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what are a cartoon! but why in the 80's? And why the name heavy metal? Naked women in a cartoon and action and humor, amazing, I bet the heavy metal 2 sucked since it wasn't like the first one. Can you believe in one scene, they showed that kid's penis. Ew. The boobs. oh yeah but the penis, ew. It was kind of cool how they mixed it with a suspense, drama, musical (by music they must mean by the heavy metal bands in the 80's) horror, fantasy and sci-fi. the woman in the beginning who had sex with that man, why did she have to die?!! For a cartoon character, she's thick. Also the part when she fell asleep in the cab, you could see that blue thong and the sex scene, INTENSE!!! big ass titties, a lot of hair on her penisless area. Big nipples to don't forget. nice black lip stick. If I were a girl, would a still enjoy the movie? (Because there was nothing but girl nudity and one scene male nudity) The ass and the penis. For the women, the boobs an vagina. for god sakes please make another. Anyway, I wonder if it was previously rated x in the very late 70's because the thing came out in 81. Maybe R? come on. NC-17 could be good. Is X only a flick rating or also a movie rating. I was wrong. It's a movie rating also. Scarface (in the 80's) was previously rated x go to mpaa.org and see for yourself. I'm the first kid (in 2006) to probably see heavy metal. Sex with robot, sex with woman in control, sex with double crosser, a criminal with something thousand rapes. remember that part? good times. They only played it on Direct TV once and then it doesn't come on anymore. Why? They play flicks like at 10:00 or 11:00 (Which I don't watch. I only know the name because when I change the channel to the channel it's on, it'll show the name) I'm gonna call them and ask them to put it back on direct TV. | -1no label
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It was a rare treat to see "Checking Out". I was touched by the characters, laughed a lot at the wonderful script, and was deeply moved by the genuine emotions magnificently portrayed by this ensemble cast and especially by Peter Falk. In fact, one of his scenes in the kitchen of his apartment with his children where he tells of his experience of his life, his deep love for his wife and his decisions about his life going forward is so profoundly real that it is at the highest level of the best Academy Award-winning performances. He is a consummate actor who out-did himself in this film. The screenwriter offers a combination of literary knowledge, timing, a gift for dialogue and hilarious situations that had me laughing out loud in the theater. I highly recommend "Checking Out" to everyone wanting to enjoy quality storytelling superbly acted. | 1pos
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] |
I must admit, when I read the description of the genre on Netflix as "Steamy Romance" I was a little bit skeptical. "Steamy"? In a movie from 1968?? I was prepared for disappointment. And when I realized it was shot entirely in black & white, I knew my erotic hopes were dashed. Boy, was I wrong! Not only does this film have all of the elements of a steamy romance -- the discovery of first love, fear of the secret being found out, a sudden unexpected end -- but at times this movie was downright erotic. You will soon forget that it is shot in black & white. The cinematography deserves every accolade it has received over the years. And the performances from the two stars (Essy Persson and Anna Gael) are intense and memorable. OK, so they're both in their mid twenties trying to play school girls. It's 1968. Do you really expect teenagers from the '60s to be able to effectively explore a lesbian love story like this? Many adult women were still trying to come to grips with their sexuality back then. Anyone looking for real teens here is expecting too much. I think this movie was way ahead of its time. The level of eroticism was an unexpected pleasure; yet it still managed to leave a lot to the imagination, opting instead to give us poetic descriptions to add to what we were shown. I have no doubt lesbians will identify with the characters here. As for you straight guys who love watching lesbians in action: Although it won't be all you expect, I don't think you'll be too, too disappointed. | 1pos
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] |
Lance Henriksen got paid something to appear in this. I hope it was a lot. Former US National Champion gymnast, Kristie Phillips starts as Charlie Case, a gymnast-turn-secret-agent (because it's very common that munchkin gymnasts become government spies...) There's a truly hysterical opening scene where Charlie's uneven bars routine is sabotaged by an eastern-bloc competitor. What follows is one of the most ridiculous stunt scenes I've ever witnessed....and they want you to take it seriously! Don't worry...she sticks her dismount. Everything after that is just a messy, dreck of a spy movie. Watch the first fifteen minutes for the campy-gymnastics stuff, then run for cover. | 0neg
