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number of people who have said that this film is a masterpiece. I agree with them. It is a masterpiece. I have seen it many times and I have never seen anything quite like it. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen anything quite like it. It is a masterpiece. I have seen it in many different countries and I have never seen | Reading the comments I am struck by the obvious effect this wonderful film has on viewers. But, how can you watch this movie and not reflect that the artful dialog was a subtle and oh so daring rebuke to the authorities "in control" in what was then the USSR at that moment in history? It wasn't the souls only in the time and place of the action being revealed. The questions, superficially asked, are nakedly provocative when directed to the here and now. Who are the real "collaborators"? I marvel that the writer stayed out of prison. I read somewhere that great stress can be a catalyst for producing great art. This film is a masterpiece of misdirection, apparently pointing one way, while asking the audience to "look over my shoulder, at what I'm really talking about." What courage. | 1 | Reading the comments I am struck by the | obvious effect this wonderful film has on viewers. But, how can you watch this movie and not reflect that the artful dialog was a subtle and oh so daring rebuke to the authorities "in control" in what was then the USSR at that moment in history? It wasn't the souls only in the time and place of the action being revealed. The questions, superficially asked, are nakedly provocative when directed to the here and now. Who are the real "collaborators"? I marvel that the writer stayed out of prison. I read somewhere that great stress can be a catalyst for producing great art. This film is a masterpiece of misdirection, apparently pointing one way, while asking the audience to "look over my shoulder, at what I'm really talking about." What courage. | [
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] | obvious effect this wonderful film has on viewers. But, how can you watch this movie and not reflect that the artful dialog was a subtle and oh so daring rebuke to the authorities "in control" in what was then the USSR at that moment in history? It wasn't the souls only in the time and place of the action being revealed. The questions, superficially asked, are nakedly provocative when directed to the here and now. Who are the real "collaborators"? I marvel that the writer stayed out of prison. I read somewhere that great stress can be a catalyst for producing great art. This film is a masterpiece of misdirection, apparently pointing one way, while asking the audience to "look over my shoulder, at what I'm really talking about." What courage.<|endoftext|> | [
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] | 169 | Reading the comments I am struck by the |
the beautiful and mysterious Mrs. Bates. She is a very good actress and her performance is very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I have seen her in many films and she is always very good. I | As always Joan Hickson is wonderful as Jane M. Subtle, sharp and aware. I do not wish to dwell on her acting skills as they are praised enough on this site. I would like to criticize some of the smaller parts as the rest of the cast seemed to be hand picked by director David Tucker.<br /><br />Liz Fraser's performance as Mrs. Bent (the mother of the missing girl Nora) is a joy to watch. Subtle and deeply moving as the alcohol-depending grieving mother who loves and misses her daughter desperately. A good long shot of her monologue (thanks Tucker!) so she can be enjoyed to the fullest. I was moved when I saw her the first time when it was broadcast and I am moved again, now I have it on DVD. Brava.<br /><br />Joanna Hole as Madge the tour-guide I find highly amusing. She is on the edge of over-acting but her role can have it. She is SO funny as the over-organized guide who wants to do good with everyone on that bus, I find her hilarious. Her reaction after she boarded every-one on the bus is great... As always: to perform comedy one has to take it very seriously, and that's what Ms Hole does.<br /><br />I do hope those two ladies have good careers (as I live in Holland I do not know if they have, not all theater productions can be googled...) -their performances on the screen deserve it.<br /><br />Pieter | 1 | As always Joan Hickson is wonderful as | Jane M. Subtle, sharp and aware. I do not wish to dwell on her acting skills as they are praised enough on this site. I would like to criticize some of the smaller parts as the rest of the cast seemed to be hand picked by director David Tucker.<br /><br />Liz Fraser's performance as Mrs. Bent (the mother of the missing girl Nora) is a joy to watch. Subtle and deeply moving as the alcohol-depending grieving mother who loves and misses her daughter desperately. A good long shot of her monologue (thanks Tucker!) so she can be enjoyed to the fullest. I was moved when I saw her the first time when it was broadcast and I am moved again, now I have it on DVD. Brava.<br /><br />Joanna Hole as Madge the tour-guide I find highly amusing. She is on the edge of over-acting but her role can have it. She is SO funny as the over-organized guide who wants to do good with everyone on that bus, I find her hilarious. Her reaction after she boarded every-one on the bus is great... As always: to perform comedy one has to take it very seriously, and that's what Ms Hole does.<br /><br />I do hope those two ladies have good careers (as I live in Holland I do not know if they have, not all theater productions can be googled...) -their performances on the screen deserve it.<br /><br />Pieter | [
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] | Jane M. Subtle, sharp and aware. I do not wish to dwell on her acting skills as they are praised enough on this site. I would like to criticize some of the smaller parts as the rest of the cast seemed to be hand picked by director David Tucker.<br /><br />Liz Fraser's performance as Mrs. Bent (the mother of the missing girl Nora) is a joy to watch. Subtle and deeply moving as the alcohol-depending grieving mother who loves and misses her daughter desperately. A good long shot of her monologue (thanks Tucker!) so she can be enjoyed to the fullest. I was moved when I saw her the first time when it was broadcast and I am moved again, now I have it on DVD. Brava.<br /><br />Joanna Hole as Madge the tour-guide I find highly amusing. She is on the edge of over-acting but her role can have it. She is SO funny as the over-organized guide who wants to do good with everyone on that bus, I find her hilarious. Her reaction after she boarded every-one on the bus is great... As always: to perform comedy one has to take it very seriously, and that's what Ms Hole does.<br /><br />I do hope those two ladies have good careers (as I live in Holland I do not know if they have, not all theater productions can be googled...) -their performances on the screen deserve it.<br /><br />Pieter<|endoftext|> | [
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] | 504 | As always Joan Hickson is wonderful as Jane M. Subtle, sharp and aware. I do not wish to dwell on her acting skills as they are praised enough on this site. I would like to criticize some of the smaller parts as the rest of the cast seemed to be hand picked by director David Tucker.<br /><br />Liz Fraser's performance as Mrs. Bent (the mother of the missing girl Nora) is a joy to watch. Subtle and deeply moving as the alcohol-depending grieving mother who loves and misses her daughter desperately. A good long shot of her monologue (thanks Tucker!) so she can be enjoyed to the fullest. I was moved when I saw her the first time when it was broadcast and I am moved again, now I have it on DVD. Brava.<br /><br />Joanna Hole as Madge the tour-guide I find highly amusing. She is on the edge of over-acting but her role can have it. She is SO funny as the over-organized guide who wants to do good with everyone on that bus, I find her hilarious. Her reaction after she boarded every-one on the bus is great... As always: to perform comedy one has to take it very seriously, and that's what Ms Hole does.<br /><br />I do hope those two ladies have good careers (as I live in Holland I do not know if they have, not all theater productions can be googled...) -their performances on the screen deserve it.<br /><br />Pieter<|endoftext|> | [
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] | 316 | As always Joan Hickson is wonderful as |
the National Film and Television School in London. I was impressed by the film's quality and the way it was shot. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a lot of natural light. The film was shot in a very natural way, with a | I spotted this film in a branch of the Duane Reed pharmacy in New York on holiday, and it seemed like a bit of silly fun. And sure enough, the whole premise is ridiculous beyond words - but it turned out to be a thoroughly enjoyable action film for kids, and their parents too.<br /><br />10-year-old Ricky Bernard (Jordan Garrett) has his head in the clouds most of the time, much to his father's (Larry Miller) dismay. As a member of his school orchestra, Ricky and schoolmates fly to a concert performance ... and once again Ricky's mind 'takes off' and suspects some criminal plot is happening.<br /><br />Reluctantly aided by best friend Sashi, who is a fan of hot sauce (what a strange plot device that was) and others they try to get to solve the mystery. Oh yes, and Ricky's skills 1,000 hours of flight simulator experience prove to be handy when he is called on to save the day in the film's thrilling climax! It was good to see Eric Roberts and Mark Dacoscos play parts in a family film. And watching the DVD interviews everyone seems to have had great fun taking part.<br /><br />I totally liked Junior Pilot; charming and good-natured performances, funny plot line and a real; sense of enjoyment and sheer silliness.<br /><br />If you are looking for an entertaining family film, you could do far worse than buy this one. | 1 | I spotted this film in a branch of | the Duane Reed pharmacy in New York on holiday, and it seemed like a bit of silly fun. And sure enough, the whole premise is ridiculous beyond words - but it turned out to be a thoroughly enjoyable action film for kids, and their parents too.<br /><br />10-year-old Ricky Bernard (Jordan Garrett) has his head in the clouds most of the time, much to his father's (Larry Miller) dismay. As a member of his school orchestra, Ricky and schoolmates fly to a concert performance ... and once again Ricky's mind 'takes off' and suspects some criminal plot is happening.<br /><br />Reluctantly aided by best friend Sashi, who is a fan of hot sauce (what a strange plot device that was) and others they try to get to solve the mystery. Oh yes, and Ricky's skills 1,000 hours of flight simulator experience prove to be handy when he is called on to save the day in the film's thrilling climax! It was good to see Eric Roberts and Mark Dacoscos play parts in a family film. And watching the DVD interviews everyone seems to have had great fun taking part.<br /><br />I totally liked Junior Pilot; charming and good-natured performances, funny plot line and a real; sense of enjoyment and sheer silliness.<br /><br />If you are looking for an entertaining family film, you could do far worse than buy this one. | [
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] | the Duane Reed pharmacy in New York on holiday, and it seemed like a bit of silly fun. And sure enough, the whole premise is ridiculous beyond words - but it turned out to be a thoroughly enjoyable action film for kids, and their parents too.<br /><br />10-year-old Ricky Bernard (Jordan Garrett) has his head in the clouds most of the time, much to his father's (Larry Miller) dismay. As a member of his school orchestra, Ricky and schoolmates fly to a concert performance ... and once again Ricky's mind 'takes off' and suspects some criminal plot is happening.<br /><br />Reluctantly aided by best friend Sashi, who is a fan of hot sauce (what a strange plot device that was) and others they try to get to solve the mystery. Oh yes, and Ricky's skills 1,000 hours of flight simulator experience prove to be handy when he is called on to save the day in the film's thrilling climax! It was good to see Eric Roberts and Mark Dacoscos play parts in a family film. And watching the DVD interviews everyone seems to have had great fun taking part.<br /><br />I totally liked Junior Pilot; charming and good-natured performances, funny plot line and a real; sense of enjoyment and sheer silliness.<br /><br />If you are looking for an entertaining family film, you could do far worse than buy this one.<|endoftext|> | [
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] | 308 | I spotted this film in a branch of |
first saw this movie, I was a little skeptical. I thought it was a little too long, and I thought it was a little too long. But I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. I was wrong. | <br /><br />When I unsuspectedly rented A Thousand Acres, I thought I was in for an entertaining King Lear story and of course Michelle Pfeiffer was in it, so what could go wrong?<br /><br />Very quickly, however, I realized that this story was about A Thousand Other Things besides just Acres. I started crying and couldn't stop until long after the movie ended. Thank you Jane, Laura and Jocelyn, for bringing us such a wonderfully subtle and compassionate movie! Thank you cast, for being involved and portraying the characters with such depth and gentleness!<br /><br />I recognized the Angry sister; the Runaway sister and the sister in Denial. I recognized the Abusive Husband and why he was there and then the Father, oh oh the Father... all superbly played. I also recognized myself and this movie was an eye-opener, a relief, a chance to face my OWN truth and finally doing something about it. I truly hope A Thousand Acres has had the same effect on some others out there.<br /><br />Since I didn't understand why the cover said the film was about sisters fighting over land -they weren't fighting each other at all- I watched it a second time. Then I was able to see that if one hadn't lived a similar story, one would easily miss the overwhelming undercurrent of dread and fear and the deep bond between the sisters that runs through it all. That is exactly the reason why people in general often overlook the truth about their neighbors for instance.<br /><br />But yet another reason why this movie is so perfect!<br /><br />I don't give a rat's ass (pardon my French) about to what extend the King Lear story is followed. All I know is that I can honestly say: this movie has changed my life.<br /><br />Keep up the good work guys, you CAN and DO make a difference.<br /><br /> | 1 | <br /><br />When I | unsuspectedly rented A Thousand Acres, I thought I was in for an entertaining King Lear story and of course Michelle Pfeiffer was in it, so what could go wrong?<br /><br />Very quickly, however, I realized that this story was about A Thousand Other Things besides just Acres. I started crying and couldn't stop until long after the movie ended. Thank you Jane, Laura and Jocelyn, for bringing us such a wonderfully subtle and compassionate movie! Thank you cast, for being involved and portraying the characters with such depth and gentleness!<br /><br />I recognized the Angry sister; the Runaway sister and the sister in Denial. I recognized the Abusive Husband and why he was there and then the Father, oh oh the Father... all superbly played. I also recognized myself and this movie was an eye-opener, a relief, a chance to face my OWN truth and finally doing something about it. I truly hope A Thousand Acres has had the same effect on some others out there.<br /><br />Since I didn't understand why the cover said the film was about sisters fighting over land -they weren't fighting each other at all- I watched it a second time. Then I was able to see that if one hadn't lived a similar story, one would easily miss the overwhelming undercurrent of dread and fear and the deep bond between the sisters that runs through it all. That is exactly the reason why people in general often overlook the truth about their neighbors for instance.<br /><br />But yet another reason why this movie is so perfect!<br /><br />I don't give a rat's ass (pardon my French) about to what extend the King Lear story is followed. All I know is that I can honestly say: this movie has changed my life.<br /><br />Keep up the good work guys, you CAN and DO make a difference.<br /><br /> | [
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] | unsuspectedly rented A Thousand Acres, I thought I was in for an entertaining King Lear story and of course Michelle Pfeiffer was in it, so what could go wrong?<br /><br />Very quickly, however, I realized that this story was about A Thousand Other Things besides just Acres. I started crying and couldn't stop until long after the movie ended. Thank you Jane, Laura and Jocelyn, for bringing us such a wonderfully subtle and compassionate movie! Thank you cast, for being involved and portraying the characters with such depth and gentleness!<br /><br />I recognized the Angry sister; the Runaway sister and the sister in Denial. I recognized the Abusive Husband and why he was there and then the Father, oh oh the Father... all superbly played. I also recognized myself and this movie was an eye-opener, a relief, a chance to face my OWN truth and finally doing something about it. I truly hope A Thousand Acres has had the same effect on some others out there.<br /><br />Since I didn't understand why the cover said the film was about sisters fighting over land -they weren't fighting each other at all- I watched it a second time. Then I was able to see that if one hadn't lived a similar story, one would easily miss the overwhelming undercurrent of dread and fear and the deep bond between the sisters that runs through it all. That is exactly the reason why people in general often overlook the truth about their neighbors for instance.<br /><br />But yet another reason why this movie is so perfect!<br /><br />I don't give a rat's ass (pardon my French) about to what extend the King Lear story is followed. All I know is that I can honestly say: this movie has changed my life.<br /><br />Keep up the good work guys, you CAN and DO make a difference.<br /><br /><|endoftext|> | [
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] | 504 | <br /><br />When I unsuspectedly rented A Thousand Acres, I thought I was in for an entertaining King Lear story and of course Michelle Pfeiffer was in it, so what could go wrong?<br /><br />Very quickly, however, I realized that this story was about A Thousand Other Things besides just Acres. I started crying and couldn't stop until long after the movie ended. Thank you Jane, Laura and Jocelyn, for bringing us such a wonderfully subtle and compassionate movie! Thank you cast, for being involved and portraying the characters with such depth and gentleness!<br /><br />I recognized the Angry sister; the Runaway sister and the sister in Denial. I recognized the Abusive Husband and why he was there and then the Father, oh oh the Father... all superbly played. I also recognized myself and this movie was an eye-opener, a relief, a chance to face my OWN truth and finally doing something about it. I truly hope A Thousand Acres has had the same effect on some others out there.<br /><br />Since I didn't understand why the cover said the film was about sisters fighting over land -they weren't fighting each other at all- I watched it a second time. Then I was able to see that if one hadn't lived a similar story, one would easily miss the overwhelming undercurrent of dread and fear and the deep bond between the sisters that runs through it all. That is exactly the reason why people in general often overlook the truth about their neighbors for instance.<br /><br />But yet another reason why this movie is so perfect!<br /><br />I don't give a rat's ass (pardon my French) about to what extend the King Lear story is followed. All I know is that I can honestly say: this movie has changed my life.<br /><br />Keep up the good work guys, you CAN and DO make a difference.<br /><br /><|endoftext|> | [
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] | 415 | <br /><br />When I |
are aware of this movie, but I have seen it many times. I have seen it in the theater, and I have seen it on DVD. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big screen, and I have seen it on the small screen. I have seen it on the big | I'm not sure if these other people saw the movie - some apparently couldn't follow the "complicated plot". He's a billionaire who owns an oil company who ALSO happens to big game hunt - wow - that's really far fetched. Any way - his new "drilling machine" happens to break through a glacier and on the other side is a world seperated from our own time where dinosaurs and cavemen wander around. Nothing ground breaking about this but it certainly isn't ludicrous. Anyway the rest of the movie is about this T-Rex they find (which the billionaire, Boone, claimed was there) hunting them and them hunting it. Look - it's an old made for TV movie - of course the special effects look cheesy - they didn't have CG - they did the best they could and for a MFTVM they did a hell of a job for the time. This movie should be remade for the big screen - I'd love it and I'd be the first one in line. Seeing that Dinosaur with modern day special effects stalking those guys would be great! | 1 | I'm not sure if these other people | saw the movie - some apparently couldn't follow the "complicated plot". He's a billionaire who owns an oil company who ALSO happens to big game hunt - wow - that's really far fetched. Any way - his new "drilling machine" happens to break through a glacier and on the other side is a world seperated from our own time where dinosaurs and cavemen wander around. Nothing ground breaking about this but it certainly isn't ludicrous. Anyway the rest of the movie is about this T-Rex they find (which the billionaire, Boone, claimed was there) hunting them and them hunting it. Look - it's an old made for TV movie - of course the special effects look cheesy - they didn't have CG - they did the best they could and for a MFTVM they did a hell of a job for the time. This movie should be remade for the big screen - I'd love it and I'd be the first one in line. Seeing that Dinosaur with modern day special effects stalking those guys would be great! | [
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] | 222 | I'm not sure if these other people |
Festival and I was blown away. I was expecting a typical "mockumentary" type of film, but this was so much more. It was so much more than that. It was a true story, and it was so much more than that. It was a true story about a family, and it was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was a true story about a family that was so much more than that. It was | I saw this at The Tribeca Film Festival, in the family section. I'm not sure either of my kids really got the movie, but I have to say that it was a wonderful short film.<br /><br />'Nostradamus and Me' is an interesting short film about the hopes and fears that we all felt growing up in the 1980's, which in turn, extends to how my kids feel today. Then, we had Regan, today, we got Bush. Instead of Nuclear War, we have Terrorism.<br /><br />I really identified with the main character, and I myself dated a 'Curehead' in high school. We all felt like 'nothing mattered' when we were 16, but it's great to see a film where they discover that everything matters!!! <br /><br />Again, I probably wouldn't have put this in the family section...there were a few too many curse words for younger children, but it was a wonderful and enjoyable film to watch. | 1 | I saw this at The Tribeca Film | Festival, in the family section. I'm not sure either of my kids really got the movie, but I have to say that it was a wonderful short film.<br /><br />'Nostradamus and Me' is an interesting short film about the hopes and fears that we all felt growing up in the 1980's, which in turn, extends to how my kids feel today. Then, we had Regan, today, we got Bush. Instead of Nuclear War, we have Terrorism.<br /><br />I really identified with the main character, and I myself dated a 'Curehead' in high school. We all felt like 'nothing mattered' when we were 16, but it's great to see a film where they discover that everything matters!!! <br /><br />Again, I probably wouldn't have put this in the family section...there were a few too many curse words for younger children, but it was a wonderful and enjoyable film to watch. | [
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] | Festival, in the family section. I'm not sure either of my kids really got the movie, but I have to say that it was a wonderful short film.<br /><br />'Nostradamus and Me' is an interesting short film about the hopes and fears that we all felt growing up in the 1980's, which in turn, extends to how my kids feel today. Then, we had Regan, today, we got Bush. Instead of Nuclear War, we have Terrorism.<br /><br />I really identified with the main character, and I myself dated a 'Curehead' in high school. We all felt like 'nothing mattered' when we were 16, but it's great to see a film where they discover that everything matters!!! <br /><br />Again, I probably wouldn't have put this in the family section...there were a few too many curse words for younger children, but it was a wonderful and enjoyable film to watch.<|endoftext|> | [
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] | 504 | I saw this at The Tribeca Film Festival, in the family section. I'm not sure either of my kids really got the movie, but I have to say that it was a wonderful short film.<br /><br />'Nostradamus and Me' is an interesting short film about the hopes and fears that we all felt growing up in the 1980's, which in turn, extends to how my kids feel today. Then, we had Regan, today, we got Bush. Instead of Nuclear War, we have Terrorism.<br /><br />I really identified with the main character, and I myself dated a 'Curehead' in high school. We all felt like 'nothing mattered' when we were 16, but it's great to see a film where they discover that everything matters!!! <br /><br />Again, I probably wouldn't have put this in the family section...there were a few too many curse words for younger children, but it was a wonderful and enjoyable film to watch.<|endoftext|> | [
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] | 209 | I saw this at The Tribeca Film |
OVA was born in the city of Tbilisi, Georgia, in the year of the Soviet Union's collapse. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian father and a Georgian mother. She was the daughter of a Russian-Georgian | Russian actress TATIANA SAMOILOVA reminds me so much of the young Audrey Hepburn and the camera in THE CRANES ARE FLYING seems to love her just as much. She is the focal point of a bittersweet war romance against the background of World War II in Moscow.<br /><br />The film is almost poetic in its gorgeous B&W cinematography which was the main reason for watching the film in the first place, since I had never heard of it and decided to give it a try when it aired on TCM.<br /><br />It's a very moving love story about a girl's deep love for a man who is suddenly swept away by his role as a soldier drafted in wartime Russia. She's unable to forget the memory of her romantic attachment to him, but inexplicably marries someone else who has forced himself on her, a pianist who soon realizes that she still loves the soldier she hopes to hear from. Their marriage is a troubled one because she can't let go of her remembrance of a happier time with her soldier sweetheart.<br /><br />By the end of the story, she accepts the idea that he's never going to return and is able to face reality and cope with the situation. There's a very poignant final scene at a train station where arriving soldiers are greeting their loved ones and the tearful girl shares the joy of the returning soldiers by giving some flowers from her bouquet to the joyous families.<br /><br />The stylish and striking camera-work is what carries the film, as well as the honestly played story.<br /><br />Tastefully done, but perhaps the English subtitles didn't tell the whole tale because some of the plot elements seemed a bit blurred to me as if they had been glossed over.<br /><br />Summing up: Easy to see why it won awards at the Cannes Film Festival. Reminded me, in style, of another great Russian film, BALLAD OF A SOLDIER. | 1 | Russian actress TATIANA SAMOIL | OVA reminds me so much of the young Audrey Hepburn and the camera in THE CRANES ARE FLYING seems to love her just as much. She is the focal point of a bittersweet war romance against the background of World War II in Moscow.<br /><br />The film is almost poetic in its gorgeous B&W cinematography which was the main reason for watching the film in the first place, since I had never heard of it and decided to give it a try when it aired on TCM.<br /><br />It's a very moving love story about a girl's deep love for a man who is suddenly swept away by his role as a soldier drafted in wartime Russia. She's unable to forget the memory of her romantic attachment to him, but inexplicably marries someone else who has forced himself on her, a pianist who soon realizes that she still loves the soldier she hopes to hear from. Their marriage is a troubled one because she can't let go of her remembrance of a happier time with her soldier sweetheart.<br /><br />By the end of the story, she accepts the idea that he's never going to return and is able to face reality and cope with the situation. There's a very poignant final scene at a train station where arriving soldiers are greeting their loved ones and the tearful girl shares the joy of the returning soldiers by giving some flowers from her bouquet to the joyous families.<br /><br />The stylish and striking camera-work is what carries the film, as well as the honestly played story.<br /><br />Tastefully done, but perhaps the English subtitles didn't tell the whole tale because some of the plot elements seemed a bit blurred to me as if they had been glossed over.<br /><br />Summing up: Easy to see why it won awards at the Cannes Film Festival. Reminded me, in style, of another great Russian film, BALLAD OF A SOLDIER. | [
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] | OVA reminds me so much of the young Audrey Hepburn and the camera in THE CRANES ARE FLYING seems to love her just as much. She is the focal point of a bittersweet war romance against the background of World War II in Moscow.<br /><br />The film is almost poetic in its gorgeous B&W cinematography which was the main reason for watching the film in the first place, since I had never heard of it and decided to give it a try when it aired on TCM.<br /><br />It's a very moving love story about a girl's deep love for a man who is suddenly swept away by his role as a soldier drafted in wartime Russia. She's unable to forget the memory of her romantic attachment to him, but inexplicably marries someone else who has forced himself on her, a pianist who soon realizes that she still loves the soldier she hopes to hear from. Their marriage is a troubled one because she can't let go of her remembrance of a happier time with her soldier sweetheart.<br /><br />By the end of the story, she accepts the idea that he's never going to return and is able to face reality and cope with the situation. There's a very poignant final scene at a train station where arriving soldiers are greeting their loved ones and the tearful girl shares the joy of the returning soldiers by giving some flowers from her bouquet to the joyous families.<br /><br />The stylish and striking camera-work is what carries the film, as well as the honestly played story.<br /><br />Tastefully done, but perhaps the English subtitles didn't tell the whole tale because some of the plot elements seemed a bit blurred to me as if they had been glossed over.<br /><br />Summing up: Easy to see why it won awards at the Cannes Film Festival. Reminded me, in style, of another great Russian film, BALLAD OF A SOLDIER.<|endoftext|> | [
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] | 504 | Russian actress TATIANA SAMOIL OVA reminds me so much of the young Audrey Hepburn and the camera in THE CRANES ARE FLYING seems to love her just as much. She is the focal point of a bittersweet war romance against the background of World War II in Moscow.<br /><br />The film is almost poetic in its gorgeous B&W cinematography which was the main reason for watching the film in the first place, since I had never heard of it and decided to give it a try when it aired on TCM.<br /><br />It's a very moving love story about a girl's deep love for a man who is suddenly swept away by his role as a soldier drafted in wartime Russia. She's unable to forget the memory of her romantic attachment to him, but inexplicably marries someone else who has forced himself on her, a pianist who soon realizes that she still loves the soldier she hopes to hear from. Their marriage is a troubled one because she can't let go of her remembrance of a happier time with her soldier sweetheart.<br /><br />By the end of the story, she accepts the idea that he's never going to return and is able to face reality and cope with the situation. There's a very poignant final scene at a train station where arriving soldiers are greeting their loved ones and the tearful girl shares the joy of the returning soldiers by giving some flowers from her bouquet to the joyous families.<br /><br />The stylish and striking camera-work is what carries the film, as well as the honestly played story.<br /><br />Tastefully done, but perhaps the English subtitles didn't tell the whole tale because some of the plot elements seemed a bit blurred to me as if they had been glossed over.<br /><br />Summing up: Easy to see why it won awards at the Cannes Film Festival. Reminded me, in style, of another great Russian film, BALLAD OF A SOLDIER.<|endoftext|> | [
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] | 413 | Russian actress TATIANA SAMOIL |
a movie about a guy who's a serial killer. I mean, he's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's a serial killer. He's a guy who's a serial killer, but he's also a guy who's | I think it's incredibly hard to write any kind of full-scale review to Giorgino, merely because it's one of those viewer-dependent, complex, poetical and philosophical movies that are brain-wearing if, while watching them, you're trying to enjoy their shell and get to their core simultaneously, yet there are several things which are certain and beyond any doubt for any man of art (which, I hope, I am). The first thing: it's a certain masterpiece, even of that kind of art which remains through a long long time; the second: it's one of those rare "dark" movies in which darkness is poetic, even romantic, attractive and much more sad than depressing, like the art of Pieter Brueghel or Caspar David Friedrich. As to the core of the movie, someone called it Kafkian, though I don't agree with that because actually it's far beyond Kafka's misanthropic logic and much more like Edgar Poe's parables: dark and scary but through that touching the most gentle strings of our souls. Actually, on the poetic side (which is much more important than the narrative), Giorgino is a tale about eternal peace and love which can be achieved only through eternal childhood of soul. Those who have such souls are usually branded as crazy by our society, but from another point of view, they all have the virtue all the others lost when become "grown": the virtue of God's love. Indeed, Giorgino is a very Christian movie, "Be like children" (Mt 18:3) is it's real hidden tag-line, though the movie never deals with any kind of moral and concentrates only on the Christian philosophy for, dare to suppose, true God is beyond any human moral. Yet I think that Boutonnat is too harsh portraying "grown" people as a sort of demons trying to steal childhood from rare survived souls, but it's his point of view and he has a right to think so. While watching Giorgino don't try to look for some hidden symbols (though there are some), better look for thoughts expressed through characters and their behavior, and do learn from them. Also I cannot mention that the movie looks astonishingly through excellent photography, especially through rational use of color filters, incredibly apposite editing, wonderful acting of all the cast and, of course, due to the atmospheric beauty of winter mountains that reminded me of the Brueghel's "Hunters in the Snow". Also, interestingly enough, the scene with Death in the form of an old woman with sunken black-ringed eyes riding a cart, instantly reminded me of Pesta (Plague) from the series of drawings by the Norwegian painter Theodor Kittelsen, depicting how a black plague is sweeping out the population of a small town in the mountain valley. Is it a coincidence? | 1 | I think it's incredibly hard to write | any kind of full-scale review to Giorgino, merely because it's one of those viewer-dependent, complex, poetical and philosophical movies that are brain-wearing if, while watching them, you're trying to enjoy their shell and get to their core simultaneously, yet there are several things which are certain and beyond any doubt for any man of art (which, I hope, I am). The first thing: it's a certain masterpiece, even of that kind of art which remains through a long long time; the second: it's one of those rare "dark" movies in which darkness is poetic, even romantic, attractive and much more sad than depressing, like the art of Pieter Brueghel or Caspar David Friedrich. As to the core of the movie, someone called it Kafkian, though I don't agree with that because actually it's far beyond Kafka's misanthropic logic and much more like Edgar Poe's parables: dark and scary but through that touching the most gentle strings of our souls. Actually, on the poetic side (which is much more important than the narrative), Giorgino is a tale about eternal peace and love which can be achieved only through eternal childhood of soul. Those who have such souls are usually branded as crazy by our society, but from another point of view, they all have the virtue all the others lost when become "grown": the virtue of God's love. Indeed, Giorgino is a very Christian movie, "Be like children" (Mt 18:3) is it's real hidden tag-line, though the movie never deals with any kind of moral and concentrates only on the Christian philosophy for, dare to suppose, true God is beyond any human moral. Yet I think that Boutonnat is too harsh portraying "grown" people as a sort of demons trying to steal childhood from rare survived souls, but it's his point of view and he has a right to think so. While watching Giorgino don't try to look for some hidden symbols (though there are some), better look for thoughts expressed through characters and their behavior, and do learn from them. Also I cannot mention that the movie looks astonishingly through excellent photography, especially through rational use of color filters, incredibly apposite editing, wonderful acting of all the cast and, of course, due to the atmospheric beauty of winter mountains that reminded me of the Brueghel's "Hunters in the Snow". Also, interestingly enough, the scene with Death in the form of an old woman with sunken black-ringed eyes riding a cart, instantly reminded me of Pesta (Plague) from the series of drawings by the Norwegian painter Theodor Kittelsen, depicting how a black plague is sweeping out the population of a small town in the mountain valley. Is it a coincidence? | [
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] | any kind of full-scale review to Giorgino, merely because it's one of those viewer-dependent, complex, poetical and philosophical movies that are brain-wearing if, while watching them, you're trying to enjoy their shell and get to their core simultaneously, yet there are several things which are certain and beyond any doubt for any man of art (which, I hope, I am). The first thing: it's a certain masterpiece, even of that kind of art which remains through a long long time; the second: it's one of those rare "dark" movies in which darkness is poetic, even romantic, attractive and much more sad than depressing, like the art of Pieter Brueghel or Caspar David Friedrich. As to the core of the movie, someone called it Kafkian, though I don't agree with that because actually it's far beyond Kafka's misanthropic logic and much more like Edgar Poe's parables: dark and scary but through that touching the most gentle strings of our souls. Actually, on the poetic side (which is much more important than the narrative), Giorgino is a tale about eternal peace and love which can be achieved only through eternal childhood of soul. Those who have such souls are usually branded as crazy by our society, but from another point of view, they all have the virtue all the others lost when become "grown": the virtue of God's love. Indeed, Giorgino is a very Christian movie, "Be like children" (Mt 18:3) is it's real hidden tag-line, though the movie never deals with any kind of moral and concentrates only on the Christian philosophy for, dare to suppose, true God is beyond any human moral. Yet I think that Boutonnat is too harsh portraying "grown" people as a sort of demons trying to steal childhood from rare survived souls, but it's his point of view and he has a right to think so. While watching Giorgino don't try to look for some hidden symbols (though there are some), better look for thoughts expressed through characters and their behavior, and do learn from them. Also I cannot mention that the movie looks astonishingly through excellent photography, especially through rational use of color filters, incredibly apposite editing, wonderful acting of all the cast and, of course, due to the atmospheric beauty of winter mountains that reminded me of the Brueghel's "Hunters in the Snow". Also, interestingly enough, the scene with Death in the form of an old woman with sunken black-ringed eyes riding a cart, instantly reminded me of Pesta (Plague) from the series of drawings by the Norwegian painter Theodor Kittelsen, depicting how a black plague is sweeping out the population of a small town in the mountain valley. Is it a coincidence?<|endoftext|> | [
