) saves Marty & punishes the gang who rather harshly blame Marty, they decide to play another trick on him only this time things get out of hand & Marty is caught in an explosion & has nitric acid splashed over his face. Years later & the whole gang are invited to a class reunion at the now closed down school, they all arrive to discover they are the only ones there. They all venture inside where they quickly learn they aren't the only ones there as Marty is back & has revenge on his mind...<br /><br />Originally shot under the title April Fool's Day which they changed probably because of another slasher film named April Fool's Day (1986) made the same year this American English co-production is unusual in that it has three credited writers & directors, George Dugdale, Mark Ezra & Peter Litten (after never seeing a film with three credited director's I've now seen two in a week the other being the Jean-Claude Van Damme flick Kickboxer (1989)) & I have to say I really rather liked Slaughter High even though it seems to have a pretty bad reputation. One of the things I like about the script is that it is a pure unashamed slasher flick, it doesn't try to be anything else & it just accepts the genres rules, short comings & trappings & plays up to them. Basically it delivers what it promises, a homicidal killer, blood, boobs & babes. I thought the character's were alright, the story was OK even though it's just an excuse to get a load of teens inside an isolated location so some killer can bump them off one at a time & I actually liked the twist ending as well which is also something for which Slaughter High gets a lot of flak for. The first half starts off a little slow but the second half moves along at a rate of knots as there is one gory killing after another. Some of the situations & character reactions make little sense but the same can be said of just about any film ever made so who's complaining?<br /><br />Despite three credited director's Slaughter High turned out pretty good, I liked the look of the film a lot. The isolated rundown school made for a really atmospheric location & looked good, the makers throw in a good thunderstorm as well & there's some nice photography especially at the end where there are numerous impressive uninterrupted long lasting stedicam tracking shots which follow Carol through various corridors of the rundown school. While not particularly stylish it certainly looks nice enough & is professionally made. There is some good gore here including burnt bodies, people melted with acid, impalings, stomach explosions, axes in faces & death by lawnmower as well as someone who gets drowned in fecal matter down a drain! The special effects are also better than one would expect & I was both impressed & pleased with the higher than expected body count.<br /><br />Technically the film is better than I had expected & beats most low budget horror crap that gets released today, I would have thought it was relatively low budget itself though. Supposedly set in America this was very obviously shot in England. Harry Manfredini composes another score which sounds exactly like all of his other musical scores & is basically the same as the theme from Friday the 13th (1980) & it's sequels. Anyone living here in the UK will probably recognise Billy Hartman who played Frank as a regular in Emmerdale Farm (one of our nations top rated soap operas) in which he plays Terry Woods! While most horror fans will recognise the sexy Caroline Munro in a rare staring role. Legendary exploitation producer Dick Randall did the deed on Slaughter High & actually appears in the film as a porno movie producer... talk about typecasting! You can also see a poster for the misunderstood brilliance that was Pieces (1982) which he also produced behind him in his office.<br /><br />Slaughter High is a slasher film that I liked a lot, did you see that? I didn't say it was great I actually said I liked it on a personal level & I'm sure the predictable plot & lack of story will probably put many off so I can't recommend it but I can say I liked it, make of that what you want. Make sure you you watch the uncut version if you ever decide you want to check it out. If your not a fan of the slasher flick genre then Slaughter High won't change your mind but if your looking for a simple & effective slasher then you could do a lot worse than this.
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Tommy JOnes and Matt Dillon do the gambling world proud. The various moves with the wrists had to be learned as throwing craps is a skill in and of itself.<br /><br />There are a few surprises. AS cynical as we are today, I fully expected the 'good girl' to be crying over his grave, instead of his Buddy's. Especially with her remarks about 'going to the funeral of her best friend', when she first meets Matt. And then of course you expect Matt to kill the guy who threw battery acid in Mr. Allen's face, blinding him (interesting role by Bruce Dern). WRRROOONNNNGGG!!! some of the other Hollywood endings DO happen, but the writing is so excellent, the acting so carefully wrought that you're blissfully unaware.<br /><br />And the music is OUT OF THIS WORLD. Taking us back to the 50s when our 'native passions' were first being unleashed by the music of Ray Charles and Bo Diddley. Even a little racism raring its ugly head in Chicago, but at a club called, wonderfully, 'Biloxi' with a Confederate flag backing up the racist remarks. I'll be watching it again, just to hear the music. Good thing I have the FACTOTUM sound track, so I can listen to that in the car. Watch both together, and you'll see how Matt has matured....playing bar room characters in both. NOw that he owns a bar in the Paramount HOtel in NYC, he probably has great opportunity to do his studies. Great actor, just coming into his own. He shows finely nuanced performances ...the good and the bad in his characters. His 'young boy off the farm' is a great study, made especially poignant because of his bassett-hound eyes. He makes love, convincingly as well. Since he was in several movies with Diane Lane as a teen-ager, I wonder how that it ...making love to an actress you kinda grew up with. Adds conviction, I'll say that.
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I'll probably get a lot of flack for hating this movie- guess I didn't approach it with the proper dewy-eyed nostalgia of the generation before me. But suffice it to say- St Elmo's Fire was pretty crap-freaking- tastic, even as far as Brat Pack films go.<br /><br />Here is yet another lovely example of the smug, self-indulgent neurosis that is everything 80s (RENT, anyone?) The plot is virtually non- existent and the philosophies are kitchy at best, poorly delivered the rest of the time. The complete lack of anything resembling sympathetic characters doesn't help the situation. There really was no growth, no forward movement at all. Even the climactic suicide scene was effectually neutered by once again refusing to let death or anything resembling reality or adult life enter in. <br /><br />Each cookie cutter figure simply goes about making you hate them in the blandest, most predictable way possible. The Stalker is a creep for no discernible reason other than he is a Stalker and Andie MacDowell is gorgeous. The Jackass does everything in his power to constantly remind you he is, well, a jackass. The Gorgeous Slut hides really soulful, deep pain with a wild lifestyle. The Poet moods and mopes around for a full 3/4 of the film until he can reveal (!) he actually is full of teddy bears and sunshine and rainbows. The Virgin finally becomes a whole, happy human being after getting every Virgin's desire of one hot roll in the sack with a Jackass before he ditches her to really change (for real this time). The Cheating Bastard cheats until it is time for him to get caught. And finally The Feminist go around dousing holy water on any soul that utters "commitment".<br /><br />Which brings me to my final beef- what bond of super-cement was holding these people together as friends? I can't imagine being with just one of them- Now think of the vortex created by all that narcissism centered in one bar. And they were all so terrible to each other- heads in toilets, near rape, and sleeping around with everrrryone. The cherry was after two BFFs act like total baboons after screwing the Feminist, she's like, "umm, actually I don't want to be with either of you anymore. Let's be friends! And we can hang out in a totally unawkward way every day knowing that I may hook up with one or the other at any given point, but neither of you are satisfying enough for commitment (NOT THAT WORD!)." And they all smile as if to say, "Golly gee, I never thought of that! What a great idea!"<br /><br />Only it's not. Kinda in the way that watching this movie is not.
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This film offers absolutely no imagination in it's premise nor in it's execution but these are just two things that come to mind after watching this so-called comedy that has no energy to speak of. Story is about nit-picky over analytical insurance risk manager Reuben Feffer (Ben Stiller) who finds his new wife Lisa (Debra Messing) cheating on him with a scuba instructor (Hank Azaria) after only one day on their honeymoon. Upon returning home Reuben and his best friend Sandy (Philip Seymour Hoffman) go to a party and run into Polly Prince (Jennifer Aniston) whom they went to school with years earlier.<br /><br />*****SPOILER ALERT***** Polly is forgetful and sloppy and lives carefree which is the opposite of who Reuben is as a person but they start to date and Reuben starts to change as a person as he starts to try out new things such as salsa dancing and eating spicy foods. But one day Lisa comes back and wants to remain married to Reuben but he really doesn't want to but Polly decides to leave as she doesn't believe in marriage to begin with.<br /><br />This film is the second directing effort by John Hamburg who wrote two generally unfunny screenplays in "Zoolander" and "Meet the Parents" but those two films seem like classics compared to this stale piece of drivel. It's very easy to say something is not funny but I think with this film it's even easier to figure out why. This film is totally and utterly predictable from start to finish with every scene looking as if it's only happening because of the ridiculousness of the script. Hamburg who also wrote the script seems to have written this without any thought of trying something different and at times he seems to be trying to generate the same energy as "There's Something About Mary" but instead the events seem incredibly forced. Did anyone really think the blind ferret was funny? If you do, your easy! A few times during the film characters would inexplicably have these emotional speeches that are supposed to summarize everything but all they achieve is overstating the obvious. Stiller works a lot but maybe he should work less and just wait for the better scripts to come his way because this film doesn't work as a comedy or as a romance.
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This movie is one I strongly recommend. It's about a boy, Stanley Yelnats (Shia LeBeouf) who is wrongly convicted of a crime and sent to Camp Green Lake, a boys' detention center. There, he is forced to dig holes 5 feet deep and 5 feet in diamiter. While there, he meets the other boys of the camp (Zero, Magnet, Armpit, Squid, x-Ray, and ZigZag). All of them are digging, not to 'build charactor', but to find outlaw Kate Barlow's treasure. Throughout the movie (and book) Stanley learns more about the past, more about himself, and more about digging holes. I give this movie a 9.5, because, I am very picky when it comes to books to movies, (I want the movie to follow the book EXACTLY). But, still it did real well.
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The premise of this movie was decent enough, but with sub par acting, it was just bland and dull.<br /><br />SPOILERS The film does not work because of the nature of the death, it was accidental, so although it was a murder it wasn't like the guy set out to do it. Also through some flashbacks there is a secret that is revealed that sort of makes the events like justice to a degree. There is no emotion in this film. The first 20 minutes or so is just this woman calling her sister, and hearing her message. It was dull and boring.<br /><br />With some polishing, and better acting it could have been pretty good.