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] |
let's value it. entertainment: a trashy script which has been typed by unintelligent people in front of typewriters a thousand times.. pathetic acting that is thwarted by the story...OK production value, including good set/location and gorgeous girl.. -rating 4/10 social message: the movie has no social message. it's thought free... .but if I pretend I were 10, and my IQ were 70. I feel the message is:don't be afraid to love? -rating 0/10 objectionable things: nothing special, just the mild Jewish hedonic and arrogant attitude that is presented by the writer/director. generally speaking, good , nothing degenerate -8/10 overall rating is 4/10 | 0neg
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] |
Contrary to what it's title suggests, Cannibal Man has nothing to do with cannibals or people being eaten; it's more a story about insanity in the mould of the 80's classic Henry: Portrait of a Serial Killer, only the blame is deflected onto society rather than the character himself. Despite not being about cannibals, the movie features more than enough blood and the opening scene, which takes place in an abattoir, will adequately set most audience members up for what is to follow. What follows is a rampage of violence, as our character slips deeper into insanity and kills the people around him. It all starts with the (sort of) accidental death of a taxi driver. After that, our hero kills his girlfriend for fear that she might tell the police, and follows that murder up with his brother's, his brother's girlfriend's etc etc. This chain of murders could become rather dull, but the relaxed tone of the film and the way that we always focus on the escapades of the central character throughout his decent into insanity ensures that the film never turns into a riotous slash-fest. Aside from the fact that Franco was in power, I really don't know anything about Spain at the time that this was made. Cannibal Man reflects life in the country at the time, but to be honest; whatever social study there is really gets lost under the murders and putrid atmosphere of the film. Rather than looking for social comments, I recommend viewing this film more as a look at insanity, as it can be enjoyed much easier that way. If looked at as an insight into insanity; Cannibal Man is a rather potent film, which shows insanity doesn't have to be something that a murderer is born with. The atmosphere that director Eloy de la Iglesia has created is fabulous. The film feels rotten, like a slab of meat left out at the abattoir, and this helps to ensure that we always view our central character's plight with disgust and regret, rather than simply enjoying the killings. Many of the murders in the film are standard stuff, with the exception of one great one that sees a thrown hatchet lodged in some poor guy's face! On the whole, despite the homoerotic tone towards the end; Cannibal Man is cleverer than it looks and even if viewed without intelligence - the film can be enjoyed. | -1no label
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Swayze doesn't make a very convincing Alan Quatermain. Compared to Stewart Granger; which growing up was my ultimate hero in films like the 1952 "Scaramouche", the 1952 "Prisoner of Zenda" and the 1950 "King Solomon's Mines"; Patrick Swayze fails utterly. Even the portrayal of an older Alan Quatermain by Sean Connery in "League of Extraordinary Gentlemen" was very good in an otherwise big flop. Also Alison Doody lacks the grace of Deborah Kerr in the role of the leading lady, and last but not least the impressive Siriaque in the role of Umbopa makes it very hard for anyone to fill his (shoes)!!! For someone who was disappointed by Richard Chamberlain's 1985 version, I now highly recommend it if you can't get your hand on the granger version. | 0neg
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] |
This must rank among the worst documentaries ever made, and that's truly a shame. The subject could have been endlessly interesting, not because of the man himself, but because of the musical revolution he instigated. Sadly this doc largely leaves it up to Moog to tell the story, producing a diffuse, woefully inadequate film. The man is pleasant enough, and tells one or two amusing anecdotes, but he's terrible at explaining his inventions, and worse at contextualizing them. Interviews with the likes of Bernie Worrell and Money Mark are equally uninformative and uninteresting. Only Rick Wakeman was worth talking to. There's a lesson in here for doc makers-- you actually have to WRITE your film. You can't just slop together a bunch of interview footage, as is done here. (Oral history doesn't work unless the event revisited is familiar to all in most of its details.) This footage should have been placed into the hands of a good general-interest magazine writer and a decent film editor-- from this raw material they might have made a decent film. All in all, a really frustrating watch. | -1no label