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] | 504 | I think it's incredibly hard to write any kind of full-scale review to Giorgino, merely because it's one of those viewer-dependent, complex, poetical and philosophical movies that are brain-wearing if, while watching them, you're trying to enjoy their shell and get to their core simultaneously, yet there are several things which are certain and beyond any doubt for any man of art (which, I hope, I am). The first thing: it's a certain masterpiece, even of that kind of art which remains through a long long time; the second: it's one of those rare "dark" movies in which darkness is poetic, even romantic, attractive and much more sad than depressing, like the art of Pieter Brueghel or Caspar David Friedrich. As to the core of the movie, someone called it Kafkian, though I don't agree with that because actually it's far beyond Kafka's misanthropic logic and much more like Edgar Poe's parables: dark and scary but through that touching the most gentle strings of our souls. Actually, on the poetic side (which is much more important than the narrative), Giorgino is a tale about eternal peace and love which can be achieved only through eternal childhood of soul. Those who have such souls are usually branded as crazy by our society, but from another point of view, they all have the virtue all the others lost when become "grown": the virtue of God's love. Indeed, Giorgino is a very Christian movie, "Be like children" (Mt 18:3) is it's real hidden tag-line, though the movie never deals with any kind of moral and concentrates only on the Christian philosophy for, dare to suppose, true God is beyond any human moral. Yet I think that Boutonnat is too harsh portraying "grown" people as a sort of demons trying to steal childhood from rare survived souls, but it's his point of view and he has a right to think so. While watching Giorgino don't try to look for some hidden symbols (though there are some), better look for thoughts expressed through characters and their behavior, and do learn from them. Also I cannot mention that the movie looks astonishingly through excellent photography, especially through rational use of color filters, incredibly apposite editing, wonderful acting of all the cast and, of course, due to the atmospheric beauty of winter mountains that reminded me of the Brueghel's "Hunters in the Snow". Also, interestingly enough, the scene with Death in the form of an old woman with sunken black-ringed eyes riding a cart, instantly reminded me of Pesta (Plague) from the series of drawings by the Norwegian painter Theodor Kittelsen, depicting how a black plague is sweeping out the population of a small town in the mountain valley. Is it a coincidence?<|endoftext|> | [
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] | 590 | I think it's incredibly hard to write |
but it is not a good movie for serious study. The story is very simple, but the characters are very well developed. The acting is good, and the story is very interesting. The plot is not very complex, but it is interesting. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The story is very interesting, and the characters are very well developed. The | This movie is good for entertainment purposes, but it is not historically reliable. If you are looking for a movie and thinking to yourself `Oh I want to learn more about Custer's life and his last stand', do not rent `They Died with Their Boots On'. But, if you would like to watch a movie for the enjoyment of an older western film, with a little bit of romance and just for a good story, this is a fun movie to watch.<br /><br />The story starts out with Custer's (Errol Flynn) first day at West Point. Everyone loves his charming personality which allows him to get away with most everything. The movie follows his career from West Point and his many battles, including his battle in the Civil War. The movie ends with his last stand at Little Big Horn. In between the battle scenes, he finds love and marriage with Libby (Olivia De Havilland).<br /><br />Errol Flynn portrays the arrogant, but suave George Armstrong Custer well. Olivia De Havilland plays the cute, sweet Libby very well, especially in the flirting scene that Custer and Libby first meet. Their chemistry on screen made you believe in their romance. The acting in general was impressive, especially the comedic role ( although stereotypical) of Callie played by Hattie McDaniel. Her character will definitely make you laugh.<br /><br />The heroic war music brought out the excitement of the battle scenes. The beautiful costumes set the tone of the era. The script, at times, was corny, although the movie was still enjoyable to watch. The director's portrayal of Custer was as a hero and history shows this is debatable. Some will watch this movie and see Custer as a hero. Others will watch this movie and learn hate him.<br /><br />I give it a thumbs up for this 1942 western film. | 1 | This movie is good for entertainment purposes, | but it is not historically reliable. If you are looking for a movie and thinking to yourself `Oh I want to learn more about Custer's life and his last stand', do not rent `They Died with Their Boots On'. But, if you would like to watch a movie for the enjoyment of an older western film, with a little bit of romance and just for a good story, this is a fun movie to watch.<br /><br />The story starts out with Custer's (Errol Flynn) first day at West Point. Everyone loves his charming personality which allows him to get away with most everything. The movie follows his career from West Point and his many battles, including his battle in the Civil War. The movie ends with his last stand at Little Big Horn. In between the battle scenes, he finds love and marriage with Libby (Olivia De Havilland).<br /><br />Errol Flynn portrays the arrogant, but suave George Armstrong Custer well. Olivia De Havilland plays the cute, sweet Libby very well, especially in the flirting scene that Custer and Libby first meet. Their chemistry on screen made you believe in their romance. The acting in general was impressive, especially the comedic role ( although stereotypical) of Callie played by Hattie McDaniel. Her character will definitely make you laugh.<br /><br />The heroic war music brought out the excitement of the battle scenes. The beautiful costumes set the tone of the era. The script, at times, was corny, although the movie was still enjoyable to watch. The director's portrayal of Custer was as a hero and history shows this is debatable. Some will watch this movie and see Custer as a hero. Others will watch this movie and learn hate him.<br /><br />I give it a thumbs up for this 1942 western film. | [
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] | but it is not historically reliable. If you are looking for a movie and thinking to yourself `Oh I want to learn more about Custer's life and his last stand', do not rent `They Died with Their Boots On'. But, if you would like to watch a movie for the enjoyment of an older western film, with a little bit of romance and just for a good story, this is a fun movie to watch.<br /><br />The story starts out with Custer's (Errol Flynn) first day at West Point. Everyone loves his charming personality which allows him to get away with most everything. The movie follows his career from West Point and his many battles, including his battle in the Civil War. The movie ends with his last stand at Little Big Horn. In between the battle scenes, he finds love and marriage with Libby (Olivia De Havilland).<br /><br />Errol Flynn portrays the arrogant, but suave George Armstrong Custer well. Olivia De Havilland plays the cute, sweet Libby very well, especially in the flirting scene that Custer and Libby first meet. Their chemistry on screen made you believe in their romance. The acting in general was impressive, especially the comedic role ( although stereotypical) of Callie played by Hattie McDaniel. Her character will definitely make you laugh.<br /><br />The heroic war music brought out the excitement of the battle scenes. The beautiful costumes set the tone of the era. The script, at times, was corny, although the movie was still enjoyable to watch. The director's portrayal of Custer was as a hero and history shows this is debatable. Some will watch this movie and see Custer as a hero. Others will watch this movie and learn hate him.<br /><br />I give it a thumbs up for this 1942 western film.<|endoftext|> | [
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] | 504 | This movie is good for entertainment purposes, but it is not historically reliable. If you are looking for a movie and thinking to yourself `Oh I want to learn more about Custer's life and his last stand', do not rent `They Died with Their Boots On'. But, if you would like to watch a movie for the enjoyment of an older western film, with a little bit of romance and just for a good story, this is a fun movie to watch.<br /><br />The story starts out with Custer's (Errol Flynn) first day at West Point. Everyone loves his charming personality which allows him to get away with most everything. The movie follows his career from West Point and his many battles, including his battle in the Civil War. The movie ends with his last stand at Little Big Horn. In between the battle scenes, he finds love and marriage with Libby (Olivia De Havilland).<br /><br />Errol Flynn portrays the arrogant, but suave George Armstrong Custer well. Olivia De Havilland plays the cute, sweet Libby very well, especially in the flirting scene that Custer and Libby first meet. Their chemistry on screen made you believe in their romance. The acting in general was impressive, especially the comedic role ( although stereotypical) of Callie played by Hattie McDaniel. Her character will definitely make you laugh.<br /><br />The heroic war music brought out the excitement of the battle scenes. The beautiful costumes set the tone of the era. The script, at times, was corny, although the movie was still enjoyable to watch. The director's portrayal of Custer was as a hero and history shows this is debatable. Some will watch this movie and see Custer as a hero. Others will watch this movie and learn hate him.<br /><br />I give it a thumbs up for this 1942 western film.<|endoftext|> | [
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] | 393 | This movie is good for entertainment purposes, |
st screening of this film. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and watched it again. I was so impressed with the film that I bought the DVD and | I picked up a DVD at the 1 discount, having no idea what it's about (but at that price I can't resist..) In brief: I was positively surprised.<br /><br />So much that I did quite some research. On the German DVD (part 2 of a series of 3), episodes were recombined into two 85 minute parts, and out of order. Here are my results, based on Wikipedia's episode list:<br /><br />"Doomsday" is In My Boots + The Voice (final episode). <br /><br />"War of the Machines" is Hel & High Water (1, 2) + Pod Listener + Juggernaut Down.<br /><br />Well, what can I say. Underdressed girlies are of course interesting for older men. I never watched Charlie's Angels so much, so I can't compare, but the more I watched, the less I looked out for bikini tops and their fillings. Instead, the characters (both m and f) became more interesting. I can imagine feminists have their fun with this, too. All in all, maybe a guilty pleasure, but a pleasure it was :^) | 1 | I picked up a DVD at the 1 | discount, having no idea what it's about (but at that price I can't resist..) In brief: I was positively surprised.<br /><br />So much that I did quite some research. On the German DVD (part 2 of a series of 3), episodes were recombined into two 85 minute parts, and out of order. Here are my results, based on Wikipedia's episode list:<br /><br />"Doomsday" is In My Boots + The Voice (final episode). <br /><br />"War of the Machines" is Hel & High Water (1, 2) + Pod Listener + Juggernaut Down.<br /><br />Well, what can I say. Underdressed girlies are of course interesting for older men. I never watched Charlie's Angels so much, so I can't compare, but the more I watched, the less I looked out for bikini tops and their fillings. Instead, the characters (both m and f) became more interesting. I can imagine feminists have their fun with this, too. All in all, maybe a guilty pleasure, but a pleasure it was :^) | [
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] | 247 | I picked up a DVD at the 1 |
very funny. I laughed out loud at the end. I'm not a big fan of the "fairy tale" genre, but this one was very funny and very touching. I'm a big fan of the "fairy tale" genre, but this one was very funny and very touching. I'm a big fan of the "fairy tale" genre, but this one was very funny and very touching. | At least one kind. Very human and moving. Not out to teach a lesson or anything like that. All principals are effective. I saw the movie years ago and still remember it (but can't remember the Morgan Fairchild role).<br /><br />And a nice slice of American life. | 1 | At least one kind. Very human and | moving. Not out to teach a lesson or anything like that. All principals are effective. I saw the movie years ago and still remember it (but can't remember the Morgan Fairchild role).<br /><br />And a nice slice of American life. | [
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] | 63 | At least one kind. Very human and |
some great scenes, and some great acting. The story is very interesting, and the acting is excellent. I would recommend this movie to anyone who likes action movies. | This movie packs a punch. There are a few every now and then that make me think deeply, and disturb me a lot. I could see myself in this same predicament - passively allowing things to happen around me, not standing up for the right and decent thing, just trying to avoid trouble. How often do we avoid making waves or sticking our necks out? How often does our inaction condone the evil actions of others. We would never join them, we tell ourselves, we recognize that what they are doing is bad, but do we do anything about it? <br /><br />Lawrence Newman (William H. Macey) is a low-key, nerdy office worker who has paid off his home in Brooklyn, NY in the waning days of World War II. He rarely gets engaged in what is going on around him, has never married, rarely socializes, just goes to work and cares for his invalid mother. Then a series of events in his very "white" little neighborhood pull him out of his complacent shell into a maelstrom of events. It starts as he witness from his bedroom window the rape of a Puerto Rican girl by the son of his neighbor. Soon after he gets glasses because of poor vision. As he is now better able to see, he becomes less able to deal with the circumstances of his life. The one bright spot is a new love in his life, and he marries, hoping to continue on in his normalcy. Then the virulent anti-semitism on that street catches him, despite his credentials as a Presbyterian WASP. As things spiral further out of control, he discovers he must make an important decision - does he take a stand or does he simply go away.<br /><br />I cannot how anybody can view this movie without being affected and having to think very much about themselves and what they really stand for. Post war anti-semitism is the setting here, but there is injustice at all times and in all places. It is for the individual to decide where he or she stands. | 1 | This movie packs a punch. There are | a few every now and then that make me think deeply, and disturb me a lot. I could see myself in this same predicament - passively allowing things to happen around me, not standing up for the right and decent thing, just trying to avoid trouble. How often do we avoid making waves or sticking our necks out? How often does our inaction condone the evil actions of others. We would never join them, we tell ourselves, we recognize that what they are doing is bad, but do we do anything about it? <br /><br />Lawrence Newman (William H. Macey) is a low-key, nerdy office worker who has paid off his home in Brooklyn, NY in the waning days of World War II. He rarely gets engaged in what is going on around him, has never married, rarely socializes, just goes to work and cares for his invalid mother. Then a series of events in his very "white" little neighborhood pull him out of his complacent shell into a maelstrom of events. It starts as he witness from his bedroom window the rape of a Puerto Rican girl by the son of his neighbor. Soon after he gets glasses because of poor vision. As he is now better able to see, he becomes less able to deal with the circumstances of his life. The one bright spot is a new love in his life, and he marries, hoping to continue on in his normalcy. Then the virulent anti-semitism on that street catches him, despite his credentials as a Presbyterian WASP. As things spiral further out of control, he discovers he must make an important decision - does he take a stand or does he simply go away.<br /><br />I cannot how anybody can view this movie without being affected and having to think very much about themselves and what they really stand for. Post war anti-semitism is the setting here, but there is injustice at all times and in all places. It is for the individual to decide where he or she stands. | [
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] | a few every now and then that make me think deeply, and disturb me a lot. I could see myself in this same predicament - passively allowing things to happen around me, not standing up for the right and decent thing, just trying to avoid trouble. How often do we avoid making waves or sticking our necks out? How often does our inaction condone the evil actions of others. We would never join them, we tell ourselves, we recognize that what they are doing is bad, but do we do anything about it? <br /><br />Lawrence Newman (William H. Macey) is a low-key, nerdy office worker who has paid off his home in Brooklyn, NY in the waning days of World War II. He rarely gets engaged in what is going on around him, has never married, rarely socializes, just goes to work and cares for his invalid mother. Then a series of events in his very "white" little neighborhood pull him out of his complacent shell into a maelstrom of events. It starts as he witness from his bedroom window the rape of a Puerto Rican girl by the son of his neighbor. Soon after he gets glasses because of poor vision. As he is now better able to see, he becomes less able to deal with the circumstances of his life. The one bright spot is a new love in his life, and he marries, hoping to continue on in his normalcy. Then the virulent anti-semitism on that street catches him, despite his credentials as a Presbyterian WASP. As things spiral further out of control, he discovers he must make an important decision - does he take a stand or does he simply go away.<br /><br />I cannot how anybody can view this movie without being affected and having to think very much about themselves and what they really stand for. Post war anti-semitism is the setting here, but there is injustice at all times and in all places. It is for the individual to decide where he or she stands.<|endoftext|> | [
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] | 504 | This movie packs a punch. There are a few every now and then that make me think deeply, and disturb me a lot. I could see myself in this same predicament - passively allowing things to happen around me, not standing up for the right and decent thing, just trying to avoid trouble. How often do we avoid making waves or sticking our necks out? How often does our inaction condone the evil actions of others. We would never join them, we tell ourselves, we recognize that what they are doing is bad, but do we do anything about it? <br /><br />Lawrence Newman (William H. Macey) is a low-key, nerdy office worker who has paid off his home in Brooklyn, NY in the waning days of World War II. He rarely gets engaged in what is going on around him, has never married, rarely socializes, just goes to work and cares for his invalid mother. Then a series of events in his very "white" little neighborhood pull him out of his complacent shell into a maelstrom of events. It starts as he witness from his bedroom window the rape of a Puerto Rican girl by the son of his neighbor. Soon after he gets glasses because of poor vision. As he is now better able to see, he becomes less able to deal with the circumstances of his life. The one bright spot is a new love in his life, and he marries, hoping to continue on in his normalcy. Then the virulent anti-semitism on that street catches him, despite his credentials as a Presbyterian WASP. As things spiral further out of control, he discovers he must make an important decision - does he take a stand or does he simply go away.<br /><br />I cannot how anybody can view this movie without being affected and having to think very much about themselves and what they really stand for. Post war anti-semitism is the setting here, but there is injustice at all times and in all places. It is for the individual to decide where he or she stands.<|endoftext|> | [
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] | 421 | This movie packs a punch. There are |
of the best films of the 90's. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with your family. It was a great film to watch with your friends. It was a great film to watch with | Crack House (1989) was one of the few film during the 80's that falls into this genre. What's supposed to be an anti-drug film turns out to be nothing more than some white-exploitation exercise in depravity. There's nothing wrong with that however. The video presentation even has an anti-drug message from one of the stars of the show Richard "turncoat" Roundtree,<br /><br />The movie follows two young lovers in high school. One of them is a quasi tough guy and the other is his girl. One of them get's turned out by a mutual friend whilst the other is given a trip to the slam and is later on given a chance to get back at his ex-friends. Jim Brown appears as the movie's "Mister Big", he's one bad dude who still can punk-out anybody and is a very sadistic guy who likes to smack his hoes and beat the tar out of those who try to defy his word. Luke from General Hospital makes a guest star spot as well.<br /><br />If you like hard edge sleaze then this movie's for you. Sadly, Hollywood doesn't make these any more and when they do, it's neither exploitative nor entertaining.<br /><br />Recommended for sleaze fans. | 1 | Crack House (1989) was one | of the few film during the 80's that falls into this genre. What's supposed to be an anti-drug film turns out to be nothing more than some white-exploitation exercise in depravity. There's nothing wrong with that however. The video presentation even has an anti-drug message from one of the stars of the show Richard "turncoat" Roundtree,<br /><br />The movie follows two young lovers in high school. One of them is a quasi tough guy and the other is his girl. One of them get's turned out by a mutual friend whilst the other is given a trip to the slam and is later on given a chance to get back at his ex-friends. Jim Brown appears as the movie's "Mister Big", he's one bad dude who still can punk-out anybody and is a very sadistic guy who likes to smack his hoes and beat the tar out of those who try to defy his word. Luke from General Hospital makes a guest star spot as well.<br /><br />If you like hard edge sleaze then this movie's for you. Sadly, Hollywood doesn't make these any more and when they do, it's neither exploitative nor entertaining.<br /><br />Recommended for sleaze fans. | [
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] | of the few film during the 80's that falls into this genre. What's supposed to be an anti-drug film turns out to be nothing more than some white-exploitation exercise in depravity. There's nothing wrong with that however. The video presentation even has an anti-drug message from one of the stars of the show Richard "turncoat" Roundtree,<br /><br />The movie follows two young lovers in high school. One of them is a quasi tough guy and the other is his girl. One of them get's turned out by a mutual friend whilst the other is given a trip to the slam and is later on given a chance to get back at his ex-friends. Jim Brown appears as the movie's "Mister Big", he's one bad dude who still can punk-out anybody and is a very sadistic guy who likes to smack his hoes and beat the tar out of those who try to defy his word. Luke from General Hospital makes a guest star spot as well.<br /><br />If you like hard edge sleaze then this movie's for you. Sadly, Hollywood doesn't make these any more and when they do, it's neither exploitative nor entertaining.<br /><br />Recommended for sleaze fans.<|endoftext|> | [
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] | 270 | Crack House (1989) was one |
film. It was a very good film. I was very impressed with the acting. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very impressed with the direction. I was very impressed with the cinematography. I was very impressed with the music. I was very | It was very refreshing to watch this beautiful movie. The director maintained focus on the main subject without venturing into side plots (the doctor's family or stories of the other hospital patients), that are so typical of Bollywood assembly-line products. He kept the narrative simple to comprehend and made sure all the actors are true to the characters that they are supposed to portray. The rustic ways of the grandfather in the clinic, the cold and unemotional behavior of the surgeon, the zeal of the social worker gave the movie a feel of genuineness. I am also glad that the director did not fall for the temptation of adding songs or special effects and reduce it to the level of Anand or Safar. A couple of scenes toward the end of the movie, such as the boy visiting other blind children and a blind worker's workplace and also the final scene where the boy claps at the sound of splashing and birds chirping are sure make your eyes misty.<br /><br />Many Bollywood players do not realize that Oscar committee members value simplicity of the subject and genuineness and brevity of the movie more than the glitz and glamor. Shwaas is certainly a better nomination than Lagaan, which dealt with a subject that has already been beaten to death. No MPAA member is willingly going to suffer through 4 hours of jingoistic drama and a lot of song and dance.<br /><br />I look forward to more movies from director Sandeep Sawant in the future. | 1 | It was very refreshing to watch this beautiful | movie. The director maintained focus on the main subject without venturing into side plots (the doctor's family or stories of the other hospital patients), that are so typical of Bollywood assembly-line products. He kept the narrative simple to comprehend and made sure all the actors are true to the characters that they are supposed to portray. The rustic ways of the grandfather in the clinic, the cold and unemotional behavior of the surgeon, the zeal of the social worker gave the movie a feel of genuineness. I am also glad that the director did not fall for the temptation of adding songs or special effects and reduce it to the level of Anand or Safar. A couple of scenes toward the end of the movie, such as the boy visiting other blind children and a blind worker's workplace and also the final scene where the boy claps at the sound of splashing and birds chirping are sure make your eyes misty.<br /><br />Many Bollywood players do not realize that Oscar committee members value simplicity of the subject and genuineness and brevity of the movie more than the glitz and glamor. Shwaas is certainly a better nomination than Lagaan, which dealt with a subject that has already been beaten to death. No MPAA member is willingly going to suffer through 4 hours of jingoistic drama and a lot of song and dance.<br /><br />I look forward to more movies from director Sandeep Sawant in the future. | [
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] | movie. The director maintained focus on the main subject without venturing into side plots (the doctor's family or stories of the other hospital patients), that are so typical of Bollywood assembly-line products. He kept the narrative simple to comprehend and made sure all the actors are true to the characters that they are supposed to portray. The rustic ways of the grandfather in the clinic, the cold and unemotional behavior of the surgeon, the zeal of the social worker gave the movie a feel of genuineness. I am also glad that the director did not fall for the temptation of adding songs or special effects and reduce it to the level of Anand or Safar. A couple of scenes toward the end of the movie, such as the boy visiting other blind children and a blind worker's workplace and also the final scene where the boy claps at the sound of splashing and birds chirping are sure make your eyes misty.<br /><br />Many Bollywood players do not realize that Oscar committee members value simplicity of the subject and genuineness and brevity of the movie more than the glitz and glamor. Shwaas is certainly a better nomination than Lagaan, which dealt with a subject that has already been beaten to death. No MPAA member is willingly going to suffer through 4 hours of jingoistic drama and a lot of song and dance.<br /><br />I look forward to more movies from director Sandeep Sawant in the future.<|endoftext|> | [
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] | 504 | It was very refreshing to watch this beautiful movie. The director maintained focus on the main subject without venturing into side plots (the doctor's family or stories of the other hospital patients), that are so typical of Bollywood assembly-line products. He kept the narrative simple to comprehend and made sure all the actors are true to the characters that they are supposed to portray. The rustic ways of the grandfather in the clinic, the cold and unemotional behavior of the surgeon, the zeal of the social worker gave the movie a feel of genuineness. I am also glad that the director did not fall for the temptation of adding songs or special effects and reduce it to the level of Anand or Safar. A couple of scenes toward the end of the movie, such as the boy visiting other blind children and a blind worker's workplace and also the final scene where the boy claps at the sound of splashing and birds chirping are sure make your eyes misty.<br /><br />Many Bollywood players do not realize that Oscar committee members value simplicity of the subject and genuineness and brevity of the movie more than the glitz and glamor. Shwaas is certainly a better nomination than Lagaan, which dealt with a subject that has already been beaten to death. No MPAA member is willingly going to suffer through 4 hours of jingoistic drama and a lot of song and dance.<br /><br />I look forward to more movies from director Sandeep Sawant in the future.<|endoftext|> | [
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] | 313 | It was very refreshing to watch this beautiful |
-on-his luck, but well-meaning, young man who is given a chance to be a hero by a mysterious stranger who is a member of a secret society. The film is a bit of a mess, but it's a fun one. The cast is great, and the story is well-told. The film is a bit of a mess, but it's a fun one. The cast is great, and the story is well-told. The film is a bit of a mess, but it's a fun one. | A blackly comic tale of a down-trodden priest, Nazarin showcases the economy that Luis Bunuel was able to achieve in being able to tell a deeply humanist fable with a minimum of fuss. As an output from his Mexican era of film making, it was an invaluable talent to possess, with little money and extremely tight schedules. Nazarin, however, surpasses many of Bunuel's previous Mexican films in terms of the acting (Francisco Rabal is excellent), narrative and theme.<br /><br />The theme, interestingly, is something that was explored again in Viridiana, made three years later in Spain. It concerns the individual's struggle for humanity and altruism amongst a society that rejects any notion of virtue. Father Nazarin, however, is portrayed more sympathetically than Sister Viridiana. Whereas the latter seems to choose charity because she wishes to atone for her (perceived) sins, Nazarin's whole existence and reason for being seems to be to help others, whether they (or we) like it or not. The film's last scenes, in which he casts doubt on his behaviour and, in a split second, has to choose between the life he has been leading or the conventional life that is expected of a priest, are so emotional because they concern his moral integrity and we are never quite sure whether it remains intact or not.<br /><br />This is a remarkable film and I would urge anyone interested in classic cinema to seek it out. It is one of Bunuel's most moving films, and encapsulates many of his obsessions: frustrated desire, mad love, religious hypocrisy etc. In my view 'Nazarin' is second only to 'The Exterminating Angel', in terms of his Mexican movies, and is certainly near the top of the list of Bunuel's total filmic output. | 1 | A blackly comic tale of a down | -trodden priest, Nazarin showcases the economy that Luis Bunuel was able to achieve in being able to tell a deeply humanist fable with a minimum of fuss. As an output from his Mexican era of film making, it was an invaluable talent to possess, with little money and extremely tight schedules. Nazarin, however, surpasses many of Bunuel's previous Mexican films in terms of the acting (Francisco Rabal is excellent), narrative and theme.<br /><br />The theme, interestingly, is something that was explored again in Viridiana, made three years later in Spain. It concerns the individual's struggle for humanity and altruism amongst a society that rejects any notion of virtue. Father Nazarin, however, is portrayed more sympathetically than Sister Viridiana. Whereas the latter seems to choose charity because she wishes to atone for her (perceived) sins, Nazarin's whole existence and reason for being seems to be to help others, whether they (or we) like it or not. The film's last scenes, in which he casts doubt on his behaviour and, in a split second, has to choose between the life he has been leading or the conventional life that is expected of a priest, are so emotional because they concern his moral integrity and we are never quite sure whether it remains intact or not.<br /><br />This is a remarkable film and I would urge anyone interested in classic cinema to seek it out. It is one of Bunuel's most moving films, and encapsulates many of his obsessions: frustrated desire, mad love, religious hypocrisy etc. In my view 'Nazarin' is second only to 'The Exterminating Angel', in terms of his Mexican movies, and is certainly near the top of the list of Bunuel's total filmic output. | [
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] | -trodden priest, Nazarin showcases the economy that Luis Bunuel was able to achieve in being able to tell a deeply humanist fable with a minimum of fuss. As an output from his Mexican era of film making, it was an invaluable talent to possess, with little money and extremely tight schedules. Nazarin, however, surpasses many of Bunuel's previous Mexican films in terms of the acting (Francisco Rabal is excellent), narrative and theme.<br /><br />The theme, interestingly, is something that was explored again in Viridiana, made three years later in Spain. It concerns the individual's struggle for humanity and altruism amongst a society that rejects any notion of virtue. Father Nazarin, however, is portrayed more sympathetically than Sister Viridiana. Whereas the latter seems to choose charity because she wishes to atone for her (perceived) sins, Nazarin's whole existence and reason for being seems to be to help others, whether they (or we) like it or not. The film's last scenes, in which he casts doubt on his behaviour and, in a split second, has to choose between the life he has been leading or the conventional life that is expected of a priest, are so emotional because they concern his moral integrity and we are never quite sure whether it remains intact or not.<br /><br />This is a remarkable film and I would urge anyone interested in classic cinema to seek it out. It is one of Bunuel's most moving films, and encapsulates many of his obsessions: frustrated desire, mad love, religious hypocrisy etc. In my view 'Nazarin' is second only to 'The Exterminating Angel', in terms of his Mexican movies, and is certainly near the top of the list of Bunuel's total filmic output.<|endoftext|> | [
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] | 504 | A blackly comic tale of a down -trodden priest, Nazarin showcases the economy that Luis Bunuel was able to achieve in being able to tell a deeply humanist fable with a minimum of fuss. As an output from his Mexican era of film making, it was an invaluable talent to possess, with little money and extremely tight schedules. Nazarin, however, surpasses many of Bunuel's previous Mexican films in terms of the acting (Francisco Rabal is excellent), narrative and theme.<br /><br />The theme, interestingly, is something that was explored again in Viridiana, made three years later in Spain. It concerns the individual's struggle for humanity and altruism amongst a society that rejects any notion of virtue. Father Nazarin, however, is portrayed more sympathetically than Sister Viridiana. Whereas the latter seems to choose charity because she wishes to atone for her (perceived) sins, Nazarin's whole existence and reason for being seems to be to help others, whether they (or we) like it or not. The film's last scenes, in which he casts doubt on his behaviour and, in a split second, has to choose between the life he has been leading or the conventional life that is expected of a priest, are so emotional because they concern his moral integrity and we are never quite sure whether it remains intact or not.<br /><br />This is a remarkable film and I would urge anyone interested in classic cinema to seek it out. It is one of Bunuel's most moving films, and encapsulates many of his obsessions: frustrated desire, mad love, religious hypocrisy etc. In my view 'Nazarin' is second only to 'The Exterminating Angel', in terms of his Mexican movies, and is certainly near the top of the list of Bunuel's total filmic output.<|endoftext|> | [
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] | 379 | A blackly comic tale of a down |
