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Sol H (ag) wrote: The worst movie I have ever seen, period. It would be bad enough to make the living dead spin in their graves except, well, they already pretty much do that.It's such a shame Ed Wood is branded as worst director ever, he doesn't deserve that title at all.So, here's the deal. It has NOTHING to do with George Romero's awesome "Day of the Dead" other than the name and that it has zombies in. It's a crappy unofficial sequel, but it's actually a prequel. It had a suprisingly large budget -but it looked like it was made for about $500 if that.[list][*]The writing is horrible. The best bit writing wise of the film is a scene where a man sees a zombie chef, says "I never liked your cooking!" and hits him. See, that's the BEST bit, the rest is even worse.[*]The acting is horrible. Absolutely awful.[*]The special effects, my God! It was so bad I almost cried. Here's an example. Towards the start of the film, many characters start to get peeling skin, so to get this effect, what did they do? They dried PVA glue on everyone and peeled it off! You know? That thing we all do in art class when we're bored. Wow, these make-up guys must have alot of experience.[*]The music is blander than potatoes with white sauce -with NO seasonings at all![*]The camera work is less than equal to that of the hand-held bits in "The Blair Witch Project".[*]The story is so bad I couldn't take it seriously.[/list]Goddammit this film is awful! I might have given it 1 out of 10, but the fact that people are going to connect this with Romero's work really pisses me off. I was told this film was bad. I mean REALLY bad. I mean contender for "Worst Movie Ever". So I expected something that bad. It was even worse than that! This is so Goddam awful, I almost think that it's a cruel joke on us fans of George Romero.If their attempt at remaking "Day of the Dead" turns out this bad I will cry, then hunt down and kill everyone involed in it's production, then commit suicide, then haunt the members of this film's makers' family.This film has no redeeming qualities. It's not even got the passion for movies displayed in most low-budget films. It's not even respectful of George Romero's work, it just craps all over it. Avoid this film more than Death himself!:rotten::rotten::rotten::rotten::rotten::rotten:
e call e icie (ca) wrote: Funny one-of-a-kind Filipino/Chinese Movie also made me cry when bongbong goes to Cagayan leaving Stella
Joe C (nl) wrote: You've got to admire Richard Linklater's patience and persistence for authenticity. To simulate a nine year advancement in time, anyone else would slather the leads with aging makeup, crank out a ham-fisted pastiche of a screenplay, and release the sequel in a year, two tops. Linklater literally waited nine years to film Before Sunset, tweaking and perfecting the screenplay and releasing five films in the meantime. And, especially in the context of Before Sunrise, the result is epically fitting. Jesse and Celine meet up again in Paris, briefly, getting another chance to talk about love nine years after the events depicted in the first film. Sure, it doesn't offer much in terms of narrative drive, and it's all talk and not much else, but Sunset us an out-and-out joy to watch, a subtle, atmospheric slice of life, perfectly capturing the naivety, the delight, and the mystery that is part of being in love. How many sequels are made for artistic reasons and add meaning, rather than strip it away?
Paul A (fr) wrote: this was a good movie, nice storyline, good actors, and its cool seeing a movie from australia, worth watching I liked the ending as well.
