Tiny-13

The 10 Star Reviews Are Likely from People Connected to the Film

Roma first came to my attention from an onslaught of PR from Netflix. However, I've been watching the movie for the past 32 minutes and 26 seconds and I'm bored to tears. Where's the story? Where's a modicum of anything worthwhile to keep me viewing?

Simply put, don't believe the hype.

Sorry Netflix, bombarding voting members like myself doesn't buy you awards. Good films do. Stop throwing everything and the kitchen sink at us hoping that something sticks. You're asking for a negative reaction with such a misguided strategy.

AN UPDATE AS OF OSCAR NIGHT: It turns out Netflix engaged in a behind-the-scenes campaign to smear "Green Book", Roma's closest competitor in the race for the Academy's Best Picture award. I can only hope that this untoward and unprofessional behavior comes back to bite Netflix and the film's producers in the behind when the statuettes are handed out tonight.

(And as an aside, from here on out, all Netflix screeners that I'm sent during Awards Season will he placed at the bottom of the pile)

The story of Modigliani is well-known. However, this film gives it life with a wonderful script, amazing cinematography, and mind-blowing performances by Andy Garcia and Elsa Zylberstein, a little-known French actress. I was glued to the screen from start to finish and have recommended it to everyone. If this film, Garcia, and Zylberstein don't receive Academy Award nominations, there's something wrong with Hollywood... at least more than is already wrong with it.

Run don't walk to the nearest theatre showing "Modigiliani". Forget the mega-publicized studio films being released now (Winter 2004-2005). See it while you can. It's a true find, and one that will stay with you long after you left the theatre.

This is your basic cheapie TV Movie-of-the-week that takes a great film from the 1940's and absolutely ruins it. The writing is horrible, the acting is worse. Barbara Hershey looks as though she's moving through the film with one thought on her mind, "I'm going to fire my agent for getting me this gig." Peter Strauss who is a fine actor, turns in what is arguably his worst performance ever. Strauss assumes the silly accent of a New York Mafioso from the 1940's. It's as thin as his acting. There is nothing about this particular remake that gives reason for its being made. No original ideas here; bland, bland, bland. At least they could have put some interesting spin on the material. It pales in comparison to the original 1946 classic.

This film presents a great example of why self-financing isn't always good. Greenstreet films is in the fortunate position of having a bevy of financiers to fund their own films. In turn this allows producers John Penotti and Fisher Stevens the ability to greenlight what they want, when they want. Swimfan (a collaboration with Michael Douglas' Further Films) is one such example. The problem with this is that the development of the film avoided the rigors of a studio screening system that would have likely weeded the project out in its infancy for simply being a bad script.

The film isn't any better than the written material. Somehow we're supposed to understand how the lead character is attracted to an overweight and obviously unstable girl. In addition we're asked to root for an unsympathetic protagonist. And finally, by film's close we're left with absolutely no ending whatsoever. I'd be hard pressed to tell you exactly what's taking place when the credits roll... it's that confusing. It appears as though no thought was put into this... or for that matter much of the plot leading up to it.

With all the great indie scripts out there, Greenstreet ought to have put their financiers money toward a more worthy project.

There's almost no reason to write comments for this title beyond saying that this film is bad, very bad. It's Michael Pare's first film with Producers Network Associates (PNA)/Greystone Entertainment, marking the beginning of the actor's steep fall into bad, B-movie oblivion.

TV just doesn't get any worse than this. From the quality of the cast right down to the props, no money seems to have been spent. The storylines are ridiculous, so much so that it would take a miracle for a viewer to be able to suspend their disbelief.

The thing that keeps me scratching my head the most is how Michael Pare, an actor with such potential, could allow himself to be associated with such tripe. The guys who produce this (Producers Network Associates - PNA, Greystone International, Danforth Studios, or whatever name they're going with for the moment), seem to turn out a steady stream of sloppy episodes that simply aren't deserving of airtime at any hour. Cable access is too good for this show.

Do yourself a favor, if it's a choice between this show or re-runs of Cop Rock, watch Cop Rock. Even the worst episode of that show beats Starhunter any day. Better yet, watch a test pattern, you'll derive more enjoyment from it.

It's the film everyone remembers from those Saturday afternoon TV film matinees. The producer, Charles R. Rogers, had a pretty bleak record when it came to producing films on his own (he was once a V.P. at Universal before going solo). But with "Angel" he knocked it out of the park. He inserted age-old movie favorties and combined them into one story. Gangsters, fights, comedy, drama, fantasy... what's not to love?

"Angel on My Shoulder" (1946) offers up classic performances by such legendary stars as Paul Muni, Anne Baxter, and Claude Rains. All cast to type, they give performances that are timeless. When you think of any of these stars, think of them in this film and it will give you a pretty good idea as to what each was known for.

Although this film was put together during the tail end of World War II and was designed as escapist fun, it holds up today. In fact, it begs for a good re-make. One was done for TV back in 1980, but fell flat. So bad was that version, that they should pay you to watch it. Yet if someone was to do it correctly today, they would have a real gem on their hands.

If you haven't seen the original 1946 version, catch it on TV. It belongs in everybody's movie-watching repertoire.