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] |
I was in pain after watching the seemingly never ending mess that is Pariah. In pain from laughing so hard at the nonsense I witnessed, that is. I am not shocked to see from his IMDb page that Director, Randolph Kret was never allowed to waste investors money again. It makes me wonder how much money was spent making this film. The story was silly, stupid and boring. Plain and simple it was one of the worst movies I've ever seen and I've seen some junk in my time. The portrayal of the skinheads was WAY over the top. Again, I can't stress enough how bad this story was. It was all over the place. My advice to anyone who sees this movie at the video store is to save the 99 cents it would cost to rent this movie. I don't think it's worth a nickel. | -1no label
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] |
I don't like Sean Penn's directing very much, and this early work, The Indian Runner, is no exception. The movie has no core, it's colored with a kind of redneck, anti-authoritarian tweeness that in all honesty taints most of Penn's work, his latest work even more so than the earlier. Frank Miller, Robert Rodriguez, Clint Eastwood, Sean Penn, the whole lot seem to produce such fundamentally banal product, ostensibly in some allegiance to honesty, but ending up being, for the most part, glorified pro wrestling matches, and moralistic, almost as if Hallmark cards had developed a line of Hell's Angels greetings, and make me long for the days of Deliverance, which is a fine movie. Viggo Mortensen's acting is much, much more believable here than that ridiculous Eastern Promises thing he did with Cronenberg, and that's about it. The movie is dead meaningless, and seems to be an exercise, a series of techniques, more than a story. Kudos for Charles Bronson, however, who proves he can act. And I wanted more of Sandy Dennis' character. A lousy 3 out of 10 for this The Indian Runner crap. | 0neg
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] |
I have yet to learn why this superb drama has never been taken out of the archives and released on DVD. It has been suggested that it has been kept under wraps because of the risk of facing the ire of the Christian Right. If correct this is not only ridiculous but indicates that the BBC is pandering to pressure from minority groups. All I can hope is that with the 150th anniversary of the publication of On The Origin of Species coming up next year the BBC will finally do the honorable thing and make this available. Perhaps we should all petition Sir David Attenborough and Professor Dawkins to add their voices to our request? Failing that I suppose we could save our pennies and buy the DVDs from BBC Education I believe they are available for a mere £850.00! | -1no label
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] |
The phrase "they don't make 'em like this any more" has become a bit of a cliche, but in this case it certainly applies. This minor classic proves that there really was a time in which family entertainment movies were made for the whole family. The performances are excellent, especially David Tomlinson makes a gorgeous comedy villain. However, Dean Jones' play is equally recommendable, as the heroic lead is a much less rewarding role in pictures like this - while Tomlinson can just go for full throttle lovable nastiness, Jones needs to provide just the right dosages of heroism, arrogant charm, etc. to keep his character believable and flawed and likeable. | -1no label
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] |
Personally, I didn't really gain a whole lot from THE ACT OF SEEING WITH ONE'S OWN EYES. I've noticed a lot of really highly rated reviews on here for the film, and I'm kinda surprised. Maybe I missed something that other reviewers felt "moved" by but I found the film pretty tedious and basically pointless. The "action" of the film is a bunch of autopsy footage that is filmed in an "art-house" style - lots of extreme close-ups, weird editing, etc...and with no sound or dialogue. I guess THE ACT OF SEEING WITH ONE'S OWN EYES could be considered a study of human anatomy, or maybe (if you really wanna dig a little) some sort of comment on the fragility of humanity or whatever - but I personally found it to be a bunch of semi-interesting but ultimately dull autopsy footage. If that's your thing, then this will be a winner for you. As for me - I've seen more interesting ER footage. Not a "bad" film, as it isn't really a "film" in any traditional sense - I just found nothing really notable about it - 4/10. | 0neg
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] |