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Now i have read some negative reviews for this show on this website and quite frankly I'm appalled. For anyone to even think that the Sopranos is not Television then i'm afraid i don't know what the world has come to. Let me tell u something. I started watching many T.V shows like Lost, Prison Break, Dexter, Deadwood and even Invasion. But all of those shows lost their touch after the first season, especially Lost and Prison Break which i refuse to watch because the companies took 2 genius ideas and butchered them by making more than one season. Then we have The Sopranos. I can honestly say that this is the only television series that i have ever watched where i have been enthralled in all of its season, and more importantly all of its episodes. There is no department that this show doesn't excel in. Acting- Nothing short of superb. James Gandolfini is one of my favourite actors and i feel that his acting is absolutely stunning in every episode, after i heard that HBO wanted Ray Liotta to play Tony i felt that it would've been the better choice, however after watching the first few episodes, i knew that HBO had done a great job in casting James as Tony. The raw emotion he displays is superb. Then we have everyone else, Edie Falco, Michael Imperioli, Lorraine Bracco, Dominic Chianese (whom i remembered as Johnny Ola in the Godfather Part 2) and my personal two favourite characters Tony Sirico and Steve Van Zandt Paulie 'Walnuts' Gualtieri and Silvio Dante. All of these actors perform to the best quality, and all giving an excellent performance in each episode. Then we have the story, never have i been so sucked into a T.V show before. The story is nothing short of excellent. Each episode is directed superbly and the Score of this show is just fantastic. I feel that The Sopranos is one show that i can watch again and again and never get bored of. Its got everything from hilarious humour to brutal violence, but nonetheless it is and will always be the best thing to ever grace the Television, and I challenge anyone to find a real flaw in the show. Not just say its too violent, or they feel that the character of Tony is immoral, i mean it is a mafia show at the end of the day, i don't think that the characters are going to be very honest or loyal to God. I implore everyone to watch this show because believe me, you'll be hooked from the very first episode, i was and i have even gotten a few friends who had firstly refused to watch the show, hooked on it. Trust me when i say that this show is a Godsend compared to the crap that comes on T.V. After you've watched the first season, you'll inevitably agree with me when i once again say that this show dominates Television, and no T.V show current or future will ever upstage the marvel that is The Sopranos.
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i thought this movie was really really great because, in India cinemas nowadays, all you see is skin, music, and bad acting...in this movie, you can see some tradition, ethnicity, and at least some decency...although some parts were a little dramatic, guess what? that is what Indian cinema is all about! after watching this movie, at least you don't get a headache from all the loud overrated music, or any violence, its just the truth, it teaches about love, and of course caring for the person you love throughout life...i think it was an amazing movie...Kids can watch it without a doubt, and adults will enjoy the simplicity that used to be India's sure profoundness...until all these rap hits, miniskirts, and skin showing became a part of it.
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Perhaps the worst thing about Carlos Mencia's comedy is that every joke needs to be followed with an insult at the people in the crowd that aren't laughing. If there's anybody who's insecure, it's a comedian who won't shut up about his audience.<br /><br />Then again, perhaps the worst thing about Carlos Mencia's comedy is that he doesn't get off his free speech high horse. If you want to be funny, just make a joke, don't explain all the reasons why you're saving the American way with your failed attempts at generating laughter.<br /><br />Hmm... actually... the worst thing about Carlos Mencia's comedy is that it substitues meanspirited jabs at ethnicities for legitimate humor. Avoid this like the plague.
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Animal Farm (1954) was a very good read about the dangers of totalitarianism. How good ideals can be changed and distorted by those who are ignorant or rule with an iron fist and an empty head. Sadly this movie does not portray either of these. What we're shown is a propaganda piece with a lot of finger waving and pointing. The animation and the direction were good considering the budget and the time period but the very essence of George Orwell's novel is sorely missing.<br /><br />If you're one of those who want to see how not to adapt a novel or are just interested in seeing an adaptation of this brilliant novelette then by all means watch. I just found this one to be somewhat mediocre. Just one man's opinion however.<br /><br />The remake is a notch below but not by much.
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I guess that this movie is based on some kind of a true story.... It's about two young girls who molest a grown man for 48hrs.; I don't see where the terror comes into play here.... There are some "weird' and "surreal" sequences in the movie. And the two girls (Sandra Locke and...ah...oh well) play the roll of two psycho-man haters to the hilt...they do a pretty good job (although some of it is just a tad over the top). The movie's not good, and it's not horrible; it's just really really dated! I mean this thing is dripping with the 70's.... It's not really bad if you like that sort of thing...you know...that thang?
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For those who think it is strictly potty humor and immaturity, you are in fact the mindless one. While the show does contain its share of potty jokes it also contains a lot of satirical material and pokes fun at social problems, racial barriers, cliché's,stereotypes etc. You just need to read into some of her material a bit more to get it.<br /><br />What I also love is that not everything is a punchline. For those expecting a formulated joke like Friends (I LOVE friends fyi), you won't find it here. Instead Sarah uses situations and other ways to achieve her humour which is more realistic. We don't walk around in this world and have witty punchlines for everything said, which is in most comedies. Instead the Sarah Silverman Program makes it more realistic in this sense. <br /><br />So don't take it as mindless humor because it is so much more than that.
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As the summary says you just made the most ignorant comment i have ever heard on an RPG. You seriously thought they were gay? Are you retarded? If you went to go save your best friend and someone decides out of the goodness of his heart to help you then you are in a serious debt to that man. Lavitz was a good person and each time they helped each other it made them closer as friends. They weren't gay lovers like your bitching about. And to let you know the game is set in a medieval time period. Back then, women did just prepare meals while the men fought. Do you even know your history? Do you know how long it took for women to be accepted in the army in present day? This game contains a lot of realism even though your too damn slow obviously to catch it, and you really need to spit out some solid proof instead of ignorant assumptions based off your misguided act to interpret the story.
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I watched this film because I noticed that it had Kari Wuhrer in the cast. I have long had a theory about her, that she is a talented actress, but never seems to get to prove that, because she is always in this sort of low-budget B movie. She is still beautiful, and she is still trying to act over the unfortunate material I always see her in. This is no different. The film is often ugly and disturbing, but that doesn't make it good. George Wendt played against type, and that was so jarring that he gets recognition for his role. Another note about Ms. Wuhrer. Her breasts seem to have shrunk markedly since I saw her last. Perhaps reduction surgery, or (more likely) removal of implants. This NOT a bad thing. She still looks great. I would like to see her in a better movie.
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Stoic and laconic soldier Sergeant Todd (a fine and credible performance by the ever reliable Kurt Russell) gets dumped on a desolate remote planet after he's deemed obsolete by ruthless and arrogant Colonel Mekum (deliciously played to the slimy hilt by Jason Isaacs), who has Todd and his fellow soldiers replaced with a new advanced breed of genetically engineered combatants. Todd joins a peaceful ragtag community of self-reliant outcasts and has to defend this community when the new soldiers arrive for a field exercise. Director Paul W.S. Anderson, working from a smart and provocative script by David Webb Peoples, depicts a chilling vision of a bleak, cold and harsh possible near future while maintaining a snappy pace and a tough, gritty tone throughout. Moreover, Anderson handles moving moments of humanity well (Todd's struggle to get in touch with his previously repressed feelings is genuinely poignant) and stages the stirring action scenes with rip-roaring gusto. Russell gives a strong and impressive almost pantomime portrayal of Todd; he conveys a lot of emotion without saying much and instead does the majority of his acting through his body movements and facial expressions. Bang-up supporting turns by Jason Scott Lee as brutish rival soldier Caine 607, Connie Nielson as the compassionate Sandra, Sean Pertwee as the kindly Mace, Jared and Taylor Thorne as mute little boy Nathan, Gary Busey as crusty seasoned veteran Captain Church, Michael Chiklis as the jolly Johnny Pig, and Brenda Wehle as the sensible Mayor Hawkins. Better still, this film makes a profound and significant statement about the spiritual cost of being a merciless soldier and the importance of intellectual strength over physical might. David Tattersall's polished cinematography, Joel McNeely's rousing full-bore orchestral score, and the first-rate rate special effects all further enhance the overall sterling quality of this superior science fiction/action hybrid outing.
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This has got to be the most stupid film I have ever seen (spoilers ahead)! First of all, the plot is stupid. The little kid is weird and they move to a hotel because his father is the caretaker of it. We find that the kid has a gift, the "Shining". This gift never ever has anything to do with anything except to make the kid seem cool. Then the movie gets more boring and boring until the man finally goes crazy. He goes on a rampage to kill the kid and his wife because... well, he feels like it. Why else would he do it? All of a sudden we see a naked woman in the tub. The man kisses her and realizes he is kissing a dead corpse, which is utterly disgusting. Somehow a black man enters the hotel and is whacked with an axe. Then the kid and the woman take the black man's vehicle and leave the father, who dies within minutes of hypothermia. Most movies aren't a complete waste of time, but this falls right into that category. The music is trashy, the characters are corny (except Jack Nicholson, who is a good actor), the plot is twisted and fits the description of vomit, the ending is very predictable, the storyline is slow, tedious, and boring. This movie is extremely overrated. AVOID THIS MOVIE AT ALL COSTS. I'm surprised it's gotten such a high rating on IMDb.
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one of the best low budget movies from Germany! is this is the dark side of new age? if you believe in esoteric, please don't watch this movie! it blows all your positive fantasies away. this movie shows that beyond the peaceful façade of spiritual soul searching lies a world of extreme transgressions and terror. i hope there will be a 35 mm copy soon! Andreas Marschall's first film is just the beginning of a new area, making movies with a few euros! i'm waiting for the second hit!