time of the Egyptian pharaohs. The film is about the life of a young man who is sent to Egypt to study the art of the pharaohs. He is sent to the tomb of the pharaohs and is told that the pharaohs are dead. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find the pharaohs and bring them back to life. He is told that he must find | "The Egyptian" is set during the reign of one of the most fascinating figures of the ancient world, the Pharaoh Akhnaton, who, thirteen centuries before Christ attempted to introduce a monotheistic religion, Atenism, to ancient Egypt. The main character, however, is not Akhnaton but rather the fictitious Sinuhe. As a baby, Sinuhe is found mysteriously floating in a basket on the river Nile and adopted by the physician Senmut and his wife. When he grows to manhood, he follows his adopted father into the medical profession, initially working (as his father did) among the poor of the city, but he comes to prominence after he and his friend, the ambitious young soldier Horemheb, save the Pharaoh's life while on a hunting expedition in the desert. Sinuhe is appointed Court physician, but becomes obsessed with the Babylonian courtesan Nefer. Sinuhe not only ruins himself in a vain attempt to win her love, but is also disgraced when his neglect of his duties means that he is unable to save the life of Akhnaton's daughter.<br /><br />Sinuhe flees into exile, where he achieves success as a healer in neighbouring countries, but returns to Egypt when he learns of a Hittite plot to invade. Although Akhnaton readily forgives him for his previous offences, Sinuhe finds the country in turmoil. The Pharaoh's attempts to introduce a new religion have led to civil strife between his followers and those of the priests of the old polytheistic faith, and he is too pacific by nature to take any steps to confront the Hittite threat. Sinuhe becomes embroiled in a plot by Horemheb, now the general of the Egyptian army, and Akhnaton's sister Princess Baketamon to overthrow the Pharaoh and replace him with a more effective monarch.<br /><br />The film's weaknesses arise mostly from its two romantic subplots. In the course of the film, Sinuhe is revealed as the long-lost son of the previous Pharaoh and half-brother to Akhnaton and Baketamon. It might therefore surprise a modern audience that she should fall in love with him; marriage between brothers and sisters were not necessarily considered as incestuous by the standards of Egyptian royalty, but the standards of 1950s cinema audiences were generally less liberal on this point. In any case, the Horemheb-Baketamon-Sinuhe love triangle is an unnecessary complication and detracts from Baketamon's role in the film, that of the voice of cold-eyed, cynical Realpolitik.<br /><br />The Nefer subplot, which takes up most of the first hour of the film, is overwritten and excessively melodramatic. Nefer is morally worthless but fascinating, and the role needed an actress of great beauty and also great dramatic skill to make her credible, especially as Nefer achieves the difficult task of winning Sinuhe away from a woman as lovely as Jean Simmons (who plays Merit, Sinuhe's rival for her affections). It is therefore unfortunate that the role went to an actress as comically inept as Bella Darvi, whose only qualification was that she was the mistress of the producer, Darryl F. Zanuck. Darvi was not only a wooden actress, but also spoke with a thick foreign accent, made even more incomprehensible by a lisp. She was not even particularly attractive by comparison with the two legendary Hollywood beauties in the film, Simmons and Gene Tierney who plays Baketamon.<br /><br />The film is better when it concentrates on its main political and religious themes. The other actors are better than Darvi, although Peter Ustinov as Sinuhe's servant Kaptah makes the same mistake as in "Spartacus", that of trying to bring comic relief into a film that does not need it. His voice, anyway, was far too patrician for a "comic servant" role.<br /><br />Edmund Purdom, a little-known British actor, was thrust into the main role when Marlon Brando pulled out at the last minute, but more than adequately fills the great man's shoes, even though his style of acting was quite different. He copes well with the challenge of showing the changes in Sinuhe's character, from unworldly idealist, to lovesick fool, to embittered cynic to the enlightened visionary of the final scenes. Victor Mature was never the most expressive of actors, but he is well-suited to the role of Horemheb, a practical, down-to-earth man of action. He is better here than he was in his other epic from 1954, "Demetrius and the Gladiators". Simmons is luminously beautiful as Merit.<br /><br />Michael Wilding (hitherto best known to me as the second Mr Elizabeth Taylor) plays Akhnaton as a would-be philosopher-king who ends as a sort of holy fool. His inability to make difficult decisions makes him an unsuitable ruler, but he has a prophetic vision of peace and justice which lend him an air of moral greatness far beyond those who hope to replace him on the throne. Although Aten had more in common with the Supreme Being of the Deists than with the Old Testament Jehovah or the Trinitarian Christian God, there is a quite deliberate attempt to draw parallels between Atenism and Christianity. In the film the Atenist symbol is the "ankh", doubtless chosen because of its resemblance to a cross, but in reality it was a common Egyptian hieroglyph for life, not unique to Atenism. Akhnaton's language often has a Biblical ring to it; his comparison of himself to "wind whistling in the desert" recalls John the Baptist's "voice crying in the wilderness" (hence the title of this review). Sinuhe's finding in the river parallels the Old Testament story of Moses.<br /><br />At the end of the film Sinuhe, who has become the inheritor of the spirit of the dead Akhnaton, achieves a moral greatness of his own. The message of the film is that, while we may need practical men of action like Horemheb, we also need visionaries and thinkers who are prepared to ask the question "why?" For all its faults, "The Egyptian" is a film which is idealistic and humane in its approach to both religion and politics. 7/10 | 1 | "The Egyptian" is set during the | reign of one of the most fascinating figures of the ancient world, the Pharaoh Akhnaton, who, thirteen centuries before Christ attempted to introduce a monotheistic religion, Atenism, to ancient Egypt. The main character, however, is not Akhnaton but rather the fictitious Sinuhe. As a baby, Sinuhe is found mysteriously floating in a basket on the river Nile and adopted by the physician Senmut and his wife. When he grows to manhood, he follows his adopted father into the medical profession, initially working (as his father did) among the poor of the city, but he comes to prominence after he and his friend, the ambitious young soldier Horemheb, save the Pharaoh's life while on a hunting expedition in the desert. Sinuhe is appointed Court physician, but becomes obsessed with the Babylonian courtesan Nefer. Sinuhe not only ruins himself in a vain attempt to win her love, but is also disgraced when his neglect of his duties means that he is unable to save the life of Akhnaton's daughter.<br /><br />Sinuhe flees into exile, where he achieves success as a healer in neighbouring countries, but returns to Egypt when he learns of a Hittite plot to invade. Although Akhnaton readily forgives him for his previous offences, Sinuhe finds the country in turmoil. The Pharaoh's attempts to introduce a new religion have led to civil strife between his followers and those of the priests of the old polytheistic faith, and he is too pacific by nature to take any steps to confront the Hittite threat. Sinuhe becomes embroiled in a plot by Horemheb, now the general of the Egyptian army, and Akhnaton's sister Princess Baketamon to overthrow the Pharaoh and replace him with a more effective monarch.<br /><br />The film's weaknesses arise mostly from its two romantic subplots. In the course of the film, Sinuhe is revealed as the long-lost son of the previous Pharaoh and half-brother to Akhnaton and Baketamon. It might therefore surprise a modern audience that she should fall in love with him; marriage between brothers and sisters were not necessarily considered as incestuous by the standards of Egyptian royalty, but the standards of 1950s cinema audiences were generally less liberal on this point. In any case, the Horemheb-Baketamon-Sinuhe love triangle is an unnecessary complication and detracts from Baketamon's role in the film, that of the voice of cold-eyed, cynical Realpolitik.<br /><br />The Nefer subplot, which takes up most of the first hour of the film, is overwritten and excessively melodramatic. Nefer is morally worthless but fascinating, and the role needed an actress of great beauty and also great dramatic skill to make her credible, especially as Nefer achieves the difficult task of winning Sinuhe away from a woman as lovely as Jean Simmons (who plays Merit, Sinuhe's rival for her affections). It is therefore unfortunate that the role went to an actress as comically inept as Bella Darvi, whose only qualification was that she was the mistress of the producer, Darryl F. Zanuck. Darvi was not only a wooden actress, but also spoke with a thick foreign accent, made even more incomprehensible by a lisp. She was not even particularly attractive by comparison with the two legendary Hollywood beauties in the film, Simmons and Gene Tierney who plays Baketamon.<br /><br />The film is better when it concentrates on its main political and religious themes. The other actors are better than Darvi, although Peter Ustinov as Sinuhe's servant Kaptah makes the same mistake as in "Spartacus", that of trying to bring comic relief into a film that does not need it. His voice, anyway, was far too patrician for a "comic servant" role.<br /><br />Edmund Purdom, a little-known British actor, was thrust into the main role when Marlon Brando pulled out at the last minute, but more than adequately fills the great man's shoes, even though his style of acting was quite different. He copes well with the challenge of showing the changes in Sinuhe's character, from unworldly idealist, to lovesick fool, to embittered cynic to the enlightened visionary of the final scenes. Victor Mature was never the most expressive of actors, but he is well-suited to the role of Horemheb, a practical, down-to-earth man of action. He is better here than he was in his other epic from 1954, "Demetrius and the Gladiators". Simmons is luminously beautiful as Merit.<br /><br />Michael Wilding (hitherto best known to me as the second Mr Elizabeth Taylor) plays Akhnaton as a would-be philosopher-king who ends as a sort of holy fool. His inability to make difficult decisions makes him an unsuitable ruler, but he has a prophetic vision of peace and justice which lend him an air of moral greatness far beyond those who hope to replace him on the throne. Although Aten had more in common with the Supreme Being of the Deists than with the Old Testament Jehovah or the Trinitarian Christian God, there is a quite deliberate attempt to draw parallels between Atenism and Christianity. In the film the Atenist symbol is the "ankh", doubtless chosen because of its resemblance to a cross, but in reality it was a common Egyptian hieroglyph for life, not unique to Atenism. Akhnaton's language often has a Biblical ring to it; his comparison of himself to "wind whistling in the desert" recalls John the Baptist's "voice crying in the wilderness" (hence the title of this review). Sinuhe's finding in the river parallels the Old Testament story of Moses.<br /><br />At the end of the film Sinuhe, who has become the inheritor of the spirit of the dead Akhnaton, achieves a moral greatness of his own. The message of the film is that, while we may need practical men of action like Horemheb, we also need visionaries and thinkers who are prepared to ask the question "why?" For all its faults, "The Egyptian" is a film which is idealistic and humane in its approach to both religion and politics. 7/10 | [
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] | reign of one of the most fascinating figures of the ancient world, the Pharaoh Akhnaton, who, thirteen centuries before Christ attempted to introduce a monotheistic religion, Atenism, to ancient Egypt. The main character, however, is not Akhnaton but rather the fictitious Sinuhe. As a baby, Sinuhe is found mysteriously floating in a basket on the river Nile and adopted by the physician Senmut and his wife. When he grows to manhood, he follows his adopted father into the medical profession, initially working (as his father did) among the poor of the city, but he comes to prominence after he and his friend, the ambitious young soldier Horemheb, save the Pharaoh's life while on a hunting expedition in the desert. Sinuhe is appointed Court physician, but becomes obsessed with the Babylonian courtesan Nefer. Sinuhe not only ruins himself in a vain attempt to win her love, but is also disgraced when his neglect of his duties means that he is unable to save the life of Akhnaton's daughter.<br /><br />Sinuhe flees into exile, where he achieves success as a healer in neighbouring countries, but returns to Egypt when he learns of a Hittite plot to invade. Although Akhnaton readily forgives him for his previous offences, Sinuhe finds the country in turmoil. The Pharaoh's attempts to introduce a new religion have led to civil strife between his followers and those of the priests of the old polytheistic faith, and he is too pacific by nature to take any steps to confront the Hittite threat. Sinuhe becomes embroiled in a plot by Horemheb, now the general of the Egyptian army, and Akhnaton's sister Princess Baketamon to overthrow the Pharaoh and replace him with a more effective monarch.<br /><br />The film's weaknesses arise mostly from its two romantic subplots. In the course of the film, Sinuhe is revealed as the long-lost son of the previous Pharaoh and half-brother to Akhnaton and Baketamon. It might therefore surprise a modern audience that she should fall in love with him; marriage between brothers and sisters were not necessarily considered as incestuous by the standards of Egyptian royalty, but the standards of 1950s cinema audiences were generally less liberal on this point. In any case, the Horemheb-Baketamon-Sinuhe love triangle is an unnecessary complication and detracts from Baketamon's role in the film, that of the voice of cold-eyed, cynical Realpolitik.<br /><br />The Nefer subplot, which takes up most of the first hour of the film, is overwritten and excessively melodramatic. Nefer is morally worthless but fascinating, and the role needed an actress of great beauty and also great dramatic skill to make her credible, especially as Nefer achieves the difficult task of winning Sinuhe away from a woman as lovely as Jean Simmons (who plays Merit, Sinuhe's rival for her affections). It is therefore unfortunate that the role went to an actress as comically inept as Bella Darvi, whose only qualification was that she was the mistress of the producer, Darryl F. Zanuck. Darvi was not only a wooden actress, but also spoke with a thick foreign accent, made even more incomprehensible by a lisp. She was not even particularly attractive by comparison with the two legendary Hollywood beauties in the film, Simmons and Gene Tierney who plays Baketamon.<br /><br />The film is better when it concentrates on its main political and religious themes. The other actors are better than Darvi, although Peter Ustinov as Sinuhe's servant Kaptah makes the same mistake as in "Spartacus", that of trying to bring comic relief into a film that does not need it. His voice, anyway, was far too patrician for a "comic servant" role.<br /><br />Edmund Purdom, a little-known British actor, was thrust into the main role when Marlon Brando pulled out at the last minute, but more than adequately fills the great man's shoes, even though his style of acting was quite different. He copes well with the challenge of showing the changes in Sinuhe's character, from unworldly idealist, to lovesick fool, to embittered cynic to the enlightened visionary of the final scenes. Victor Mature was never the most expressive of actors, but he is well-suited to the role of Horemheb, a practical, down-to-earth man of action. He is better here than he was in his other epic from 1954, "Demetrius and the Gladiators". Simmons is luminously beautiful as Merit.<br /><br />Michael Wilding (hitherto best known to me as the second Mr Elizabeth Taylor) plays Akhnaton as a would-be philosopher-king who ends as a sort of holy fool. His inability to make difficult decisions makes him an unsuitable ruler, but he has a prophetic vision of peace and justice which lend him an air of moral greatness far beyond those who hope to replace him on the throne. Although Aten had more in common with the Supreme Being of the Deists than with the Old Testament Jehovah or the Trinitarian Christian God, there is a quite deliberate attempt to draw parallels between Atenism and Christianity. In the film the Atenist symbol is the "ankh", doubtless chosen because of its resemblance to a cross, but in reality it was a common Egyptian hieroglyph for life, not unique to Atenism. Akhnaton's language often has a Biblical ring to it; his comparison of himself to "wind whistling in the desert" recalls John the Baptist's "voice crying in the wilderness" (hence the title of this review). Sinuhe's finding in the river parallels the Old Testament story of Moses.<br /><br />At the end of the film Sinuhe, who has become the inheritor of the spirit of the dead Akhnaton, achieves a moral greatness of his own. The message of the film is that, while we may need practical men of action like Horemheb, we also need visionaries and thinkers who are prepared to ask the question "why?" For all its faults, "The Egyptian" is a film which is idealistic and humane in its approach to both religion and politics. 7/10<|endoftext|> | [
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] | 504 | "The Egyptian" is set during the reign of one of the most fascinating figures of the ancient world, the Pharaoh Akhnaton, who, thirteen centuries before Christ attempted to introduce a monotheistic religion, Atenism, to ancient Egypt. The main character, however, is not Akhnaton but rather the fictitious Sinuhe. As a baby, Sinuhe is found mysteriously floating in a basket on the river Nile and adopted by the physician Senmut and his wife. When he grows to manhood, he follows his adopted father into the medical profession, initially working (as his father did) among the poor of the city, but he comes to prominence after he and his friend, the ambitious young soldier Horemheb, save the Pharaoh's life while on a hunting expedition in the desert. Sinuhe is appointed Court physician, but becomes obsessed with the Babylonian courtesan Nefer. Sinuhe not only ruins himself in a vain attempt to win her love, but is also disgraced when his neglect of his duties means that he is unable to save the life of Akhnaton's daughter.<br /><br />Sinuhe flees into exile, where he achieves success as a healer in neighbouring countries, but returns to Egypt when he learns of a Hittite plot to invade. Although Akhnaton readily forgives him for his previous offences, Sinuhe finds the country in turmoil. The Pharaoh's attempts to introduce a new religion have led to civil strife between his followers and those of the priests of the old polytheistic faith, and he is too pacific by nature to take any steps to confront the Hittite threat. Sinuhe becomes embroiled in a plot by Horemheb, now the general of the Egyptian army, and Akhnaton's sister Princess Baketamon to overthrow the Pharaoh and replace him with a more effective monarch.<br /><br />The film's weaknesses arise mostly from its two romantic subplots. In the course of the film, Sinuhe is revealed as the long-lost son of the previous Pharaoh and half-brother to Akhnaton and Baketamon. It might therefore surprise a modern audience that she should fall in love with him; marriage between brothers and sisters were not necessarily considered as incestuous by the standards of Egyptian royalty, but the standards of 1950s cinema audiences were generally less liberal on this point. In any case, the Horemheb-Baketamon-Sinuhe love triangle is an unnecessary complication and detracts from Baketamon's role in the film, that of the voice of cold-eyed, cynical Realpolitik.<br /><br />The Nefer subplot, which takes up most of the first hour of the film, is overwritten and excessively melodramatic. Nefer is morally worthless but fascinating, and the role needed an actress of great beauty and also great dramatic skill to make her credible, especially as Nefer achieves the difficult task of winning Sinuhe away from a woman as lovely as Jean Simmons (who plays Merit, Sinuhe's rival for her affections). It is therefore unfortunate that the role went to an actress as comically inept as Bella Darvi, whose only qualification was that she was the mistress of the producer, Darryl F. Zanuck. Darvi was not only a wooden actress, but also spoke with a thick foreign accent, made even more incomprehensible by a lisp. She was not even particularly attractive by comparison with the two legendary Hollywood beauties in the film, Simmons and Gene Tierney who plays Baketamon.<br /><br />The film is better when it concentrates on its main political and religious themes. The other actors are better than Darvi, although Peter Ustinov as Sinuhe's servant Kaptah makes the same mistake as in "Spartacus", that of trying to bring comic relief into a film that does not need it. His voice, anyway, was far too patrician for a "comic servant" role.<br /><br />Edmund Purdom, a little-known British actor, was thrust into the main role when Marlon Brando pulled out at the last minute, but more than adequately fills the great man's shoes, even though his style of acting was quite different. He copes well with the challenge of showing the changes in Sinuhe's character, from unworldly idealist, to lovesick fool, to embittered cynic to the enlightened visionary of the final scenes. Victor Mature was never the most expressive of actors, but he is well-suited to the role of Horemheb, a practical, down-to-earth man of action. He is better here than he was in his other epic from 1954, "Demetrius and the Gladiators". Simmons is luminously beautiful as Merit.<br /><br />Michael Wilding (hitherto best known to me as the second Mr Elizabeth Taylor) plays Akhnaton as a would-be philosopher-king who ends as a sort of holy fool. His inability to make difficult decisions makes him an unsuitable ruler, but he has a prophetic vision of peace and justice which lend him an air of moral greatness far beyond those who hope to replace him on the throne. Although Aten had more in common with the Supreme Being of the Deists than with the Old Testament Jehovah or the Trinitarian Christian God, there is a quite deliberate attempt to draw parallels between Atenism and Christianity. In the film the Atenist symbol is the "ankh", doubtless chosen because of its resemblance to a cross, but in reality it was a common Egyptian hieroglyph for life, not unique to Atenism. Akhnaton's language often has a Biblical ring to it; his comparison of himself to "wind whistling in the desert" recalls John the Baptist's "voice crying in the wilderness" (hence the title of this review). Sinuhe's finding in the river parallels the Old Testament story of Moses.<br /><br />At the end of the film Sinuhe, who has become the inheritor of the spirit of the dead Akhnaton, achieves a moral greatness of his own. The message of the film is that, while we may need practical men of action like Horemheb, we also need visionaries and thinkers who are prepared to ask the question "why?" For all its faults, "The Egyptian" is a film which is idealistic and humane in its approach to both religion and politics. 7/10<|endoftext|> | [
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] | 1,350 | "The Egyptian" is set during the |
film "The Man Who Shot Liberty Valance" is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. It is a great film because it is a great film. 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It is a great film | Hitchcock's remake of his 1934 film concerns about the known story of McKenna marriage(James Stewart, Doris Day, in the first version Leslie Banks, Edna Best) along with their 11-years-old son travelling through Morocco during vacations. In a bus they know a sympathetic French person(Daniel Gelin, in the old version Pierre Fresnay). While they are in Marrakech they also know a couple(Bernard Miles and Brenda De Banzie) and happen suddenly on the scene of a killing, the dying whispers a political message.Then the child is abducted to ensure their silence and McKenna gets help to Morocco's Inspector Buchanan(Ralph Truman).<br /><br />This is a superb movie about a family who stumbles on to an obscure international conspiracy and then they're forced into action is excellently played by James Stewart and Doris Day. This exciting film displays suspense, intrigue, tension, and interesting drama well written by John Michael Hayes and Charles Bennett . Packs an ordinary theme of the suspense magician: innocent people become caught up in a cobweb intrigue and uncanny, intelligent villains. Colorful and glimmer cinematography shot in Morocco and London studios by cameraman Robert Burks, though with excessive transparency for Marrakech scenes. Lavish sets by Henry Bunstead, Hitchcock's usual, and working until his recent death. Of course,the highlights are the happenings of the famous Royal Albert Hall of London assassination where a sneering killer, Reggie Nalder, tries to execute while composer Bernard Herrmann is conducting orchestra. Besides at the climax Doris Day singing ¨Que sera, Que sera¨, meantime her son suffering risks, the song won Oscar for Ray Evans, Jay Livingstone . The story was ferociously reviewed for its double characters but today is considered a classic movie and fairly entertaining. Rating : better than average, Hitchcock's enthusiastic no doubt will enjoy it. | 1 | Hitchcock's remake of his 1934 | film concerns about the known story of McKenna marriage(James Stewart, Doris Day, in the first version Leslie Banks, Edna Best) along with their 11-years-old son travelling through Morocco during vacations. In a bus they know a sympathetic French person(Daniel Gelin, in the old version Pierre Fresnay). While they are in Marrakech they also know a couple(Bernard Miles and Brenda De Banzie) and happen suddenly on the scene of a killing, the dying whispers a political message.Then the child is abducted to ensure their silence and McKenna gets help to Morocco's Inspector Buchanan(Ralph Truman).<br /><br />This is a superb movie about a family who stumbles on to an obscure international conspiracy and then they're forced into action is excellently played by James Stewart and Doris Day. This exciting film displays suspense, intrigue, tension, and interesting drama well written by John Michael Hayes and Charles Bennett . Packs an ordinary theme of the suspense magician: innocent people become caught up in a cobweb intrigue and uncanny, intelligent villains. Colorful and glimmer cinematography shot in Morocco and London studios by cameraman Robert Burks, though with excessive transparency for Marrakech scenes. Lavish sets by Henry Bunstead, Hitchcock's usual, and working until his recent death. Of course,the highlights are the happenings of the famous Royal Albert Hall of London assassination where a sneering killer, Reggie Nalder, tries to execute while composer Bernard Herrmann is conducting orchestra. Besides at the climax Doris Day singing ¨Que sera, Que sera¨, meantime her son suffering risks, the song won Oscar for Ray Evans, Jay Livingstone . The story was ferociously reviewed for its double characters but today is considered a classic movie and fairly entertaining. Rating : better than average, Hitchcock's enthusiastic no doubt will enjoy it. | [
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] | film concerns about the known story of McKenna marriage(James Stewart, Doris Day, in the first version Leslie Banks, Edna Best) along with their 11-years-old son travelling through Morocco during vacations. In a bus they know a sympathetic French person(Daniel Gelin, in the old version Pierre Fresnay). While they are in Marrakech they also know a couple(Bernard Miles and Brenda De Banzie) and happen suddenly on the scene of a killing, the dying whispers a political message.Then the child is abducted to ensure their silence and McKenna gets help to Morocco's Inspector Buchanan(Ralph Truman).<br /><br />This is a superb movie about a family who stumbles on to an obscure international conspiracy and then they're forced into action is excellently played by James Stewart and Doris Day. This exciting film displays suspense, intrigue, tension, and interesting drama well written by John Michael Hayes and Charles Bennett . Packs an ordinary theme of the suspense magician: innocent people become caught up in a cobweb intrigue and uncanny, intelligent villains. Colorful and glimmer cinematography shot in Morocco and London studios by cameraman Robert Burks, though with excessive transparency for Marrakech scenes. Lavish sets by Henry Bunstead, Hitchcock's usual, and working until his recent death. Of course,the highlights are the happenings of the famous Royal Albert Hall of London assassination where a sneering killer, Reggie Nalder, tries to execute while composer Bernard Herrmann is conducting orchestra. Besides at the climax Doris Day singing ¨Que sera, Que sera¨, meantime her son suffering risks, the song won Oscar for Ray Evans, Jay Livingstone . The story was ferociously reviewed for its double characters but today is considered a classic movie and fairly entertaining. Rating : better than average, Hitchcock's enthusiastic no doubt will enjoy it.<|endoftext|> | [
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] | 504 | Hitchcock's remake of his 1934 film concerns about the known story of McKenna marriage(James Stewart, Doris Day, in the first version Leslie Banks, Edna Best) along with their 11-years-old son travelling through Morocco during vacations. In a bus they know a sympathetic French person(Daniel Gelin, in the old version Pierre Fresnay). While they are in Marrakech they also know a couple(Bernard Miles and Brenda De Banzie) and happen suddenly on the scene of a killing, the dying whispers a political message.Then the child is abducted to ensure their silence and McKenna gets help to Morocco's Inspector Buchanan(Ralph Truman).<br /><br />This is a superb movie about a family who stumbles on to an obscure international conspiracy and then they're forced into action is excellently played by James Stewart and Doris Day. This exciting film displays suspense, intrigue, tension, and interesting drama well written by John Michael Hayes and Charles Bennett . Packs an ordinary theme of the suspense magician: innocent people become caught up in a cobweb intrigue and uncanny, intelligent villains. Colorful and glimmer cinematography shot in Morocco and London studios by cameraman Robert Burks, though with excessive transparency for Marrakech scenes. Lavish sets by Henry Bunstead, Hitchcock's usual, and working until his recent death. Of course,the highlights are the happenings of the famous Royal Albert Hall of London assassination where a sneering killer, Reggie Nalder, tries to execute while composer Bernard Herrmann is conducting orchestra. Besides at the climax Doris Day singing ¨Que sera, Que sera¨, meantime her son suffering risks, the song won Oscar for Ray Evans, Jay Livingstone . The story was ferociously reviewed for its double characters but today is considered a classic movie and fairly entertaining. Rating : better than average, Hitchcock's enthusiastic no doubt will enjoy it.<|endoftext|> | [
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] | 394 | Hitchcock's remake of his 1934 |
, was a very good movie. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good movie for the time. It was a very good | Key West, for too short a time was "appointment TV" for my family. I'd stop by Red Lobster and pick up a Party Tray for the night it was on. The irony of the situation was that I was working for a Fox Affiliate at the time, and every one at the station was incensed at them not renewing the show. Everyone in that cast was excellent. Fisher Stevens... perfect. Who couldn't fail to identify with an "everyman" who dreams of being a writer in Key West? Jennifer Tilly was always remarkable (and she is one HECK of a Texas Hold'em Player). You can still find the pilot episode on YouTube. Wish they'd post the Hurricane one. That episode alone, should have won an Emmy, as well as the rest of the cast. | 1 | Key West, for too short a time | was "appointment TV" for my family. I'd stop by Red Lobster and pick up a Party Tray for the night it was on. The irony of the situation was that I was working for a Fox Affiliate at the time, and every one at the station was incensed at them not renewing the show. Everyone in that cast was excellent. Fisher Stevens... perfect. Who couldn't fail to identify with an "everyman" who dreams of being a writer in Key West? Jennifer Tilly was always remarkable (and she is one HECK of a Texas Hold'em Player). You can still find the pilot episode on YouTube. Wish they'd post the Hurricane one. That episode alone, should have won an Emmy, as well as the rest of the cast. | [
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] | was "appointment TV" for my family. I'd stop by Red Lobster and pick up a Party Tray for the night it was on. The irony of the situation was that I was working for a Fox Affiliate at the time, and every one at the station was incensed at them not renewing the show. Everyone in that cast was excellent. Fisher Stevens... perfect. Who couldn't fail to identify with an "everyman" who dreams of being a writer in Key West? Jennifer Tilly was always remarkable (and she is one HECK of a Texas Hold'em Player). You can still find the pilot episode on YouTube. Wish they'd post the Hurricane one. That episode alone, should have won an Emmy, as well as the rest of the cast.<|endoftext|> | [
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GOOD WIFE, this is the one that I remember the most. It's a very funny and touching episode, and I think it's one of the best episodes of the show. It's also one of the funniest episodes of the show. It's a very funny episode, and I think it's one of the best episodes of the show. It's also one of the funniest episodes of the show. <br /><br />The episode starts out with a very funny scene where the two of them are sitting in the living room, and they're talking about how they're going to get married. They're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married, and they're talking about how they're going to get married | Of all the seasons and episodes of THE TWILIGHT ZONE, after seeing all the great, mind boggling, thought provoking stories, this one stands on top. That's right. This story, this one entitled THE HUNT tops the large number of the finest scripts in Television History.<br /><br />True, there are no interplanetary space flights, no inexplicable cracks in time. There is no living nightmare, no sudden changes of setting. There is seemingly nothing out of the ordinary for our protagonist to deal with.<br /><br />The main character, played by veteran character actor Arthur Hunnicut, sets out from his cabin in the hills, accompanied by his faithful hound, to hunt raccoon. Because the raccoon is a predominantly nocturnal animal hunt is by moonlight.<br /><br />The man and dog soon encounter a large raccoon, who hops on the dog's back and attempts to drown the hound in a pond. The man jumps in to help his dog. There is a sort of almost black-out, after which the pair are seen on the shore, in a lying, almost sleep like position.<br /><br />Calling his dog by name, (Rip, I think) the old man sets off to return home. When he arrives, he finds the wife weeping and unresponsive to his conversation. He also observes visitors coming and going to his house, paying respects and giving words to console his wife.<br /><br />Still seeming puzzled at the strange reception and goings on around the Home Cabin, the Man and Rip take off on a long walk down the road, where He remarks out loud that he did not remember such a long fence in these parts. He eventually comes upon a rather large fellow, dressed in garb similar to his-overalls, hat, work shirt. They are at a gate, which leads to an area where a lot of smoke is freely rising up. The Gate Keeper is overly eager in his persuasive pitch in trying to get the man to enter. Rip sounds displeasure. The Gate Man tells the Old Man that he may enter, but the dog would have to remain outside, offering to watch the animal for him. The man will have none of it and the two continue on their way down the path.<br /><br />After a little more hiking they come upon a second gated entrance where the Gate Keeper recognizes the man and welcomes him. When the Old Man reports what has happened down the road, telling him of how the guy at the other gate tried to separate the Man and dog, and added, "With no dogs allowed, that must be a Hell of a place!" The 2nd Gate Keeper stated that he was right! "That's exactly what it is!" <br /><br />Our family had lost our 1st Dog, Lady-a mixed Lab, in October of 1981. About 6 months later, as good fortune would have it, the Wife(Deanna) and myself along with our 2 daughters (Jennifer 9 and Michelle 6) viewed this episode on TV, WGN TV, Channel 9 Chicago. Well, it all made perfect sense to us at that time.<br /><br />We're certain that anyone who has had that relationship with a family dog, would agree. The episode still brings a condition of watery eyes to this now 60 year old writer. | 1 | Of all the seasons and episodes of THE | TWILIGHT ZONE, after seeing all the great, mind boggling, thought provoking stories, this one stands on top. That's right. This story, this one entitled THE HUNT tops the large number of the finest scripts in Television History.<br /><br />True, there are no interplanetary space flights, no inexplicable cracks in time. There is no living nightmare, no sudden changes of setting. There is seemingly nothing out of the ordinary for our protagonist to deal with.<br /><br />The main character, played by veteran character actor Arthur Hunnicut, sets out from his cabin in the hills, accompanied by his faithful hound, to hunt raccoon. Because the raccoon is a predominantly nocturnal animal hunt is by moonlight.<br /><br />The man and dog soon encounter a large raccoon, who hops on the dog's back and attempts to drown the hound in a pond. The man jumps in to help his dog. There is a sort of almost black-out, after which the pair are seen on the shore, in a lying, almost sleep like position.<br /><br />Calling his dog by name, (Rip, I think) the old man sets off to return home. When he arrives, he finds the wife weeping and unresponsive to his conversation. He also observes visitors coming and going to his house, paying respects and giving words to console his wife.<br /><br />Still seeming puzzled at the strange reception and goings on around the Home Cabin, the Man and Rip take off on a long walk down the road, where He remarks out loud that he did not remember such a long fence in these parts. He eventually comes upon a rather large fellow, dressed in garb similar to his-overalls, hat, work shirt. They are at a gate, which leads to an area where a lot of smoke is freely rising up. The Gate Keeper is overly eager in his persuasive pitch in trying to get the man to enter. Rip sounds displeasure. The Gate Man tells the Old Man that he may enter, but the dog would have to remain outside, offering to watch the animal for him. The man will have none of it and the two continue on their way down the path.<br /><br />After a little more hiking they come upon a second gated entrance where the Gate Keeper recognizes the man and welcomes him. When the Old Man reports what has happened down the road, telling him of how the guy at the other gate tried to separate the Man and dog, and added, "With no dogs allowed, that must be a Hell of a place!" The 2nd Gate Keeper stated that he was right! "That's exactly what it is!" <br /><br />Our family had lost our 1st Dog, Lady-a mixed Lab, in October of 1981. About 6 months later, as good fortune would have it, the Wife(Deanna) and myself along with our 2 daughters (Jennifer 9 and Michelle 6) viewed this episode on TV, WGN TV, Channel 9 Chicago. Well, it all made perfect sense to us at that time.<br /><br />We're certain that anyone who has had that relationship with a family dog, would agree. The episode still brings a condition of watery eyes to this now 60 year old writer. | [
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] | TWILIGHT ZONE, after seeing all the great, mind boggling, thought provoking stories, this one stands on top. That's right. This story, this one entitled THE HUNT tops the large number of the finest scripts in Television History.<br /><br />True, there are no interplanetary space flights, no inexplicable cracks in time. There is no living nightmare, no sudden changes of setting. There is seemingly nothing out of the ordinary for our protagonist to deal with.<br /><br />The main character, played by veteran character actor Arthur Hunnicut, sets out from his cabin in the hills, accompanied by his faithful hound, to hunt raccoon. Because the raccoon is a predominantly nocturnal animal hunt is by moonlight.<br /><br />The man and dog soon encounter a large raccoon, who hops on the dog's back and attempts to drown the hound in a pond. The man jumps in to help his dog. There is a sort of almost black-out, after which the pair are seen on the shore, in a lying, almost sleep like position.<br /><br />Calling his dog by name, (Rip, I think) the old man sets off to return home. When he arrives, he finds the wife weeping and unresponsive to his conversation. He also observes visitors coming and going to his house, paying respects and giving words to console his wife.<br /><br />Still seeming puzzled at the strange reception and goings on around the Home Cabin, the Man and Rip take off on a long walk down the road, where He remarks out loud that he did not remember such a long fence in these parts. He eventually comes upon a rather large fellow, dressed in garb similar to his-overalls, hat, work shirt. They are at a gate, which leads to an area where a lot of smoke is freely rising up. The Gate Keeper is overly eager in his persuasive pitch in trying to get the man to enter. Rip sounds displeasure. The Gate Man tells the Old Man that he may enter, but the dog would have to remain outside, offering to watch the animal for him. The man will have none of it and the two continue on their way down the path.<br /><br />After a little more hiking they come upon a second gated entrance where the Gate Keeper recognizes the man and welcomes him. When the Old Man reports what has happened down the road, telling him of how the guy at the other gate tried to separate the Man and dog, and added, "With no dogs allowed, that must be a Hell of a place!" The 2nd Gate Keeper stated that he was right! "That's exactly what it is!" <br /><br />Our family had lost our 1st Dog, Lady-a mixed Lab, in October of 1981. About 6 months later, as good fortune would have it, the Wife(Deanna) and myself along with our 2 daughters (Jennifer 9 and Michelle 6) viewed this episode on TV, WGN TV, Channel 9 Chicago. Well, it all made perfect sense to us at that time.<br /><br />We're certain that anyone who has had that relationship with a family dog, would agree. The episode still brings a condition of watery eyes to this now 60 year old writer.<|endoftext|> | [
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] | 504 | Of all the seasons and episodes of THE TWILIGHT ZONE, after seeing all the great, mind boggling, thought provoking stories, this one stands on top. That's right. This story, this one entitled THE HUNT tops the large number of the finest scripts in Television History.<br /><br />True, there are no interplanetary space flights, no inexplicable cracks in time. There is no living nightmare, no sudden changes of setting. There is seemingly nothing out of the ordinary for our protagonist to deal with.<br /><br />The main character, played by veteran character actor Arthur Hunnicut, sets out from his cabin in the hills, accompanied by his faithful hound, to hunt raccoon. Because the raccoon is a predominantly nocturnal animal hunt is by moonlight.<br /><br />The man and dog soon encounter a large raccoon, who hops on the dog's back and attempts to drown the hound in a pond. The man jumps in to help his dog. There is a sort of almost black-out, after which the pair are seen on the shore, in a lying, almost sleep like position.<br /><br />Calling his dog by name, (Rip, I think) the old man sets off to return home. When he arrives, he finds the wife weeping and unresponsive to his conversation. He also observes visitors coming and going to his house, paying respects and giving words to console his wife.<br /><br />Still seeming puzzled at the strange reception and goings on around the Home Cabin, the Man and Rip take off on a long walk down the road, where He remarks out loud that he did not remember such a long fence in these parts. He eventually comes upon a rather large fellow, dressed in garb similar to his-overalls, hat, work shirt. They are at a gate, which leads to an area where a lot of smoke is freely rising up. The Gate Keeper is overly eager in his persuasive pitch in trying to get the man to enter. Rip sounds displeasure. The Gate Man tells the Old Man that he may enter, but the dog would have to remain outside, offering to watch the animal for him. The man will have none of it and the two continue on their way down the path.<br /><br />After a little more hiking they come upon a second gated entrance where the Gate Keeper recognizes the man and welcomes him. When the Old Man reports what has happened down the road, telling him of how the guy at the other gate tried to separate the Man and dog, and added, "With no dogs allowed, that must be a Hell of a place!" The 2nd Gate Keeper stated that he was right! "That's exactly what it is!" <br /><br />Our family had lost our 1st Dog, Lady-a mixed Lab, in October of 1981. About 6 months later, as good fortune would have it, the Wife(Deanna) and myself along with our 2 daughters (Jennifer 9 and Michelle 6) viewed this episode on TV, WGN TV, Channel 9 Chicago. Well, it all made perfect sense to us at that time.<br /><br />We're certain that anyone who has had that relationship with a family dog, would agree. The episode still brings a condition of watery eyes to this now 60 year old writer.<|endoftext|> | [