This is a film that fails dismally by itself, but is redeemed by a truly great DVD special feature. I truly love experimental movies and imports and this clearly falls into that category. But, the film is not at all well done. It's dull in many places and too often reduces to sex for the sake of prurient interested. The plot, or lack of plot, rambles about and is very confusing. Some of the symbolism is so obscure you won't know it until you listen to the director's commentary. You have trouble identifying with any of the characters because they are so unrealistic. But, it is in the area of the DVD director's commentary that this film shines brightly. Just out of curiosity, I turned it on after watching the film and was surprised how much I learned about the film, the directing process, the actors, and the director's life. Interestingly enough, the commentary is far better than the actual film. Though the film is meant to be somewhat autobiographical, the real facts of Asia's life are far more interesting and make much more sense, though they be somewhat strange to those of us looking from the outside. So many commentaries tend to be just some trivia about the shoot. This one tells lots of great stories about the people and process. You'll learn so much about stolen shots and when the sex is real and when it's not. I wish more commentaries went out on a limb to tell of truth about what is going on in the creative process as she has done here. | -1no label
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] |
It was nice reading the reviews for this film as so many people picked up the real elements of this movie and not just about the horror. This movie, as most great movies, is a subtle love story, where someone realises they are a burden and maybe even a danger to them, and so make the ultimate sacrifice. Cronenberg is probably my favourite director as he is able to take unusual film idea and turn it into something intense and believable. As he has evolved he has improved his writing and as a results the stories have become more hidden and more intelligent. I think the Fly, Deadzone and Videodrome are his best work. His more recent films, Crash and the Naked Lunch have impressed me with his ambition and ability to try something new, but have failed as entertainment. I can't really put my finger on how Cronenberg is able to create the intensity and atmosphere that he does, even with very obscure subjects, but I would love to see him try some less obscure subjects and make films of the caliber of the Fly again. Highly recommend 9/10 | -1no label
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] |
4 Oscar winners, Karl Malden, Sally Field, Shirley Jones, Michael Caine. Great character actors Telly Savalas and Peter Boyle. 1 hour 54 minutes of sheer tedium, melodrama and horrible acting, a mess of a script, and a sinking feeling of GOOD LORD, WHAT WERE THEY THINKING? Irwin Allen was just trying to cash in on the popularity of the original classic disaster film with a grade D minus script, the actors were obviously just in it for the paycheck as well,... the horror, the horror! How insane are the characters that Caine, Savalas, Malden and Field are playing? Go into a potentially deadly sinking ship that's 1. on fire 2. Hot from steam 3. Slippery from water and oil, 4. boilers that are exploding every 5 minutes, etc., all for the love of money? Greed? 5. They have very little equipment, not even a pair of gloves or work boots in sight, much less a grappling hook, rope, etc. Stupidity! What were they thinking? Peter Boyle overacts so much that I just wanted to smack him! Stop it! And what's the deal with the bad toupee? Also, there is no way you can believe his character was a WW2 veteran. Caine, Field and Malden find all that gold and money and they are happy--whoopee! We're rich! (We may not live to spend it, but hey...) And yee haw, it's the great character actor Slim Pickens! Survivors galore! Jack Warden and Shirley Knight, too! The final dramatic sub plot about that scary plutonium never really went anywhere, it's like they forgot, sort of? Lots of holes in the script. This film has an illness that the strongest pill couldn't cure. I'm surprised Alan J. Smithee's name wasn't on the script, I'd be embarrassed to have penned this one! Oh the insanity, Oh The humanity! Oy Vey! The Horror, The Horror! It's like a bad two hour TV movie. At least the sets were made from recycled material from the first movie. The script needed to be on the compost heap... | 0neg
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] |
Atrocity is the one word definition for this film. I dare say even Hellraiser: Bloodline and Hellraiser: Inferno are better than this film. While Pinhead's greater presence in this one than in the last is a welcome change, the Hellraiser movies were never originally about him or the Cenobites, even though they seemed to have evolved in that direction, which, with proper directing and writing, could have been a good thing. Where to start? The acting is subpar at best, even compared to B-movies, even Ashley Lawrence, who did an excellent job in the first two films, delivers an underwhelming performance, let alone the job done by the protaganist Trevor. (I'm sorry I've made no reservations to learn any of the names from this film.)It's not to be blamed all on