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**SPOILERS**KHAMOSH is totally unrealistic, lacks a plot, and was basically only made to see stars portray themselves. The most suspenseful scene in the movie was when Shabana Azmi is in the shower and then we see her TV playing the shower scene from PSYCHO. This movie actually expected users to believe that Naseeruddin Shah's character has a good enough memory to remember where certain shots were fired and how many!<br /><br />***SPOILER BEGINS***<br /><br />At the end, the killer spills his guts to Shabana Azmi long enough to allow Naseeruddin Shah's character to run up and shoot him!<br /><br />***SPOILER ENDS***<br /><br />It is a little humorous (only a little) in the beginning to hear the director and cast members throwing insults at each other and hearing Shabana Azmi exclaim, "Oh sh-t!"<br /><br />Overall, a baaaaaaaaaaad movie!<br /><br />Rating: ** out of ********** (2 out of 10)
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This James bond game is the best bond game i have played in my life it is my favorite James bond game so far because: <br /><br />The missions in this game are really fun they can be really hard that makes it more fun to play the missions have lots of actions the weapons you use are really good. The cars in this game are awesome the car missions have lots of action and are really fun to play. The voice over actors are really good and it is cool that Sean Connery does the voice for James bond also the way bond looks is really cool because it looks just like Sean Connery when he played James bond in the movies and the other character look pretty much the same as the look in the movie. The graphics a pretty good in this James bond game. Also the game follows the movie pretty much but not all the but most of the time it does which is cool.<br /><br />overall score ********** out of **********
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When I ordered this from Blockbuster's website I had no idea that it would be as terrible as it was. Who knows? Maybe I'd forgotten to take my ADD meds that day. I do know that from the moment the cast drove up in their station wagon, donned in their late 70's-style wide collars, bell-bottoms and feathered hair, I knew that this misplaced gem of the disco era was glory bound for the dumpster.<br /><br />The first foretelling of just how bad things were to be was the narration at the beginning, trying to explain what cosmic forces were at play to wreak havoc upon the universe, forcing polyester and porno-quality music on the would-be viewer. From the opening scene with the poorly-done effects to the "monsters" from another world and then the house which jumps from universe to universe was as achingly painful as watching an elementary school production of 'The Vagina Monologues'.<br /><br />Throughout the film, the sure sign something was about to happen was when a small ship would appear. The "ship" was comprised suspiciously of what looked like old VCR and camcorder parts and would attack anyone in its path. Of course if moved slower than Bob Barker's impacted bowels, but it had menacing pencil-thin armatures and the ability to cast a ominous green glow that could stop bullets and equipped with a laser capable of cutting through mere balsa wood in an hour or two (with some assistance).<br /><br />Moving on... As the weirdness and bell bottoms continue... We found out that they're caught in a "Space Time Warp". How do we garner this little nugget of scientific information? Because the oldest male lead tells his son that, in a more or less off-the-cuff fashion, like reminiscing about 'how you won the big game' over a cup of joe or an ice-cold bottle of refreshing Coca-Cola. Was pops a scientist? Nope, but he knew about horses and has apparently meddled as an amateur in string theory and Einstein's theories.<br /><br />The recording I watched on DVD was almost bootleg quality. The sound was muddy and the transfer looked like it had been shot off a theater screen with the video recorder on a cell phone, other than that, it was really, really, really bad. (There's not enough 'really's' to describe it, really).<br /><br />I know some out there love this movie and compare it to other cult classics. I never saw this film on its original release, but even back then I think I would've come to the same conclusion: bury this one quick.
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I'm probably not giving this movie a fair shake, as I was unable to watch all of it. Perhaps if I'd seen it in a theater, in its original presentation, I might have appreciated it, but it's far too slow-moving for me.<br /><br />I read the book some 25 years ago and the details of the plot have faded from memory. This did not help the film, as it's something less than vivid and clear in its presentation of events.<br /><br />This is really four linked films, or a film in four parts, and was, I believe, intended to be seen over four nights in a theatrical presentation. I found Part I to be enjoyable enough, but it was all I could do to sit through Part II, which drags interminably. Reading Tolstoy's philosophizing is one thing. If you get a good translation or can read it in the original, his brilliant writing far outweighs any issues one might have with the pace of the story. On film, however, it's hard to reproduce without being ponderous.<br /><br />I have other issues with the parts of the film that I saw. It's very splashy, with a lot of hey-ma-look-at-this camera work that calls attention to itself, instead of serving to advance the story.<br /><br />Clearly, I'm missing something, but I just couldn't summon the enthusiasm to crank up parts III and IV.
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Elmer Fudd is laughing while lounging in his easy chair and reading his comic book, his dog comfortably nearby sleeping in front of the fireplace. All is peaceful until a flea comes bouncing by. (The flea is dressed in a farmer's-type outfit with a big sombrero and is carrying a satchel with the name "A. Flea" on it.) He gets out his telescope and spots the dog. (We see a big shot of the dog's butt and the flea whistles in excitement, screaming "T- Bone!" He then sings, "There's food around the corner; there's food around the corner!")<br /><br />That sets up the storyline of this cute-but-obnoxious flea tormenting the poor dog. The mutt is hilarious as he reacts to the flea. <br /><br />The drawings of his huge teeth chomping right next to the fleeing flea are clever and the dog's dialog made me laugh out loud a few times. This might be the funniest canine I have ever seen in a cartoon! The poor pooch, under a threat of having to take a bath, as to NOT react when the stupid flea causes him pain. It's almost painful to watch as the flea uses pickaxes, jackhammers and the like on the dog. He puts firecrackers in the dog's behind. It's brutal!
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This weekend just passed I watched "28 Weeks Later" which was very good. After that I watched this film. <br /><br />I have tell you it is one of the most boring so called horror you could ever watch. The scenes were unrealistic, there was no script and no plot. The alien creature was unreal. And the fight scenes mild compared to a school yard fight. And to make it worse the guy named Cody had an uncontrollable loose filthy tongue which distracts attention from the main film.<br /><br />Forget about this movie; rather go and watch 28 Weeks Later.<br /><br />Cheers, Mesake C.
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I loved this film, seen this evening on a movie theatre big screen! The audience laughed out loud at some very interesting things, and the fast pace was most enjoyable.<br /><br />I do, as a singer and musical director, question one section of Roby Keeler's vocal in "By a Waterfall." The key modulated, and she was suddenly singing much lower, in a very mellow voice that bore no resemblance to the somewhat tin-like higher twitter voice she used in all her other vocals.<br /><br />Does anyone know if this was overdubbed by another singer? It sounds it to me. I would love to know.<br /><br />Thanks so much.
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I have seen a lot of bad movies with big actors in it. But this movie was terrible. I have yet to see why people thought it was funny. The idea behind it is stupid. Plus all the things that are supposed to be funny are just dumb. Why anyone would want to watch this more than once just baffles me!
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Within the first few minutes of this Dutch thriller, we learn that Krabbe is a gay alcoholic writer who sleeps sans underwear, fantasizes about murdering his roommate, tries to steal a magazine from a news stand, and lusts after a studly young man he meets at the train station. And he's the hero of this nonsensical movie that is all dressed up (except for Krabbe in at least one scene too many) but has nowhere to go. The basic plot is very simple but is dragged out to nearly two hours before reaching a pointless conclusion. Verhoeven has a nice visual flair but resorts to scenes of wild hallucinations, overt symbolism, and gratuitous gore when he runs out of ideas.
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One of the things about the film that warmed my heart strings was that dry fly fishing was a major part of the scene. I have occasionally carried out my times of dry fly fishing, having tied my own flies, and being accompanied by my brother and my father we spend a day on one river or another seeking to tempt the ever elusive Brown Trout to rise and take the fly that has been offered to them.<br /><br />When we had occasions like this any differences between us disappeared and any of the pressures of the world melted away to be replaced by the glory of being absorbed in the activity and the surroundings of the place we were in.<br /><br />This was one of the amazing things that was portrayed to me in the film as the minister and his two sons, Norman and Pauly carried out the ritual. For there is something ritualistic about fly fishing as there is something ritualistic about so many pastimes. You can't just start casting your fishing line and hope for the best. You have to attune yourself to the place you are in, you have to scan the surface of the water considering how it is flowing and where the best point might be to place your fly and, depending on your skill level, you might even get your fly to land there long enough for a fish to take note of it and strike. The 'Art of Fly-fishing' was directed and represented so well that they themselves can be classified as artists.<br /><br />The title for the film could not be more aptly chosen, for the river did in fact run through the life of father and two sons. This film however spreads itself broader than the family and community in Montana, by the the Blackfoot river, where the film is played out. It has the capacity to draw you in, to enthrall you, to capture you, as the history of the family, community and period is unfolded. The Story told is not just a family history, but a history of Life. What may be classified as a 'River of Life'
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In a movie that follows a struggling actor, played, evidently, by a struggling actor, this does no favours for Chris Klein. He struggles to bring anything memorable to the role and meanders on through the shallow script managing to display, what could only be described as, a bland leading man. The story exists, but that is all, and fails to show any basic start, middle and end and the viewer is left shrugging his shoulders feeling as though nothing in the past hour and three quarters has really happened.<br /><br />One bright light in the midst of this is Fred Durst, who manages to stand out above his seemingly averagely talented co-stars and does a semi-decent job of bringing the backward character of Legde to life. Whether Fred can re-create this when working with a higher calibre of cast remains to be seen but I'l be watching out for him in future.
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This is a Japanese film but there is quite a bit of English also spoken in here. It's a pretty film, with nice visuals, featuring the scenic beauty of Hawaii.<br /><br />However, that was the only redeeming quality for me. The story was generally boring. Who wants to watch a young woman sulk for 90 percent of the film because her "picture" husband is a lot older than he advertised he was? Granted, that could be a bummer......but get over it!<br /><br />Only in the last 10 minutes does she do an about-face and become fond of him. By then, for most viewers, it was too little-too late. We'd fallen asleep by then.
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One word can describe this movie and that is weird. I recorded this movie one day because it was a Japanese animation and it was old so I thought it would be interesting. Well it was, the movie is about a young boy who travels the universe to get a metal body so he can seek revenge. On the way he meets very colorful characters and must ultimately decide if he wants the body or not. Very strange, if you are a fan of animation/science-fiction you might want to check this out.