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] | 695 | Of all the seasons and episodes of THE |
JEFFERSON was a man of great courage and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He was a man of great integrity and honor. He | During the War for Southern Independence, GENERAL SPANKY mobilizes his forces to defend the local women & children against a Yankee invasion.<br /><br />In 1936, Hal Roach decided it was time for his popular OUR GANG kids to branch out into occasional feature-length films. With the big success of Shirley Temple in two Civil War period movies in 1935 (THE LITTLE COLONEL, THE LITTLEST REBEL), it was only natural that Roach would look in that same direction for his GANG. Although given a rather lavish production and distributed by MGM, GENERAL SPANKY was not a critical or box-office success. The little GANGsters would henceforth stick to short subjects.<br /><br />Although he's given top billing & the title role, George Spanky' McFarland is rivaled throughout the film's first half by little Billie Buckwheat' Thomas. Here were two of the finest young actors to ever appear in American movies. With all the experience of old, seasoned pros, these two gamin could steal scenes & hearts with equal bravado. A constant joy, without a false note between them, they provide the essential reason for watching the film today.<br /><br />Phillips Holmes gives a quiet, gentlemanly performance as Spanky's adult protector. Nearly forgotten now, Holmes was a fine actor who died much too soon, during World War Two. Genial Ralph Morgan is especially good as a sympathetic Union general - his scenes with Spanky are quite amusing.<br /><br />Other OUR GANGers appear midpoint into the movie, most notably Carl Alfalfa' Switzer; he gets to warble Just Before The Battle, Mother.' Even pretty Rosina Lawrence (the GANG's schoolmarm) shows up to play Holmes' beloved.<br /><br />Irving Pichel is particularly slimy as a cowardly cardsharp turned vindictive Yankee captain. Bumbling Willie Best & feisty Louise Beavers play Miss Lawrence's slaves.<br /><br />It should be noted that there is racism in the film, not unusual for Hollywood of that era - but almost completely missing in the original series of OUR GANG shorts.<br /><br />Fans of 19th Century music will enjoy paying attention to the soundtrack, which is a long succession of ancient tunes. | 1 | During the War for Southern Independence, GENERAL | SPANKY mobilizes his forces to defend the local women & children against a Yankee invasion.<br /><br />In 1936, Hal Roach decided it was time for his popular OUR GANG kids to branch out into occasional feature-length films. With the big success of Shirley Temple in two Civil War period movies in 1935 (THE LITTLE COLONEL, THE LITTLEST REBEL), it was only natural that Roach would look in that same direction for his GANG. Although given a rather lavish production and distributed by MGM, GENERAL SPANKY was not a critical or box-office success. The little GANGsters would henceforth stick to short subjects.<br /><br />Although he's given top billing & the title role, George Spanky' McFarland is rivaled throughout the film's first half by little Billie Buckwheat' Thomas. Here were two of the finest young actors to ever appear in American movies. With all the experience of old, seasoned pros, these two gamin could steal scenes & hearts with equal bravado. A constant joy, without a false note between them, they provide the essential reason for watching the film today.<br /><br />Phillips Holmes gives a quiet, gentlemanly performance as Spanky's adult protector. Nearly forgotten now, Holmes was a fine actor who died much too soon, during World War Two. Genial Ralph Morgan is especially good as a sympathetic Union general - his scenes with Spanky are quite amusing.<br /><br />Other OUR GANGers appear midpoint into the movie, most notably Carl Alfalfa' Switzer; he gets to warble Just Before The Battle, Mother.' Even pretty Rosina Lawrence (the GANG's schoolmarm) shows up to play Holmes' beloved.<br /><br />Irving Pichel is particularly slimy as a cowardly cardsharp turned vindictive Yankee captain. Bumbling Willie Best & feisty Louise Beavers play Miss Lawrence's slaves.<br /><br />It should be noted that there is racism in the film, not unusual for Hollywood of that era - but almost completely missing in the original series of OUR GANG shorts.<br /><br />Fans of 19th Century music will enjoy paying attention to the soundtrack, which is a long succession of ancient tunes. | [
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] | SPANKY mobilizes his forces to defend the local women & children against a Yankee invasion.<br /><br />In 1936, Hal Roach decided it was time for his popular OUR GANG kids to branch out into occasional feature-length films. With the big success of Shirley Temple in two Civil War period movies in 1935 (THE LITTLE COLONEL, THE LITTLEST REBEL), it was only natural that Roach would look in that same direction for his GANG. Although given a rather lavish production and distributed by MGM, GENERAL SPANKY was not a critical or box-office success. The little GANGsters would henceforth stick to short subjects.<br /><br />Although he's given top billing & the title role, George Spanky' McFarland is rivaled throughout the film's first half by little Billie Buckwheat' Thomas. Here were two of the finest young actors to ever appear in American movies. With all the experience of old, seasoned pros, these two gamin could steal scenes & hearts with equal bravado. A constant joy, without a false note between them, they provide the essential reason for watching the film today.<br /><br />Phillips Holmes gives a quiet, gentlemanly performance as Spanky's adult protector. Nearly forgotten now, Holmes was a fine actor who died much too soon, during World War Two. Genial Ralph Morgan is especially good as a sympathetic Union general - his scenes with Spanky are quite amusing.<br /><br />Other OUR GANGers appear midpoint into the movie, most notably Carl Alfalfa' Switzer; he gets to warble Just Before The Battle, Mother.' Even pretty Rosina Lawrence (the GANG's schoolmarm) shows up to play Holmes' beloved.<br /><br />Irving Pichel is particularly slimy as a cowardly cardsharp turned vindictive Yankee captain. Bumbling Willie Best & feisty Louise Beavers play Miss Lawrence's slaves.<br /><br />It should be noted that there is racism in the film, not unusual for Hollywood of that era - but almost completely missing in the original series of OUR GANG shorts.<br /><br />Fans of 19th Century music will enjoy paying attention to the soundtrack, which is a long succession of ancient tunes.<|endoftext|> | [
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] | 504 | During the War for Southern Independence, GENERAL SPANKY mobilizes his forces to defend the local women & children against a Yankee invasion.<br /><br />In 1936, Hal Roach decided it was time for his popular OUR GANG kids to branch out into occasional feature-length films. With the big success of Shirley Temple in two Civil War period movies in 1935 (THE LITTLE COLONEL, THE LITTLEST REBEL), it was only natural that Roach would look in that same direction for his GANG. Although given a rather lavish production and distributed by MGM, GENERAL SPANKY was not a critical or box-office success. The little GANGsters would henceforth stick to short subjects.<br /><br />Although he's given top billing & the title role, George Spanky' McFarland is rivaled throughout the film's first half by little Billie Buckwheat' Thomas. Here were two of the finest young actors to ever appear in American movies. With all the experience of old, seasoned pros, these two gamin could steal scenes & hearts with equal bravado. A constant joy, without a false note between them, they provide the essential reason for watching the film today.<br /><br />Phillips Holmes gives a quiet, gentlemanly performance as Spanky's adult protector. Nearly forgotten now, Holmes was a fine actor who died much too soon, during World War Two. Genial Ralph Morgan is especially good as a sympathetic Union general - his scenes with Spanky are quite amusing.<br /><br />Other OUR GANGers appear midpoint into the movie, most notably Carl Alfalfa' Switzer; he gets to warble Just Before The Battle, Mother.' Even pretty Rosina Lawrence (the GANG's schoolmarm) shows up to play Holmes' beloved.<br /><br />Irving Pichel is particularly slimy as a cowardly cardsharp turned vindictive Yankee captain. Bumbling Willie Best & feisty Louise Beavers play Miss Lawrence's slaves.<br /><br />It should be noted that there is racism in the film, not unusual for Hollywood of that era - but almost completely missing in the original series of OUR GANG shorts.<br /><br />Fans of 19th Century music will enjoy paying attention to the soundtrack, which is a long succession of ancient tunes.<|endoftext|> | [
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] | 497 | During the War for Southern Independence, GENERAL |
a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a long time. He is a man who has been in prison for a | Barry Kane (Robert Cummings) is wrongfully accused on sabotaging a hanger making aircrafts for the war. He goes on the run, meets Patricia Martin (Priscilla Lane) along the way, and she joins him to find and bring the real criminals to justice.<br /><br />There are a lot of things wrong with this film. Robert Cummings was a good actor but he's totally miscast in this role; Priscilla Lane is pretty but was never a good actress; the story doesn't make a whole lot of sense (and rambles on longer than needed); it wears its patriotism a bit much (but this WAS made while WWII was in full swing) and there's no ending. It shouldn't work but it does.<br /><br />It's full of bizarre lines and characters that certainly hold your interest.<br /><br />For example: Lane says to Cummings (while they're falling in love), "I wish I could have met you a hundred years ago" (????!!!!); Lane PAYS a villain for getting her lunch and Cummings and Lane join a circus troupe briefly while on the run. Also Hitchcock's direction was (as always) just great--he throws in some truly amazing shots and sequences--especially the Statue of Liberty climax. <br /><br />This is not one of Hitchcock's classic movie but is still very good and worth catching. | 1 | Barry Kane (Robert Cummings) is | wrongfully accused on sabotaging a hanger making aircrafts for the war. He goes on the run, meets Patricia Martin (Priscilla Lane) along the way, and she joins him to find and bring the real criminals to justice.<br /><br />There are a lot of things wrong with this film. Robert Cummings was a good actor but he's totally miscast in this role; Priscilla Lane is pretty but was never a good actress; the story doesn't make a whole lot of sense (and rambles on longer than needed); it wears its patriotism a bit much (but this WAS made while WWII was in full swing) and there's no ending. It shouldn't work but it does.<br /><br />It's full of bizarre lines and characters that certainly hold your interest.<br /><br />For example: Lane says to Cummings (while they're falling in love), "I wish I could have met you a hundred years ago" (????!!!!); Lane PAYS a villain for getting her lunch and Cummings and Lane join a circus troupe briefly while on the run. Also Hitchcock's direction was (as always) just great--he throws in some truly amazing shots and sequences--especially the Statue of Liberty climax. <br /><br />This is not one of Hitchcock's classic movie but is still very good and worth catching. | [
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] | wrongfully accused on sabotaging a hanger making aircrafts for the war. He goes on the run, meets Patricia Martin (Priscilla Lane) along the way, and she joins him to find and bring the real criminals to justice.<br /><br />There are a lot of things wrong with this film. Robert Cummings was a good actor but he's totally miscast in this role; Priscilla Lane is pretty but was never a good actress; the story doesn't make a whole lot of sense (and rambles on longer than needed); it wears its patriotism a bit much (but this WAS made while WWII was in full swing) and there's no ending. It shouldn't work but it does.<br /><br />It's full of bizarre lines and characters that certainly hold your interest.<br /><br />For example: Lane says to Cummings (while they're falling in love), "I wish I could have met you a hundred years ago" (????!!!!); Lane PAYS a villain for getting her lunch and Cummings and Lane join a circus troupe briefly while on the run. Also Hitchcock's direction was (as always) just great--he throws in some truly amazing shots and sequences--especially the Statue of Liberty climax. <br /><br />This is not one of Hitchcock's classic movie but is still very good and worth catching.<|endoftext|> | [
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] | 504 | Barry Kane (Robert Cummings) is wrongfully accused on sabotaging a hanger making aircrafts for the war. He goes on the run, meets Patricia Martin (Priscilla Lane) along the way, and she joins him to find and bring the real criminals to justice.<br /><br />There are a lot of things wrong with this film. Robert Cummings was a good actor but he's totally miscast in this role; Priscilla Lane is pretty but was never a good actress; the story doesn't make a whole lot of sense (and rambles on longer than needed); it wears its patriotism a bit much (but this WAS made while WWII was in full swing) and there's no ending. It shouldn't work but it does.<br /><br />It's full of bizarre lines and characters that certainly hold your interest.<br /><br />For example: Lane says to Cummings (while they're falling in love), "I wish I could have met you a hundred years ago" (????!!!!); Lane PAYS a villain for getting her lunch and Cummings and Lane join a circus troupe briefly while on the run. Also Hitchcock's direction was (as always) just great--he throws in some truly amazing shots and sequences--especially the Statue of Liberty climax. <br /><br />This is not one of Hitchcock's classic movie but is still very good and worth catching.<|endoftext|> | [
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] | 290 | Barry Kane (Robert Cummings) is |
in Oregon. I was a little disappointed that it didn't get a lot of attention, but I was pleasantly surprised. It's a very good film, and I think it's a good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very good film for people who are interested in the history of the American West. It's a very | I saw this at the BendFilm Festival Friday amid an unsettled crowd of people, not helped by a poor decision by the planners of the event, who chose a totally inappropriate short film to precede the movie. And it really threw the audience when Modern Love came up after a light, whimsical short (name I forget). <br /><br />People!!! It was really silly to mix this short with Modern Love - which is a serious drama movie. A film film. <br /><br />So the audience gets the teaser which is a comedy and then...Modern Love. Hmmmm. Modern Love, despite my reservations (strange ending, a little too tangential)needed a short film that was commensurate with it's oddball strangeness, so my advice to the programmers for next year is to take more care planning the show.<br /><br />The folks watching Modern Love really just didn't know what had hit them, - they were led up the path and this is not their fault.<br /><br />Modern Love has some superb performances which play well against the tangential meanderings of the film - a film that its maker seems to have 'wondered out loud' rather than executed in the normal way a film is scripted and shot.<br /><br />Too bad the audience was misinformed. Wrong session placement, wrong short film, wrong approach by the well intentioned programmers, who, despite good efforts, need to see a lot more films and travel to some other festivals. | 1 | I saw this at the BendFilm Festival | Friday amid an unsettled crowd of people, not helped by a poor decision by the planners of the event, who chose a totally inappropriate short film to precede the movie. And it really threw the audience when Modern Love came up after a light, whimsical short (name I forget). <br /><br />People!!! It was really silly to mix this short with Modern Love - which is a serious drama movie. A film film. <br /><br />So the audience gets the teaser which is a comedy and then...Modern Love. Hmmmm. Modern Love, despite my reservations (strange ending, a little too tangential)needed a short film that was commensurate with it's oddball strangeness, so my advice to the programmers for next year is to take more care planning the show.<br /><br />The folks watching Modern Love really just didn't know what had hit them, - they were led up the path and this is not their fault.<br /><br />Modern Love has some superb performances which play well against the tangential meanderings of the film - a film that its maker seems to have 'wondered out loud' rather than executed in the normal way a film is scripted and shot.<br /><br />Too bad the audience was misinformed. Wrong session placement, wrong short film, wrong approach by the well intentioned programmers, who, despite good efforts, need to see a lot more films and travel to some other festivals. | [
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] | Friday amid an unsettled crowd of people, not helped by a poor decision by the planners of the event, who chose a totally inappropriate short film to precede the movie. And it really threw the audience when Modern Love came up after a light, whimsical short (name I forget). <br /><br />People!!! It was really silly to mix this short with Modern Love - which is a serious drama movie. A film film. <br /><br />So the audience gets the teaser which is a comedy and then...Modern Love. Hmmmm. Modern Love, despite my reservations (strange ending, a little too tangential)needed a short film that was commensurate with it's oddball strangeness, so my advice to the programmers for next year is to take more care planning the show.<br /><br />The folks watching Modern Love really just didn't know what had hit them, - they were led up the path and this is not their fault.<br /><br />Modern Love has some superb performances which play well against the tangential meanderings of the film - a film that its maker seems to have 'wondered out loud' rather than executed in the normal way a film is scripted and shot.<br /><br />Too bad the audience was misinformed. Wrong session placement, wrong short film, wrong approach by the well intentioned programmers, who, despite good efforts, need to see a lot more films and travel to some other festivals.<|endoftext|> | [
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] | 504 | I saw this at the BendFilm Festival Friday amid an unsettled crowd of people, not helped by a poor decision by the planners of the event, who chose a totally inappropriate short film to precede the movie. And it really threw the audience when Modern Love came up after a light, whimsical short (name I forget). <br /><br />People!!! It was really silly to mix this short with Modern Love - which is a serious drama movie. A film film. <br /><br />So the audience gets the teaser which is a comedy and then...Modern Love. Hmmmm. Modern Love, despite my reservations (strange ending, a little too tangential)needed a short film that was commensurate with it's oddball strangeness, so my advice to the programmers for next year is to take more care planning the show.<br /><br />The folks watching Modern Love really just didn't know what had hit them, - they were led up the path and this is not their fault.<br /><br />Modern Love has some superb performances which play well against the tangential meanderings of the film - a film that its maker seems to have 'wondered out loud' rather than executed in the normal way a film is scripted and shot.<br /><br />Too bad the audience was misinformed. Wrong session placement, wrong short film, wrong approach by the well intentioned programmers, who, despite good efforts, need to see a lot more films and travel to some other festivals.<|endoftext|> | [
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] | 314 | I saw this at the BendFilm Festival |
have seen this film many times and I have never seen it so well done. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema. It is a masterpiece of the cinema | Visconti's masterpiece! I admit that I am unfamiliar with much of his work but I cannot imagine his other work surpassing this fabulous film. Last night I watched Death in Venice after an absence of about 25 years and was totally captivated by all that I saw. This captivation was a pastiche composed of many elements: The extraordinary shots directed by Visconte, primarily his love of long, languorous shots of people dining, swimming, walking and containing a significant character passing through this mass of people; the cinematographers brilliant interpretation of Visconti's shot selection; the acting by the principles without over-riding dialog and conveying the scenes complexity through facial features alone.<br /><br />It is true: young people watching this film for the first time must be aware that they are watching a unique film, a film that could not be made in 2006. A film whose time rests in those brief handful of years in the Sixties and early Seventies of the last century when artistic license was passed to film directors and money-men took secondary roles. As many of the recent IMDb commentator's have written, this film, in their judgment, is long, boring (too little action) and pretentious. I suppose by the standards of Hollywood pap, these comments contain merit. Unfortunately they tragically minimize the amazing beauty and depth of this work and others like it from those years.<br /><br />Please, if you have not seen Death in Venice, rent a copy and immerse yourself in a film and story from another time. You will be rewarded. | 1 | Visconti's masterpiece! I | admit that I am unfamiliar with much of his work but I cannot imagine his other work surpassing this fabulous film. Last night I watched Death in Venice after an absence of about 25 years and was totally captivated by all that I saw. This captivation was a pastiche composed of many elements: The extraordinary shots directed by Visconte, primarily his love of long, languorous shots of people dining, swimming, walking and containing a significant character passing through this mass of people; the cinematographers brilliant interpretation of Visconti's shot selection; the acting by the principles without over-riding dialog and conveying the scenes complexity through facial features alone.<br /><br />It is true: young people watching this film for the first time must be aware that they are watching a unique film, a film that could not be made in 2006. A film whose time rests in those brief handful of years in the Sixties and early Seventies of the last century when artistic license was passed to film directors and money-men took secondary roles. As many of the recent IMDb commentator's have written, this film, in their judgment, is long, boring (too little action) and pretentious. I suppose by the standards of Hollywood pap, these comments contain merit. Unfortunately they tragically minimize the amazing beauty and depth of this work and others like it from those years.<br /><br />Please, if you have not seen Death in Venice, rent a copy and immerse yourself in a film and story from another time. You will be rewarded. | [
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] | admit that I am unfamiliar with much of his work but I cannot imagine his other work surpassing this fabulous film. Last night I watched Death in Venice after an absence of about 25 years and was totally captivated by all that I saw. This captivation was a pastiche composed of many elements: The extraordinary shots directed by Visconte, primarily his love of long, languorous shots of people dining, swimming, walking and containing a significant character passing through this mass of people; the cinematographers brilliant interpretation of Visconti's shot selection; the acting by the principles without over-riding dialog and conveying the scenes complexity through facial features alone.<br /><br />It is true: young people watching this film for the first time must be aware that they are watching a unique film, a film that could not be made in 2006. A film whose time rests in those brief handful of years in the Sixties and early Seventies of the last century when artistic license was passed to film directors and money-men took secondary roles. As many of the recent IMDb commentator's have written, this film, in their judgment, is long, boring (too little action) and pretentious. I suppose by the standards of Hollywood pap, these comments contain merit. Unfortunately they tragically minimize the amazing beauty and depth of this work and others like it from those years.<br /><br />Please, if you have not seen Death in Venice, rent a copy and immerse yourself in a film and story from another time. You will be rewarded.<|endoftext|> | [
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] | 504 | Visconti's masterpiece! I admit that I am unfamiliar with much of his work but I cannot imagine his other work surpassing this fabulous film. Last night I watched Death in Venice after an absence of about 25 years and was totally captivated by all that I saw. This captivation was a pastiche composed of many elements: The extraordinary shots directed by Visconte, primarily his love of long, languorous shots of people dining, swimming, walking and containing a significant character passing through this mass of people; the cinematographers brilliant interpretation of Visconti's shot selection; the acting by the principles without over-riding dialog and conveying the scenes complexity through facial features alone.<br /><br />It is true: young people watching this film for the first time must be aware that they are watching a unique film, a film that could not be made in 2006. A film whose time rests in those brief handful of years in the Sixties and early Seventies of the last century when artistic license was passed to film directors and money-men took secondary roles. As many of the recent IMDb commentator's have written, this film, in their judgment, is long, boring (too little action) and pretentious. I suppose by the standards of Hollywood pap, these comments contain merit. Unfortunately they tragically minimize the amazing beauty and depth of this work and others like it from those years.<br /><br />Please, if you have not seen Death in Venice, rent a copy and immerse yourself in a film and story from another time. You will be rewarded.<|endoftext|> | [
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] | 326 | Visconti's masterpiece! I |
movie ever. I love this movie. It's funny, it's scary, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's sad, it's funny, it's | Worst horror film ever but funniest film ever rolled in one you have got to see this film it is so cheap it is unbeliaveble but you have to see it really!!!! P.s watch the carrot | 1 | Worst horror film ever but funniest | film ever rolled in one you have got to see this film it is so cheap it is unbeliaveble but you have to see it really!!!! P.s watch the carrot | [
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] | 46 | Worst horror film ever but funniest |
the most underrated films of all time. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart and a lot of heart-warming moments. It's a film that has a lot of heart | Gone with the wind is one of the most popular books ever printed . It is by far the movie of all movies . The romance between Scarlett and Rhett made people dream all over the world and turned the lead actors into cinematographic icons . One can ask , is it really necessary to make a sequel ? And ... there are some big shoes to fill .<br /><br />Well , there was the book first . 'Scarlett' by Alexandra Ripley is , we have to admit , well-written and fully respecting the world created by Margaret Mitchell . She picks up exactly where we left our heroine previously and gently leads us from Mitchell's heritage into her own fantasy . In the book Scarlett , defeated after Melanie's death and Rhett's leaving , travels to Charleston to reside with her mother-in-law in hope of regaining Rhett's love . Her typical manipulative behavior evokes once again a lot of criticism from Rhett and drives them further apart ... until a certain boat trip that will change everything . Scarlett now carries a secret . The series follows the book quite accurately until the arrival of Scarlett in Ireland . From then of , book and series slowly split ways . The actual end differs , but of course the both have Scarlett and Rhett back together .<br /><br />The production of the series was announced with a worldwide search for the next Scarlett O'Hara . Many countries made their own television shows featuring young actresses auditioning for the part . Eventually , about twelve girls were chosen to participate in the final screen tests and interviews in Atlanta , Georgia . Unfortunately , the producer found no Scarlett amongst these actresses . Sad for the girls , major publicity for the show ( it was already sold to many television stations worldwide before shooting even had started ). Robert Halmi , the producer who bought the rights to 'Scarlett' , told he discovered the right actress while watching TV , gave her a call and two days later signed the deal . Joanne Whalley-Kilmer ( who starred in'Willow' and 'Scandal' , the latest being the movie Robert Halmi was watching that faithful evening )is not Vivien Leigh , but she certainly is Scarlett ! Her performance is not a copy of Leigh's , she makes the character her own . The major difference between GWTW and 'Scarlett' is the fact the lead character evolves and grows as a person . This is the series prerogative , why copying something that has been done before ? Considering there is a gap of almost seventy years between the first and second storyline , it is natural that both authors emphasize on different aspects of the characters . Whereas Mitchell works around Scarlett dealing with the consequences of the civil war and fighting for Tara , Ripley lets Scarlett face her demons . This to me , is the most interesting aspect of the series , we get to know Scarlett in a different way as she learns that not everything can always go the way she wants . I totally agree with the choice of Timothy Dalton as Rhett Butler . He portrays him with charm and irony and is less of a cardboard figure than Clark Gable's performance . The rest of the cast was well chosen . Julie Harris is endearing as Rhett's mother , John Gielgud gives a very amusing performance as grandfather Robillard and Sean Bean is always at his best playing a dirty character , his Lord Fenton makes no exception . Poor choices however with Stephen Collins as Ashley and Ann-Margret's adaption of Belle Watling was a waste of money . Costumes , sets and locations are elaborate and convincing . The newly built Tara set looked exactly the same and it is a moving sequence in the series when the house appears for the first time .<br /><br />Is there a point in making a sequel ... Well , six hours of romance are to me . One to watch ! | 1 | Gone with the wind is one of | the most popular books ever printed . It is by far the movie of all movies . The romance between Scarlett and Rhett made people dream all over the world and turned the lead actors into cinematographic icons . One can ask , is it really necessary to make a sequel ? And ... there are some big shoes to fill .<br /><br />Well , there was the book first . 'Scarlett' by Alexandra Ripley is , we have to admit , well-written and fully respecting the world created by Margaret Mitchell . She picks up exactly where we left our heroine previously and gently leads us from Mitchell's heritage into her own fantasy . In the book Scarlett , defeated after Melanie's death and Rhett's leaving , travels to Charleston to reside with her mother-in-law in hope of regaining Rhett's love . Her typical manipulative behavior evokes once again a lot of criticism from Rhett and drives them further apart ... until a certain boat trip that will change everything . Scarlett now carries a secret . The series follows the book quite accurately until the arrival of Scarlett in Ireland . From then of , book and series slowly split ways . The actual end differs , but of course the both have Scarlett and Rhett back together .<br /><br />The production of the series was announced with a worldwide search for the next Scarlett O'Hara . Many countries made their own television shows featuring young actresses auditioning for the part . Eventually , about twelve girls were chosen to participate in the final screen tests and interviews in Atlanta , Georgia . Unfortunately , the producer found no Scarlett amongst these actresses . Sad for the girls , major publicity for the show ( it was already sold to many television stations worldwide before shooting even had started ). Robert Halmi , the producer who bought the rights to 'Scarlett' , told he discovered the right actress while watching TV , gave her a call and two days later signed the deal . Joanne Whalley-Kilmer ( who starred in'Willow' and 'Scandal' , the latest being the movie Robert Halmi was watching that faithful evening )is not Vivien Leigh , but she certainly is Scarlett ! Her performance is not a copy of Leigh's , she makes the character her own . The major difference between GWTW and 'Scarlett' is the fact the lead character evolves and grows as a person . This is the series prerogative , why copying something that has been done before ? Considering there is a gap of almost seventy years between the first and second storyline , it is natural that both authors emphasize on different aspects of the characters . Whereas Mitchell works around Scarlett dealing with the consequences of the civil war and fighting for Tara , Ripley lets Scarlett face her demons . This to me , is the most interesting aspect of the series , we get to know Scarlett in a different way as she learns that not everything can always go the way she wants . I totally agree with the choice of Timothy Dalton as Rhett Butler . He portrays him with charm and irony and is less of a cardboard figure than Clark Gable's performance . The rest of the cast was well chosen . Julie Harris is endearing as Rhett's mother , John Gielgud gives a very amusing performance as grandfather Robillard and Sean Bean is always at his best playing a dirty character , his Lord Fenton makes no exception . Poor choices however with Stephen Collins as Ashley and Ann-Margret's adaption of Belle Watling was a waste of money . Costumes , sets and locations are elaborate and convincing . The newly built Tara set looked exactly the same and it is a moving sequence in the series when the house appears for the first time .<br /><br />Is there a point in making a sequel ... Well , six hours of romance are to me . One to watch ! | [
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] | the most popular books ever printed . It is by far the movie of all movies . The romance between Scarlett and Rhett made people dream all over the world and turned the lead actors into cinematographic icons . One can ask , is it really necessary to make a sequel ? And ... there are some big shoes to fill .<br /><br />Well , there was the book first . 'Scarlett' by Alexandra Ripley is , we have to admit , well-written and fully respecting the world created by Margaret Mitchell . She picks up exactly where we left our heroine previously and gently leads us from Mitchell's heritage into her own fantasy . In the book Scarlett , defeated after Melanie's death and Rhett's leaving , travels to Charleston to reside with her mother-in-law in hope of regaining Rhett's love . Her typical manipulative behavior evokes once again a lot of criticism from Rhett and drives them further apart ... until a certain boat trip that will change everything . Scarlett now carries a secret . The series follows the book quite accurately until the arrival of Scarlett in Ireland . From then of , book and series slowly split ways . The actual end differs , but of course the both have Scarlett and Rhett back together .<br /><br />The production of the series was announced with a worldwide search for the next Scarlett O'Hara . Many countries made their own television shows featuring young actresses auditioning for the part . Eventually , about twelve girls were chosen to participate in the final screen tests and interviews in Atlanta , Georgia . Unfortunately , the producer found no Scarlett amongst these actresses . Sad for the girls , major publicity for the show ( it was already sold to many television stations worldwide before shooting even had started ). Robert Halmi , the producer who bought the rights to 'Scarlett' , told he discovered the right actress while watching TV , gave her a call and two days later signed the deal . Joanne Whalley-Kilmer ( who starred in'Willow' and 'Scandal' , the latest being the movie Robert Halmi was watching that faithful evening )is not Vivien Leigh , but she certainly is Scarlett ! Her performance is not a copy of Leigh's , she makes the character her own . The major difference between GWTW and 'Scarlett' is the fact the lead character evolves and grows as a person . This is the series prerogative , why copying something that has been done before ? Considering there is a gap of almost seventy years between the first and second storyline , it is natural that both authors emphasize on different aspects of the characters . Whereas Mitchell works around Scarlett dealing with the consequences of the civil war and fighting for Tara , Ripley lets Scarlett face her demons . This to me , is the most interesting aspect of the series , we get to know Scarlett in a different way as she learns that not everything can always go the way she wants . I totally agree with the choice of Timothy Dalton as Rhett Butler . He portrays him with charm and irony and is less of a cardboard figure than Clark Gable's performance . The rest of the cast was well chosen . Julie Harris is endearing as Rhett's mother , John Gielgud gives a very amusing performance as grandfather Robillard and Sean Bean is always at his best playing a dirty character , his Lord Fenton makes no exception . Poor choices however with Stephen Collins as Ashley and Ann-Margret's adaption of Belle Watling was a waste of money . Costumes , sets and locations are elaborate and convincing . The newly built Tara set looked exactly the same and it is a moving sequence in the series when the house appears for the first time .<br /><br />Is there a point in making a sequel ... Well , six hours of romance are to me . One to watch !<|endoftext|> | [