the actors, though. Sometimes a great actor or actress is hindered by the writing (i.e. Natalie Portman by George Lucas' dialogues, see her in The Professional or something else). And a warning, the writing is indecent, jerky and unnatural. The movie also doesn't feel quite at home carrying the Hellraiser title, aside from Pinhead and the Cenobites' presences and the occassional flash of the Lament Configuration. It doesn't possess the masterful storytelling of Clive Barker's imagination. Warning to the die-hard fan, your nit-picking will be far worse than this general, though wordy, comment (such as Pinhead's costume, if you're very observant, you'll know what I'm talking about). If you're hoping for a return to the roots, prepare for disillusion. I've loved all the Hellraiser movies, thus far, except III, which I've yet to see, but even this one wrenches my gut. Save your money and your time, go to the movies and put down the eight bucks for "Red Dragon" or whatever else floats your boat. | -1no label
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] |
I almost feel bad about writing something bad about this, considering the other comments made, but I feel I should carry on. No, I haven't seen this film but after watching the trailer for it, I think I have enough reason to hate it. Firstly, I have no recollection of this being set in America (in fact the first book in the series is set in Cornwall... ENGLAND.). I can understand why it is set in America, so 20th Century Fox can make it sell there and they can get more money. I don't care, that is the first thing that has ruined it for me. Secondly - and in relation to my first point - This is set in the country side, in a little village (again in England) which gives it that fantastic air to it, of seclusion and intensity. "Will is like any other boy" doesn't cut it. He goes to school in what looks like a big city, has stupid brothers who don't seem to care about him as they do in the book. Oh, and the part in the shopping mall? Stupid commercial idiots. All I can say is, that I don't want to go and see a film about a barley pubescent boy who "can barley talk to girls". That's not what the book is about. The only good thing to say about this film is, it has Christopher Eccleston in it, so maybe next time when they re-make it better, set in England with out the stupid commercial, American-ness they'll have him again. | -1no label
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] |
When I first saw this film I had the feeling something completely new was achieved by the film maker. An Action Sci-fi movie with action scenes that are believable (humanly possible) but still with a mysterious, powerful alien that is slowly developed from a computer generated wispy creature to a real and frightening being. Yes, the alien has superhuman strength, abilities and equipment but remains believable. Yes, Arnold rolls his muscles but not too explicitly as in some of his other movies, besides he needs them all in the physical fight against the alien who is very clearly a size too big for Ernie. In summary, a fast, innovative Action Sci-fi movie so full with small detail that you can see it time after time and still discover something new. | -1no label
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] |
Delightful minor film, juggling comedy and detective, romance and drama genres as nimbly as Lt Kenny Williams (Melvyn Douglas) balances his devotion to his girl Maxine Carroll (Joan Blondell) and his duty to the force as an ace detective. This hodge-podge may not appeal to all viewers today, but in its day, it had something to offer every member of the movie-going family, and the resolution to the rather tired feeling-versus-duty plot is original and refreshing, and well worth the wait. "The Amazing Mr. Williams" contains what must be among the most outrageous blind dates in film history, and its bright comic repartee sparkles. Ludicrously frocked, Melvyn Douglas delivers some of the best lines: "I'd walk down Main Street in a Turkish towel before I'd let any woman control my life!" And the effervescent Joan Blondell lets her barbs fly with typical aplomb: "Good grief! You look like my Aunt Nellie!' The crime-solving here is standard fare, although a fine cast of character actors helps bring the material to life. From today's vantage point, "The Amazing Mr. Williams" is perhaps most interesting for its insightful commentary on gender as a socially defined construct, all the more malleable for its seemingly rigid boundaries. While much of the gender commentary takes place in a superficial battle of the sexes, at times it is both subtle and penetrating, playing out not only in some of the finer details of the film, but in the battle of genres that reaches its culmination in the final scene. | 1pos
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] |