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To some, this Biblical film is a story of judgment and condemnation... Others see it as a story of grace, restoration, and hope... It is actually both Henry King illustrates the portrait of a mighty monarch almost destroyed by his passion, his downward spiral of sin, and his upward climb of healing..<br /><br />'David and Bathsheba' is an emotional movie full of vividly memorable characters who attain mythic status while retaining their humanity... Henry King handles the powerful story, taken from the Old Testament, with skill...<br /><br />David, 'the lion of Judah,' having stormed the walls of Rabgah, saves the life of one of his faithful warriors Uriah (Kieron Moore), and returns to Jerusalem... <br /><br />Back at his court, his first wife complains of neglect, and offends him for being a shepherd's son, distinguishing herself for being the daughter of King Saul...<br /><br />One evening, and while walking on the terrace of his palace which evidently held a commanding view of the neighborhood, David's eyes happened to alight upon a young lady who was taking a refreshing bath... She was beautiful and attractive... David could not take his eyes off her... He finds out later on that she was the wife of one of his officers... <br /><br />Sending for her, he discovers that she, too, is unhappy in her marriage... By this point, it's apparent that David's intentions shift from an interest in taking Bathsheba as a wife, to just plain taking Bathsheba... As usual, sin had its consequences, and David hadn't planned on that possibility...<br /><br />When a drought sweeps the land and there is a threat of famine, David suspects that the Lord is punishing him and his people for his sin... But when Bathsheba tells him that she is pregnant and fears that she may be stoned to death according to the law of Moses, David tries to cover up his sin... <br /><br />He sends word to Joab, the commander of his army, and ordered him to send to him Bathsheba's husband... David did something that was abominable in God's sight... He sends the man to the front line where he would be killed... <br /><br />The soldier is indeed killed and with him out of the way, David marries his beloved Bathsheba in full regal splendor...<br /><br />God punishes the couple when Bathsheba's child dies soon after birth... Meanwhile, a mighty famine has spread throughout the land and the Israelites - led by Nathan - blame the King for their plight... They storm the palace and demand that Bathsheba pays for her sin...<br /><br />Peck plays the compassionate king whose lustful desire outweighed his good sense and integrity.. <br /><br />Hayward as Bathsheba, is a sensitive woman who begins to believe that every disaster occurring in her life is the direct result of her adultery... The sequence of her bath which could have been a great moment in Biblical film history, is badly mishandled, and the viewers eyes are led briefly to Hayward's face and shoulders...<br /><br />Raymond Massey appeared as Nathan the Prophet, sent by God to rebuke David after his adultery with Bathsheba; Gwyneth Verdon is Queen Michal who tries to resist the ambition and greed that have become integral to David's personality and kingship; ex-silent screen idol, Francis X. Bushman, had a brief part as King Saul... <br /><br />The best moments of the film were: The Ark en route to its permanent home when God breaks a young soldier who tries to touch the sacred object; the defining moment in David's life when he confesses his sin and is prepared to accept his punishment of death; and for the film's climax, inserting it as a flashback, David remembering his fight with the giant Goliath... <br /><br />With superb color photography and a masterly music score, 'David and Bathsheba' won Oscar nominations in the following categories: Music Scoring, Art and Set Direction, Cinematography, Story and Screenplay, and Costume Design..
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After seeing MIDNIGHT OFFERINGS I am still convinced that the first decent movie about (teenage) witches yet has to be made. I didn't think much of THE CRAFT and I'm not into CHARMED either. The only film I more or less enjoyed (about teenage witches) was LITTLE WITCHES (1996), and even that one wasn't very good. But changes are that if you liked all the aforementioned movies, you will also enjoy MIDNIGHT OFFERINGS.<br /><br />I was expecting a silly and cheesy early 80's movie about teenage witches in high school. But I was rather surprised that this whole movie plays it rather serious. The acting is decent and serious all the time. No jokes are being played by teenagers or something. And the musical score, at first, I thought was pretty good. It added some scariness and also something 'classy', with the use of threatening violins and all. But as the movie progressed I came to the conclusion that the score was just too ambitious. They didn't have to add those threatening violins when you simply see someone back up a car and then drive away at normal speed.<br /><br />Then there's Melissa Sue Anderson, who was the main reason for me to see this movie. A few weeks ago, I saw her in HAPPY BIRTHDAY TO ME, a rather enjoyable, thick-plotted (and goofy on some occasions) slasher-movie which she had done in the same year as MIDNIGHT OFFERINGS. And I must say, she was very good as the icy-cold bad witch Vivian. But the main problem with the movie is: almost nothing happens! Vivian causes a death and an accident, yes, but that's it. Then there's Robin, the good witch, who is just learning about her powers. And we expect the two of them using their powers more than once, but at only one occasion they use their powers to make some pieces of wood and other stuff fly through the air as projectiles. That was supposed to be a fight between two powerful witches? And what's worse, I was hoping to see a spectacular show-down between the witches at the end of the movie with at least some special effects, flaming eyes or whatever... but nothing happens. There is sort of a confrontation in the end, but it's a big disappointment.<br /><br />So, the acting of the two witches was good. The musical score was decent (even though overly ambitious). And the cinematography was rather dark and moody at times. But that doesn't make a good movie yet, does it?
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Riveting drama, scripted by William Mastrosimone based on his stage play, in which Farrah Fawcett plays Marjorie, attacked in her car by rapist Joe (James Russo). She manages to get away but the cops inform her that there is nothing they can do. She realizes, however, that Joe did get her wallet and knows where she lives. When her housemates Pat (Alfre Woodard) and Terry (Diana Scarwid) are off at work, Joe pays her a visit to finish what he started. After Joe humiliates and degrades her in a variety of ways, she gets a chance to strike back at him and imprisons him. Knowing full well she's in another "his word against yours" situation and that no rape technically took place, she has no intention of taking it easy on him until he confesses to Pat and Terry what his intentions were.<br /><br />The movie ultimately amounts to a showdown between its two opponents. As it goes on, Marjorie displays such ruthlessness that one has to wonder if she hasn't become as unhinged as her nemesis. Fawcett does a creditable enough job, while Russo is truly excellent as the depraved creep who does his best to manipulate the situation. With only two characters on screen for much of the running time, the film has an intimate nature that does suggest that it would work even better on stage. Director Robert M. Young doesn't shy away from the uglier and more exploitative elements of the situation; the film does become uncomfortable to watch at times. And by the time Marjorie has the upper hand, things change enough so that it no longer becomes quite so easy to encourage her to go for blood, and one hopes that Pat can make her see reason.<br /><br />"Extremities", I felt, was a pretty good movie that at least maintained interest and a fairly high level of intensity. Woodard and Scarwid are both fine in support (Scarwid has a great moment where Terry reveals herself to be a rape victim), and the pace is consistent. Granted, the dialog isn't always very sharp, but the material is compelling every step of the way.<br /><br />8/10
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This movie is an idiotic attempt at some kind of action thriller. A tour bus on its way to Las Vegas is attacked by a group of white trash hijackers driving dune buggies. They drive them out into the desert and then steal all of their valuables. The plot changes constantly. One minute they are looking to kidnap a rich ranchers daughter, the next they are looking for a collectible stamp worth 90,000 dollars. The dialogue is horrible.<br /><br />Please don't watch this movie.
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A wonderful and gritty war film that focuses on the inner torment of blinded marine Al Schmid. Although it is tough and unpleasant it IS in the end heroic - Schmid's triumph over disability and depression. The battle scene was superb. But one bone to pick. No matter how many .50 bullets they fired I never saw any water or dirt being kicked up by the impacts! It hurt the realism, but I can live with it. Fine performance by Eleanor Parker, again, as his girl friend.
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Went to see the movie "Troy" this afternoon. Here's what I learned:<br /><br />Contrary to popular opinion and history in general, Greek men were not gay. EVER. This was clearly established immediately at the start of the film and reinforced every five minutes or so thereafter. So it is safe for American dudes to see this movie.<br /><br />Helen of Troy always had impeccable hair and makeup. She looked gorgeous in all of her brief cameo scenes which, though numerous, were probably all filmed on the same day, one after the other, with the director saying, "Alright, now look beautiful . . . good ... OK, now look frightened ... good... now look depressed ... good ... now look interested . . . good ... now look beautiful again ... good..."<br /><br />Most Greek and Trojan men had British accents. Those with American accents couldn't act.<br /><br />Trojans looked just like Greeks, but they tended to stay on the right side of the screen.<br /><br />Brad Pitt does not blink on camera.<br /><br />Helen of Troy's biggest line was, "They're coming for me."<br /><br />Trojan music sounded remarkably like modern Bulgarian music.<br /><br />Brad Pitt's thighs go all the way up.<br /><br />Achilles had a young male friend with whom he was very close, but it's OK. They were cousins. Never mind what history says.<br /><br />Peter O'Toole can tell an entire story with just an expression.<br /><br />Trojan gods apparently all had Greek names, but their statues either looked Egyptian or like Peter O'Toole in drag.<br /><br />Greek men never touched each other unless they were fighting, much like American men.<br /><br />All of the thousands of extras in the movie had exactly the same skin color... Light Egyptian, by Max Factor.<br /><br />Troy had only three women.<br /><br />There were lots of blond Greeks, which is good news for Brad Pitt, who would otherwise have really stuck out.<br /><br />Despite their coastal desert locale, Greeks had the uncanny ability to find unlimited amounts of timber to build fires, funeral pyres, Trojan horses and the like.<br /><br />British actors look silly with Greek hairdos.<br /><br />Brad Pitt changes expression only when the sun is shining directly in his eyes.<br /><br />Greek soldiers fought constantly, but their outfits always looked impeccable.<br /><br />Greek soldiers wore underwear under their skirts.<br /><br />Apparently Greek temples were always in ruins, even back when they were all new.