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] | 504 | Gone with the wind is one of the most popular books ever printed . It is by far the movie of all movies . The romance between Scarlett and Rhett made people dream all over the world and turned the lead actors into cinematographic icons . One can ask , is it really necessary to make a sequel ? And ... there are some big shoes to fill .<br /><br />Well , there was the book first . 'Scarlett' by Alexandra Ripley is , we have to admit , well-written and fully respecting the world created by Margaret Mitchell . She picks up exactly where we left our heroine previously and gently leads us from Mitchell's heritage into her own fantasy . In the book Scarlett , defeated after Melanie's death and Rhett's leaving , travels to Charleston to reside with her mother-in-law in hope of regaining Rhett's love . Her typical manipulative behavior evokes once again a lot of criticism from Rhett and drives them further apart ... until a certain boat trip that will change everything . Scarlett now carries a secret . The series follows the book quite accurately until the arrival of Scarlett in Ireland . From then of , book and series slowly split ways . The actual end differs , but of course the both have Scarlett and Rhett back together .<br /><br />The production of the series was announced with a worldwide search for the next Scarlett O'Hara . Many countries made their own television shows featuring young actresses auditioning for the part . Eventually , about twelve girls were chosen to participate in the final screen tests and interviews in Atlanta , Georgia . Unfortunately , the producer found no Scarlett amongst these actresses . Sad for the girls , major publicity for the show ( it was already sold to many television stations worldwide before shooting even had started ). Robert Halmi , the producer who bought the rights to 'Scarlett' , told he discovered the right actress while watching TV , gave her a call and two days later signed the deal . Joanne Whalley-Kilmer ( who starred in'Willow' and 'Scandal' , the latest being the movie Robert Halmi was watching that faithful evening )is not Vivien Leigh , but she certainly is Scarlett ! Her performance is not a copy of Leigh's , she makes the character her own . The major difference between GWTW and 'Scarlett' is the fact the lead character evolves and grows as a person . This is the series prerogative , why copying something that has been done before ? Considering there is a gap of almost seventy years between the first and second storyline , it is natural that both authors emphasize on different aspects of the characters . Whereas Mitchell works around Scarlett dealing with the consequences of the civil war and fighting for Tara , Ripley lets Scarlett face her demons . This to me , is the most interesting aspect of the series , we get to know Scarlett in a different way as she learns that not everything can always go the way she wants . I totally agree with the choice of Timothy Dalton as Rhett Butler . He portrays him with charm and irony and is less of a cardboard figure than Clark Gable's performance . The rest of the cast was well chosen . Julie Harris is endearing as Rhett's mother , John Gielgud gives a very amusing performance as grandfather Robillard and Sean Bean is always at his best playing a dirty character , his Lord Fenton makes no exception . Poor choices however with Stephen Collins as Ashley and Ann-Margret's adaption of Belle Watling was a waste of money . Costumes , sets and locations are elaborate and convincing . The newly built Tara set looked exactly the same and it is a moving sequence in the series when the house appears for the first time .<br /><br />Is there a point in making a sequel ... Well , six hours of romance are to me . One to watch !<|endoftext|> | [
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the rest of the cast. This is the best anime I have seen in a long time. The story is very well done and the animation is very good. The characters are very well drawn and the story is very well told. The music is very good and the voice acting is very good. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very well told and the characters are very well drawn. The story is very | Forget Samara/Sadako and Jason...<br /><br />Horror has a new name : GRANNY. The plot is simple but efficient. The actors are good (two thumbs up for "Michelle" and the killer) and the dialogs are even quite clever. From the beginning to the end, the action will leave you breathless, you just can't escape it... There is blood, awful murders, funny moments, and a sense of perversity that goes far beyond any rule. "Deja vu" ? Surely NOT : "Granny" is not another slash movie, it's truly a classic of its own... It deserves the success it had and there's even more success to come with its re-release. Congrats! | 1 | Forget Samara/Sadako and | Jason...<br /><br />Horror has a new name : GRANNY. The plot is simple but efficient. The actors are good (two thumbs up for "Michelle" and the killer) and the dialogs are even quite clever. From the beginning to the end, the action will leave you breathless, you just can't escape it... There is blood, awful murders, funny moments, and a sense of perversity that goes far beyond any rule. "Deja vu" ? Surely NOT : "Granny" is not another slash movie, it's truly a classic of its own... It deserves the success it had and there's even more success to come with its re-release. Congrats! | [
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] | Jason...<br /><br />Horror has a new name : GRANNY. The plot is simple but efficient. The actors are good (two thumbs up for "Michelle" and the killer) and the dialogs are even quite clever. From the beginning to the end, the action will leave you breathless, you just can't escape it... There is blood, awful murders, funny moments, and a sense of perversity that goes far beyond any rule. "Deja vu" ? Surely NOT : "Granny" is not another slash movie, it's truly a classic of its own... It deserves the success it had and there's even more success to come with its re-release. Congrats!<|endoftext|> | [
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] | 504 | Forget Samara/Sadako and Jason...<br /><br />Horror has a new name : GRANNY. The plot is simple but efficient. The actors are good (two thumbs up for "Michelle" and the killer) and the dialogs are even quite clever. From the beginning to the end, the action will leave you breathless, you just can't escape it... There is blood, awful murders, funny moments, and a sense of perversity that goes far beyond any rule. "Deja vu" ? Surely NOT : "Granny" is not another slash movie, it's truly a classic of its own... It deserves the success it had and there's even more success to come with its re-release. Congrats!<|endoftext|> | [
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] | 159 | Forget Samara/Sadako and |
but it can also be a visual one. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb. The film is a visual feast, and the cinematography is superb | Film certainly can be a narrative medium, but by no means is it the ideal medium. Literature best carries a plot, because the reader can supply the imagination necessary to complete the structure. Film is appreciated best when viewed for what it is: a series of images grouped together. What Soderbergh does in Ocean's Twelve is combine impeccable film-making technique with the free-flowing form of American movies from the 1970s. From looking at the comments posted recently, most people went in expecting a standard-issue heist movie, a la Entrapment; it seems people actually miss the tiresome clichés of romance disguised as tension between the leads and ridiculous plot twists designed to keep the audience awake. Soderbergh's directing prowess is reason alone to see this movie, but close-ups of Pitt and Zeta-Jones forty feet high on the screen don't hurt either. A true treat for those who love the flickering of lights on the silver screen, and a disappointment for those trying to make film something it's not. | 1 | Film certainly can be a narrative medium, | but by no means is it the ideal medium. Literature best carries a plot, because the reader can supply the imagination necessary to complete the structure. Film is appreciated best when viewed for what it is: a series of images grouped together. What Soderbergh does in Ocean's Twelve is combine impeccable film-making technique with the free-flowing form of American movies from the 1970s. From looking at the comments posted recently, most people went in expecting a standard-issue heist movie, a la Entrapment; it seems people actually miss the tiresome clichés of romance disguised as tension between the leads and ridiculous plot twists designed to keep the audience awake. Soderbergh's directing prowess is reason alone to see this movie, but close-ups of Pitt and Zeta-Jones forty feet high on the screen don't hurt either. A true treat for those who love the flickering of lights on the silver screen, and a disappointment for those trying to make film something it's not. | [
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] | but by no means is it the ideal medium. Literature best carries a plot, because the reader can supply the imagination necessary to complete the structure. Film is appreciated best when viewed for what it is: a series of images grouped together. What Soderbergh does in Ocean's Twelve is combine impeccable film-making technique with the free-flowing form of American movies from the 1970s. From looking at the comments posted recently, most people went in expecting a standard-issue heist movie, a la Entrapment; it seems people actually miss the tiresome clichés of romance disguised as tension between the leads and ridiculous plot twists designed to keep the audience awake. Soderbergh's directing prowess is reason alone to see this movie, but close-ups of Pitt and Zeta-Jones forty feet high on the screen don't hurt either. A true treat for those who love the flickering of lights on the silver screen, and a disappointment for those trying to make film something it's not.<|endoftext|> | [
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] | 504 | Film certainly can be a narrative medium, but by no means is it the ideal medium. Literature best carries a plot, because the reader can supply the imagination necessary to complete the structure. Film is appreciated best when viewed for what it is: a series of images grouped together. What Soderbergh does in Ocean's Twelve is combine impeccable film-making technique with the free-flowing form of American movies from the 1970s. From looking at the comments posted recently, most people went in expecting a standard-issue heist movie, a la Entrapment; it seems people actually miss the tiresome clichés of romance disguised as tension between the leads and ridiculous plot twists designed to keep the audience awake. Soderbergh's directing prowess is reason alone to see this movie, but close-ups of Pitt and Zeta-Jones forty feet high on the screen don't hurt either. A true treat for those who love the flickering of lights on the silver screen, and a disappointment for those trying to make film something it's not.<|endoftext|> | [
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] | 213 | Film certainly can be a narrative medium, |
' films, I was expecting this to be a typical Coen Brothers film. I was wrong. I was pleasantly surprised. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly surprised that the Coen Brothers were able to make a film that was so good. I was also pleasantly | Having seen most of the Coen Brothers previous films I expected something different and slighty off centre. OBWAT is certainly those things, but it also has a heart as big as..well..as big as Mississippi. It is one of the most plainly enjoyable movies to have come out in recent times, intelligent, well-crafted, clever and superbly acted.<br /><br />Characters are delivered in their myriad shades by a group of marvellous actors. George Clooney winning me over completely with his Clark Gable-ish looks and character. Having only ever seen him in Three Kings and his Thin Red Line cameo, I am now a fan. More comedy please George.<br /><br />John Tuturro and Tim Blake Nelson ably assist, especially Nelson. If ever "The Simpsons" is made into a movie then he must be a natural to play Cletus the slack-jawed yokel. I don't think there is a performance that falls short of excellent from the entire cast. My special favorite is Stephen Root as the blind Radio Station Man.<br /><br />Great old-timey music, a jiggy type dance by Clooney that I am trying to learn, and a feel of depression era southern US enhanced by sepia-like photography make this the best movie I've see so far this century. The only drawback to the film is that it has almost sent me broke buying the soundtrack, the DVD and a DVD player to play it on....it's THAT good!<br /><br /> | 1 | Having seen most of the Coen Brothers | previous films I expected something different and slighty off centre. OBWAT is certainly those things, but it also has a heart as big as..well..as big as Mississippi. It is one of the most plainly enjoyable movies to have come out in recent times, intelligent, well-crafted, clever and superbly acted.<br /><br />Characters are delivered in their myriad shades by a group of marvellous actors. George Clooney winning me over completely with his Clark Gable-ish looks and character. Having only ever seen him in Three Kings and his Thin Red Line cameo, I am now a fan. More comedy please George.<br /><br />John Tuturro and Tim Blake Nelson ably assist, especially Nelson. If ever "The Simpsons" is made into a movie then he must be a natural to play Cletus the slack-jawed yokel. I don't think there is a performance that falls short of excellent from the entire cast. My special favorite is Stephen Root as the blind Radio Station Man.<br /><br />Great old-timey music, a jiggy type dance by Clooney that I am trying to learn, and a feel of depression era southern US enhanced by sepia-like photography make this the best movie I've see so far this century. The only drawback to the film is that it has almost sent me broke buying the soundtrack, the DVD and a DVD player to play it on....it's THAT good!<br /><br /> | [
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] | [
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] | previous films I expected something different and slighty off centre. OBWAT is certainly those things, but it also has a heart as big as..well..as big as Mississippi. It is one of the most plainly enjoyable movies to have come out in recent times, intelligent, well-crafted, clever and superbly acted.<br /><br />Characters are delivered in their myriad shades by a group of marvellous actors. George Clooney winning me over completely with his Clark Gable-ish looks and character. Having only ever seen him in Three Kings and his Thin Red Line cameo, I am now a fan. More comedy please George.<br /><br />John Tuturro and Tim Blake Nelson ably assist, especially Nelson. If ever "The Simpsons" is made into a movie then he must be a natural to play Cletus the slack-jawed yokel. I don't think there is a performance that falls short of excellent from the entire cast. My special favorite is Stephen Root as the blind Radio Station Man.<br /><br />Great old-timey music, a jiggy type dance by Clooney that I am trying to learn, and a feel of depression era southern US enhanced by sepia-like photography make this the best movie I've see so far this century. The only drawback to the film is that it has almost sent me broke buying the soundtrack, the DVD and a DVD player to play it on....it's THAT good!<br /><br /><|endoftext|> | [
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with the greats of the music business. It's a great way to learn about the people who have made the music business what it is today. The interviews are very well done and the interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The interviews with the people who have made the music business what it is today are very interesting. The | This is a great compendium of interviews and excerpts form the films of the late sixties and early 70s that were a counter movement to the big Studio Films of the late sixties. Directed by Ted Demme, it is obviously a labor of love of the films of the period, but it gives short shrift to the masterpieces of the times.<br /><br />Many of the filmmakers of this period were influenced by Truffaut, Antonioni, Fellini, Bergman, and of course John Cassavetes. Unfortunately the documentary logging in at 138 minutes is too short! The film is rich with interviews and opinions of filmmakers. Some of the people interviewed are: Martin Scorsese, Francis Coppola, Robert Altman, Peter Bogdonovich, Ellen Burstyn, and Roger Corman, Bruce Dern, Sydney Pollack, Dennis Hopper, and Jon Voight.<br /><br />Bruce Dern has a moment of truth when he says that he and Jack Nicholson may not have been as good looking as the other stars that came before them but they were "interesting". This summarizes the other areas of this period of film-making in American history.<br /><br />The filmmakers were dealing with a lack of funding from the Studios because they were expressing unconventional attitudes about politics, sex, drugs, gender and race issues, and Americas involvement in overseas conflicts like the Vietnam War.<br /><br />There is a great interview with Francis Coppola saying that he got the chance to make "The Conversation" because the producers knew he had been trained by Roger Corman to make a movie with nothing so they bankrolled his film.<br /><br />Another interview is with Jon Voight who was directed by Hal Ashby in "Coming Home" a clear anti-war film about a crippled soldier immersing himself back into society after his facing battle. Voight talks about how his working methods helped him achieve an emotional telling point when Ashby said that they were doing a "rehearsal" take and it ended up being the take used in the film- it was better because it was so un-rehearsed and not drained of its freshness by being over-rehearsed.<br /><br />There are also many fine excerpts from Al Pacino's break-through film "The Panic in Needle Park", and interviews from Dennis Hopper on the making of "Easy Rider", and interviews from Sydney Pollack about making films.<br /><br />All in all the documentary is a fine jumping off point for any film lover who wants to see great examples of what the new voices in film were like in the Seventies. Many of the Sundance Folks, where this film made a big splash, are unaware of just how much the Independent Film Maker today owes to the films of John Cassavetes, Milos Foreman, William Friedkin, and Roger Corman.<br /><br />Rent it from your favorite shop. It will at least perk you up to some films you may not have seen before and can enjoy today. Amazon.com has it for as little as $11.50, if you want to buy right out. | 1 | This is a great compendium of interviews | and excerpts form the films of the late sixties and early 70s that were a counter movement to the big Studio Films of the late sixties. Directed by Ted Demme, it is obviously a labor of love of the films of the period, but it gives short shrift to the masterpieces of the times.<br /><br />Many of the filmmakers of this period were influenced by Truffaut, Antonioni, Fellini, Bergman, and of course John Cassavetes. Unfortunately the documentary logging in at 138 minutes is too short! The film is rich with interviews and opinions of filmmakers. Some of the people interviewed are: Martin Scorsese, Francis Coppola, Robert Altman, Peter Bogdonovich, Ellen Burstyn, and Roger Corman, Bruce Dern, Sydney Pollack, Dennis Hopper, and Jon Voight.<br /><br />Bruce Dern has a moment of truth when he says that he and Jack Nicholson may not have been as good looking as the other stars that came before them but they were "interesting". This summarizes the other areas of this period of film-making in American history.<br /><br />The filmmakers were dealing with a lack of funding from the Studios because they were expressing unconventional attitudes about politics, sex, drugs, gender and race issues, and Americas involvement in overseas conflicts like the Vietnam War.<br /><br />There is a great interview with Francis Coppola saying that he got the chance to make "The Conversation" because the producers knew he had been trained by Roger Corman to make a movie with nothing so they bankrolled his film.<br /><br />Another interview is with Jon Voight who was directed by Hal Ashby in "Coming Home" a clear anti-war film about a crippled soldier immersing himself back into society after his facing battle. Voight talks about how his working methods helped him achieve an emotional telling point when Ashby said that they were doing a "rehearsal" take and it ended up being the take used in the film- it was better because it was so un-rehearsed and not drained of its freshness by being over-rehearsed.<br /><br />There are also many fine excerpts from Al Pacino's break-through film "The Panic in Needle Park", and interviews from Dennis Hopper on the making of "Easy Rider", and interviews from Sydney Pollack about making films.<br /><br />All in all the documentary is a fine jumping off point for any film lover who wants to see great examples of what the new voices in film were like in the Seventies. Many of the Sundance Folks, where this film made a big splash, are unaware of just how much the Independent Film Maker today owes to the films of John Cassavetes, Milos Foreman, William Friedkin, and Roger Corman.<br /><br />Rent it from your favorite shop. It will at least perk you up to some films you may not have seen before and can enjoy today. Amazon.com has it for as little as $11.50, if you want to buy right out. | [
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] | and excerpts form the films of the late sixties and early 70s that were a counter movement to the big Studio Films of the late sixties. Directed by Ted Demme, it is obviously a labor of love of the films of the period, but it gives short shrift to the masterpieces of the times.<br /><br />Many of the filmmakers of this period were influenced by Truffaut, Antonioni, Fellini, Bergman, and of course John Cassavetes. Unfortunately the documentary logging in at 138 minutes is too short! The film is rich with interviews and opinions of filmmakers. Some of the people interviewed are: Martin Scorsese, Francis Coppola, Robert Altman, Peter Bogdonovich, Ellen Burstyn, and Roger Corman, Bruce Dern, Sydney Pollack, Dennis Hopper, and Jon Voight.<br /><br />Bruce Dern has a moment of truth when he says that he and Jack Nicholson may not have been as good looking as the other stars that came before them but they were "interesting". This summarizes the other areas of this period of film-making in American history.<br /><br />The filmmakers were dealing with a lack of funding from the Studios because they were expressing unconventional attitudes about politics, sex, drugs, gender and race issues, and Americas involvement in overseas conflicts like the Vietnam War.<br /><br />There is a great interview with Francis Coppola saying that he got the chance to make "The Conversation" because the producers knew he had been trained by Roger Corman to make a movie with nothing so they bankrolled his film.<br /><br />Another interview is with Jon Voight who was directed by Hal Ashby in "Coming Home" a clear anti-war film about a crippled soldier immersing himself back into society after his facing battle. Voight talks about how his working methods helped him achieve an emotional telling point when Ashby said that they were doing a "rehearsal" take and it ended up being the take used in the film- it was better because it was so un-rehearsed and not drained of its freshness by being over-rehearsed.<br /><br />There are also many fine excerpts from Al Pacino's break-through film "The Panic in Needle Park", and interviews from Dennis Hopper on the making of "Easy Rider", and interviews from Sydney Pollack about making films.<br /><br />All in all the documentary is a fine jumping off point for any film lover who wants to see great examples of what the new voices in film were like in the Seventies. Many of the Sundance Folks, where this film made a big splash, are unaware of just how much the Independent Film Maker today owes to the films of John Cassavetes, Milos Foreman, William Friedkin, and Roger Corman.<br /><br />Rent it from your favorite shop. It will at least perk you up to some films you may not have seen before and can enjoy today. Amazon.com has it for as little as $11.50, if you want to buy right out.<|endoftext|> | [
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] | 504 | This is a great compendium of interviews and excerpts form the films of the late sixties and early 70s that were a counter movement to the big Studio Films of the late sixties. Directed by Ted Demme, it is obviously a labor of love of the films of the period, but it gives short shrift to the masterpieces of the times.<br /><br />Many of the filmmakers of this period were influenced by Truffaut, Antonioni, Fellini, Bergman, and of course John Cassavetes. Unfortunately the documentary logging in at 138 minutes is too short! The film is rich with interviews and opinions of filmmakers. Some of the people interviewed are: Martin Scorsese, Francis Coppola, Robert Altman, Peter Bogdonovich, Ellen Burstyn, and Roger Corman, Bruce Dern, Sydney Pollack, Dennis Hopper, and Jon Voight.<br /><br />Bruce Dern has a moment of truth when he says that he and Jack Nicholson may not have been as good looking as the other stars that came before them but they were "interesting". This summarizes the other areas of this period of film-making in American history.<br /><br />The filmmakers were dealing with a lack of funding from the Studios because they were expressing unconventional attitudes about politics, sex, drugs, gender and race issues, and Americas involvement in overseas conflicts like the Vietnam War.<br /><br />There is a great interview with Francis Coppola saying that he got the chance to make "The Conversation" because the producers knew he had been trained by Roger Corman to make a movie with nothing so they bankrolled his film.<br /><br />Another interview is with Jon Voight who was directed by Hal Ashby in "Coming Home" a clear anti-war film about a crippled soldier immersing himself back into society after his facing battle. Voight talks about how his working methods helped him achieve an emotional telling point when Ashby said that they were doing a "rehearsal" take and it ended up being the take used in the film- it was better because it was so un-rehearsed and not drained of its freshness by being over-rehearsed.<br /><br />There are also many fine excerpts from Al Pacino's break-through film "The Panic in Needle Park", and interviews from Dennis Hopper on the making of "Easy Rider", and interviews from Sydney Pollack about making films.<br /><br />All in all the documentary is a fine jumping off point for any film lover who wants to see great examples of what the new voices in film were like in the Seventies. Many of the Sundance Folks, where this film made a big splash, are unaware of just how much the Independent Film Maker today owes to the films of John Cassavetes, Milos Foreman, William Friedkin, and Roger Corman.<br /><br />Rent it from your favorite shop. It will at least perk you up to some films you may not have seen before and can enjoy today. Amazon.com has it for as little as $11.50, if you want to buy right out.<|endoftext|> | [
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] | 660 | This is a great compendium of interviews |
-writing the history of the world, and he's done a great job. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the world is a fascinating one, and the characters are all fascinating. The story of the | Russell T Davies has been tasked with re-creating a slice of my childhood: hiding behind the sofa, watching scary monsters battle with Dr Who. He, and his crew, are clearly all true devotees of the original series.<br /><br />In much the same way as the Star Trek movies used their budget to make the Gene Rodenberry's original concept far more believable, Russell T Davies has both money and the advantages of excellent CGI to create the best monsters ever. I am sure that this series was made with a budget that anticipated both export and DVD sales and it really feels as if no expense was spared.<br /><br />The accompanying series Dr Who Confidential shows the work that goes into each episode which is a really useful behind the scenes insight. Interviews with the cast and writers help retell the story from each characters perspective and are far more useful than simply watching the whole programme over again.<br /><br />How does David Tenant rank in the pantheon of his illustrious predecessors? Time will tell but tonight, seeing Billie Piper play alongside Elisabeth Sladen, who was the Doctor's companion in the 1970's confirm that she has both the acting ability, screen presence and script to be the No. 1. | 1 | Russell T Davies has been tasked with re | -creating a slice of my childhood: hiding behind the sofa, watching scary monsters battle with Dr Who. He, and his crew, are clearly all true devotees of the original series.<br /><br />In much the same way as the Star Trek movies used their budget to make the Gene Rodenberry's original concept far more believable, Russell T Davies has both money and the advantages of excellent CGI to create the best monsters ever. I am sure that this series was made with a budget that anticipated both export and DVD sales and it really feels as if no expense was spared.<br /><br />The accompanying series Dr Who Confidential shows the work that goes into each episode which is a really useful behind the scenes insight. Interviews with the cast and writers help retell the story from each characters perspective and are far more useful than simply watching the whole programme over again.<br /><br />How does David Tenant rank in the pantheon of his illustrious predecessors? Time will tell but tonight, seeing Billie Piper play alongside Elisabeth Sladen, who was the Doctor's companion in the 1970's confirm that she has both the acting ability, screen presence and script to be the No. 1. | [
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] | -creating a slice of my childhood: hiding behind the sofa, watching scary monsters battle with Dr Who. He, and his crew, are clearly all true devotees of the original series.<br /><br />In much the same way as the Star Trek movies used their budget to make the Gene Rodenberry's original concept far more believable, Russell T Davies has both money and the advantages of excellent CGI to create the best monsters ever. I am sure that this series was made with a budget that anticipated both export and DVD sales and it really feels as if no expense was spared.<br /><br />The accompanying series Dr Who Confidential shows the work that goes into each episode which is a really useful behind the scenes insight. Interviews with the cast and writers help retell the story from each characters perspective and are far more useful than simply watching the whole programme over again.<br /><br />How does David Tenant rank in the pantheon of his illustrious predecessors? Time will tell but tonight, seeing Billie Piper play alongside Elisabeth Sladen, who was the Doctor's companion in the 1970's confirm that she has both the acting ability, screen presence and script to be the No. 1.<|endoftext|> | [
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] | 256 | Russell T Davies has been tasked with re |
and the way that it can be used to create a more humane society. The film is a bit slow, but it is well worth watching. | An interesting look at the immigrant experience, told as a fable with some very weird imagery.<br /><br />I got drawn to this movie because it tells of immigrants from Sicily who traveled to America. I imagine much the same as my Grandfather did at that time. Travelling in steerage to provide ballast for the ships, I cannot imagine it was very comfortable, as shown in this film.<br /><br />Laws restricting immigrants existed. I would guess that these laws were more strict on those who came from the Mediterranean and Africa. Immigrants had to be free from contagious diseases or hereditary infirmities. In the film, we see physical and mental exams, the latter because of the view that low intelligence is heritable. Single women could not enter the country, on the presumption that they would become prostitutes, so most married single men already in the country, as arranged beforehand, at Ellis Island before entry.<br /><br />This is the story of a British immigrant (Charlotte Gainsbourg), who arranges to marry a poor Sicilian (Vincenzo Amato). He is trying to get his family through with a son that is mute and a mother (Aurora Quattrocchi) that is considered feeble-minded. She was fantastic in the role, by the way.<br /><br />You will also see character actor, Vincent Schiavelli, in his next to the last appearance. I don't know if his last film has been released. He plays a matchmaker, and is also very good.<br /><br />It was a strange, but enjoyable film. It's not for everyone, as I imagine those who don't have some interest in the immigrant experience would find it rather slow. | 1 | An interesting look at the immigrant experience, | told as a fable with some very weird imagery.<br /><br />I got drawn to this movie because it tells of immigrants from Sicily who traveled to America. I imagine much the same as my Grandfather did at that time. Travelling in steerage to provide ballast for the ships, I cannot imagine it was very comfortable, as shown in this film.<br /><br />Laws restricting immigrants existed. I would guess that these laws were more strict on those who came from the Mediterranean and Africa. Immigrants had to be free from contagious diseases or hereditary infirmities. In the film, we see physical and mental exams, the latter because of the view that low intelligence is heritable. Single women could not enter the country, on the presumption that they would become prostitutes, so most married single men already in the country, as arranged beforehand, at Ellis Island before entry.<br /><br />This is the story of a British immigrant (Charlotte Gainsbourg), who arranges to marry a poor Sicilian (Vincenzo Amato). He is trying to get his family through with a son that is mute and a mother (Aurora Quattrocchi) that is considered feeble-minded. She was fantastic in the role, by the way.<br /><br />You will also see character actor, Vincent Schiavelli, in his next to the last appearance. I don't know if his last film has been released. He plays a matchmaker, and is also very good.<br /><br />It was a strange, but enjoyable film. It's not for everyone, as I imagine those who don't have some interest in the immigrant experience would find it rather slow. | [
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] | told as a fable with some very weird imagery.<br /><br />I got drawn to this movie because it tells of immigrants from Sicily who traveled to America. I imagine much the same as my Grandfather did at that time. Travelling in steerage to provide ballast for the ships, I cannot imagine it was very comfortable, as shown in this film.<br /><br />Laws restricting immigrants existed. I would guess that these laws were more strict on those who came from the Mediterranean and Africa. Immigrants had to be free from contagious diseases or hereditary infirmities. In the film, we see physical and mental exams, the latter because of the view that low intelligence is heritable. Single women could not enter the country, on the presumption that they would become prostitutes, so most married single men already in the country, as arranged beforehand, at Ellis Island before entry.<br /><br />This is the story of a British immigrant (Charlotte Gainsbourg), who arranges to marry a poor Sicilian (Vincenzo Amato). He is trying to get his family through with a son that is mute and a mother (Aurora Quattrocchi) that is considered feeble-minded. She was fantastic in the role, by the way.<br /><br />You will also see character actor, Vincent Schiavelli, in his next to the last appearance. I don't know if his last film has been released. He plays a matchmaker, and is also very good.<br /><br />It was a strange, but enjoyable film. It's not for everyone, as I imagine those who don't have some interest in the immigrant experience would find it rather slow.<|endoftext|> | [
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] | 504 | An interesting look at the immigrant experience, told as a fable with some very weird imagery.<br /><br />I got drawn to this movie because it tells of immigrants from Sicily who traveled to America. I imagine much the same as my Grandfather did at that time. Travelling in steerage to provide ballast for the ships, I cannot imagine it was very comfortable, as shown in this film.<br /><br />Laws restricting immigrants existed. I would guess that these laws were more strict on those who came from the Mediterranean and Africa. Immigrants had to be free from contagious diseases or hereditary infirmities. In the film, we see physical and mental exams, the latter because of the view that low intelligence is heritable. Single women could not enter the country, on the presumption that they would become prostitutes, so most married single men already in the country, as arranged beforehand, at Ellis Island before entry.<br /><br />This is the story of a British immigrant (Charlotte Gainsbourg), who arranges to marry a poor Sicilian (Vincenzo Amato). He is trying to get his family through with a son that is mute and a mother (Aurora Quattrocchi) that is considered feeble-minded. She was fantastic in the role, by the way.<br /><br />You will also see character actor, Vincent Schiavelli, in his next to the last appearance. I don't know if his last film has been released. He plays a matchmaker, and is also very good.<br /><br />It was a strange, but enjoyable film. It's not for everyone, as I imagine those who don't have some interest in the immigrant experience would find it rather slow.<|endoftext|> | [
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] | 362 | An interesting look at the immigrant experience, |
I was a little confused. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. I thought it was a movie about a guy who is a little bit crazy, but he's a good guy. | the first time I saw this movie, I just thought "what the hell?" a 10-year-old kid driving around bizarre places, meeting bizarre people, going after a game called MOTORAMA! Hell yeah! I enjoyed this movie a lot!<br /><br />Jordan Christopher-Michael is a brilliant young actor! It's a shame he stopped act. He interprets very well his character Gus on the movie.<br /><br />Gus loses an eye, got tattoos and go at the most weird cities acting with Flea, Drew Barrymore and Meat Loaf! Want more? <br /><br />OK, don't even try to understand the story, but why this movie needs one!? Just open your mind and let Gus drive you into this journey.<br /><br />"Motorama Gus, you won Motorama" | 1 | the first time I saw this movie, | I just thought "what the hell?" a 10-year-old kid driving around bizarre places, meeting bizarre people, going after a game called MOTORAMA! Hell yeah! I enjoyed this movie a lot!<br /><br />Jordan Christopher-Michael is a brilliant young actor! It's a shame he stopped act. He interprets very well his character Gus on the movie.<br /><br />Gus loses an eye, got tattoos and go at the most weird cities acting with Flea, Drew Barrymore and Meat Loaf! Want more? <br /><br />OK, don't even try to understand the story, but why this movie needs one!? Just open your mind and let Gus drive you into this journey.<br /><br />"Motorama Gus, you won Motorama" | [
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] | I just thought "what the hell?" a 10-year-old kid driving around bizarre places, meeting bizarre people, going after a game called MOTORAMA! Hell yeah! I enjoyed this movie a lot!<br /><br />Jordan Christopher-Michael is a brilliant young actor! It's a shame he stopped act. He interprets very well his character Gus on the movie.<br /><br />Gus loses an eye, got tattoos and go at the most weird cities acting with Flea, Drew Barrymore and Meat Loaf! Want more? <br /><br />OK, don't even try to understand the story, but why this movie needs one!? Just open your mind and let Gus drive you into this journey.<br /><br />"Motorama Gus, you won Motorama"<|endoftext|> | [
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] | 504 | the first time I saw this movie, I just thought "what the hell?" a 10-year-old kid driving around bizarre places, meeting bizarre people, going after a game called MOTORAMA! Hell yeah! I enjoyed this movie a lot!<br /><br />Jordan Christopher-Michael is a brilliant young actor! It's a shame he stopped act. He interprets very well his character Gus on the movie.<br /><br />Gus loses an eye, got tattoos and go at the most weird cities acting with Flea, Drew Barrymore and Meat Loaf! Want more? <br /><br />OK, don't even try to understand the story, but why this movie needs one!? Just open your mind and let Gus drive you into this journey.<br /><br />"Motorama Gus, you won Motorama"<|endoftext|> | [
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] | 177 | the first time I saw this movie, |
to this film expecting a "classic" film, you will be disappointed. This is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a great film that is also a great film. It is a film that is not only a great film, but a | The bottom line is: if you come looking for a sci-fi thriller/horror film, The Matrix is what you'll like. If, like me, you long for the rare true science fiction film involving characters with depth and provocative thought about where science will take us, then you need to see eXistenZ. | 1 | The bottom line is: if you come | looking for a sci-fi thriller/horror film, The Matrix is what you'll like. If, like me, you long for the rare true science fiction film involving characters with depth and provocative thought about where science will take us, then you need to see eXistenZ. | [
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] | looking for a sci-fi thriller/horror film, The Matrix is what you'll like. If, like me, you long for the rare true science fiction film involving characters with depth and provocative thought about where science will take us, then you need to see eXistenZ.<|endoftext|> | [
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] | 69 | The bottom line is: if you come |
how much I love this movie. I have seen it many times and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen it in many different languages and I still love it. I have seen it in many different countries and I still love it. I have seen | I have a hard time putting into words just how wonderful this was. Once in a while you see a film that just sticks with you. "You Are Alone" is that movie (for me). The film is constantly in my head and in my heart. I replay the scenes mentally every day and analyze them and go through the emotions all over again, as if I am seeing it for the first time.<br /><br />There is nothing I did not like about the movie. Amazing soundtrack!!! The ending was perfect. Very emotionally stirring!!! It was compelling and riveting.<br /><br />I adored Jessica Bohl and her performance was the greatest I have ever witnessed. I admired Brittany's strength (what a strong woman).<br /><br />The tag line is "When your darkest moments come to life". We never know what we are capable of doing. Everyone says oh I would never do that, when really we have no idea what we would do in a situation. We are very capable of anything and this movies delves straight into that subject. The honesty of the movie may be my absolute favorite part.<br /><br />Thank you Gorman Becherd for a perfect piece of art!!!! | 1 | I have a hard time putting into words | just how wonderful this was. Once in a while you see a film that just sticks with you. "You Are Alone" is that movie (for me). The film is constantly in my head and in my heart. I replay the scenes mentally every day and analyze them and go through the emotions all over again, as if I am seeing it for the first time.<br /><br />There is nothing I did not like about the movie. Amazing soundtrack!!! The ending was perfect. Very emotionally stirring!!! It was compelling and riveting.<br /><br />I adored Jessica Bohl and her performance was the greatest I have ever witnessed. I admired Brittany's strength (what a strong woman).<br /><br />The tag line is "When your darkest moments come to life". We never know what we are capable of doing. Everyone says oh I would never do that, when really we have no idea what we would do in a situation. We are very capable of anything and this movies delves straight into that subject. The honesty of the movie may be my absolute favorite part.<br /><br />Thank you Gorman Becherd for a perfect piece of art!!!! | [