If you are a weirdo who thinks it's "romantic" and wonderful to have sex with a woman who is the genetic equivalent of your mother, get her pregnant, and then have sex with her again once she's had an abortion AND not tell her that she is related to you, then you would like this movie. Nevermind the fact that the guy is married and has a son at home - it makes it even more disgusting and deplorable that he has no conscience as to what he's doing. He can't do right by his job, his family, OR Maria. He's a loser. There is nothing romantic or positive about this movie - it is vile and incestuous. It moves slowly and it leads nowhere for over the first half of the movie. I couldn't even finish watching this pathetic excuse for a 'romance'. I'm glad we didn't waste our money in the movie theater on this one. 0/10 | 0neg
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Unforgiven is Clint Eastwoods last tribute to the once great west. But whilst i thought this was going to be good and raise the bar for future westerns to come i was sadly mistaken. Unforgiven, though simple in plot it falls flat on characters and emotions and i would certainly say that Unforgiven is Eastwoods worst film to date. Eastwoods himself seems too old to play the part of acting and directing which also adds a downfall to the overall look of the film. All the characters seem rushed and ragged around the edges especially Eastwoods character. The acting doesn't seem to flow and contribute to what the characters are feeling. The direction is poorly misled by quirky shots. So overall Unforgiven is not Eastwoods best and by far one of the worst westerns around. | 0neg
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] |
The only good thing about this movie was the shot of Goldie Hawn standing in her little french cut bikini panties and struggling to keep a dozen other depraved women from removing her skimpy little cotton top while she giggled and cooed. Ooooof! Her loins rival those of Nina Hartley. This movie came out when I was fourteen and that shot nearly killed me. I'd forgotten about it all tucked away in the naughty Roladex of my mind until seeing it the other day on TV, where they actually blurred her midsection in that scene, good grief, reminding me what a smokin' hottie of a woman Goldie Hawn was in the '80s. Kurt Russell must have had a fun life. | 0neg
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] |
First of all, I love high school/college setting, dysfunctional family and coming of age drama. Despite having the elements in this film, it was missing lot of chemistry between the actors, the time period didn't fit the screen, wasn't really impressed by the lens/filter or the cinematography. It would be amazing if Gus Van wrote/directed this film. Nevertheless, I do have to praise Fred Durst for evolving. He has come long way from directing music videos to the big screen. He displayed so much maturity through music choices in this film and long drone camera staring into the characters. Also, to get a dramatic gig like this film and to bring forth so much emotion off the characters/story was just good for Fred. He really tried to capture the mentality of teenagers/young adult. it was very good first choice for Fred Durst. I am very much impressed by his first attempt. (o yes I love the guy, he was so humble and awesome guy when I met him at TRL in 2003) | -1no label
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] |
I have nothing but praise for this movie and cast, especially Ann Margaret. But more importantly I have praise for my in-laws who were (are) the adoptive parents of Warren and Frank in real life. I met most of the "children" at Warren's wedding in 1989. This is an amazing story and is even more incredible to me knowing the family and what everyone went through. It is also enjoyable for me to see how my in-laws were portrayed in the movie. It was pretty accurate. My wife even enjoys seeing some little details such as a toaster that she remembered from her childhood. Yes, it is a hard movie to watch, but so amazing and heartfelt. The beauty of this story for me is how many of the children passed through my in-laws lives and, as a result of marrying their daughter,and having Warren as a brother-in-law, how many I have met in mine. For the past 20 years this story has been a part of my life because of what my mother-in-law has shared with me. That and knowing Warren. For what it is worth, Warren lives in California with his family. He married his high school sweetheart, who he reconnected with at his 20 year high school reunion. There was a show in the 1980's called "That's Incredible." They had a reunion of the family who also got to meet the cast of the show. For anyone's interest, the DVD is available in Great Britain and Australia. It is a tough video to come by here in the United States and I have not been able to find a DVD here, yet. | 1pos
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] |