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Ooof! This one was a stinker. It does not fall 'somewhere in between Star Wars and Thriller', thats for sure. In all actuality, it falls somewhere between the cracks of a Wham! video and Captain EO, only with not as big of a budget, and a lot more close ups of ugly teenagers crying. Simon Le Bon preens front and center, while the rest of the band gamely tries to hide the fact that they stole their whole career from Roxy Music's last 3 albums. Brief clips from Barbarella add nothing. Avoid at all costs. (However, I liked the part when they played 'Hungry Like The Wolf' but why was there a tiger lurking in the audience changing into a woman painted with tiger stripes? I mean, they aren't singing 'Eye of the Tiger' or 'Hungry like the Tiger' it's a Wolf! Whatever.) A DVD of Duran Duran's '80s videos is probably worth a look for nostalgia's sake
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For starters, "Hobgoblins" tries to ape the more successful "Gremlins". That's bad enough but they don't even try to make anything that closely resembles a movie here. Instead, it's more like a bargain basement, everything-must-go clearance of embarrassing scenes, inappropriate sound FX, acting as bland as unflavored tapioca and a script that takes everything humans hold sacred in their motion pictures and throws 'em down the old tube-aroo.<br /><br />The plot? Grrrr.... Meddling kids track down gremlin-like creatures from movie lot before they kill people by projecting their fantasies. Sound cool, does it? Well, see that wall on the other side of your room? Run right at it, top speed, face first. See, THAT is cooler than this movie.<br /><br />You dare to doubt? Quick, name something else one of the leads has been in other than this. What other scripts have the writers done since "Hobgoblins"? Name another Rick Sloane directoral effort. How many "Hobgoblins" action figures do you have? See? THANK you.<br /><br />I cannot believe I took so long to write about such a horrible film. I'd rather write about more important things; like the separation of church and state, economic restructuring in Europe, that kind of thing. But no, "Hobgoblins" it is and it is bad - bad like your grandparents' wallpaper, bad as pink flamingos on your lawn, bad like underwear that says "Home of the Whopper"...and I think we'll stop there.<br /><br />Well, Mike and the robots fight valiantly but try as they might, they can do only so much with "Hobgoblins" before they realize that, yes, the director DOES need kicked in the shin.<br /><br />Real, real hard.<br /><br />One star for "Hobgoblins", seven stars for the MST3K version.
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We see a body of dead girl in a morgue with the coroner trying to close the eyes of the girl, but whatever he tries they won't stay open. After this we move into the future and we follow a group of former school friends who hide a terrible secret, but suddenly they start getting picked off one by one in many grisly ways. Through flashbacks we learn of this awful suicide of a shy girl who was trying to be one of the group, but she was shut out by them because they dug up her past and found out some weird occurrences. So, is she back from the grave seeking revenge? <br /><br />Oh what a great and always spooky story! Well, that's what I hoping I could say. And 'hoping' was as good as it got. This is an forgettable, so-so supernatural horror flick that I actually watched before, but I went in thinking it was my first viewing. So to my surprise it hit me when I started picking up on certain things, but like I said it's quite a forgettable mix that it felt like a first viewing again. "Nightmare' is just another type of it's field that adds a 'few' changes to the gruel. Oh, please give me something that's a bit more fresh. It doesn't have to be entirely original, but this is one formulaic and at times quite tired J-horror flick. Even though it strings along the usual ghost story involving you guessed right
an evil looking, vengeful chick spirit.<br /><br />But in spite of my negativity of it being the same old, same old story and jolts. This one kind of entertains when its being grisly and popping in some creepy visuals. The deaths are vividly displayed with bite and some originality. While, the gloomy atmosphere alienates the audience with it's murky lighting. The first scene involving the spirit terrorising one of the girls is one blood-curdling experience, but really when it's not trying to shock you. I found it rather coma inducing and I thought about getting some shut-eye. That might be harsh, but it just didn't go anywhere of any interest between those shock moments. You could say that because the supposed mystery is really not much of one, the unsure story is just simply flat and the characters are a self-centred bunch that you don't really care what happens to them. The disjointed story should have focused more on the spirit than that of these bland characters who have one unconvincing group relationship. It just overplayed its cards by becoming overly muddled and taking too long to get going that when it comes to the climax it's just plain ludicrous. The film's haunting ending is a high point, though.<br /><br />The film looks fine, although it could have done without the snazzy, quick fire editing and the music score was a bit overbearing in playing up the mood. The performances tread a fine line, but Gyu-ri Kim is strong in the lead role.<br /><br />It's nothing new and it shamelessly steals ideas, but if you can look past that it delivers some nasty thrills. Although, I found the handling of it rather lethargic, despite the odd effective chills. A standard effort all round I guess, but still it's equally missable.
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I imagine when Hitchcock scholars and experts find themselves together, the talk is not of the Master's great films like "North By Northwest" or "Strangers On A Train", but a lesser-known effort like this one from 1931, obscure and seriously flawed, which showcases the great director in fledgling form.<br /><br />Emily and Fred Hill (Joan Barry and Harry Kendall) are a middle-class London couple scrimping to stay ahead. He begrudges their lot; she accepts it. Change comes in the form of a letter from an uncle, saying he will set them up so they can enjoy a life of globetrotting luxury. They make plans for a world cruise. But their problems have only begun.<br /><br />Just ask Richard Hannay, Roger O. Thornhill, or Marion Crane. Well, Marion's indisposed at the moment, but you get the idea. Travel and Hitchcock go together like moths and candlelight, setting one up for a perilous journey at best. This is perhaps Hitchcock's earliest foray into this theme, and not his most successful or memorable. Hitchcock tries to mix comedy with another element, in this case domestic drama rather than suspense, but the two do not cohere, at least not here.<br /><br />The Hills are a dull, flat couple, with no chemistry or personality. When they find themselves at the Folies Bergère, in the form of cross-cutting with footage that looks ten years older than the rest of this film, they are abashed at the outfits of the female performers. "The curtain's gone up too soon!" gasps Emily. "They aren't dressed."<br /><br />When the Hills drift away from each other on an ocean cruise, it seems a mercy killing more than a tragic thing, even if the people they partner off with are drips, too. Emily's man, Gordon (Percy Marmont) carries around photographs of himself sitting next to empty chairs, which he suggests be filled by Emily. Fred's girl "the Princess" (Betty Amann) has Clara Bow's eyes and Wallace Beery's five o'clock shadow. There's also an obnoxious fellow passenger, a dowdy spinster whom Hitchcock always introduces with a cartoonish horn cue. Subtlety was still to come.<br /><br />Everything is shot in an abrupt manner, with confusing blocking and strained dialogue. Hitchcock tries for some early comedy with Fred and his umbrella that doesn't come off, and Kendall seems to aim for laughs while Berry plays for tears. When Fred and Emily break off, they are seen being jostled on a pair of wedged-together rickshaws, one of many clunky attempts at symbolism.<br /><br />Emily's the only vaguely sympathetic character, in part because she really cares about her husband and agonizes over her affair with Gordon, but mostly because she's among the first of Hitchcock's many magnetic blondes, her platinum ringlets whipping around her face like a Botticelli aboard the open deck of a Chinese junk near the film's conclusion.<br /><br />Matters conclude with a dangerous situation as set-piece for the protagonists to come to grips with, and presumably repair their relationship. Only they aren't active participants in the resolution, and except for the fate of a friendly cat, nothing about the ending resonates.<br /><br />At least you get some enjoyable views of London in the early 1930s, and a chance to see Hitchcock when he was still working for food. "Rich And Strange" is Hitchcock paying his dues, and learning his trade, one for scholars but not casual film goers.
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A big surprise, probably because I was expecting it to suck. The reviews were pretty dismissive of it, even though they all seemed to agree that the concept was golden: a man finds out his new girlfriend is a super hero, and finds, when he wants to break up with her, that she's kind of a psycho. I kept expecting it to fall apart, but it never really did. Sure, it doesn't make as much of its awesome premise as it could, and chooses to be short when it might have been better to expand the film's universe. But I can't blame it for that. Uma Thurman is great as the bipolar superhero, G-Girl. And I've discovered, after several years of disliking him, that Luke Wilson can be absolutely perfect when cast as a schlub. He's given two of the best comic performances of 2006 (the other in the pretty much unreleased Idiocracy). I absolutely cracked up at the expressions on his face when he and Thurman first have sex. It's one of the funniest sex scenes ever. My only real complaint is that they make G-Girl a bit too much of a psycho, like almost unbelievably so. Maybe with some background I could have accepted it better. I can forgive its flaws, though, because I had a really good time watching it. Underrated, for sure.
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**SPOILERS** Highly charge police drama about a serial killer loose in and around the small town of Riverside Wisconsin. Who's being tracked down by the local police using policewoman Gina Pulasky, Helen Hunt,as an undercover decoy to catch him. <br /><br />Nothing new in this made for TV movie that you haven't seen before but the depth of the acting and screenplay is unusually good and brings out a lot about not only the killer but the policewoman's, as well as her fellow policeman lover, state of mind.<br /><br />Having been put under psychiatric care after shooting an armed and unstable assailant, who attacked her partner with a rifle. Officer Palusky is given the task to go undercover to get close to murder suspect Kayle Timler, Steven Webber. After he was positively identified by the little girl Sahsa, Kim Kluznick,who saw him not far from where little Timmy Curtis was found stabbed, 18 times, to death the next day.<br /><br />Getting a job at the Mr. "C" Diner where Tim works Gina gets to become very friendly with him and later tells him, in order to get Tim to open up, about him possibly being the serial murderer that she once killed in a hit-and-run accident a 79 year old woman. <br /><br />Tim who is said to have a genius IQ doesn't seem to pick up on Gina's attempt to trap him even when he later sees her at a bowling alley with her fellow cops spending a night out. Playing some weird cat and mouse game with her Tim at one point get's Gina, at knife point, to admit that she's wired. But Gina tells him that she was forced to do it by the police to get a break and an early release from prison. Besides Tim's instability and criminal actions we find out that Gina isn't all there as well.She seems to be suffering from her being rejected by her father who left her, with a drunk and abusing mother, as a young girl that's effecting her work as an undercover policewoman. <br /><br />There's also the fact that Gina's lover policeman Will McCaid (Jeff Fahey), who's estranged from his wife and two kids, who's also on the serial murder case is too overprotective of her. That causes Gina to almost blow her cover and that has her later being taken off her assignment. <br /><br />Put back on undercover duty by her boss Capt. Cheney (Dan Conway), over the objections of Officer McCaid, after another young boy, 12 year-old Davy Marish,was found murdered Gina finally get's herself together and gets Tim to admit that he's the person who's responsible for the string of murders in the area. Gina does it by having a hidden tape recorder that she replaced the one that she gave to him to show how honest she is, hidden on her.<br /><br />The movie "In the Company of Darkness" wasn't really that exceptional but the acting by Helen Hunt Jeff Fahey and especially Steven Webber was. It was these high caliber performances that lifted the film well above the average made for TV movie were used to seeing.