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] | just how wonderful this was. Once in a while you see a film that just sticks with you. "You Are Alone" is that movie (for me). The film is constantly in my head and in my heart. I replay the scenes mentally every day and analyze them and go through the emotions all over again, as if I am seeing it for the first time.<br /><br />There is nothing I did not like about the movie. Amazing soundtrack!!! The ending was perfect. Very emotionally stirring!!! It was compelling and riveting.<br /><br />I adored Jessica Bohl and her performance was the greatest I have ever witnessed. I admired Brittany's strength (what a strong woman).<br /><br />The tag line is "When your darkest moments come to life". We never know what we are capable of doing. Everyone says oh I would never do that, when really we have no idea what we would do in a situation. We are very capable of anything and this movies delves straight into that subject. The honesty of the movie may be my absolute favorite part.<br /><br />Thank you Gorman Becherd for a perfect piece of art!!!!<|endoftext|> | [
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] | 504 | I have a hard time putting into words just how wonderful this was. Once in a while you see a film that just sticks with you. "You Are Alone" is that movie (for me). The film is constantly in my head and in my heart. I replay the scenes mentally every day and analyze them and go through the emotions all over again, as if I am seeing it for the first time.<br /><br />There is nothing I did not like about the movie. Amazing soundtrack!!! The ending was perfect. Very emotionally stirring!!! It was compelling and riveting.<br /><br />I adored Jessica Bohl and her performance was the greatest I have ever witnessed. I admired Brittany's strength (what a strong woman).<br /><br />The tag line is "When your darkest moments come to life". We never know what we are capable of doing. Everyone says oh I would never do that, when really we have no idea what we would do in a situation. We are very capable of anything and this movies delves straight into that subject. The honesty of the movie may be my absolute favorite part.<br /><br />Thank you Gorman Becherd for a perfect piece of art!!!!<|endoftext|> | [
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cinema. I was a bit sceptical about this film, but I was pleasantly surprised. I was expecting a bit of a slow start, but it was a very enjoyable film. I was also surprised at how well the actors did. I was expecting a bit of a slow start, but it was a very enjoyable film. I was also surprised at how well the actors did. I was expecting a bit of a slow start, but it was a very enjoyable film. | Two Hands restored my faith in Aussie films. It took an old premise and made it fresh. I enjoyed this movie to no end. I recommend it to those people who like Guy Ritchie films. Bryan Brown was fantastic and just about perfect in a role tailor made for him. Ledger was adequtely dumb and his performance anchored a very satisfying movie for me. | 1 | Two Hands restored my faith in Aussie | films. It took an old premise and made it fresh. I enjoyed this movie to no end. I recommend it to those people who like Guy Ritchie films. Bryan Brown was fantastic and just about perfect in a role tailor made for him. Ledger was adequtely dumb and his performance anchored a very satisfying movie for me. | [
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] | films. It took an old premise and made it fresh. I enjoyed this movie to no end. I recommend it to those people who like Guy Ritchie films. Bryan Brown was fantastic and just about perfect in a role tailor made for him. Ledger was adequtely dumb and his performance anchored a very satisfying movie for me.<|endoftext|> | [
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] | 78 | Two Hands restored my faith in Aussie |
a movie that has so many great characters and so many great moments. I think this movie is a must see for anyone who loves movies. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it in the theater twice and I have to say that it is a great movie. I have seen it | I don't think I have ever seen a better movie parody. Mel Brooks is insane. EVERY time I watch it I find something new and it makes it even more funny than the time before. Cary Elwes is perfect for the role of Robin Hood. It has a great and unexpected ending that leaves you cracking up. Every character is great from Little John and Will to Maid Marian and Broomhilde. I laughed the whole way through and will never get tired of it. Watch it!!<br /><br />If you liked Cary Elwes in this Movie, you must definitely see The Princess Bride. | 1 | I don't think I have ever seen | a better movie parody. Mel Brooks is insane. EVERY time I watch it I find something new and it makes it even more funny than the time before. Cary Elwes is perfect for the role of Robin Hood. It has a great and unexpected ending that leaves you cracking up. Every character is great from Little John and Will to Maid Marian and Broomhilde. I laughed the whole way through and will never get tired of it. Watch it!!<br /><br />If you liked Cary Elwes in this Movie, you must definitely see The Princess Bride. | [
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] | 127 | I don't think I have ever seen |
a very good movie. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for the time. It is a very good movie for | "Sharky's Machine" is clearly a Burt Reynolds vehicle designed to allow the star room to strut his talents and he spray-paints the machine, the film plot, with colors from other films and other styles, offering a variety of moods within a nourish story.<br /><br />Made in 1981 at 119 minutes (lengthy for the time period), the film did well, with box office grosses at $37,800,000. It had a lot going for it: Burt Reynolds actor and director, a solid one-two punch; a William Diel novel adaptation, and the south land of Atlanta Georgia, at this time, a land of opportunity for film production out of Hollywood.<br /><br />Reynolds' Tom Sharky falling in love with Rachel Ward's Dominoe the hooker-with-a-heart-of-gold is here echoed as it was in "Hustle" when he played opposite Catherine Deneuve, and that film also had a corrupt politician at its core, but with downbeat ending not the Hollywood happiness in "Sharky's Machine".<br /><br />The story is pure Detective procedure/actioner. Sharky a narcotics detective mismanages up a bust of a drug dealer, causing the killing of some innocent bystanders, and gets demoted, literally transferred downstairs to vice, to deal with perverts, and other m misdemeanors that 'upstanding' cops consider latrine duty. His new digs offers him the chance to meet many equally upstanding officers who are doing the dirty jobs no one else wants. When some attention is pointed toward a certain pimp Sharky looks over some evidence and discovers that one particular prostitute Dominoe (Rachel Ward) - Dominoe is being shielded by police forces and political forces and Sharky sets himself up a 24-hour surveillance force to watch her. During the time he watches he learns that the current Governor-elect Hotchkins (Earl Holliman) is visiting Dominoe, as is a slick Italian gangster Victor (Vittorio Gassman). Before the police can build a case with the evidence, Billy, Victor's brother, a coke-snorting gunman (Henry Silva) shoots through the door of Dominoe's apartment seemingly killing the beautiful Dominoe, but when Sharky discovers that the murdered victim was actually a roommate Tiffany (Aarika Wells) Sharky confronts Victor and tells him that he is going to have him arrested. Sharky is captured by some Ninja killers lead by Smiley (Darryl Hickman) and is tortured for information to lead to Dominoe, but Sharky overpowers them and arrests the Governor and in a heated chase kills Billy after he has killed Victor.<br /><br />Reynolds wants to exhibit the inner workings of a hardened policemen falling in love, but the police-story plot, flavored with noir element, and Reynolds ability at cinematic development tends to slick over the dynamics of the relationships.<br /><br />We come to learn something about some of the men and this leads us to reason why they are working towards their pensions in vice, instead of fighting real crime- this element of the film seems sketchy under Reynolds' off-handed direction and performance.<br /><br />There is always uniqueness to a Reynolds film. He likes to hire stars, either character actors or others and then allow them to improvise, sometimes with varying results.<br /><br />With his crew in "Sharky's Machine" he gets some fine moments, and sometimes some overblown grandstanding but always a sense of ensemble and good-natured-ness. With Reynolds as auteur it works.<br /><br />Reynolds, the actor/auteur always seems to be smirking at himself and the viewer as if to say it's all fake, but good fun.<br /><br />Great line: In the scene with Victor when Sharky throws down the gauntlet "You're walkin' all over people like you own 'em ,and you wanna know the worst part? You're from out of state." This seems to be the greatest insult the officer can throw at a criminal.<br /><br />Reynolds made the film in Atlanta at his career point have shot himself reading the phone book and would have surely targeted and demographic.<br /><br />The film did mark the appearance of Rachel Ward who was nominated as New Star of the Year in 1981 by the Golden Globe.<br /><br />Reynolds has always had presence and star power and has chosen to make films close to home, Georgia.<br /><br />I got my DVD from half.com for $7.99 and unfortunately it doesn't contain any commentary or making-of features, which is a shame. Maybe the next generation will have them.<br /><br />The movie is still a lot of fun and both Reynolds and Ward are great-looking actors in their prime. | 1 | "Sharky's Machine" is | clearly a Burt Reynolds vehicle designed to allow the star room to strut his talents and he spray-paints the machine, the film plot, with colors from other films and other styles, offering a variety of moods within a nourish story.<br /><br />Made in 1981 at 119 minutes (lengthy for the time period), the film did well, with box office grosses at $37,800,000. It had a lot going for it: Burt Reynolds actor and director, a solid one-two punch; a William Diel novel adaptation, and the south land of Atlanta Georgia, at this time, a land of opportunity for film production out of Hollywood.<br /><br />Reynolds' Tom Sharky falling in love with Rachel Ward's Dominoe the hooker-with-a-heart-of-gold is here echoed as it was in "Hustle" when he played opposite Catherine Deneuve, and that film also had a corrupt politician at its core, but with downbeat ending not the Hollywood happiness in "Sharky's Machine".<br /><br />The story is pure Detective procedure/actioner. Sharky a narcotics detective mismanages up a bust of a drug dealer, causing the killing of some innocent bystanders, and gets demoted, literally transferred downstairs to vice, to deal with perverts, and other m misdemeanors that 'upstanding' cops consider latrine duty. His new digs offers him the chance to meet many equally upstanding officers who are doing the dirty jobs no one else wants. When some attention is pointed toward a certain pimp Sharky looks over some evidence and discovers that one particular prostitute Dominoe (Rachel Ward) - Dominoe is being shielded by police forces and political forces and Sharky sets himself up a 24-hour surveillance force to watch her. During the time he watches he learns that the current Governor-elect Hotchkins (Earl Holliman) is visiting Dominoe, as is a slick Italian gangster Victor (Vittorio Gassman). Before the police can build a case with the evidence, Billy, Victor's brother, a coke-snorting gunman (Henry Silva) shoots through the door of Dominoe's apartment seemingly killing the beautiful Dominoe, but when Sharky discovers that the murdered victim was actually a roommate Tiffany (Aarika Wells) Sharky confronts Victor and tells him that he is going to have him arrested. Sharky is captured by some Ninja killers lead by Smiley (Darryl Hickman) and is tortured for information to lead to Dominoe, but Sharky overpowers them and arrests the Governor and in a heated chase kills Billy after he has killed Victor.<br /><br />Reynolds wants to exhibit the inner workings of a hardened policemen falling in love, but the police-story plot, flavored with noir element, and Reynolds ability at cinematic development tends to slick over the dynamics of the relationships.<br /><br />We come to learn something about some of the men and this leads us to reason why they are working towards their pensions in vice, instead of fighting real crime- this element of the film seems sketchy under Reynolds' off-handed direction and performance.<br /><br />There is always uniqueness to a Reynolds film. He likes to hire stars, either character actors or others and then allow them to improvise, sometimes with varying results.<br /><br />With his crew in "Sharky's Machine" he gets some fine moments, and sometimes some overblown grandstanding but always a sense of ensemble and good-natured-ness. With Reynolds as auteur it works.<br /><br />Reynolds, the actor/auteur always seems to be smirking at himself and the viewer as if to say it's all fake, but good fun.<br /><br />Great line: In the scene with Victor when Sharky throws down the gauntlet "You're walkin' all over people like you own 'em ,and you wanna know the worst part? You're from out of state." This seems to be the greatest insult the officer can throw at a criminal.<br /><br />Reynolds made the film in Atlanta at his career point have shot himself reading the phone book and would have surely targeted and demographic.<br /><br />The film did mark the appearance of Rachel Ward who was nominated as New Star of the Year in 1981 by the Golden Globe.<br /><br />Reynolds has always had presence and star power and has chosen to make films close to home, Georgia.<br /><br />I got my DVD from half.com for $7.99 and unfortunately it doesn't contain any commentary or making-of features, which is a shame. Maybe the next generation will have them.<br /><br />The movie is still a lot of fun and both Reynolds and Ward are great-looking actors in their prime. | [
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] | clearly a Burt Reynolds vehicle designed to allow the star room to strut his talents and he spray-paints the machine, the film plot, with colors from other films and other styles, offering a variety of moods within a nourish story.<br /><br />Made in 1981 at 119 minutes (lengthy for the time period), the film did well, with box office grosses at $37,800,000. It had a lot going for it: Burt Reynolds actor and director, a solid one-two punch; a William Diel novel adaptation, and the south land of Atlanta Georgia, at this time, a land of opportunity for film production out of Hollywood.<br /><br />Reynolds' Tom Sharky falling in love with Rachel Ward's Dominoe the hooker-with-a-heart-of-gold is here echoed as it was in "Hustle" when he played opposite Catherine Deneuve, and that film also had a corrupt politician at its core, but with downbeat ending not the Hollywood happiness in "Sharky's Machine".<br /><br />The story is pure Detective procedure/actioner. Sharky a narcotics detective mismanages up a bust of a drug dealer, causing the killing of some innocent bystanders, and gets demoted, literally transferred downstairs to vice, to deal with perverts, and other m misdemeanors that 'upstanding' cops consider latrine duty. His new digs offers him the chance to meet many equally upstanding officers who are doing the dirty jobs no one else wants. When some attention is pointed toward a certain pimp Sharky looks over some evidence and discovers that one particular prostitute Dominoe (Rachel Ward) - Dominoe is being shielded by police forces and political forces and Sharky sets himself up a 24-hour surveillance force to watch her. During the time he watches he learns that the current Governor-elect Hotchkins (Earl Holliman) is visiting Dominoe, as is a slick Italian gangster Victor (Vittorio Gassman). Before the police can build a case with the evidence, Billy, Victor's brother, a coke-snorting gunman (Henry Silva) shoots through the door of Dominoe's apartment seemingly killing the beautiful Dominoe, but when Sharky discovers that the murdered victim was actually a roommate Tiffany (Aarika Wells) Sharky confronts Victor and tells him that he is going to have him arrested. Sharky is captured by some Ninja killers lead by Smiley (Darryl Hickman) and is tortured for information to lead to Dominoe, but Sharky overpowers them and arrests the Governor and in a heated chase kills Billy after he has killed Victor.<br /><br />Reynolds wants to exhibit the inner workings of a hardened policemen falling in love, but the police-story plot, flavored with noir element, and Reynolds ability at cinematic development tends to slick over the dynamics of the relationships.<br /><br />We come to learn something about some of the men and this leads us to reason why they are working towards their pensions in vice, instead of fighting real crime- this element of the film seems sketchy under Reynolds' off-handed direction and performance.<br /><br />There is always uniqueness to a Reynolds film. He likes to hire stars, either character actors or others and then allow them to improvise, sometimes with varying results.<br /><br />With his crew in "Sharky's Machine" he gets some fine moments, and sometimes some overblown grandstanding but always a sense of ensemble and good-natured-ness. With Reynolds as auteur it works.<br /><br />Reynolds, the actor/auteur always seems to be smirking at himself and the viewer as if to say it's all fake, but good fun.<br /><br />Great line: In the scene with Victor when Sharky throws down the gauntlet "You're walkin' all over people like you own 'em ,and you wanna know the worst part? You're from out of state." This seems to be the greatest insult the officer can throw at a criminal.<br /><br />Reynolds made the film in Atlanta at his career point have shot himself reading the phone book and would have surely targeted and demographic.<br /><br />The film did mark the appearance of Rachel Ward who was nominated as New Star of the Year in 1981 by the Golden Globe.<br /><br />Reynolds has always had presence and star power and has chosen to make films close to home, Georgia.<br /><br />I got my DVD from half.com for $7.99 and unfortunately it doesn't contain any commentary or making-of features, which is a shame. Maybe the next generation will have them.<br /><br />The movie is still a lot of fun and both Reynolds and Ward are great-looking actors in their prime.<|endoftext|> | [
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] | 504 | "Sharky's Machine" is clearly a Burt Reynolds vehicle designed to allow the star room to strut his talents and he spray-paints the machine, the film plot, with colors from other films and other styles, offering a variety of moods within a nourish story.<br /><br />Made in 1981 at 119 minutes (lengthy for the time period), the film did well, with box office grosses at $37,800,000. It had a lot going for it: Burt Reynolds actor and director, a solid one-two punch; a William Diel novel adaptation, and the south land of Atlanta Georgia, at this time, a land of opportunity for film production out of Hollywood.<br /><br />Reynolds' Tom Sharky falling in love with Rachel Ward's Dominoe the hooker-with-a-heart-of-gold is here echoed as it was in "Hustle" when he played opposite Catherine Deneuve, and that film also had a corrupt politician at its core, but with downbeat ending not the Hollywood happiness in "Sharky's Machine".<br /><br />The story is pure Detective procedure/actioner. Sharky a narcotics detective mismanages up a bust of a drug dealer, causing the killing of some innocent bystanders, and gets demoted, literally transferred downstairs to vice, to deal with perverts, and other m misdemeanors that 'upstanding' cops consider latrine duty. His new digs offers him the chance to meet many equally upstanding officers who are doing the dirty jobs no one else wants. When some attention is pointed toward a certain pimp Sharky looks over some evidence and discovers that one particular prostitute Dominoe (Rachel Ward) - Dominoe is being shielded by police forces and political forces and Sharky sets himself up a 24-hour surveillance force to watch her. During the time he watches he learns that the current Governor-elect Hotchkins (Earl Holliman) is visiting Dominoe, as is a slick Italian gangster Victor (Vittorio Gassman). Before the police can build a case with the evidence, Billy, Victor's brother, a coke-snorting gunman (Henry Silva) shoots through the door of Dominoe's apartment seemingly killing the beautiful Dominoe, but when Sharky discovers that the murdered victim was actually a roommate Tiffany (Aarika Wells) Sharky confronts Victor and tells him that he is going to have him arrested. Sharky is captured by some Ninja killers lead by Smiley (Darryl Hickman) and is tortured for information to lead to Dominoe, but Sharky overpowers them and arrests the Governor and in a heated chase kills Billy after he has killed Victor.<br /><br />Reynolds wants to exhibit the inner workings of a hardened policemen falling in love, but the police-story plot, flavored with noir element, and Reynolds ability at cinematic development tends to slick over the dynamics of the relationships.<br /><br />We come to learn something about some of the men and this leads us to reason why they are working towards their pensions in vice, instead of fighting real crime- this element of the film seems sketchy under Reynolds' off-handed direction and performance.<br /><br />There is always uniqueness to a Reynolds film. He likes to hire stars, either character actors or others and then allow them to improvise, sometimes with varying results.<br /><br />With his crew in "Sharky's Machine" he gets some fine moments, and sometimes some overblown grandstanding but always a sense of ensemble and good-natured-ness. With Reynolds as auteur it works.<br /><br />Reynolds, the actor/auteur always seems to be smirking at himself and the viewer as if to say it's all fake, but good fun.<br /><br />Great line: In the scene with Victor when Sharky throws down the gauntlet "You're walkin' all over people like you own 'em ,and you wanna know the worst part? You're from out of state." This seems to be the greatest insult the officer can throw at a criminal.<br /><br />Reynolds made the film in Atlanta at his career point have shot himself reading the phone book and would have surely targeted and demographic.<br /><br />The film did mark the appearance of Rachel Ward who was nominated as New Star of the Year in 1981 by the Golden Globe.<br /><br />Reynolds has always had presence and star power and has chosen to make films close to home, Georgia.<br /><br />I got my DVD from half.com for $7.99 and unfortunately it doesn't contain any commentary or making-of features, which is a shame. Maybe the next generation will have them.<br /><br />The movie is still a lot of fun and both Reynolds and Ward are great-looking actors in their prime.<|endoftext|> | [
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] | 1,026 | "Sharky's Machine" is |
the Cannes Film Festival in May, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is a very good film, and it is a very good film. It is | Chokher Bali was shown at the (Washington) DC Filmfest April 15, 2005. The director, Rituparno Ghosh, was there to give a short introduction and answer questions afterwards.<br /><br />As always, I think Aishwarya did a fantastic job. I can understand those who think she should be been more aggressive or more bitchy, but would that really be realistic in 1904? Possible, maybe; realistic, I'm not so sure. I think her interpretation was valid, although there could certainly be other ways to do it.<br /><br />I hate to use the word, but this was the most "inaccessible" of the Indian movies I have seen so far. I know a fair amount of Indian history, Hindu religion, etc., but the level of detail here was far beyond me. Clearly you would have a much better understanding of the movie if you were intimately familiar with Hinduism and its customs, esp. as they were c. 1904. I missed a lot of things--one of them being the fact that the mother-in-law would want Binodini in the house as sort of a counter-weight to her daughter-in-law Ashalata.<br /><br />*spoilers* Ghosh had several things to say that explained the movie much better for me. First, the original Bengali version was 20+ minutes longer. So what was left out? Apparently three main things: a beginning segment where Binodini (Aishwarya) leaves E. Bengal for Calcutta. According to the director, different characters are speaking W. Bengali vs. E. Bengali--setting up some of the political comments later. Of course all of this is lost in the Hindi version, and certainly to a non-Indian like me, it wouldn't have mattered anyway--but a set-up of the Bengali situation sure would have. Next, there was a segment where Binodini was writing a poem--a sign of her independence, etc. Finally, some more business about the jewellery. So, although some people think it was too long, I think the original, longer version would have been clearer.<br /><br />The women's hair was apparently another sign (Ghosh again)--the mother-in-law had short hair (short hair for Hindu widows), her sister--also a widow--had longer hair (more modern!), and of course Binodini/Aishwarya had extremely long waist-length hair (rejection of status of widowhood).<br /><br />The ending really threw me--all of a sudden Binodini, who had never had a political thought, is writing a political manifesto? Whoa! Ghosh explained that he was in Locarno, at a film festival, when the subtitles were done. The subtitles use the word "country" throughout Binodini's letter. Gosh said a more appropriate word would have been (I forget his exact word) something like "self" or "independence"--she was talking about her own liberation and "finding herself"--not about Bengal, India, and the British. So why does Binodini just disappear the day after finding Behari again? Apparently because during her stay on the Ganges she realizes that she doesn't need a man--any man--to define/complete her. She can just be herself. So she rejects Behari, who she threw herself at a few months (?) before, and just goes off. Of course I'm not sure how she buys her next meal, but that's another question.<br /><br />The red shawl (Ghosh again)she buys represents "revolution" as well as "passion." I'm not 100% sure why she puts the shawl on the dying woman, but perhaps she is rejecting passion/revolution? The binoculars, which Binodini uses throughout the movie (to watch Mahendra and Ashalata, the boat on the Ganges, etc.). She is being a voyeur to see a life she yearns for but can't have. At the end (I missed this!) she leaves the binoculars on the table with the letter, showing that she doesn't need them any more--she's going off to lead her own life.<br /><br />Finally, the Tagore quote at the beginning saying how he apologized for the ending... Apparently Tagore wrote this as a serial, hooking his readers with the sexy widow bits. But at the end he sold out to conservatism and had Binodini kneel down at the feet of Mahendra and Behari, begging their forgiveness. One of his students (?) wrote to Tagore taking him to task for his sell-out ending...and Tagore replied with his apology for the ending. In the movie, of course, Ghosh goes in the other direction. | 1 | Chokher Bali was shown at | the (Washington) DC Filmfest April 15, 2005. The director, Rituparno Ghosh, was there to give a short introduction and answer questions afterwards.<br /><br />As always, I think Aishwarya did a fantastic job. I can understand those who think she should be been more aggressive or more bitchy, but would that really be realistic in 1904? Possible, maybe; realistic, I'm not so sure. I think her interpretation was valid, although there could certainly be other ways to do it.<br /><br />I hate to use the word, but this was the most "inaccessible" of the Indian movies I have seen so far. I know a fair amount of Indian history, Hindu religion, etc., but the level of detail here was far beyond me. Clearly you would have a much better understanding of the movie if you were intimately familiar with Hinduism and its customs, esp. as they were c. 1904. I missed a lot of things--one of them being the fact that the mother-in-law would want Binodini in the house as sort of a counter-weight to her daughter-in-law Ashalata.<br /><br />*spoilers* Ghosh had several things to say that explained the movie much better for me. First, the original Bengali version was 20+ minutes longer. So what was left out? Apparently three main things: a beginning segment where Binodini (Aishwarya) leaves E. Bengal for Calcutta. According to the director, different characters are speaking W. Bengali vs. E. Bengali--setting up some of the political comments later. Of course all of this is lost in the Hindi version, and certainly to a non-Indian like me, it wouldn't have mattered anyway--but a set-up of the Bengali situation sure would have. Next, there was a segment where Binodini was writing a poem--a sign of her independence, etc. Finally, some more business about the jewellery. So, although some people think it was too long, I think the original, longer version would have been clearer.<br /><br />The women's hair was apparently another sign (Ghosh again)--the mother-in-law had short hair (short hair for Hindu widows), her sister--also a widow--had longer hair (more modern!), and of course Binodini/Aishwarya had extremely long waist-length hair (rejection of status of widowhood).<br /><br />The ending really threw me--all of a sudden Binodini, who had never had a political thought, is writing a political manifesto? Whoa! Ghosh explained that he was in Locarno, at a film festival, when the subtitles were done. The subtitles use the word "country" throughout Binodini's letter. Gosh said a more appropriate word would have been (I forget his exact word) something like "self" or "independence"--she was talking about her own liberation and "finding herself"--not about Bengal, India, and the British. So why does Binodini just disappear the day after finding Behari again? Apparently because during her stay on the Ganges she realizes that she doesn't need a man--any man--to define/complete her. She can just be herself. So she rejects Behari, who she threw herself at a few months (?) before, and just goes off. Of course I'm not sure how she buys her next meal, but that's another question.<br /><br />The red shawl (Ghosh again)she buys represents "revolution" as well as "passion." I'm not 100% sure why she puts the shawl on the dying woman, but perhaps she is rejecting passion/revolution? The binoculars, which Binodini uses throughout the movie (to watch Mahendra and Ashalata, the boat on the Ganges, etc.). She is being a voyeur to see a life she yearns for but can't have. At the end (I missed this!) she leaves the binoculars on the table with the letter, showing that she doesn't need them any more--she's going off to lead her own life.<br /><br />Finally, the Tagore quote at the beginning saying how he apologized for the ending... Apparently Tagore wrote this as a serial, hooking his readers with the sexy widow bits. But at the end he sold out to conservatism and had Binodini kneel down at the feet of Mahendra and Behari, begging their forgiveness. One of his students (?) wrote to Tagore taking him to task for his sell-out ending...and Tagore replied with his apology for the ending. In the movie, of course, Ghosh goes in the other direction. | [
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1925,
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] | the (Washington) DC Filmfest April 15, 2005. The director, Rituparno Ghosh, was there to give a short introduction and answer questions afterwards.<br /><br />As always, I think Aishwarya did a fantastic job. I can understand those who think she should be been more aggressive or more bitchy, but would that really be realistic in 1904? Possible, maybe; realistic, I'm not so sure. I think her interpretation was valid, although there could certainly be other ways to do it.<br /><br />I hate to use the word, but this was the most "inaccessible" of the Indian movies I have seen so far. I know a fair amount of Indian history, Hindu religion, etc., but the level of detail here was far beyond me. Clearly you would have a much better understanding of the movie if you were intimately familiar with Hinduism and its customs, esp. as they were c. 1904. I missed a lot of things--one of them being the fact that the mother-in-law would want Binodini in the house as sort of a counter-weight to her daughter-in-law Ashalata.<br /><br />*spoilers* Ghosh had several things to say that explained the movie much better for me. First, the original Bengali version was 20+ minutes longer. So what was left out? Apparently three main things: a beginning segment where Binodini (Aishwarya) leaves E. Bengal for Calcutta. According to the director, different characters are speaking W. Bengali vs. E. Bengali--setting up some of the political comments later. Of course all of this is lost in the Hindi version, and certainly to a non-Indian like me, it wouldn't have mattered anyway--but a set-up of the Bengali situation sure would have. Next, there was a segment where Binodini was writing a poem--a sign of her independence, etc. Finally, some more business about the jewellery. So, although some people think it was too long, I think the original, longer version would have been clearer.<br /><br />The women's hair was apparently another sign (Ghosh again)--the mother-in-law had short hair (short hair for Hindu widows), her sister--also a widow--had longer hair (more modern!), and of course Binodini/Aishwarya had extremely long waist-length hair (rejection of status of widowhood).<br /><br />The ending really threw me--all of a sudden Binodini, who had never had a political thought, is writing a political manifesto? Whoa! Ghosh explained that he was in Locarno, at a film festival, when the subtitles were done. The subtitles use the word "country" throughout Binodini's letter. Gosh said a more appropriate word would have been (I forget his exact word) something like "self" or "independence"--she was talking about her own liberation and "finding herself"--not about Bengal, India, and the British. So why does Binodini just disappear the day after finding Behari again? Apparently because during her stay on the Ganges she realizes that she doesn't need a man--any man--to define/complete her. She can just be herself. So she rejects Behari, who she threw herself at a few months (?) before, and just goes off. Of course I'm not sure how she buys her next meal, but that's another question.<br /><br />The red shawl (Ghosh again)she buys represents "revolution" as well as "passion." I'm not 100% sure why she puts the shawl on the dying woman, but perhaps she is rejecting passion/revolution? The binoculars, which Binodini uses throughout the movie (to watch Mahendra and Ashalata, the boat on the Ganges, etc.). She is being a voyeur to see a life she yearns for but can't have. At the end (I missed this!) she leaves the binoculars on the table with the letter, showing that she doesn't need them any more--she's going off to lead her own life.<br /><br />Finally, the Tagore quote at the beginning saying how he apologized for the ending... Apparently Tagore wrote this as a serial, hooking his readers with the sexy widow bits. But at the end he sold out to conservatism and had Binodini kneel down at the feet of Mahendra and Behari, begging their forgiveness. One of his students (?) wrote to Tagore taking him to task for his sell-out ending...and Tagore replied with his apology for the ending. In the movie, of course, Ghosh goes in the other direction.<|endoftext|> | [
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] | 504 | Chokher Bali was shown at the (Washington) DC Filmfest April 15, 2005. The director, Rituparno Ghosh, was there to give a short introduction and answer questions afterwards.<br /><br />As always, I think Aishwarya did a fantastic job. I can understand those who think she should be been more aggressive or more bitchy, but would that really be realistic in 1904? Possible, maybe; realistic, I'm not so sure. I think her interpretation was valid, although there could certainly be other ways to do it.<br /><br />I hate to use the word, but this was the most "inaccessible" of the Indian movies I have seen so far. I know a fair amount of Indian history, Hindu religion, etc., but the level of detail here was far beyond me. Clearly you would have a much better understanding of the movie if you were intimately familiar with Hinduism and its customs, esp. as they were c. 1904. I missed a lot of things--one of them being the fact that the mother-in-law would want Binodini in the house as sort of a counter-weight to her daughter-in-law Ashalata.<br /><br />*spoilers* Ghosh had several things to say that explained the movie much better for me. First, the original Bengali version was 20+ minutes longer. So what was left out? Apparently three main things: a beginning segment where Binodini (Aishwarya) leaves E. Bengal for Calcutta. According to the director, different characters are speaking W. Bengali vs. E. Bengali--setting up some of the political comments later. Of course all of this is lost in the Hindi version, and certainly to a non-Indian like me, it wouldn't have mattered anyway--but a set-up of the Bengali situation sure would have. Next, there was a segment where Binodini was writing a poem--a sign of her independence, etc. Finally, some more business about the jewellery. So, although some people think it was too long, I think the original, longer version would have been clearer.<br /><br />The women's hair was apparently another sign (Ghosh again)--the mother-in-law had short hair (short hair for Hindu widows), her sister--also a widow--had longer hair (more modern!), and of course Binodini/Aishwarya had extremely long waist-length hair (rejection of status of widowhood).<br /><br />The ending really threw me--all of a sudden Binodini, who had never had a political thought, is writing a political manifesto? Whoa! Ghosh explained that he was in Locarno, at a film festival, when the subtitles were done. The subtitles use the word "country" throughout Binodini's letter. Gosh said a more appropriate word would have been (I forget his exact word) something like "self" or "independence"--she was talking about her own liberation and "finding herself"--not about Bengal, India, and the British. So why does Binodini just disappear the day after finding Behari again? Apparently because during her stay on the Ganges she realizes that she doesn't need a man--any man--to define/complete her. She can just be herself. So she rejects Behari, who she threw herself at a few months (?) before, and just goes off. Of course I'm not sure how she buys her next meal, but that's another question.<br /><br />The red shawl (Ghosh again)she buys represents "revolution" as well as "passion." I'm not 100% sure why she puts the shawl on the dying woman, but perhaps she is rejecting passion/revolution? The binoculars, which Binodini uses throughout the movie (to watch Mahendra and Ashalata, the boat on the Ganges, etc.). She is being a voyeur to see a life she yearns for but can't have. At the end (I missed this!) she leaves the binoculars on the table with the letter, showing that she doesn't need them any more--she's going off to lead her own life.<br /><br />Finally, the Tagore quote at the beginning saying how he apologized for the ending... Apparently Tagore wrote this as a serial, hooking his readers with the sexy widow bits. But at the end he sold out to conservatism and had Binodini kneel down at the feet of Mahendra and Behari, begging their forgiveness. One of his students (?) wrote to Tagore taking him to task for his sell-out ending...and Tagore replied with his apology for the ending. In the movie, of course, Ghosh goes in the other direction.<|endoftext|> | [
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] | 1,014 | Chokher Bali was shown at |