COMBAT SHOCK is a gritty film about the disillusion and ultimate break down of Frankie, a Vietnam vet, living in New York with his wife and "child". Frankie is basically a complete loser with no money, job, or life in general, and the film pretty much just follows him around from one depressing experience to another, until the shocking finale. COMBAT SHOCK is far too bleak for the standard audience, and as a previous reviewer noted, most people either really like, or really loathe this film. Personally, I felt it was a realistic and somber portrayal of an individual who has absolutely nothing positive going on in his life, and no real hope of a better future. If you are clinically depressed or on any type of depression medication, you should probably leave this one alone. Those who prefer more thought-provoking cinema may want to give this one a shot...8/10 | -1no label
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] |
Previous comments encouraged me to check this out when it showed up on TCM, but it was a severe disappointment. Lupe Valdez is great, but doesn't get enough screen time. Frank Morgan and Eugene Palette play familiar but promising characters, but the script leaves them stranded. The movie revolves around the ego of Lee Tracy's character, who is at best a self-centered, physically and verbally abusive jerk. The reactions of "the public" are poorly thought-out and unbelievable, making the "shenanigans" seem like contrivances of a bad writer. And it strains credulity that the Lupe Velez character could fall for him. The "stinging one-liners" mentioned in another review must be dependent on the observer, since I didn't even notice that an attempt was being made. | 0neg
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] |
After having developed pretty much the most successful directorial career of the decade, Fincher just refuses to hold back his enormous talent, always picking the risky projects and churning out an exhilarating piece of work. He's come a long way as it is, and then comes along the curious "The Curious Case of Benjamin Button". The title speaks for itself. The result can be anything between a predictable romantic drama, or a stirring, magical, unforgettable, heartbreaking, intelligent, challenging experience. I'm sure you can tell which direction I'm headed. Oh, what a curious case indeed. The film begins as a child, born on the day of the end of the Great War (symbol of the beginning of life?), is abandoned by his father outside a boardinghouse dedicated for seniors. It is quickly revealed that he was born ugly and wrinkled (not quite the appearance of a child, but "still a child of God"). We don't find out immediately that he will lead his life physically aging backwards, but it is gradually revealed as he grows older, when his back begins to take shape and his wheelchair is rendered useless. What ensues after developing his bizarre nature, however, is the true core of this absolutely spellbinding masterpiece. There is always a lingering dread that his relationships will never work beyond their limited time frame, but its characters are driven by soul, not any shallow desires. The heart of the film is the relationship between Brad Pitt and Cate Blanchett. Will their love survive their difficult circumstances? Mortality is the key theme of this picture, the adamant difference between young and old age. Transience is man's greatest weakness. Although it's a pretty glum and straightforward thing to say that nothing lasts, the film does not depict itself through false optimism, but rather through hope. Hope that beneath these torn souls, there is the chance of wisdom and love overcoming mortality, and it culminates a damned poignant realization. There is also a playful theme to summarize the entire film -- no matter which way you age, life will always f-ck you. Tell that to the millions of women undergoing their midlife crisis, I guarantee the results will not be pretty. I'm getting off- track now, so let me just say this is possibly the best film of the year, and many years to come. | -1no label
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] |
This movie displays the kind of ensemble work one wishes for in every film. Barbara Bain and Donald Sutherland (who play husband and wife)are positive chilling, discussing the "family business" as if it were a grocery store or a dry cleaners. Macy, Campbell, Ullman, and Ritter are also terrific. They play off each other like members of a top-notch theatrical troupe, who realize that a quality product requires each actor to support the others unselfishly. And finally, there's Sammy (David Dorfman). What an amazing performance from a child...and what an uncanny resemblance he has to Ullman, whose son he plays! We're treated to a unique story in "Panic," and that's a rarity in these days of tired formulaic crap. The dialogue is sharp and smart, and this relatively short film nevertheless has the power to elicit a full range of emotions from the viewer. There are places to laugh, to be shocked, to be horrified, to be saddened, to be aroused, to be angry, and to love. It's not a movie that leaves you jumping for joy, but when it's over you're more than satisfied knowing you've spent the last ninety minutes experiencing a darn good piece of work. More of us would go to theatres if we were treated to quality fare like this. When are the powers that be in Hollywood going to wake up? It's a real shame when something this good fails to get exposure beyond festivals and households fortunate enough to have cable. | 1pos