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Sports movies have never been my thing, but a small handful of them work for me. The best are the those which focus less on the sport and more on the character, such as Raging Bull, the Wrestler and Girlfight. This is a great directorial debut for Karyn Kusama, and an outstanding first performance for Michelle Rodriguez. Girlfight feels is both realistic and involving, that is enough so to make it a memorable film.<br /><br />The plot is strait forward enough. Diana Guzman, is in her fourth year of high school, but due to her picking fights in the hallway she is close to expulsion. As a possible means of unleashing her anger, she signs up for Boxing lessons at the club where her brother is training (at the wishes of there father).<br /><br />In the course of ninety minutes, we the viewers see something extraordinary. Diana almost literally changes from a girl to a woman. We see it in her body as well as her behaviour, especially when one of the boys at the club finds himself drawn to her, and she gets into it. There is not a bad scene or a lame/contrived moment in the film. The only error that I would say could be corrected is that one of the subplots ends on what feels like an unfinished note. Aside from that, Girlfight is a great movie.
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In Northeastern of Brazil, the father of the twelve years old illiterate Maria (Fernanda Carvalho) sells his daughter to the middle man of a prostitution organization, Tadeu (Chico Dias), to be employed as a housemaid and have a better life. However, the girl is resold to the farmer Lourenço (Otávio Augusto) that deflowers her, and he gives the abused girl to his teenager son to have his first sexual experience. Then she is sent to a brothel in a gold field in Amazonas and explored his owner, the despicable Saraiva (Antonio Calloni). When Maria escapes to Rio de Janeiro expecting a better life, she is explored by the cáften Vera (Darlene Glória).<br /><br />"Anjos do Sol" exposes the sad and shameful reality of child prostitution in Brazil through the fate of the girl Maria. Last year I saw "Lilja 4-ever" that tells an identical story in the former Soviet Union; therefore this problem does exist in Third World countries. Director and writer Rudi Lagemann presents a great movie exposing the reality but never showing nudity or explicit sexual scenes. It is the debut of the promising Fernanda Carvalho, who has an excellent performance in the role of a scared child fighting for survival. Most of the prostitutes are amateurs, and it is impossible to recognize the famous Darlene Glória so different she is after many plastic surgeries. The bitter and hopeless end of the story is also very realistic. My vote is ten.<br /><br />Title (Brazil): "Anjos do Sol" ("Angels of the Sun")
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I saw this movie about a year ago, and found it to be completely Laugh-Out-Loud funny. A real winner, in my mind. It had the underlining of a stupid comedy, but indeed had an actual plot as well. Much like the hit comedy, Elf, in fact. It had a few serious moments, sandwiched between hilarity. When Stiller shot Black's horse, an ordinarily sober moment, you found yourself laughing at his bumbling antics. You can actually find common ground there, as I'm sure many people have done something they wouldn't want a friend to find out about, lest your friendship should end.<br /><br />When I found out how much people disliked this movie, I was completely dumbfounded. That absolutely terrible movies like Napoleon Dynamite had ratings higher than it makes me wonder about the sanity of people on IMDb. Take my advice and rent it. If you don't find yourself laughing at least once, I'll compensate you the rental fee. =D
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Some spoilers If you are a big horror movie fan, then you will know that Halloween paved the way for many slasher films. Often imitated, never duplicated, this movie is a true horror classic and is definitely one of the scariest movies ever made, if not THE scariest.<br /><br />I actually saw this movie after seeing the rest of the series (don't ask me why). I honestly saw the other 7 movies before seeing this one, that's just how it worked out. But I would have to say this one blows all the others away. It is genuinely frightening, and seeing Michael pop out from behind a bush or walk around in the dark sends a chill down your spine. My favorite part of the movie was when Michael stabs a guy, and leans his head to one side. It is one of the eeriest images in movie history.<br /><br />Later slashers, such as the Friday the 13th films, were more fun and less intense than this movie. I do like the F13 series better than the Halloween series, but this movie alone is better than all the F13 movies. Michael Myers is such a scary villain because he is realistic, you could imagine a crazed guy like him going around killing people. I admit this movie gave me nightmares after watching it for a few nights.<br /><br />What's great about this movie is that it doesn't rely on gore or humor to entertain the audience. It is just pure terror. It's too bad the later films of the series swayed from this one, because this is as good of an example of a spectacular slasher movie as they come.
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It's not well shot, well written or well acted but it has to be the most addictive show I've seen since Twin Peaks. Every single revelation is timed so well that you have to see the next episode to get any kind of closure. They have even slowed down the pace of the show where they only reveal tiny amounts of information per episode however it feels like they've just told you everything you wanted to know. However some of the acting is just about awful and some of the duologue is downright brutal. Some characters are very two dimensional. The more experienced actors like Locke and Ecko really stand out over actors who play Jack, Kate, Sayid and so on. The development of the show can also be very frustrating as the following episode may not show what the previous episode lead up to. Annoying side plots have become part of the story that sometimes tell you nothing. However, the second season has developed to a point where back stories reveal more about the island than they had previously. All in all its a great show but not perfect.
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This animated feature (a co-production between Ireland, Belgium and France) deals with what is surely one of the oddest subject ever for a movie: the creation in the 9th century of a famous illuminated manuscript, the book of Kells. In this fantastic retelling of that story, a prepubescent boy named Brendan, living in a monastery ruled by his uncle, a stern abbot who is worried preparing the defenses of the abbey from the impending attack by the feared vikings, must get into the forbidding surrounding forest to find the materials that a master illuminator named Aidan needs to finish the book. To do that task, in the forest he unexpectedly finds the help of a friendly fairy named Aisling.Gorgeously and delicately drawn by hand (there is some computer animation in a few key passages) in a manner that wants to resemble both medieval and traditional Celtic art, and with a very creative use of color and all sorts of geometric shapes, this film is relentlessly strange, but is a good strange, not of the off putting variety but of the eye opening sort. If one were to nitpick - beyond some anachronisms, like an African monk in 9th century Ireland one would have to say that the blend of Catholic mysticism with Celtic paganism in this movie never really coalesce. And the comic relief is sometimes a bit too broad. That's why I cannot give them the highest ranking. But these are minor problems with an otherwise delightful and superbly imaginative film.
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Having lived in Japan for several years this movie does not reflect the Japanese culture and does not even come close to explain what being a Geisha is all about. Unfortunately, a great opportunity has been missed to bring the Japanese culture a bit closer to the broad Western audience and help demystify the country where Zen, Samurai, the Geisha world of Kyoto originate from. Some of the most poignant moments of the movie are when the Americans are shown in Japanese surroundings.The Geisha dances were not authentic. There was far too much use of Chinese music. A minor but essential detail: proper use of the incense sticks was nowhere to be seen. The Sakura scenes were almost obscenely kitschy ! Interestingly, some of the Chinese actors were quite convincing as Japanese persons.
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Not everything is said in this excellent first feature from Céline Sciamma. The friendship, the "wanting to fit in", the first sexual feelings... All this and much more is sublimated through the underwater synchro swimming scenes.<br /><br />All three girls in the movie try to find and express their personality in a very different way. It is a much less violent approach to the understanding of the teenage years compared to, say, "Thirteen", but a very worthwhile trip nonetheless.<br /><br />A must see, and please leave all American cinematographic preconceptions at he door. The soundtrack is A+ by the way.<br /><br />Bon cinéma !
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Is there any other time period that has been so exhaustively covered by television (or the media in general) as the 1960s? No. And do we really need yet another trip through that turbulent time? Not really. But if we must have one, does it have to be as shallow as "The '60s"? <br /><br />I like to think that co-writers Bill Couturie and Robert Greenfield had more in mind for this two-part miniseries than what ultimately resulted, especially given Couturie's involvement in the superb HBO movie "Dear America: Letters Home From Vietnam" which utilized little original music and no original footage, letting the sights and sounds of the time speak for themselves. This presentation intercuts file footage with the dramatic production, but it doesn't do anyone any favours by trying to do too much in too little time; like so many of its ilk, it's seen from the point of view of one family. But the children of the family seem to be involved tangentially with almost every major event of the '60s (it's amazing that one of them doesn't go to the Rolling Stones gig at Altamont), making it seem less like a period drama and more like a Cliff Notes version of the decade.<br /><br />The makers rush through it so much that there's little or no time to give the characters any character, with the stick figures called our protagonists off screen for ages at a time - the children's father is especially clichéd - and then when they're back on BLAMMO! it's something else. Garry Trudeau could teach the filmmakers a thing or two about doing this kind of thing properly. In fairness, Jerry O'Connell, Jordana Brewster, Jeremy Sisto, Julia Stiles and Charles S. Dutton give their material the old college try, but they're wasted (especially the latter two); it's undeniably good to see David Alan Grier in a rare straight role as activist Fred Hampton, and Rosanna Arquette (in an uncredited cameo in part 2) is always welcome.<br /><br />What isn't welcome is how "The '60s" drowns the soundtrack with so many period songs that it ultimately reduces its already minimal effect (and this may well be the only time an American TV presentation about post-60s America never mentions the British Invasion - no Beatles, no Rolling Stones... then again, there's only so much tunes you can shoehorn into a soundtrack album, right?). Capping its surface-skimming approach to both the time and the plot with an almost out-of-place happy ending, "American Dreams" and "The Wonder Years" did it all much, much better. Nothing to see here you can't see elsewhere, people... except for Julia Stiles doing the twist, that is.