young woman who is the only survivor of a group of people who were killed by a mysterious killer. She is the only one who can see the killer, and she is the only one who can stop him. She is also the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She is the only one who can see the killer's face. She | Vidor shines as Judith, the only truly strong and compassionate member of a strictly patriarchal family. Her brother, David, is so downtrodden by their father that it's a surprise he's able even to tie his shoes, rather than asking Dad to do it for him.<br /><br />Other reviewers have already outlined the plot, so I won't rehash it; I will, however, point out that Nan, who is pregnant by David, is also married to him. This is not an out-of-wedlock pregnancy, which would have been horrific by 1921 standards. The two are secretly married, but Nan's father, having been paid by David's father, tears up their marriage certificate.<br /><br />Nan's death scene, with Judith in attendance, is a truly heart-rending experience, and highly charged with emotion. This scene alone is worth watching the movie for, but there's far more to the plot than that; why on earth aren't modern movies made with the same attention to the story? | 1 | Vidor shines as Judith, the | only truly strong and compassionate member of a strictly patriarchal family. Her brother, David, is so downtrodden by their father that it's a surprise he's able even to tie his shoes, rather than asking Dad to do it for him.<br /><br />Other reviewers have already outlined the plot, so I won't rehash it; I will, however, point out that Nan, who is pregnant by David, is also married to him. This is not an out-of-wedlock pregnancy, which would have been horrific by 1921 standards. The two are secretly married, but Nan's father, having been paid by David's father, tears up their marriage certificate.<br /><br />Nan's death scene, with Judith in attendance, is a truly heart-rending experience, and highly charged with emotion. This scene alone is worth watching the movie for, but there's far more to the plot than that; why on earth aren't modern movies made with the same attention to the story? | [
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] | 216 | Vidor shines as Judith, the |
since I first saw this movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I remember it as a very good movie. I | It's now 2005 and 15+ years since this cartoon first aired. I haven't actually watched it seriously or closely in about 10 years. Now that I'm an adult in my 30s I can look back with a serious eye as I watch the episodes again.<br /><br />In concept, the cartoon is partly an homage to the classic Looney Tunes but also its own original show. There are a few episodes that are structured like the old cartoons. For example, there is a singer that attacks Buster and so he exacts revenge on this singer's concert -exactly like the old Bugs Bunny cartoon. The ensuing cartoon is similar to Looney Tunes, just in a different era. If you look at the old Looney Tunes, they did an awful lot of stuff exactly like Tiny Toons did. The old Looney Tunes made a lot of social commentary and parody. There were celebrity impersonations. There were a lot of corny period jokes, slang, and dialog. The comedy was surreal and wacky. You can say this exactly for Tiny Toons as well. The comedy styling is 'spiritually' the same. Most definitely a throwback to the classics which hadn't been done well (if at all) in cartoons in the decades prior to this show. We recognize the cultural references in Tiny Toons and we can roll our eyes when something we don't like comes up. But the reason we don't think Looney Tunes are corny is because we weren't alive back in the 40s. Also, Looney Tunes was original back in those days but today cartoons are rehashed over and over. So it's easy to perceive Tiny Toons in an unfair light due to our exposure to current events and our overexposure to cartoons in general.<br /><br />There certainly are differences in many respects - the timing, the delivery, and obviously the duration of the shows. They are two different styles from two different periods, being done under two very different circumstances - Looney Tunes being made for adults in theaters and Tiny Toons being made for kids watching TV. Even so, they did a good job making an original show with original gags AND still paying homage to and patterning after the comedy stylings of the old Looney Tunes.<br /><br />Since Tiny Toons had a lot more time to play with, they had some genuine moments of great animated inspiration. You only have to look at episodes like 1 minute to 3, the baby Plucky toilet episode.. there are so many more. For example, one of the best comedy dialog exchanges ever animated is in ThirteenSomething when Babs and Buster are on the phone in a split screen, hoping each misses the other. The miscommunication is spectacular. Notably, the character development in this episode and in several others (usually the ones penned by Deanna Oliver or Sherri Stoner) is rather good. The female characters were taken seriously as personalities and developed, unusual considering the opposite is usually true for cartoons of that period.<br /><br />This was the first modern cartoon that had lots of both pop culture-referential and self-referential humor. This was way ahead of its time. Tiny Toons really opened up a door for writers to take comic liberties that are so common in the cartoons today, instead of doing the boring old crap we endured as 80s kids. Yes, I loved Transformers and Thundercats, but Tiny Toons totally jumped away from all that. It was a breath of fresh air. Bakshi's New Adventures of Mighty Mouse may have been a precursor, but Tiny Toons made this surreal style of comedy cartoon writing a real success.<br /><br />As a kid I totally overlooked some jokes. For example, one episode is an homage to the Marx Brothers that I completely ignored as a teen. Now I have a newfound respect for it. There are so many inspired gags that I never noticed that are genuinely brilliant. It's that kind of comedy that makes me think of Looney Tunes and Family Guy. I NEVER noticed that kind of comedy as a kid. I've been thinking this for most episodes I watched recently.<br /><br />You'd notice these kinds of things if you actually WATCHED the show. Unlike some other reviewers here who I know are unfairly judging it, I've seen all the episodes and have thought about them thoroughly, exposed both as a kid and as an adult.<br /><br />You can tell there was an awful lot of care taken with the voice acting too. I'm not talking about just the main characters, but the side characters were done really well and creatively too. But back to the main characters, some of the main characters were brilliant. Tress MacNeille had, in my opinion, her best performances in this cartoon. She hasn't been the same since. Rob Paulsen also did some incredible stuff here, too.<br /><br />This is all not to say the show didn't have some bad episodes. It had plenty. It had a lot of mediocre ones, too. But by far it certainly had a lot of genuinely funny episodes. Especially back when it first aired it was actually funny to watch.<br /><br />Out of 10 I give the show an 8.5 - and kudos for pushing the envelope and breaking down the doors leading to a new era of cartoons. | 1 | It's now 2005 and 15+ years | since this cartoon first aired. I haven't actually watched it seriously or closely in about 10 years. Now that I'm an adult in my 30s I can look back with a serious eye as I watch the episodes again.<br /><br />In concept, the cartoon is partly an homage to the classic Looney Tunes but also its own original show. There are a few episodes that are structured like the old cartoons. For example, there is a singer that attacks Buster and so he exacts revenge on this singer's concert -exactly like the old Bugs Bunny cartoon. The ensuing cartoon is similar to Looney Tunes, just in a different era. If you look at the old Looney Tunes, they did an awful lot of stuff exactly like Tiny Toons did. The old Looney Tunes made a lot of social commentary and parody. There were celebrity impersonations. There were a lot of corny period jokes, slang, and dialog. The comedy was surreal and wacky. You can say this exactly for Tiny Toons as well. The comedy styling is 'spiritually' the same. Most definitely a throwback to the classics which hadn't been done well (if at all) in cartoons in the decades prior to this show. We recognize the cultural references in Tiny Toons and we can roll our eyes when something we don't like comes up. But the reason we don't think Looney Tunes are corny is because we weren't alive back in the 40s. Also, Looney Tunes was original back in those days but today cartoons are rehashed over and over. So it's easy to perceive Tiny Toons in an unfair light due to our exposure to current events and our overexposure to cartoons in general.<br /><br />There certainly are differences in many respects - the timing, the delivery, and obviously the duration of the shows. They are two different styles from two different periods, being done under two very different circumstances - Looney Tunes being made for adults in theaters and Tiny Toons being made for kids watching TV. Even so, they did a good job making an original show with original gags AND still paying homage to and patterning after the comedy stylings of the old Looney Tunes.<br /><br />Since Tiny Toons had a lot more time to play with, they had some genuine moments of great animated inspiration. You only have to look at episodes like 1 minute to 3, the baby Plucky toilet episode.. there are so many more. For example, one of the best comedy dialog exchanges ever animated is in ThirteenSomething when Babs and Buster are on the phone in a split screen, hoping each misses the other. The miscommunication is spectacular. Notably, the character development in this episode and in several others (usually the ones penned by Deanna Oliver or Sherri Stoner) is rather good. The female characters were taken seriously as personalities and developed, unusual considering the opposite is usually true for cartoons of that period.<br /><br />This was the first modern cartoon that had lots of both pop culture-referential and self-referential humor. This was way ahead of its time. Tiny Toons really opened up a door for writers to take comic liberties that are so common in the cartoons today, instead of doing the boring old crap we endured as 80s kids. Yes, I loved Transformers and Thundercats, but Tiny Toons totally jumped away from all that. It was a breath of fresh air. Bakshi's New Adventures of Mighty Mouse may have been a precursor, but Tiny Toons made this surreal style of comedy cartoon writing a real success.<br /><br />As a kid I totally overlooked some jokes. For example, one episode is an homage to the Marx Brothers that I completely ignored as a teen. Now I have a newfound respect for it. There are so many inspired gags that I never noticed that are genuinely brilliant. It's that kind of comedy that makes me think of Looney Tunes and Family Guy. I NEVER noticed that kind of comedy as a kid. I've been thinking this for most episodes I watched recently.<br /><br />You'd notice these kinds of things if you actually WATCHED the show. Unlike some other reviewers here who I know are unfairly judging it, I've seen all the episodes and have thought about them thoroughly, exposed both as a kid and as an adult.<br /><br />You can tell there was an awful lot of care taken with the voice acting too. I'm not talking about just the main characters, but the side characters were done really well and creatively too. But back to the main characters, some of the main characters were brilliant. Tress MacNeille had, in my opinion, her best performances in this cartoon. She hasn't been the same since. Rob Paulsen also did some incredible stuff here, too.<br /><br />This is all not to say the show didn't have some bad episodes. It had plenty. It had a lot of mediocre ones, too. But by far it certainly had a lot of genuinely funny episodes. Especially back when it first aired it was actually funny to watch.<br /><br />Out of 10 I give the show an 8.5 - and kudos for pushing the envelope and breaking down the doors leading to a new era of cartoons. | [
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] | since this cartoon first aired. I haven't actually watched it seriously or closely in about 10 years. Now that I'm an adult in my 30s I can look back with a serious eye as I watch the episodes again.<br /><br />In concept, the cartoon is partly an homage to the classic Looney Tunes but also its own original show. There are a few episodes that are structured like the old cartoons. For example, there is a singer that attacks Buster and so he exacts revenge on this singer's concert -exactly like the old Bugs Bunny cartoon. The ensuing cartoon is similar to Looney Tunes, just in a different era. If you look at the old Looney Tunes, they did an awful lot of stuff exactly like Tiny Toons did. The old Looney Tunes made a lot of social commentary and parody. There were celebrity impersonations. There were a lot of corny period jokes, slang, and dialog. The comedy was surreal and wacky. You can say this exactly for Tiny Toons as well. The comedy styling is 'spiritually' the same. Most definitely a throwback to the classics which hadn't been done well (if at all) in cartoons in the decades prior to this show. We recognize the cultural references in Tiny Toons and we can roll our eyes when something we don't like comes up. But the reason we don't think Looney Tunes are corny is because we weren't alive back in the 40s. Also, Looney Tunes was original back in those days but today cartoons are rehashed over and over. So it's easy to perceive Tiny Toons in an unfair light due to our exposure to current events and our overexposure to cartoons in general.<br /><br />There certainly are differences in many respects - the timing, the delivery, and obviously the duration of the shows. They are two different styles from two different periods, being done under two very different circumstances - Looney Tunes being made for adults in theaters and Tiny Toons being made for kids watching TV. Even so, they did a good job making an original show with original gags AND still paying homage to and patterning after the comedy stylings of the old Looney Tunes.<br /><br />Since Tiny Toons had a lot more time to play with, they had some genuine moments of great animated inspiration. You only have to look at episodes like 1 minute to 3, the baby Plucky toilet episode.. there are so many more. For example, one of the best comedy dialog exchanges ever animated is in ThirteenSomething when Babs and Buster are on the phone in a split screen, hoping each misses the other. The miscommunication is spectacular. Notably, the character development in this episode and in several others (usually the ones penned by Deanna Oliver or Sherri Stoner) is rather good. The female characters were taken seriously as personalities and developed, unusual considering the opposite is usually true for cartoons of that period.<br /><br />This was the first modern cartoon that had lots of both pop culture-referential and self-referential humor. This was way ahead of its time. Tiny Toons really opened up a door for writers to take comic liberties that are so common in the cartoons today, instead of doing the boring old crap we endured as 80s kids. Yes, I loved Transformers and Thundercats, but Tiny Toons totally jumped away from all that. It was a breath of fresh air. Bakshi's New Adventures of Mighty Mouse may have been a precursor, but Tiny Toons made this surreal style of comedy cartoon writing a real success.<br /><br />As a kid I totally overlooked some jokes. For example, one episode is an homage to the Marx Brothers that I completely ignored as a teen. Now I have a newfound respect for it. There are so many inspired gags that I never noticed that are genuinely brilliant. It's that kind of comedy that makes me think of Looney Tunes and Family Guy. I NEVER noticed that kind of comedy as a kid. I've been thinking this for most episodes I watched recently.<br /><br />You'd notice these kinds of things if you actually WATCHED the show. Unlike some other reviewers here who I know are unfairly judging it, I've seen all the episodes and have thought about them thoroughly, exposed both as a kid and as an adult.<br /><br />You can tell there was an awful lot of care taken with the voice acting too. I'm not talking about just the main characters, but the side characters were done really well and creatively too. But back to the main characters, some of the main characters were brilliant. Tress MacNeille had, in my opinion, her best performances in this cartoon. She hasn't been the same since. Rob Paulsen also did some incredible stuff here, too.<br /><br />This is all not to say the show didn't have some bad episodes. It had plenty. It had a lot of mediocre ones, too. But by far it certainly had a lot of genuinely funny episodes. Especially back when it first aired it was actually funny to watch.<br /><br />Out of 10 I give the show an 8.5 - and kudos for pushing the envelope and breaking down the doors leading to a new era of cartoons.<|endoftext|> | [
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] | 504 | It's now 2005 and 15+ years since this cartoon first aired. I haven't actually watched it seriously or closely in about 10 years. Now that I'm an adult in my 30s I can look back with a serious eye as I watch the episodes again.<br /><br />In concept, the cartoon is partly an homage to the classic Looney Tunes but also its own original show. There are a few episodes that are structured like the old cartoons. For example, there is a singer that attacks Buster and so he exacts revenge on this singer's concert -exactly like the old Bugs Bunny cartoon. The ensuing cartoon is similar to Looney Tunes, just in a different era. If you look at the old Looney Tunes, they did an awful lot of stuff exactly like Tiny Toons did. The old Looney Tunes made a lot of social commentary and parody. There were celebrity impersonations. There were a lot of corny period jokes, slang, and dialog. The comedy was surreal and wacky. You can say this exactly for Tiny Toons as well. The comedy styling is 'spiritually' the same. Most definitely a throwback to the classics which hadn't been done well (if at all) in cartoons in the decades prior to this show. We recognize the cultural references in Tiny Toons and we can roll our eyes when something we don't like comes up. But the reason we don't think Looney Tunes are corny is because we weren't alive back in the 40s. Also, Looney Tunes was original back in those days but today cartoons are rehashed over and over. So it's easy to perceive Tiny Toons in an unfair light due to our exposure to current events and our overexposure to cartoons in general.<br /><br />There certainly are differences in many respects - the timing, the delivery, and obviously the duration of the shows. They are two different styles from two different periods, being done under two very different circumstances - Looney Tunes being made for adults in theaters and Tiny Toons being made for kids watching TV. Even so, they did a good job making an original show with original gags AND still paying homage to and patterning after the comedy stylings of the old Looney Tunes.<br /><br />Since Tiny Toons had a lot more time to play with, they had some genuine moments of great animated inspiration. You only have to look at episodes like 1 minute to 3, the baby Plucky toilet episode.. there are so many more. For example, one of the best comedy dialog exchanges ever animated is in ThirteenSomething when Babs and Buster are on the phone in a split screen, hoping each misses the other. The miscommunication is spectacular. Notably, the character development in this episode and in several others (usually the ones penned by Deanna Oliver or Sherri Stoner) is rather good. The female characters were taken seriously as personalities and developed, unusual considering the opposite is usually true for cartoons of that period.<br /><br />This was the first modern cartoon that had lots of both pop culture-referential and self-referential humor. This was way ahead of its time. Tiny Toons really opened up a door for writers to take comic liberties that are so common in the cartoons today, instead of doing the boring old crap we endured as 80s kids. Yes, I loved Transformers and Thundercats, but Tiny Toons totally jumped away from all that. It was a breath of fresh air. Bakshi's New Adventures of Mighty Mouse may have been a precursor, but Tiny Toons made this surreal style of comedy cartoon writing a real success.<br /><br />As a kid I totally overlooked some jokes. For example, one episode is an homage to the Marx Brothers that I completely ignored as a teen. Now I have a newfound respect for it. There are so many inspired gags that I never noticed that are genuinely brilliant. It's that kind of comedy that makes me think of Looney Tunes and Family Guy. I NEVER noticed that kind of comedy as a kid. I've been thinking this for most episodes I watched recently.<br /><br />You'd notice these kinds of things if you actually WATCHED the show. Unlike some other reviewers here who I know are unfairly judging it, I've seen all the episodes and have thought about them thoroughly, exposed both as a kid and as an adult.<br /><br />You can tell there was an awful lot of care taken with the voice acting too. I'm not talking about just the main characters, but the side characters were done really well and creatively too. But back to the main characters, some of the main characters were brilliant. Tress MacNeille had, in my opinion, her best performances in this cartoon. She hasn't been the same since. Rob Paulsen also did some incredible stuff here, too.<br /><br />This is all not to say the show didn't have some bad episodes. It had plenty. It had a lot of mediocre ones, too. But by far it certainly had a lot of genuinely funny episodes. Especially back when it first aired it was actually funny to watch.<br /><br />Out of 10 I give the show an 8.5 - and kudos for pushing the envelope and breaking down the doors leading to a new era of cartoons.<|endoftext|> | [
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] | 1,104 | It's now 2005 and 15+ years |
a murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the case. The movie is about the investigation of the murder case, and the investigation of the | Hunt for Justice is about the setup of Slobadon Milosevic for his trial in the Hague. While it was a little too clinical in presentation the subject matter could have gotten very depressing very quickly. A Canadian Judge, Louise Arbour, becomes the Chief War Crimes Prosecutor at the International Criminal Tribunal for the UN in Yugoslavia. She battles everyone to pull out the evidence that sent Milosevic to trial. Not a bad docu-drama with class A directing and production work. The 'evidence' was disturbing by the shear discussion of the facts, happily they didn't go into too much detail and no real pictures of the tortured. | 1 | Hunt for Justice is about the setup of | Slobadon Milosevic for his trial in the Hague. While it was a little too clinical in presentation the subject matter could have gotten very depressing very quickly. A Canadian Judge, Louise Arbour, becomes the Chief War Crimes Prosecutor at the International Criminal Tribunal for the UN in Yugoslavia. She battles everyone to pull out the evidence that sent Milosevic to trial. Not a bad docu-drama with class A directing and production work. The 'evidence' was disturbing by the shear discussion of the facts, happily they didn't go into too much detail and no real pictures of the tortured. | [
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] | Slobadon Milosevic for his trial in the Hague. While it was a little too clinical in presentation the subject matter could have gotten very depressing very quickly. A Canadian Judge, Louise Arbour, becomes the Chief War Crimes Prosecutor at the International Criminal Tribunal for the UN in Yugoslavia. She battles everyone to pull out the evidence that sent Milosevic to trial. Not a bad docu-drama with class A directing and production work. The 'evidence' was disturbing by the shear discussion of the facts, happily they didn't go into too much detail and no real pictures of the tortured.<|endoftext|> | [
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and a lot of laughs. I'm not a big fan of the original, but I'm glad I saw this one. It's a good movie, and I'm glad I saw it. | Lotsa action, cheesy love story, unexpected actors and overall great fun. The special effect are acceptable/decent, some of the fighting is kinda neat with some interesting acrobatic moves. The overall story moves along, and is cheesy enough to keep you wondering when the inevitable is going to happen, although there is a bit of a twist (just a small one). The overall naivety of the movie make it quite whimsical at times. Cute enough chicks too what more could you want. PS. if you're gonna review a movie like this, try to review it in terms of the category the movie would fall (not necessarily where it was intended to fall). ie don't bomb out good cheesy movies! | 1 | Lotsa action, cheesy love story, | unexpected actors and overall great fun. The special effect are acceptable/decent, some of the fighting is kinda neat with some interesting acrobatic moves. The overall story moves along, and is cheesy enough to keep you wondering when the inevitable is going to happen, although there is a bit of a twist (just a small one). The overall naivety of the movie make it quite whimsical at times. Cute enough chicks too what more could you want. PS. if you're gonna review a movie like this, try to review it in terms of the category the movie would fall (not necessarily where it was intended to fall). ie don't bomb out good cheesy movies! | [
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] | unexpected actors and overall great fun. The special effect are acceptable/decent, some of the fighting is kinda neat with some interesting acrobatic moves. The overall story moves along, and is cheesy enough to keep you wondering when the inevitable is going to happen, although there is a bit of a twist (just a small one). The overall naivety of the movie make it quite whimsical at times. Cute enough chicks too what more could you want. PS. if you're gonna review a movie like this, try to review it in terms of the category the movie would fall (not necessarily where it was intended to fall). ie don't bomb out good cheesy movies!<|endoftext|> | [
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] | 147 | Lotsa action, cheesy love story, |
lesinger) is a young woman who has just moved to the city of New York from the small town of West Virginia. She is a single mother who has just lost her husband to a car accident. She is a very good cook and has a good job. She is also a very good friend to her daughter, who is a very good cook. She is also a very good friend to her son, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also a very good friend to her son's best friend, who is a very good cook. She is also | Debbie Vickers (Nell Schofield) and Sue Knight (Jad Capelja) want to become one of the cool girls in their high school. Uncool and ugly girls had two options, be a mole or a prude! Debbie and Sue imitate them by using their cheating practices in an exam. Two of the cool boys, Garry (Goeff Rhoe) and Danny (Tony Hughes) ask them for their answers and they all get busted. After a bawling out from the headmaster (Bud Tingwell) the cool girls meet them outside in the playground and confronted them about whether they "dobbed" on them all. As Debbie and Sue hadn't the cool girls invited them to the "dunnies" for a smoke. They then start to hang with them on weekends at the beach, watching all the boys surf. Sue ends up going out with Danny and Debbie with Garry. A lot of usual teenage action takes place including sex, drugs and rock and roll. Garry has an eventual overdose of heroin which makes Debbie face the inequalities of life and she decides to learn to surf instead of just watching the boys. They are not happy but watch her, calling names, and eventually Debbie masters the board. A cool early 80s Aussie film. | 1 | Debbie Vickers (Nell Sch | ofield) and Sue Knight (Jad Capelja) want to become one of the cool girls in their high school. Uncool and ugly girls had two options, be a mole or a prude! Debbie and Sue imitate them by using their cheating practices in an exam. Two of the cool boys, Garry (Goeff Rhoe) and Danny (Tony Hughes) ask them for their answers and they all get busted. After a bawling out from the headmaster (Bud Tingwell) the cool girls meet them outside in the playground and confronted them about whether they "dobbed" on them all. As Debbie and Sue hadn't the cool girls invited them to the "dunnies" for a smoke. They then start to hang with them on weekends at the beach, watching all the boys surf. Sue ends up going out with Danny and Debbie with Garry. A lot of usual teenage action takes place including sex, drugs and rock and roll. Garry has an eventual overdose of heroin which makes Debbie face the inequalities of life and she decides to learn to surf instead of just watching the boys. They are not happy but watch her, calling names, and eventually Debbie masters the board. A cool early 80s Aussie film. | [
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] | 264 | Debbie Vickers (Nell Sch |
lives in their hands and go on a road trip to find a lost treasure. They are joined by a young man who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young man who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young man who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young man who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young man who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young man who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young man who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young man who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young man who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young man who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young woman who is also on the road trip. The two of them are joined by a young woman who is also | A group of teens decide to take their slumber party to an abandoned school where, 27 years prior, a horrible massacre took place. Unfortunately for them, the person responsible for the slaughter still lurks the halls of the derelict school and he is not happy with their presence.<br /><br />This film is not like most modern teen slashers we've seen. It's much darker, much more suspenseful, no wise-cracking murderer, etc., and I liked it for those reasons. From a film-making point-of-view, it's not great. The acting is below average. The writing was pretty bad and quite full of clichés, containing randomly tossed-in references to American horror films, some that didn't even make sense (like. . . "Have you seen Scream 3?", a girl asks. Yes, I have, and it had nothing to do with walking through the doors of an old school so it in no way relates to this film). But, hey, it's a slasher flick, those are part of the fun. Also, the underutilization of characters was heavily exhibited in this film. There were six main characters (not including The Security Guard) and, to be honest, only three or four were really used. Two characters (the token black guy and some other girl that wasn't important enough to get a label) barely spoke: Between them, I'd estimate about five or six lines total. Also, the girls (other than one) weren't formed well enough to differentiate them from one another. They could've replaced each of the girls with one another repeatedly throughout the film and I wouldn't have noticed the difference. The pacing, however, works well as the horror begins right from the start and rarely ceases. The atmosphere is utilized well and the direction reveals some truly chilling moments. . . although, the overall appearance is a bit cheap-looking due to, what I assume is, low-grade camera equipment (and operation). The ending, though I liked the idea they were going for, was fairly poorly done. It felt rushed and without explanation enough to make it effective. With the amount of time they spent running around looking for nothing, they could've spent a little bit more time on the conclusion to make sure it didn't feel like some random event thrown in for no good reason (which is a flaw many modern horror films are afflicted with). However, ignoring a few irksome issues and trying to focus on the first 98% of the film rather than the ending, this is actually a rather good modern slasher that should be checked out, especially if you're a fan of Spanish and/or atmospheric horror.<br /><br />Obligatory Slasher Elements:<br /><br />- Violence/Gore: There's a good bit of blood and gore, realistically done, but not buckets. The violence is extremely well done, not to excess, but pretty brutal at points.<br /><br />- Sex/Nudity: Little bit, and with the hottest girl in the film.<br /><br />- Cool Killer: Well, security guards are hardly considered 'cool,' but this guy is pretty wicked. His creepy smile was chilling.<br /><br />- Scares/Suspense: The suspense is top-notch. . . very tense, very well done. There are also some extremely creepy moments that fused jump scares and the spooky atmosphere.<br /><br />- Mystery: None at all, really.<br /><br />- Awkward Dance Scene: Of course: between a couple of guys and a half-unwilling female in the flashback.<br /><br />- Classic Quote of the Film: 'One more trophy.' <br /><br />Final verdict: 7/10. This may be stretching it, but fans of Session 9 might want to check it out simply for the similar tone and atmosphere.<br /><br />-AP3- | 1 | A group of teens decide to take their | slumber party to an abandoned school where, 27 years prior, a horrible massacre took place. Unfortunately for them, the person responsible for the slaughter still lurks the halls of the derelict school and he is not happy with their presence.<br /><br />This film is not like most modern teen slashers we've seen. It's much darker, much more suspenseful, no wise-cracking murderer, etc., and I liked it for those reasons. From a film-making point-of-view, it's not great. The acting is below average. The writing was pretty bad and quite full of clichés, containing randomly tossed-in references to American horror films, some that didn't even make sense (like. . . "Have you seen Scream 3?", a girl asks. Yes, I have, and it had nothing to do with walking through the doors of an old school so it in no way relates to this film). But, hey, it's a slasher flick, those are part of the fun. Also, the underutilization of characters was heavily exhibited in this film. There were six main characters (not including The Security Guard) and, to be honest, only three or four were really used. Two characters (the token black guy and some other girl that wasn't important enough to get a label) barely spoke: Between them, I'd estimate about five or six lines total. Also, the girls (other than one) weren't formed well enough to differentiate them from one another. They could've replaced each of the girls with one another repeatedly throughout the film and I wouldn't have noticed the difference. The pacing, however, works well as the horror begins right from the start and rarely ceases. The atmosphere is utilized well and the direction reveals some truly chilling moments. . . although, the overall appearance is a bit cheap-looking due to, what I assume is, low-grade camera equipment (and operation). The ending, though I liked the idea they were going for, was fairly poorly done. It felt rushed and without explanation enough to make it effective. With the amount of time they spent running around looking for nothing, they could've spent a little bit more time on the conclusion to make sure it didn't feel like some random event thrown in for no good reason (which is a flaw many modern horror films are afflicted with). However, ignoring a few irksome issues and trying to focus on the first 98% of the film rather than the ending, this is actually a rather good modern slasher that should be checked out, especially if you're a fan of Spanish and/or atmospheric horror.<br /><br />Obligatory Slasher Elements:<br /><br />- Violence/Gore: There's a good bit of blood and gore, realistically done, but not buckets. The violence is extremely well done, not to excess, but pretty brutal at points.<br /><br />- Sex/Nudity: Little bit, and with the hottest girl in the film.<br /><br />- Cool Killer: Well, security guards are hardly considered 'cool,' but this guy is pretty wicked. His creepy smile was chilling.<br /><br />- Scares/Suspense: The suspense is top-notch. . . very tense, very well done. There are also some extremely creepy moments that fused jump scares and the spooky atmosphere.<br /><br />- Mystery: None at all, really.<br /><br />- Awkward Dance Scene: Of course: between a couple of guys and a half-unwilling female in the flashback.<br /><br />- Classic Quote of the Film: 'One more trophy.' <br /><br />Final verdict: 7/10. This may be stretching it, but fans of Session 9 might want to check it out simply for the similar tone and atmosphere.<br /><br />-AP3- | [
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] | slumber party to an abandoned school where, 27 years prior, a horrible massacre took place. Unfortunately for them, the person responsible for the slaughter still lurks the halls of the derelict school and he is not happy with their presence.<br /><br />This film is not like most modern teen slashers we've seen. It's much darker, much more suspenseful, no wise-cracking murderer, etc., and I liked it for those reasons. From a film-making point-of-view, it's not great. The acting is below average. The writing was pretty bad and quite full of clichés, containing randomly tossed-in references to American horror films, some that didn't even make sense (like. . . "Have you seen Scream 3?", a girl asks. Yes, I have, and it had nothing to do with walking through the doors of an old school so it in no way relates to this film). But, hey, it's a slasher flick, those are part of the fun. Also, the underutilization of characters was heavily exhibited in this film. There were six main characters (not including The Security Guard) and, to be honest, only three or four were really used. Two characters (the token black guy and some other girl that wasn't important enough to get a label) barely spoke: Between them, I'd estimate about five or six lines total. Also, the girls (other than one) weren't formed well enough to differentiate them from one another. They could've replaced each of the girls with one another repeatedly throughout the film and I wouldn't have noticed the difference. The pacing, however, works well as the horror begins right from the start and rarely ceases. The atmosphere is utilized well and the direction reveals some truly chilling moments. . . although, the overall appearance is a bit cheap-looking due to, what I assume is, low-grade camera equipment (and operation). The ending, though I liked the idea they were going for, was fairly poorly done. It felt rushed and without explanation enough to make it effective. With the amount of time they spent running around looking for nothing, they could've spent a little bit more time on the conclusion to make sure it didn't feel like some random event thrown in for no good reason (which is a flaw many modern horror films are afflicted with). However, ignoring a few irksome issues and trying to focus on the first 98% of the film rather than the ending, this is actually a rather good modern slasher that should be checked out, especially if you're a fan of Spanish and/or atmospheric horror.<br /><br />Obligatory Slasher Elements:<br /><br />- Violence/Gore: There's a good bit of blood and gore, realistically done, but not buckets. The violence is extremely well done, not to excess, but pretty brutal at points.<br /><br />- Sex/Nudity: Little bit, and with the hottest girl in the film.<br /><br />- Cool Killer: Well, security guards are hardly considered 'cool,' but this guy is pretty wicked. His creepy smile was chilling.<br /><br />- Scares/Suspense: The suspense is top-notch. . . very tense, very well done. There are also some extremely creepy moments that fused jump scares and the spooky atmosphere.<br /><br />- Mystery: None at all, really.<br /><br />- Awkward Dance Scene: Of course: between a couple of guys and a half-unwilling female in the flashback.<br /><br />- Classic Quote of the Film: 'One more trophy.' <br /><br />Final verdict: 7/10. This may be stretching it, but fans of Session 9 might want to check it out simply for the similar tone and atmosphere.<br /><br />-AP3-<|endoftext|> | [
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] | 504 | A group of teens decide to take their slumber party to an abandoned school where, 27 years prior, a horrible massacre took place. Unfortunately for them, the person responsible for the slaughter still lurks the halls of the derelict school and he is not happy with their presence.<br /><br />This film is not like most modern teen slashers we've seen. It's much darker, much more suspenseful, no wise-cracking murderer, etc., and I liked it for those reasons. From a film-making point-of-view, it's not great. The acting is below average. The writing was pretty bad and quite full of clichés, containing randomly tossed-in references to American horror films, some that didn't even make sense (like. . . "Have you seen Scream 3?", a girl asks. Yes, I have, and it had nothing to do with walking through the doors of an old school so it in no way relates to this film). But, hey, it's a slasher flick, those are part of the fun. Also, the underutilization of characters was heavily exhibited in this film. There were six main characters (not including The Security Guard) and, to be honest, only three or four were really used. Two characters (the token black guy and some other girl that wasn't important enough to get a label) barely spoke: Between them, I'd estimate about five or six lines total. Also, the girls (other than one) weren't formed well enough to differentiate them from one another. They could've replaced each of the girls with one another repeatedly throughout the film and I wouldn't have noticed the difference. The pacing, however, works well as the horror begins right from the start and rarely ceases. The atmosphere is utilized well and the direction reveals some truly chilling moments. . . although, the overall appearance is a bit cheap-looking due to, what I assume is, low-grade camera equipment (and operation). The ending, though I liked the idea they were going for, was fairly poorly done. It felt rushed and without explanation enough to make it effective. With the amount of time they spent running around looking for nothing, they could've spent a little bit more time on the conclusion to make sure it didn't feel like some random event thrown in for no good reason (which is a flaw many modern horror films are afflicted with). However, ignoring a few irksome issues and trying to focus on the first 98% of the film rather than the ending, this is actually a rather good modern slasher that should be checked out, especially if you're a fan of Spanish and/or atmospheric horror.<br /><br />Obligatory Slasher Elements:<br /><br />- Violence/Gore: There's a good bit of blood and gore, realistically done, but not buckets. The violence is extremely well done, not to excess, but pretty brutal at points.<br /><br />- Sex/Nudity: Little bit, and with the hottest girl in the film.<br /><br />- Cool Killer: Well, security guards are hardly considered 'cool,' but this guy is pretty wicked. His creepy smile was chilling.<br /><br />- Scares/Suspense: The suspense is top-notch. . . very tense, very well done. There are also some extremely creepy moments that fused jump scares and the spooky atmosphere.<br /><br />- Mystery: None at all, really.<br /><br />- Awkward Dance Scene: Of course: between a couple of guys and a half-unwilling female in the flashback.<br /><br />- Classic Quote of the Film: 'One more trophy.' <br /><br />Final verdict: 7/10. This may be stretching it, but fans of Session 9 might want to check it out simply for the similar tone and atmosphere.<br /><br />-AP3-<|endoftext|> | [