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] |
I don't know who Sue Kramer, the director of this film is, but I have a strong suspicion that A) she is a lesbian and B) she somehow shamed everyone involved in this project to participate to prove they are not homophobic. I can imagine everyone thinking, "My God, this is horrible. Not funny. Pedestrian. Totally lame." But keeping their mouths shut for fear they will be labeled anti-gay or they "don't get" the gay lifestyle. (This is probably why Kramer did NOT cast gay people to play gay people too.) Anyway, it's not even worth reviewing. The actors are all directed to play every scene completely over the top so there is no sincerity or believability in anything they do. It's full of clichés and there is nothing about this movie that is the least bit amusing - much less funny. I hated it and I'm not afraid to say so. Too bad the gutless people who gave Kramer the money to make this bomb weren't as unbiased in their judgment. | 0neg
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] |
Martin Landau was correct in his assessment that this film makes Bela Lugosi's Ed Wood-directed films look like "Gone With the Wind" in comparison. Bela gets a top billing here, but in truth he merely plays second fiddle to a Martin and Lewis ripoff duo who are quite literally the two most annoying characters in all the movies ever made. I'm not familiar with any of the Dean Martin and Jerry Lewis comedies, but after seeing this film I'm not in a hurry to acquire any of them. Duke Mitchell, the Dino-ripoff, has all the charm of a urinal in a men's public bathroom, and his singing voice is akin to that of Elvis Presley with a chest cold crooning into a cardboard toiler paper tube. His friend Sammy Petrillo makes for such bad, loud, ugly, unfunny, and downright wretched comic relief that he makes Jar Jar Binks look like Hannibal Lecter. With his hideous facial features and shrill, high-pitched caterwaul, I can't imagine why anyone would put him in a motion picture, as opposed to putting him in the woods, in an unmarked grave at midnight. There isn't very much to say about Lugosi; he plays his mad scientist character with what appears to be a constant look of shame for being involved in such a dumb film. There are unconvincing-looking jungle natives, stock footage animals, a fat girl who keeps chasing Petrillo, et al. If you value your sanity and well-being, skip this one. | -1no label
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] |
Oscar Wilde wrote: "In this world there are only two tragedies. One is not getting what you wants, and the other is getting it." To rephrase his thought, Jill suggests there are likewise only two joys... One is having God answer all your prayers, the other is not receiving the answer to all your prayers... The four words: Your injury is permanent' slam into Jill Kinmont's consciousness like a bullet... She was a ski champion, full of life, action and beauty... Now, almost totally paralyzed after a bad fall... Being Quadraplegic, means that every aspect in her life is different from that point on... Her total care is left up to other people: She cannot bathe herself, feed herself, or dress herself... Jill automatically suffers the effects of having no arms and no legs, and becomes incontenant as well... Marilyn Hassett makes Kinmont a fighter whose determination initially explodes and inspires some to have unreasonable expectations of her limited recovery... She tries to reach a state of empowerment, the right to feel proud of herself, and what she is, and what she does, and to have that pride recognized as acceptable by her love ones... The tender romance between her and Beau Bridges provides some fine moments... The film, a tearjerker based on a real case, is altogether too much of a good thing... | -1no label
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] |
Watching this film caused quite an emotional reaction. This is what today's documentaries are all about. It's refreshing to watch something so personal, honest and real. Mr. Block's thoughts, opinions and disclosure are rarely seen these days and are incredibly well displayed here. It's a fine line to walk between personal truth and exploitation. This film treads very carefully and quite successfully. One would think that learning about how a seemingly normal couple falls short of society's expectations would give birth to pessimism...but it doesn't. Quite the opposite: it made me feel good. I feel that I now know more about marriage...about women. Definitely check this out, it'll make you think - exactly what a good documentary should be designed to do. | 1pos
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