Blake P (br) wrote: "Single White Female" is the type of thriller best enjoyed when you embrace its insanity. The sooner you warm up to the way it looks and acts like a glistening, classic Lifetime TV movie, the better a time you'll have; like 1992's "The Handle That Rocks the Cradle," another pulse-pounder similar in its bedlam brazenness, exhilaration solely depends on your attitude. Poised with eye rolls and you'd be better off hopping onto a thrill ride offered in a different decade. Sitting rigidly and expecting mania to come your way and you might be surprised by how much fun you have going along on the adventure. Realistically, "Single White Female" is a film that will only decrease in respectability with age - infamy suits it better than classic status, and it isn't a necessary watch unless you relish that period in the earlier part of the 1990s when erotic thrillers ran ramped and audiences still liked their movies seasoned with a dash of melodramatic spiciness. So I'll truthfully call out "Single White Female" for being more guilty pleasure than art, but basking in the glory of a guilty pleasure wasn't a crime the last time I checked, and this one's worthy of a taste. You might be familiar with how its story goes, anyway. The film stars the ravishing Bridget Fonda as Allison Jones, a career girl whose healthy balance between a professional life and a romantic one is thrown out of orbit when it is discovered that her long-term boyfriend (Steven Weber) cheated on her with his ex-wife. Disgusted with his dishonesty and feeling the need to start her life anew, Allison decides that living alone, especially in the wake of a devastating breakup, is not much appealing. Why not take the daring route and look for a roommate? She puts an ad in the newspaper, and most applicants don't quite click. Too many neurotics, too many individuals with obvious baggage, show up on her doorstep. So she figures herself lucky when Hedra Carlson (Jennifer Jason Leigh), a shy but caring young woman, walks in toward the end of the application process and proves herself to be a good fit. Somewhat passive but nurturing and respectful all the same, transition is smooth - friendship prospers speedily, and being single might not be such a bad thing for Allison after all. But just as the situation starts to ease, things begin to get questionable. Hedy reveals herself to be increasingly (and alarmingly) possessive, reacting melodramatically if Allison stays out late or has a complaint about someone at work. It all particularly worsens when the latter gets back together with her boyfriend, causing jealousy to spread within Hedy. Rising, strange behaviors, are prompted, including the purchases of several of Allison's outfits, erratic mood swings, and, my personal favorite, the eyebrow raising decision to get her hair cut in the exact same fashion as her roommate. If these aren't warning signs, then I'm not sure what I'd call them - a shame Allison waits such a long time before taking Hedy's obsessions seriously. Her past isn't shady for nothing, after all. By the time "Single White Female" screeches to a halt, Hedra Carlson announces herself as being one of the most memorable movie villains of the '90s, played by Leigh with convincing instability that prevents her from being ludicrously over the top. Though we're left doubting the film's plausibility a lot of the time - most in Allison's predicament would certainly not ignore the red flags that smother Hedra's persona so often - the film is good at what it does, which, in this case, is posing as a thriller that runs high on freaky design and low on understatement. And I respond to films like this, ones so wild and fatteningly galvanizing that we can hardly do anything but lick our lips as the goings get increasingly rough, to an explosive point of no return. Fonda, looking much like Shirley MacLaine, is a spunky heroine, chic and confident, Leigh a suitable, Joan Crawfordian villainess. "Single White Female" doesn't get any points in terms of how it's aged - in the twenty-four years since its release, its datedness has begun to show since thrillers mostly rely on the restrained nowadays - but this is a fun, shabby, and decently stylish roller coaster ride.
Al H (fr) wrote: The end ruined the movie.
Michael K (br) wrote: I dont have this one as yet since its not on DVD here yet but ive seen it and it is a very good thriller featuring a young Drew Barrymore in one of her early teen roles.
Nick K (ca) wrote: Another Japanese classic which delighted a lot of people in the 80s. A string of stories about the importance of good food surrounding a main story of a woman who wants to learn how to cook the best noodles in the world, for no apparent reason at all. Other than the fact that the motives of all the characters are unjustified or non existent, this is an interesting film.
Michael O (br) wrote: Dancing With Wolves starring Kevin Costner tells the tale of a former Confederate Officer who transitions into joining the Union forces during the Civil War. He is a man who at the end of the movie is almost dying because of loss of blood and is miraculously given the strength to mount a noble steed and head toward certain death. However, our hero escapes and goes toward doing what is right. The social commentary of the film surrounds the idea of death of self as a rebirth. He is a man who was living and being apart of the wrong side but he escapes by some Spiritual grace and is transformed. After being taken in by the Sioux tribe he sees that what has happened is not a coincidence and strives to overcome conflict and find his path. The movie is elegantly shot and some of the views are breathtakingly colorful. The soundtrack adds depth and pace and makes the shorter seems as well as the longer ones more enthralling. By the time the movie revolves we see the archetype of the "rebirth" as Costner is completely transformed and his moral standing is honored by the Sioux peoples as well as those fighting for the Union. It was a slow burn and by that I mean it took a while for it to develop but when it did, boy was it good. I would highly recommend this film and I think that I gained a greater appreciation to natural lighting and nature shots after seeing this film. Even though it was a four hour film the cinematography, lighting and sound make it a masterpiece of its time and preserves the film.
Ben C (it) wrote: He sold items like the ShamWow!, the Slap Chop and the Schticky. And now that I've seen this movie in full, I'm now convinced that even thinking of seeing this movie was an atrocious mistake. The sole thing I liked about this movie, if not, tolerated, was the 'Flirty Harry' segments, with a few lines from Adrien Brody managing to make me laugh. The rest were lousy, lazy, and dreadful attempts at humour, with the sketches poorly intertwined to pass off as one film. It made a mockery out of all the stars, especially Rob Schneider.