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- The movie opens with a meteor crashing into a lake. Unbeknownst to the locals, a dinosaur egg is also at the bottom of the lake. The meteor heats the lake, turning it into a giant incubator. You guessed it, the egg hatches releasing a dinosaur that proceeds to terrorize the community.<br /><br />- What utter garbage. It's not that I mind the stop-motion clay dinosaur, it's everything else about the movie that bothers me. The acting is atrocious. The dialogue is utterly ridiculous. The comic relief is anything but comic. Logic is non-existent. Any similarity between the "scientists" in this movie and an actual scientist is purely coincidental. I could go on for an eternity on the bad aspects of this movie, but you get the idea. I feel it's fairly safe to call this disaster "MST3K Worthy".
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This is the best movie I've seen since White and the best romantic comedy I've seen since The Hairdresser's Husband. An emotive, beautiful masterwork from Kenneth Branagh and Helena Bonham Carter. It is a tragedy this movie hasn't gotten more recognition.
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The Farrelly brothers, Bobby and Peter, are at it again. With "Fever Pitch" the creators of other films that have dealt with a lot of gross themes, abandon that tactic when they decided to bring Nick Hornby's film to the screen, something that it would have been hard to do. The novel, of the same title, dealt with a man's obsession with soccer, since it is set in England, where that sport consumes most of British sports fans. It's to the credit of the writing team of Lowell Ganz and Babaloo Mandell, to transform the book into a language that would appeal to most Americans, when they make their hero, a Boston Red Sox fan.<br /><br />"Fever Pitch" is a film that presents an obsessive fan, Ben Wrightly, whose life revolves into the Red Sox season, and who is an eighth grade teacher with uncanny ways for involving his students into the subject he tries to teach them. When Ben takes four of his best pupils for a tour of a local firm, he meets, and falls hopelessly in love with the brainy Lindsey Meeks, a young woman who is going places, but at thirty, has no life of her own.<br /><br />The story follows the two lovers through the ritual of attending the Red Sox, at home games, in Fenway Park. This team's fans are probably the most loyal people in the world, having stuck with a team that does marvelous things but, until 2004, never won a World Series. In fact, the ending, from what we heard, had to be changed because that was the year in which they finally won the event that had eluded them for eighty six years! Drew Barrymore and Jimmy Fallon are perfect as the couple at the center of the film. Ms. Barrymore is a natural who always surprises in her appearances in front of the camera. Jimmy Fallon, a popular television comedian, turned movie actor, has a better opportunity here than in his last appearance in "Taxi", in our humble opinion.<br /><br />The Farrelly brothers film will satisfy their fans as well as baseball fans with this baseball tale.
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I wouldn't be so quick to look at all the good reviews and say this might be a good show..This show is only good if you don't know what "talent" is..I won't even say how offensive it is (I know it can be offensive to a lot of people) because thats not really what bothers me about the show.. What bothers me is that people watch this and think it's funny..It makes me feel like our generation is getting to stupid and I'm actually scared that it will one day be run by people who watch this garbage..<br /><br />Basically the plot is simple..it's about an offensive,self centered,spoiled women(Sarah Silvermen) getting through everyday life..<br /><br />Thats it..Like that hasn't been done a million times..In fact almost every joke either has been done or is racist..<br /><br />Sarah also likes to sing..I like her voice..thats it..not the lyrics..The lyrics are dreadful..which she likes to sing about a lot of things..<br /><br />If you like to see a hot women put everyone else down and make them feel like crap while at the same time farting and saying crap about every race then this show is for you..
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I missed the beginning but I did see most of it. A friend got it on DVD in the cheap room at FYE.<br /><br />The skits are all very short, and yet most of them are still too long. The majority of them, they seem to have forgotten to have something funny! Quite a lot of racist/sexist/"homophobic" humor in it, skits based on stereotypes, or skits which use racist terms for people.<br /><br />I'm trying to remember anything I thought was funny in it, and I'm having trouble.... The logo for the Tunnel Vision network is a lipsticked mouth with an eyeball in it. The mouth opens and closes over the eye like eyelids. Kind of creepy.<br /><br />What a disappointment. Most of the actors went on to better things, and it's lucky this bomb didn't hold them back.
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The movie was awful. The theater was dead with silence 'cause everyone was embarrassed to be in there watching such trash. I think someone gave Jet Li a lobotomy and made him perform a script with dialogue written by a five year old. The martial arts are 'ok', but when put next to the Jackie Chan movies and "The Matrix" you're better off seeing one of those.
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I watched this movie after having so much of trouble in downloading it through rapidshare. And I have to say, it did not deserve it.<br /><br />Parinda was so hyped, that I was really looking forward to watch it.<br /><br />Parinda is one of those movies which fail to satisfy the standards set by other good Indian film-makers, despite having a great story. It was even more pathetic to know, that the story itself was not original, it was loosely based on the classic "On the Waterfront".<br /><br />Anil Kapoor was irritating, especially when he comes from America. The direction lacked quality many a times, except a few in-between scenes.<br /><br />Give this script to any of them - Ram Gopal Verma, Deepa Mehta, Mahesh Bhatt, Sudhir Mishra, and I'm 100% sure, they'll make a mind-blowing movie out of it.<br /><br />I'm not saying Parinda was bad. It was just not good enough.
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Okay, you have:<br /><br />Penelope Keith as Miss Herringbone-Tweed, B.B.E. (Backbone of England.) She's killed off in the first scene - that's right, folks; this show has no backbone!<br /><br />Peter O'Toole as Ol' Colonel Cricket from The First War and now the emblazered Lord of the Manor.<br /><br />Joanna Lumley as the ensweatered Lady of the Manor, 20 years younger than the colonel and 20 years past her own prime but still glamourous (Brit spelling, not mine) enough to have a toy-boy on the side. It's alright, they have Col. Cricket's full knowledge and consent (they guy even comes 'round for Christmas!) Still, she's considerate of the colonel enough to have said toy-boy her own age (what a gal!)<br /><br />David McCallum as said toy-boy, equally as pointlessly glamourous as his squeeze. Pilcher couldn't come up with any cover for him within the story, so she gave him a hush-hush job at the Circus.<br /><br />and finally:<br /><br />Susan Hampshire as Miss Polonia Teacups, Venerable Headmistress of the Venerable Girls' Boarding-School, serving tea in her office with a dash of deep, poignant advice for life in the outside world just before graduation. Her best bit of advice: "I've only been to Nancherrow (the local Stately Home of England) once. I thought it was very beautiful but, somehow, not part of the real world." Well, we can't say they didn't warn us.<br /><br />Ah, Susan - time was, your character would have been running the whole show. They don't write 'em like that any more. Our loss, not yours.<br /><br />So - with a cast and setting like this, you have the re-makings of "Brideshead Revisited," right?<br /><br />Wrong! They took these 1-dimensional supporting roles because they paid so well. After all, acting is one of the oldest temp-jobs there is (YOU name another!)<br /><br />First warning sign: lots and lots of backlighting. They get around it by shooting outdoors - "hey, it's just the sunlight!"<br /><br />Second warning sign: Leading Lady cries a lot. When not crying, her eyes are moist. That's the law of romance novels: Leading Lady is "dewy-eyed."<br /><br />Henceforth, Leading Lady shall be known as L.L.<br /><br />Third warning sign: L.L. actually has stars in her eyes when she's in love. Still, I'll give Emily Mortimer an award just for having to act with that spotlight in her eyes (I wonder . did they use contacts?)<br /><br />And lastly, fourth warning sign: no on-screen female character is "Mrs." She's either "Miss" or "Lady."<br /><br />When all was said and done, I still couldn't tell you who was pursuing whom and why. I couldn't even tell you what was said and done.<br /><br />To sum up: they all live through World War II without anything happening to them at all.<br /><br />OK, at the end, L.L. finds she's lost her parents to the Japanese prison camps and baby sis comes home catatonic. Meanwhile (there's always a "meanwhile,") some young guy L.L. had a crush on (when, I don't know) comes home from some wartime tough spot and is found living on the street by Lady of the Manor (must be some street if SHE's going to find him there.) Both war casualties are whisked away to recover at Nancherrow (SOMEBODY has to be "whisked away" SOMEWHERE in these romance stories!)<br /><br />Great drama.
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Very unnecessary movie with characters that are acting so unsympathetically that I really didn't care who would fare the best (or was that the purpose of the film, to portray some smooth talking cold-hearted New York city folks?) No romance here, no comedy either. Acting is very flat and a very predictable plot. What annoyed me the most was this constant joking with quotes from classic movies. Man, can't you see that the more you quote, the less significant your own movie becomes? Try to be original yourself! A small budget is no excuse at all, first-time director neither. Crappy, crappy, crappy. No wonder it only cost me one buck...
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Oh dear . Yet another example of " Oireland " and religion . No doubt we'll be seeing some depressing nonsense featuring some " hunky and macho freedom fighters " from the IRA . Well that was my initial reaction when the credits started but just over an hour and a half later I was in a state of shock . What a superb movie <br /><br />The story starts on the day of the wedding between Sean Cloney and Sheila Kelly in the 1950s . There is a slight problem since they're getting married in the catholic church and that is Sheila is a protestant but in order for the wedding to happen Sheila takes a pledge that her children will be brought up catholic and attend the catholic school when they're old enough . The story - Which is set in the 1950s - then jumps forward a few years when the Cloney daughters are about to start school but Sheila has decided they'll be attending the local protestant school much to the disgust of local priest Father Stafford . From there things escalate <br /><br />Let me put my cards on the table and state that despite having both Irish catholic and Scottish protestant heritage I was brought up as agnostic and have considered myself as an atheist throughout my adult life . In fact when it comes to religion I consider myself a Marxist and religion is a cynical weapon used to manipulate people . A LOVE DIVIDED shows what happens when self appointed moral guardians take it upon themselves to tell other people what to think and believe . May I have the temerity to state that if Karl Marx saw this movie he'd love it and call it a masterpiece ? Perhaps I shouldn't since the drama of this story shows what happens when other people do your thinking for you <br /><br />In reply to the couple of reviewers who have claimed this movie is propaganda of the worst sort I don't claim to know the exact details of what happened in County Wexford and there's no denying that Father Stafford and his flock of catholic sheep are portrayed as being the bad guys but Sheila isn't blameless herself . Think about a woman living in a rural village in 1950s Ireland who takes a pledge to bring her children up as catholics then changes her mind and believes there will be no consequences of this ? This is a warning against taking pledges and not keeping to them . Not only that but she disappears to let other people pick up the pieces of their shattered lives . There's also something that no one else has picked up upon and that is that the only character with any type of moral sense is former IRA man Andy Bailey who is shown as being gallant not because he was a former IRA member ( That makes a change . We're not talking about THE DEVIL'S OWN here ) but simply because he is an atheist who has decided to think for himself <br /><br />A LOVE DIVIDED is a superb movie that has a lot to say for itself , all of which I agree with . If there's any sort of criticism it's that it feels too much like a TVM rather than a cinematic movie but believe me I can live with that and is essential viewing to anyone who thinks religion is the opium of the masses
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Eddie Murphy for best supporting actor??? What an insult to Alan Arkin and Djimon Hounsou. <br /><br />Jamie Foxx (who can act) walks through this film like a zombie. <br /><br />Beyonce ??? That was acting??? <br /><br />This movie pales in comparison to CHICAGO or just about any other recent musical. <br /><br />If it were not for the great singing and performance of Jennifer Hudson I would have given this a ZERO.<br /><br />And no I never saw the stage play so I am not making the typical Broadway vs. Hollywood rap.