This film has slipped through the cracks of film history. It is by far much better than some other New York films of the same era such as: "The French Connection" or "The Taking of Pelham 1-2-3". There is a gritty reality to this film which also manages to effectively use humor to further the plot line. It's engaging from start to finish and hasn't tarnished with age as is the case with the above two examples.

Ron Liebman turns in a bravura performance as "Batman" and it's a shame his career didn't take off as a result of this project.

Gordon Parks directs and, coming as it does after "Shaft", it at first appears to be a strange choice. Yet it is the flip side of that earlier effort and approached with just as much in your face machismo.

Unfortunately this film has not been made available on either DVD or VHS in the United States. United Artists really has a gem on their hands and it's a shame they're not doing anything with it.

Much like the new edge in rock that reared up in the late 1970's and continues today, "The Dennis Miller Show" could easily be classified as the first alternative talk show. It not only featured cutting edge bands (and is responsible for "breaking" "Toad the Wet Sprocket"), but guests who were were also breaking new ground. Many of the people who stopped by to chat with Dennis were not seen on the other late-night programs of the time.

I disagree that "The Dennis Miller Show" had a limited audience due to its being smart and topical. On the contrary, the lack of audience had everything to do with Tribune contracting it for time slots that were in the wee-hours of the morning; Miami (4:00am) and San Francisco (2:00am) being but two examples. The show was also hurt by the booking practices of the rival "Tonight Show with Jay Leno" whose former Executive Producer, Helen Kushnick, would ban stars from appearing on her program if they appeared on any other talk show. This policy not only hurt "The Dennis Miller Show", but also had a negative effect on "The Arsenio Hall Show" as well.

Finally, someone has put Michael Pare in a role that is deserving of his talent. "Men of Means" is an original script which chronicles the furtive attempts of Rico Burke to disengage himself from his mobster boss. There are many terrific layers here and Pare expertly plays them all.

The screenplay, written by Shane Perez, is top notch but suffers from inadequate direction. Too often it appears that the director, George Medeluk, was attempting to race through his production, never bothering with questions of continuity or sound.

"Men of Means" has a great supporting cast with cameos from the likes of Austin Pendelton and hockey star, Tie Domie. Pendleton's performance is Oscar worthy as Jerry Trask, the ne'r-do-well gambler, who triggers Rico's bid for redemption. The part is played to perfection and evokes a high degree of empathy.

Despite the flaws of its director, it is a must see for fans of action and superb acting.

Sci-fi filmmaking has hit a new low with this tired re-hashing of the "Armageddon" and "Deep Impact" genre. Not surprising as the film is one in a long line of bombs from Producers Network Associates ("Deadly Wake", "Future Fear", "Replikator", etc.). Yet again they have pulled in the talented Michael Pare and reduced his acting abilities to the lowest common denominator; good-looks and sex appeal.

Michael Pare who has shown his incredible capabilities in such hit films as "Eddie and the Cruisers" and "Hope Floats", is directed to mumble his way through this space adventure which, despite its dull and unbelievable plot, actually looks as though PNA put some dollars into the effects. The space walk scenes rival anything coming out of a major studio. Unfortunately that's as good as it gets and the audience will find themselves begging for the asteroid to destroy Michael Pare's spacecraft and put a quick end to this incredibly dull film.

Yet again Michael Pare has made an unwise choice by signing onto this mediocre action movie which takes places almost exclusively in the confines of a large boat. As a result of this fact, the entire movie feels extremely confined and in absolute need of being opened up with various locations... or for that matter a set design with imagination.

The direction is lackluster at best leaving Pare and McDowell to wander the cheap sets bellowing lines as though they were in a high school play. For two actors who have had stellar performances in such films as "Eddie and the Cruisers" or "A Clockwork Orange", one wonders how they could have fallen so far. Gwenyth Walsh (of Star Trek fame) makes an appearance here and is about the only high point in this overly long film. A brief flash of breast from Ms. Walsh seems to have only been tacked on for the sake of a sale on the foreign video market.

All in all, your video rental dollars would be better spent on one of these actors' films from their hey-day instead of this tired re-tread of a formula sci-fi action film.

This is one of the best rock and roll films ever made. It has a stellar cast which includes Michael Pare, Tom Berenger, Joe Pantoliano, and Ellen Barkin... in one of their very first roles. This is the film that made their careers. You can see the great promise in each of them and see great things ahead for each... well almost. Watching this film you can only feel sorry for Michael Pare and the B-movie roles he has lately gotten himself into.

The score is really what drives this movie. John Cafferty and the Beaver Brown band does Bruce Springsteen better than Bruce does himself. This of course is not to detract from the well structured script which plays on the "Jim Morrison lives" myth (with the character of Eddie Wilson as the Morrison substitute).

All in all, this film will keep you on the edge of your seat, singing away, until the movie's surprise ending. Not to be missed.

A labor to watch. Michael Pare has sunk to new lows by accepting a role in this film which offers a cliched script and overwrought acting. The audience can see the supposed twists and turns coming from a mile away. Pare is in definite need of a management switch in order to get his career back on track and doing the quality of work we all know he's capable of.