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] | 818 | A group of teens decide to take their |
movie. It's a great movie, and I'm glad I saw it. I'm a big fan of the movie, and I'm glad I saw it. It's a great movie, and I'm glad I saw it. It's a great movie, and I'm glad I saw it. | A pity, nobody seems to know this little thriller-masterpiece. Where bigger budgeted movies fail, "Terminal Choice" delivers lots of thrills, shocks and bloody violence. A little seen gem, that deserves being searched for in your local video shop. That anonymous guy beneath is quite right, when he says, you'll never trust hospitals again... it IS that effective ! Good ending,too, not really a twist, but it doesn't end the way one thought it would. Yep, that's Ellen Barkin in an early role... | 1 | A pity, nobody seems to know this | little thriller-masterpiece. Where bigger budgeted movies fail, "Terminal Choice" delivers lots of thrills, shocks and bloody violence. A little seen gem, that deserves being searched for in your local video shop. That anonymous guy beneath is quite right, when he says, you'll never trust hospitals again... it IS that effective ! Good ending,too, not really a twist, but it doesn't end the way one thought it would. Yep, that's Ellen Barkin in an early role... | [
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] | little thriller-masterpiece. Where bigger budgeted movies fail, "Terminal Choice" delivers lots of thrills, shocks and bloody violence. A little seen gem, that deserves being searched for in your local video shop. That anonymous guy beneath is quite right, when he says, you'll never trust hospitals again... it IS that effective ! Good ending,too, not really a twist, but it doesn't end the way one thought it would. Yep, that's Ellen Barkin in an early role...<|endoftext|> | [
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] | 113 | A pity, nobody seems to know this |
and the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power of friendship. It is a movie about the power | It is movie about love,violence,illegal affairs and romanian tycoons. A romanian story combined with an occidental adaption resulting in a modern international film that can be understood both by western audiences but as well by eastern European audiences that HAVE LONG forgotten about the conservative comunist regim over film-making.<br /><br />A film full of violent fight scenes that are very numerous and create more and more tensed situations as the movie goes on . <br /><br />A story that impresses because of its view over the hard life from the neighbourhood. Two young men do illegal car races. They work together as a team and prosper from their occupation ,but when they are asked by a local tycoon to lose one race things start to get messy and the fuse from the bomb lights up creating a very tensionated movie that will keep you close to the screen until the ending of it when you will still be asking yourself a lot of questions long after that.<br /><br />Brilliant acting both by Dragos Bucur and Dorina Chiriac along with high quality directing and screen writing by the young but talented director Radu Muntean also give a unique charm to Furia. All this and many other elements that can be noticed while watching have created a must see movie by all the filmlovers around the world and its message is clear to all not depending of race ,language we speak or country. It is a real hope for the Romanian cinema as it tries to keep up with the more advanced occidental cinema.<br /><br />I hope you enjoy watching it as I'm sure that all the people that have seen it liked it and understood it. | 1 | It is movie about love,violence, | illegal affairs and romanian tycoons. A romanian story combined with an occidental adaption resulting in a modern international film that can be understood both by western audiences but as well by eastern European audiences that HAVE LONG forgotten about the conservative comunist regim over film-making.<br /><br />A film full of violent fight scenes that are very numerous and create more and more tensed situations as the movie goes on . <br /><br />A story that impresses because of its view over the hard life from the neighbourhood. Two young men do illegal car races. They work together as a team and prosper from their occupation ,but when they are asked by a local tycoon to lose one race things start to get messy and the fuse from the bomb lights up creating a very tensionated movie that will keep you close to the screen until the ending of it when you will still be asking yourself a lot of questions long after that.<br /><br />Brilliant acting both by Dragos Bucur and Dorina Chiriac along with high quality directing and screen writing by the young but talented director Radu Muntean also give a unique charm to Furia. All this and many other elements that can be noticed while watching have created a must see movie by all the filmlovers around the world and its message is clear to all not depending of race ,language we speak or country. It is a real hope for the Romanian cinema as it tries to keep up with the more advanced occidental cinema.<br /><br />I hope you enjoy watching it as I'm sure that all the people that have seen it liked it and understood it. | [
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] | illegal affairs and romanian tycoons. A romanian story combined with an occidental adaption resulting in a modern international film that can be understood both by western audiences but as well by eastern European audiences that HAVE LONG forgotten about the conservative comunist regim over film-making.<br /><br />A film full of violent fight scenes that are very numerous and create more and more tensed situations as the movie goes on . <br /><br />A story that impresses because of its view over the hard life from the neighbourhood. Two young men do illegal car races. They work together as a team and prosper from their occupation ,but when they are asked by a local tycoon to lose one race things start to get messy and the fuse from the bomb lights up creating a very tensionated movie that will keep you close to the screen until the ending of it when you will still be asking yourself a lot of questions long after that.<br /><br />Brilliant acting both by Dragos Bucur and Dorina Chiriac along with high quality directing and screen writing by the young but talented director Radu Muntean also give a unique charm to Furia. All this and many other elements that can be noticed while watching have created a must see movie by all the filmlovers around the world and its message is clear to all not depending of race ,language we speak or country. It is a real hope for the Romanian cinema as it tries to keep up with the more advanced occidental cinema.<br /><br />I hope you enjoy watching it as I'm sure that all the people that have seen it liked it and understood it.<|endoftext|> | [
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] | 504 | It is movie about love,violence, illegal affairs and romanian tycoons. A romanian story combined with an occidental adaption resulting in a modern international film that can be understood both by western audiences but as well by eastern European audiences that HAVE LONG forgotten about the conservative comunist regim over film-making.<br /><br />A film full of violent fight scenes that are very numerous and create more and more tensed situations as the movie goes on . <br /><br />A story that impresses because of its view over the hard life from the neighbourhood. Two young men do illegal car races. They work together as a team and prosper from their occupation ,but when they are asked by a local tycoon to lose one race things start to get messy and the fuse from the bomb lights up creating a very tensionated movie that will keep you close to the screen until the ending of it when you will still be asking yourself a lot of questions long after that.<br /><br />Brilliant acting both by Dragos Bucur and Dorina Chiriac along with high quality directing and screen writing by the young but talented director Radu Muntean also give a unique charm to Furia. All this and many other elements that can be noticed while watching have created a must see movie by all the filmlovers around the world and its message is clear to all not depending of race ,language we speak or country. It is a real hope for the Romanian cinema as it tries to keep up with the more advanced occidental cinema.<br /><br />I hope you enjoy watching it as I'm sure that all the people that have seen it liked it and understood it.<|endoftext|> | [
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] | 350 | It is movie about love,violence, |
is a good movie is because it's a good movie. It's not a great movie, but it's a good movie. It's not a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie because it's a great movie. It's a great movie | The only reason The Duke Is Tops, one of several "race movies" made during the times of segregation, would be worth noting today is because it made the film debut of a 21-year-old singer named Lena Horne. She plays Ethel Andrews, a singer who has to leave her producer mentor Duke Davis (Ralph Cooper) in order to branch into the big time. Davis, however, has to fake having taken the money for her services in front of her so she won't feel sorry for having done so. He then teams up with Doc Dorando (Lawrence Criner) for a series of medicine shows throughout the south. Meanwhile, in New York, her new producers have bombed big time because they made her the whole show instead of simply the specialty act. Davis finds out from the radio and offers his services as producer and band leader to bring his lineup of other specialty acts, many of whom make their one of their few or only film appearances here, for his chance at the big time with Ethel next to him. Guess what happens? While the plot is the kind you've seen in thousands of other movie musicals during this time, the fact this was made for a certain audience makes this one of the more fascinating features I've seen during this Black History Month. Ms. Horne's singing is on good display here and it's interesting seeing her so young before her professionalism takes full hold later in her career. Among other supporting players there's an unconfirmed, according to IMDb, appearance by Lillian Randolph, Annie in my favorite movie It's a Wonderful Life and sister of Amanda Randolph who I just saw in the musical short The Black Network, as the woman with Sciatica who complains of not being cured after taking the Doc's medicine before Duke explains it's for the feet! And as a longtime Louisiana resident, I'd like to take note of two players from here in this movie: Joel Fluellen from Monroe as a tonic customer and Marie Bryant from New Orleans as the sexy dancer who appears near the musical climax. So for just Lena Horne alone, The Duke is Tops is worth seeing at least once. | 1 | The only reason The Duke Is Tops | , one of several "race movies" made during the times of segregation, would be worth noting today is because it made the film debut of a 21-year-old singer named Lena Horne. She plays Ethel Andrews, a singer who has to leave her producer mentor Duke Davis (Ralph Cooper) in order to branch into the big time. Davis, however, has to fake having taken the money for her services in front of her so she won't feel sorry for having done so. He then teams up with Doc Dorando (Lawrence Criner) for a series of medicine shows throughout the south. Meanwhile, in New York, her new producers have bombed big time because they made her the whole show instead of simply the specialty act. Davis finds out from the radio and offers his services as producer and band leader to bring his lineup of other specialty acts, many of whom make their one of their few or only film appearances here, for his chance at the big time with Ethel next to him. Guess what happens? While the plot is the kind you've seen in thousands of other movie musicals during this time, the fact this was made for a certain audience makes this one of the more fascinating features I've seen during this Black History Month. Ms. Horne's singing is on good display here and it's interesting seeing her so young before her professionalism takes full hold later in her career. Among other supporting players there's an unconfirmed, according to IMDb, appearance by Lillian Randolph, Annie in my favorite movie It's a Wonderful Life and sister of Amanda Randolph who I just saw in the musical short The Black Network, as the woman with Sciatica who complains of not being cured after taking the Doc's medicine before Duke explains it's for the feet! And as a longtime Louisiana resident, I'd like to take note of two players from here in this movie: Joel Fluellen from Monroe as a tonic customer and Marie Bryant from New Orleans as the sexy dancer who appears near the musical climax. So for just Lena Horne alone, The Duke is Tops is worth seeing at least once. | [
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] | , one of several "race movies" made during the times of segregation, would be worth noting today is because it made the film debut of a 21-year-old singer named Lena Horne. She plays Ethel Andrews, a singer who has to leave her producer mentor Duke Davis (Ralph Cooper) in order to branch into the big time. Davis, however, has to fake having taken the money for her services in front of her so she won't feel sorry for having done so. He then teams up with Doc Dorando (Lawrence Criner) for a series of medicine shows throughout the south. Meanwhile, in New York, her new producers have bombed big time because they made her the whole show instead of simply the specialty act. Davis finds out from the radio and offers his services as producer and band leader to bring his lineup of other specialty acts, many of whom make their one of their few or only film appearances here, for his chance at the big time with Ethel next to him. Guess what happens? While the plot is the kind you've seen in thousands of other movie musicals during this time, the fact this was made for a certain audience makes this one of the more fascinating features I've seen during this Black History Month. Ms. Horne's singing is on good display here and it's interesting seeing her so young before her professionalism takes full hold later in her career. Among other supporting players there's an unconfirmed, according to IMDb, appearance by Lillian Randolph, Annie in my favorite movie It's a Wonderful Life and sister of Amanda Randolph who I just saw in the musical short The Black Network, as the woman with Sciatica who complains of not being cured after taking the Doc's medicine before Duke explains it's for the feet! And as a longtime Louisiana resident, I'd like to take note of two players from here in this movie: Joel Fluellen from Monroe as a tonic customer and Marie Bryant from New Orleans as the sexy dancer who appears near the musical climax. So for just Lena Horne alone, The Duke is Tops is worth seeing at least once.<|endoftext|> | [
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] | 504 | The only reason The Duke Is Tops , one of several "race movies" made during the times of segregation, would be worth noting today is because it made the film debut of a 21-year-old singer named Lena Horne. She plays Ethel Andrews, a singer who has to leave her producer mentor Duke Davis (Ralph Cooper) in order to branch into the big time. Davis, however, has to fake having taken the money for her services in front of her so she won't feel sorry for having done so. He then teams up with Doc Dorando (Lawrence Criner) for a series of medicine shows throughout the south. Meanwhile, in New York, her new producers have bombed big time because they made her the whole show instead of simply the specialty act. Davis finds out from the radio and offers his services as producer and band leader to bring his lineup of other specialty acts, many of whom make their one of their few or only film appearances here, for his chance at the big time with Ethel next to him. Guess what happens? While the plot is the kind you've seen in thousands of other movie musicals during this time, the fact this was made for a certain audience makes this one of the more fascinating features I've seen during this Black History Month. Ms. Horne's singing is on good display here and it's interesting seeing her so young before her professionalism takes full hold later in her career. Among other supporting players there's an unconfirmed, according to IMDb, appearance by Lillian Randolph, Annie in my favorite movie It's a Wonderful Life and sister of Amanda Randolph who I just saw in the musical short The Black Network, as the woman with Sciatica who complains of not being cured after taking the Doc's medicine before Duke explains it's for the feet! And as a longtime Louisiana resident, I'd like to take note of two players from here in this movie: Joel Fluellen from Monroe as a tonic customer and Marie Bryant from New Orleans as the sexy dancer who appears near the musical climax. So for just Lena Horne alone, The Duke is Tops is worth seeing at least once.<|endoftext|> | [
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] | 440 | The only reason The Duke Is Tops |
pretense of being a movie about the Holocaust. It is a movie about the horrors of war, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis. It is a movie about the horrors of the Holocaust, and the horrors of the Nazis | Inglorious Basterds makes no apologies, asks for no forgiveness, it's a no holds barred assault on the senses. Tarantino doesn't care if he offends, if he steps all over stereotypes and clichés, this is film making at it purest. It's great to see a film maker whose work clearly isn't interfeared with by the powers that be. Tarantino is a master of effortlessly cranking up immense tension and suddenly mixing it with laugh out loud moments; you're not sure if you should be looking away in disgust or rolling around laughing, either way it's a roller coaster and one not to be missed! It's not for everyone and I'm unsure how Germans will take the film, certainly if you're not a fan of Tarantino's style, this may be a little hard to swallow, but never-the-less, it is a film which simply has to be seen. No self respecting film fan should miss this. And the performance of Christoph Waltz... Oscar don't you dare ignore him!! | 1 | Inglorious Basterds makes no | apologies, asks for no forgiveness, it's a no holds barred assault on the senses. Tarantino doesn't care if he offends, if he steps all over stereotypes and clichés, this is film making at it purest. It's great to see a film maker whose work clearly isn't interfeared with by the powers that be. Tarantino is a master of effortlessly cranking up immense tension and suddenly mixing it with laugh out loud moments; you're not sure if you should be looking away in disgust or rolling around laughing, either way it's a roller coaster and one not to be missed! It's not for everyone and I'm unsure how Germans will take the film, certainly if you're not a fan of Tarantino's style, this may be a little hard to swallow, but never-the-less, it is a film which simply has to be seen. No self respecting film fan should miss this. And the performance of Christoph Waltz... Oscar don't you dare ignore him!! | [
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] | 214 | Inglorious Basterds makes no |
much more than just a journey. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's a journey to find the truth. It's | Discovering something, the journey is so much more fun, so much more surreal and so much more emotionally galvanizing than when you finally arrive at the destination. Falling in love is perhaps one of the most opulent feelings in the world. You feel energized, invigorated and alive. You simply want to be around that person every second of the day and the very sound of their voice gets you excited and sometimes aroused. Love, and all the physical and emotional side effects that comes with it, is pure bliss. Where it goes from here is anyone's guess, but when you first begin your journey together, nothing can compare to it.<br /><br />Diane Lane and Richard Gere play Adrienne Willis and Dr. Paul Flanner, two emotionally scarred middle aged individuals. In this film, they are about to embark on that mystical journey together, where love, and the discovery of the emotions along the way, will help save them.<br /><br />Lane is dealing with the typical jerk of an ex-husband who still loves her, but in her eyes, only because the woman he cheated with no longer wants him. As hurt as she was by him, as much as she really dislikes him, there is a part of her that is actually considering taking him back. Why you might ask? Because in life, and love, sometimes comfort supersedes intelligence. Yes, this man cheated on her but she has kids with him, she built a life with him and there is obviously still a connection with him.<br /><br />Richard Gere plays a recently divorced husband and estranged father. He also just lost a patient as she reacted negatively to the anesthetic. He is now being sued by her family and he is guilt ridden but hardened about the issue. This is what brings him to Rodanthe in the first place. Although his lawyer told him not to, he felt compelled to visit the woman's husband in Rodanthe. He stays at the Inn that Adrienne is taking care of. Soon, they find comfort in each other's arms and discover that they too can have a second chance in life.<br /><br />By now this sounds like a simple idea for a film, and although it might be something you've seen or read about before, Gere and Lane simply own the film. Diane Lane lights the screen up with her smile. Her eyes twinkle in the dark and the life she brings to the character is one worth watching. Gere's character is a little different. He is more hardened and bitter. It takes Adrienne's pain and her passion to bring him out of his shell. He blames quietly himself for his strained relationship with his son and her secretly blames himself for the death of the patient. On the outside he tells anyone who will listen that it is not his fault, and that she was a 1 in 50,000 casualty. But deep down, it eats away at him. They find each other at a time when both need someone to listen.<br /><br />Gere and Lane have been in film together before but this is the first time they play lovers. They were married in Unfaithful but here they play lovers finding each other when the people in their lives have abandoned them. They have a spark and a real chemistry. I would love to see more films with them together. In fact, I'd love to see more films with Diane Lane but that's a story for another time.<br /><br />Nights in Rodanthe is a very passionate and romantic film about two lost souls who save each other. They both become better people, they both become stronger people. I enjoyed it immensely and would recommend it to anyone, not just couples. This is a film about redemption, absolution, and second chances.<br /><br />It will also ask you to bring some hankies.<br /><br />8/10 | 1 | Discovering something, the journey is so | much more fun, so much more surreal and so much more emotionally galvanizing than when you finally arrive at the destination. Falling in love is perhaps one of the most opulent feelings in the world. You feel energized, invigorated and alive. You simply want to be around that person every second of the day and the very sound of their voice gets you excited and sometimes aroused. Love, and all the physical and emotional side effects that comes with it, is pure bliss. Where it goes from here is anyone's guess, but when you first begin your journey together, nothing can compare to it.<br /><br />Diane Lane and Richard Gere play Adrienne Willis and Dr. Paul Flanner, two emotionally scarred middle aged individuals. In this film, they are about to embark on that mystical journey together, where love, and the discovery of the emotions along the way, will help save them.<br /><br />Lane is dealing with the typical jerk of an ex-husband who still loves her, but in her eyes, only because the woman he cheated with no longer wants him. As hurt as she was by him, as much as she really dislikes him, there is a part of her that is actually considering taking him back. Why you might ask? Because in life, and love, sometimes comfort supersedes intelligence. Yes, this man cheated on her but she has kids with him, she built a life with him and there is obviously still a connection with him.<br /><br />Richard Gere plays a recently divorced husband and estranged father. He also just lost a patient as she reacted negatively to the anesthetic. He is now being sued by her family and he is guilt ridden but hardened about the issue. This is what brings him to Rodanthe in the first place. Although his lawyer told him not to, he felt compelled to visit the woman's husband in Rodanthe. He stays at the Inn that Adrienne is taking care of. Soon, they find comfort in each other's arms and discover that they too can have a second chance in life.<br /><br />By now this sounds like a simple idea for a film, and although it might be something you've seen or read about before, Gere and Lane simply own the film. Diane Lane lights the screen up with her smile. Her eyes twinkle in the dark and the life she brings to the character is one worth watching. Gere's character is a little different. He is more hardened and bitter. It takes Adrienne's pain and her passion to bring him out of his shell. He blames quietly himself for his strained relationship with his son and her secretly blames himself for the death of the patient. On the outside he tells anyone who will listen that it is not his fault, and that she was a 1 in 50,000 casualty. But deep down, it eats away at him. They find each other at a time when both need someone to listen.<br /><br />Gere and Lane have been in film together before but this is the first time they play lovers. They were married in Unfaithful but here they play lovers finding each other when the people in their lives have abandoned them. They have a spark and a real chemistry. I would love to see more films with them together. In fact, I'd love to see more films with Diane Lane but that's a story for another time.<br /><br />Nights in Rodanthe is a very passionate and romantic film about two lost souls who save each other. They both become better people, they both become stronger people. I enjoyed it immensely and would recommend it to anyone, not just couples. This is a film about redemption, absolution, and second chances.<br /><br />It will also ask you to bring some hankies.<br /><br />8/10 | [
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] | much more fun, so much more surreal and so much more emotionally galvanizing than when you finally arrive at the destination. Falling in love is perhaps one of the most opulent feelings in the world. You feel energized, invigorated and alive. You simply want to be around that person every second of the day and the very sound of their voice gets you excited and sometimes aroused. Love, and all the physical and emotional side effects that comes with it, is pure bliss. Where it goes from here is anyone's guess, but when you first begin your journey together, nothing can compare to it.<br /><br />Diane Lane and Richard Gere play Adrienne Willis and Dr. Paul Flanner, two emotionally scarred middle aged individuals. In this film, they are about to embark on that mystical journey together, where love, and the discovery of the emotions along the way, will help save them.<br /><br />Lane is dealing with the typical jerk of an ex-husband who still loves her, but in her eyes, only because the woman he cheated with no longer wants him. As hurt as she was by him, as much as she really dislikes him, there is a part of her that is actually considering taking him back. Why you might ask? Because in life, and love, sometimes comfort supersedes intelligence. Yes, this man cheated on her but she has kids with him, she built a life with him and there is obviously still a connection with him.<br /><br />Richard Gere plays a recently divorced husband and estranged father. He also just lost a patient as she reacted negatively to the anesthetic. He is now being sued by her family and he is guilt ridden but hardened about the issue. This is what brings him to Rodanthe in the first place. Although his lawyer told him not to, he felt compelled to visit the woman's husband in Rodanthe. He stays at the Inn that Adrienne is taking care of. Soon, they find comfort in each other's arms and discover that they too can have a second chance in life.<br /><br />By now this sounds like a simple idea for a film, and although it might be something you've seen or read about before, Gere and Lane simply own the film. Diane Lane lights the screen up with her smile. Her eyes twinkle in the dark and the life she brings to the character is one worth watching. Gere's character is a little different. He is more hardened and bitter. It takes Adrienne's pain and her passion to bring him out of his shell. He blames quietly himself for his strained relationship with his son and her secretly blames himself for the death of the patient. On the outside he tells anyone who will listen that it is not his fault, and that she was a 1 in 50,000 casualty. But deep down, it eats away at him. They find each other at a time when both need someone to listen.<br /><br />Gere and Lane have been in film together before but this is the first time they play lovers. They were married in Unfaithful but here they play lovers finding each other when the people in their lives have abandoned them. They have a spark and a real chemistry. I would love to see more films with them together. In fact, I'd love to see more films with Diane Lane but that's a story for another time.<br /><br />Nights in Rodanthe is a very passionate and romantic film about two lost souls who save each other. They both become better people, they both become stronger people. I enjoyed it immensely and would recommend it to anyone, not just couples. This is a film about redemption, absolution, and second chances.<br /><br />It will also ask you to bring some hankies.<br /><br />8/10<|endoftext|> | [
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] | 504 | Discovering something, the journey is so much more fun, so much more surreal and so much more emotionally galvanizing than when you finally arrive at the destination. Falling in love is perhaps one of the most opulent feelings in the world. You feel energized, invigorated and alive. You simply want to be around that person every second of the day and the very sound of their voice gets you excited and sometimes aroused. Love, and all the physical and emotional side effects that comes with it, is pure bliss. Where it goes from here is anyone's guess, but when you first begin your journey together, nothing can compare to it.<br /><br />Diane Lane and Richard Gere play Adrienne Willis and Dr. Paul Flanner, two emotionally scarred middle aged individuals. In this film, they are about to embark on that mystical journey together, where love, and the discovery of the emotions along the way, will help save them.<br /><br />Lane is dealing with the typical jerk of an ex-husband who still loves her, but in her eyes, only because the woman he cheated with no longer wants him. As hurt as she was by him, as much as she really dislikes him, there is a part of her that is actually considering taking him back. Why you might ask? Because in life, and love, sometimes comfort supersedes intelligence. Yes, this man cheated on her but she has kids with him, she built a life with him and there is obviously still a connection with him.<br /><br />Richard Gere plays a recently divorced husband and estranged father. He also just lost a patient as she reacted negatively to the anesthetic. He is now being sued by her family and he is guilt ridden but hardened about the issue. This is what brings him to Rodanthe in the first place. Although his lawyer told him not to, he felt compelled to visit the woman's husband in Rodanthe. He stays at the Inn that Adrienne is taking care of. Soon, they find comfort in each other's arms and discover that they too can have a second chance in life.<br /><br />By now this sounds like a simple idea for a film, and although it might be something you've seen or read about before, Gere and Lane simply own the film. Diane Lane lights the screen up with her smile. Her eyes twinkle in the dark and the life she brings to the character is one worth watching. Gere's character is a little different. He is more hardened and bitter. It takes Adrienne's pain and her passion to bring him out of his shell. He blames quietly himself for his strained relationship with his son and her secretly blames himself for the death of the patient. On the outside he tells anyone who will listen that it is not his fault, and that she was a 1 in 50,000 casualty. But deep down, it eats away at him. They find each other at a time when both need someone to listen.<br /><br />Gere and Lane have been in film together before but this is the first time they play lovers. They were married in Unfaithful but here they play lovers finding each other when the people in their lives have abandoned them. They have a spark and a real chemistry. I would love to see more films with them together. In fact, I'd love to see more films with Diane Lane but that's a story for another time.<br /><br />Nights in Rodanthe is a very passionate and romantic film about two lost souls who save each other. They both become better people, they both become stronger people. I enjoyed it immensely and would recommend it to anyone, not just couples. This is a film about redemption, absolution, and second chances.<br /><br />It will also ask you to bring some hankies.<br /><br />8/10<|endoftext|> | [
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] | 805 | Discovering something, the journey is so |
this site, but I have to say that this movie is one of the best I have ever seen. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this one is the best. I have seen many movies that are good, but this | I normally don't comment on movies on IMDB, but in this case I feel like I should. I love movies, and I want to make them, and this movie is a perfect example of fine filmmaking.<br /><br />This is one of the few movies that I have seen on the small screen (originally seeing it air on AMC, I believe, and then on the DVD I just watched) that made me get that feeling in the pit of my stomach. That little gnawing sensation that the director would hope you feel while watching his thriller.<br /><br />Jack Lemmon's performance is a fine one, and Jane Fonda and Michael Douglas follow. I felt so much empathy of Lemmon, who's character Jack Godell, only wanted people to listen to his warning.<br /><br />But what impresses me most about this film is the lack of a score, and this is also what makes it beautiful to me. Apart from the opening titles there are no background music to increase the tension, because none is needed. And while the credits run, white on black, in silence it drives the point home.<br /><br />I use the movie as an example to anyone who says music makes the movie. I think the movie should make the movie and the music should only amplify that. But for The China Syndrome music is not necessary to get across the realism and the urgency depicted here. The characters portray all of this far better than the music ever could.<br /><br />I highly recommend this movie, it is one of my favorites. If you like movies, you won't be disappointed. If you like movie soundtracks more, you might not want to give this one a go. | 1 | I normally don't comment on movies on | IMDB, but in this case I feel like I should. I love movies, and I want to make them, and this movie is a perfect example of fine filmmaking.<br /><br />This is one of the few movies that I have seen on the small screen (originally seeing it air on AMC, I believe, and then on the DVD I just watched) that made me get that feeling in the pit of my stomach. That little gnawing sensation that the director would hope you feel while watching his thriller.<br /><br />Jack Lemmon's performance is a fine one, and Jane Fonda and Michael Douglas follow. I felt so much empathy of Lemmon, who's character Jack Godell, only wanted people to listen to his warning.<br /><br />But what impresses me most about this film is the lack of a score, and this is also what makes it beautiful to me. Apart from the opening titles there are no background music to increase the tension, because none is needed. And while the credits run, white on black, in silence it drives the point home.<br /><br />I use the movie as an example to anyone who says music makes the movie. I think the movie should make the movie and the music should only amplify that. But for The China Syndrome music is not necessary to get across the realism and the urgency depicted here. The characters portray all of this far better than the music ever could.<br /><br />I highly recommend this movie, it is one of my favorites. If you like movies, you won't be disappointed. If you like movie soundtracks more, you might not want to give this one a go. | [
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] | IMDB, but in this case I feel like I should. I love movies, and I want to make them, and this movie is a perfect example of fine filmmaking.<br /><br />This is one of the few movies that I have seen on the small screen (originally seeing it air on AMC, I believe, and then on the DVD I just watched) that made me get that feeling in the pit of my stomach. That little gnawing sensation that the director would hope you feel while watching his thriller.<br /><br />Jack Lemmon's performance is a fine one, and Jane Fonda and Michael Douglas follow. I felt so much empathy of Lemmon, who's character Jack Godell, only wanted people to listen to his warning.<br /><br />But what impresses me most about this film is the lack of a score, and this is also what makes it beautiful to me. Apart from the opening titles there are no background music to increase the tension, because none is needed. And while the credits run, white on black, in silence it drives the point home.<br /><br />I use the movie as an example to anyone who says music makes the movie. I think the movie should make the movie and the music should only amplify that. But for The China Syndrome music is not necessary to get across the realism and the urgency depicted here. The characters portray all of this far better than the music ever could.<br /><br />I highly recommend this movie, it is one of my favorites. If you like movies, you won't be disappointed. If you like movie soundtracks more, you might not want to give this one a go.<|endoftext|> | [
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] | 504 | I normally don't comment on movies on IMDB, but in this case I feel like I should. I love movies, and I want to make them, and this movie is a perfect example of fine filmmaking.<br /><br />This is one of the few movies that I have seen on the small screen (originally seeing it air on AMC, I believe, and then on the DVD I just watched) that made me get that feeling in the pit of my stomach. That little gnawing sensation that the director would hope you feel while watching his thriller.<br /><br />Jack Lemmon's performance is a fine one, and Jane Fonda and Michael Douglas follow. I felt so much empathy of Lemmon, who's character Jack Godell, only wanted people to listen to his warning.<br /><br />But what impresses me most about this film is the lack of a score, and this is also what makes it beautiful to me. Apart from the opening titles there are no background music to increase the tension, because none is needed. And while the credits run, white on black, in silence it drives the point home.<br /><br />I use the movie as an example to anyone who says music makes the movie. I think the movie should make the movie and the music should only amplify that. But for The China Syndrome music is not necessary to get across the realism and the urgency depicted here. The characters portray all of this far better than the music ever could.<br /><br />I highly recommend this movie, it is one of my favorites. If you like movies, you won't be disappointed. If you like movie soundtracks more, you might not want to give this one a go.<|endoftext|> | [
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29847,
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11037,
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428,
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50257,
50257,
50257,
50257
] | 355 | I normally don't comment on movies on |
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