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I am glad being able to say almost only positive things about the movie with Karas and the Tasuiev sisters, RENAISSANCE.<br /><br />And firstly, that it looks as it ought to look; a boys' adventure, RENAISSANCE is the tale of a cop's investigation in search of a missing young scientistIlona Tasuiev, the geneticist and researcher for the Avalon company.<br /><br />The tale of Karas, Ilona and Bislane is, though much less known than SIN CITY, the better movie, and the one more appreciated by the connoisseurs. To the French comics aficionados it will be even more meaningful (I have enriched my French comics collection last week, though I'm not so uptodate). The atmosphere, the music, the characters, their lines, the plot are all nice and endearing. A Parisian top cop, Karas, is displayed to find a young woman who was a rising star of medicalgenetic research, Ilona Tasuieva mildly hot blonde, whose rebel sister Bislane was erotically preferable, I guess.<br /><br />For me, an oldie aficionado of comics and TV series, RENAISSANCE, a marvelously beautiful cartoon, was like a replay of a WILD WILD WEST episodehere, a mythological past replaced with an equally mythological futuremore jaded and blasé but, in a sense, as thrilling. RENAISSANCE is not suspenseful; nor does it look especially wellpaced; but it's seducing and hypnotic. Moreover, it achieves sketching, albeit briefly, a world, a true worldand we will think about the Avalon, Nakata, Jonas Mueller, the Tasuiev sisters, and Goran, Farfella, and Karas telling of his distant childhood in Kasbah
. I liked RENAISSANCE's feel, of a certain gentleness and affability and adventurousness, and also the professional, assured look; among these new cartoons, this one and Linklater's Dick adaptation (--the only and first Dick adaptation ever--) stood out for me as works of beauty and genuine excitement.<br /><br />I thought the futuristic devices were appropriate and, when not conventional, vividly eerie (like the invisibility costumes).<br /><br />As advisable, the characters have exotic names, like Bislane and Farfella, mostly gathered from the arts and entertainment's world (Goran and Ilona and Naghib
).<br /><br />None seems to have noticed that RENAISSANCE's poster features a Rourke look-alikethat guy is Marv; which doesn't make it a SIN CITY rip--off, but not a paragon of originality either, and in fact there's more resemblance to the Miller talenamely, the bleak futuristic look of a decayed society, the brio of the hero (in fact a cross of Willis' character and Rourke's persona in the previous movie
)on the other hand, this cartoon breathes a more public air, a brim of straight adventurousness, and, in a word, it's like SIN CITY for kidswell, naughtier kids I mean, 'cause there's a bit of nudity on display. To what I have said one might retort that the traits mentioned are characteristic, even as clichés and common places of the futuristic more adult comics' look; true enough, and it was oldie Miller to have brought that things on screen and RENAISSANCE bears some resemblances here and there. Now it's also fair that every RING ought to have its ERAGORN, so to each sin city, its renaissance. I admit being quite partial to these bleak futuristic tales, a rather undemanding specialty.
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I didn't know what to expect from 'Ned Kelly', but absolutely loved it. It was dark, dramatic and gripping. It also felt very authentic, I felt that I had been transported back to the 1800's. I've never been much of a Heath Ledger fan, having only seen him in teen type movies, however he is quite compelling in this role. Ledger plays Ned Kelly with dignity and intensity, showing us how an highly spirited boy became Australia's most notorious killer. Naomi Watts is great in a supporting role as Kelly's society lover. Highly recommended - and that's from an Aussie!
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"The Shop Around the Corner" is one of the great films from director Ernst Lubitsch. In addition to the talents of James Stewart and Margaret Sullavan, it's filled with a terrific cast of top character actors such as Frank Morgan and Felix Bressart .They're the type of character actors that Hollywood sadly no longer employs. In fact, the film itself is the kind of movie that Hollywood doesn't make anymore. (The makers of "You've Got Mail" claim their film to be a remake, but that's just nothing but a lot of inflated self praise.) Anyway, if you have an affection for romantic comedies of the 1940's, you'll find "The Shop Around the Corner" to be nothing short of wonderful. Just as good with repeat viewings. Enjoy!
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It's hard to say sometimes why exactly a film is so effective. From the moment I first came across "The Stone Boy", something told me it would be a great film. In spite of that, it seemed very unlikely that I'd ever have the opportunity to actually see it for myself. Then, one day, while looking through the online catalogue of my local library, I saw that they had recently purchased the DVD release of this film. Which I'm extremely glad for, because the cinematography is of a stunning depth and quality that an old VHS copy could never replicate.<br /><br />And speaking of the cinematography, I must single it out as far and above the most stunning aspect of this film. As a photographer who pursues very nearly the exact visual style portrayed in "The Stone Boy", I'm a firm believer in the fact that a great cinematographer can almost single-handedly carry a film. Here, he has a lot of help from an extremely talented cast, and a director who understands perfectly what the story needs. But to have Juan Ruiz Anchía behind the camera makes virtually every scene something of beauty. And you can almost never say that. Most films would never even expect such a thing of you. Scene after scene captures some detail, some little bit of visual magic that takes your breath away.<br /><br />The director, Christopher Cain, has had a long and interesting career. As far as I can gather, this film is not very representative of it. But, sometimes, to catch a director near the beginnings of his career, before all the big budgets and loss of focus, there's a real subtle magic to be found. Cain steps back in this film, lets things happen with a life of their own, and then ever further. Much like early John Sayles films, characters are given space to breathe, time to talk. Side stories happen because they do, and that's how life is. Cain displays a remarkable, raw, even outright painful understanding of human nature in this film.<br /><br />The acting ties much of this story together. When people talk, when they exist in this film, they do so as actual people, not held back by the fact that they are playing characters. Gina Berriault's script allows immensely talented and respected actors like Wilford Brimley, Robert Duvall, Glenn Close, and Frederic Forrest to spend time simply existing. Whether the things they have to say are minor or of deep significance, it all comes down with the weight of pure reality.<br /><br />When you look at the actors involved, or the great soundtrack by James Horner, it seems strange that such a film be very nearly forgotten. Maybe much of what makes "The Stone Boy" what it is was the time period it was made in. There's this 1970s hangover feeling to this picture that reminds me deeply of my own childhood. People talk of the 80s in terms of modern styles and music, but that's not the 80s I lived in or remember. The look of the images, the understated and dark knowing quality of the acting, and the overall result should get under the skin of any person who grew up in or near this era of time in North America. I see myself in this. I see how I saw the world. And a film like "The Stone Boy" sees the world for how it truly is.<br /><br />For more of this feeling, please see:<br /><br />The Black Stallion (1979), Never Cry Wolf (1983), Tender Mercies (1983), Testament (1983), Places in the Heart (1984), Matewan (1987), High Tide (1987), Driving Miss Daisy (1989), The Secret Garden (1993), The Secret of Roan Inish (1994), Wendy and Lucy (2008)
| 1pos
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Running Man viciously lampoons the modern-day American media complex, and hits its target dead-center. It may be an easy target, but they pull it off none the less. RM effortless takes on pro-wrestling (featuring some pro wrestlers as the Hunters), network television, the Nielsen ratings, the American government (suggesting it's entertainment-oriented anyway), crime & punishment, and a half-dozen other things along the way. It's a far cry from the original Stephen King novella, and Arnold is not the Ben Richards of the novella either. But who cares? It's basically a Arnie flick, with all the well-choreographed action sequences and one-liners such an undertaking requires.
| 1pos
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Film starts with 3 people meeting each other in the bar. OK. They're talking about their imaginary lives, lying all the time, with no reason. Still OK.From time to time, they even make you laugh. Interesting. First 30 minutes you actually enjoy it! But then...things become worse...Nothing's happening...for a long time...and then, when something happen, all you can see are naked old "ladies" touching each other! Not OK. Disgusting! By the way, this part should be the top of the movie, but it's everything except that! Movie has no point,it's boring, and sick! <br /><br />The strangest thing is that here(Belgrade, Serbia) on FEST (film festival), this movie was the most popular according to researches, of course, before people watched it! I even thought(before watching): "Hay, this might be interesting, although it's a Russian movie"! But, God, No!!!!
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Atlantis: The Lost Empire has some of the best, smoothest animation and cleverly written dialogue of any Disney movie I've seen. And I was convinced of that in the first 15 minutes. I especially love Don Novello's voice work on Vincenzo Santorini and Phil Morris as Joshua Strongbear Sweet. Too bad the whole film seems to move at about double the pace that would be appropriate - at least in the first act. One important aspect of any Disney movie is a satisfying antagonist - which Atlantis doesn't provide. He's average at best. Halfway through the movie there's a mediocre twist. That's all. It's a great movie nevertheless. Everyone should check it out.
| 1pos
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