WallyB

Despite the claims this is not the "first mainstream gay film". That honor must go to the far superior "The Broken Hearts Club". Regardless of the many high ranking reviews (including an absurd 100 from San Francisco's Mick LaSalle) this film falls short on many levels. As a comedy, it isn't that funny. As a romance, it isn't that believable and as a breakthrough film it isn't that original. Billy Eichner whining for two hours has little comic appeal which makes it next to impossible to believe Luke Macfarlane would be even remotely attracted to him. Every funny line is already in the trailer and some of them are out of context or even missing in the final film. Celebrity cameos are a brief line or two ( three or five for Debra Messing ) and add next to nothing. While the F-bombs and sex scenes make it a hard "R" they really don't move the story much despite Luke's abs. A far superior "gays are just folks" movie is Greg Betlanti's "The Broken Hearts Club" which has not only realistic dialogue but some heartfelt insight.

Can't believe this is getting kudos for SFX.

Granted they are decent for 1971 but compared to today they are dreadful. Opening shots of the space station show it lugging from frame to frame and looking like an HO gauge train set.

The anti-nuke storyline is dated and everything about it reeks of the 70s. Enjoy this as a campy throwback but it's more "1999" than "2001".

I can't believe the high ratings people are giving this train wreck. Is it serious sci-fi like "The Expanse" or "Battlestar Galactica" ? No, not nearly as intelligent or complex. Is it comedic like "Galaxy Quest" ? Not even close. Simplistic, sophomoric toilet humor. Way way too many anachronistic references to current material.

This is 400 years in the future ! Do we sit around making references to things from 1622 ?

No, we do not. I know you have to have SOME lamp posts to allow the audience to relate but you don't need them every five minutes.

The absurd use of contemporary music and movies is lazy and out of place. In most episodes you can quickly identify the Star Trek, Star Wars, Twilight Zone episode that is being ripped off, and not in a good way. The music is way too bombastic, repetitive and derivative of other themes. The only quality aspect of the show is the visual effects but these days anyone can buy those.

Way too close to Warehouse 13 and Friday the 13th The Series. Bits and pieces of things you've seen before, dressed up as new. Not the worst thing I've ever seen but far from the best.

Cast, script, director could mot be better.

Sidney Pollack's cameo is hilarious

Meryl Streep's comedy side shines.

Do NOT watch on "Laff" their version butchered.

As a former resident of West Hollywood myself I can say that the vacuous pinheads displayed here are hardly the norm. While WeHo does attract a bumper crop of vain, shallow pretty boys that drift from gyms to bars to bedrooms, most of my friends and neighbors were just average 9 to 5s without a spot of Botox between them.

Two episodes in and I want my time back. Not that funny, not that "dramatic" Just another writer (literally and dramatically) that thinks her view of the world is better than yours..... WRONG.

I note with suspicion that the 9 and 10 ratings seem of a common source.

Artie plays Scott as the perfect Everyman to the craziness of Jim and BJ and all who get drawn into the circle of madness that is Los Angeles. I laughed until people stared (hey, I was on a plane). One of the Streamers needs to pick this up and make it a true 30 min sitcom.

Two young Secret Service agents (cousins) spend their time trying to recover paranormal (cursed) objects which have been accidentally circulated among the general population. They are assisted by a specialist in paranormal (occult) objects and upon recovery store the items forever in a place called Warehouse 13 (Curious Goods).

The show was better when it was called "Friday the 13th: The Series"

No doubt somebody watched the last few seconds of "Raiders of the Lost Ark", the part where the camera zooms back from the crated Ark as it is wheeled into storage in a giant warehouse and said "now thats a good setting for a TV series". The leads try hard to be Mulder and Scully or even Booth and Bones but they are more "The Bickersons" and just as annoying.

I'll watch it if it's on and I can't find the remote (and it's too wet or hot to go outside)

A major misstep in the Don Knotts series of features that included such clean family entertainment as "The Ghost and Mr Chicken" and "The Reluctant Astronaut"

Unlike its "G" rated predecessors this film was rated two levels higher (originally "M" which became "PG-13")

American audiences did not go to a Don Knotts feature to hear words like "filth" "pornographic" "degenereate" and "pervert"

Knotts plays the same basic small town guy he always did, in this case the 4th generation publisher of a bird watching magazine. When the magazine goes bankrupt it is purchased by the owner of a sleazy girlie magazine in order to use it's mailing license. Don is framed for selling smut and unexpectedly wins a court trial becoming an instant celebrity in the cause of civil rights in the "sexual revolution".

With the same pedigree as Knotts' previous films including a twangy Vic Mizzy score, you'd expect a lighter touch but somehow this film just seems tawdry and out of step, especially the first half.

'Back to the Future' fans will easily recognize the Universal back lot which became "Hill Valley, California". Indeed the same small town main street was used in all 4 of the 60's Knotts films.

'Desperate Housewives' fans will get a kick out of seeing Don walk down what, 35 years later, would be Wysteria Lane.

If you HAVE seen the previous 3 comedies (4 if you count Warner Bros. "Incredible Mr. Limpet") you may want to see this out of curiosity but if you haven't, see the others first.

I'm shocked to see all of the negative reviews for this movie.

Newman was in his prime, Woodward was sexy and funny, the supporting cast was beyond compare.

The split screen of the fashion show and burlesque show remains a classic.

This is good ole fashioned G rated 60's sex farce in the same vein as all those Doris Day - Rock Hudson/James Garner/Cary Grant/Rod Taylor films.

Roamance without getting your hair mussed.

One of my favorite comedies.

I'm not sure what the other reviewers were expecting from this.

True, Newman and Woodward have been in some dramatic classics, but that shouldn't deny them the right to a bit of fluff and fun, LIGHTEN UP !

The story goes that Woodward had to talk Newman into making this and supposedly he never liked it but you wouldn't know that from his performance.

"There will be no further bulletins"

9 out of 10 - never fails to cheer me up.

Essentially a continuing episode of the original "The Bob Newhart Show" (1972). The plot picks up the day after the "last" episode of "Newhart" which itself morphed back into "The Bob Newhart Show".

Dr. Robert Hartley has yet another day at the office which he spends trying to explain his "dream" of the night before which of course was the "Newhart" show.

Series regulars Suzanne Pleshette, Bill Daily, Peter Bonerz, Marcia Wallace and Jack Riley all return to reprise their roles.

Be sure to stay through to the very end for a hilarious cameo by three "Newhart" regulars.

I've no idea how many of the actors in "The Broken Hearts Club" are actually gay. From what I can determine, not many, yet they all turn in very convincing performances. Essentially an ensemble pic along the lines of "The Big Chill" we get a look inside the lives and loves of a group of gay friends in West Hollywood. Not as raw as "Queer As Folk" or as tame as "Will & Grace" this movie is your basic young people in angst as featured weekly on FOX, UPN and the WB, the only difference being these young people (and a wonderful older John Mahoney) are gay. The "R" rating for language, drug use and sexual situations (which are only suggested) almost seems a bit of overreaction. As one of the few gay themed films NOT dealing with AIDS this is the perfect gay "feel good" flick and for a wild juxtaposition try it as a double feature with "The Boys In The Band"

Many of the previous posts have asked why this movie was made. I can only think of one reason. Greed, pure and simple. Neil Simon hasn't exactly had any recent hits and no doubt he got a bundle for the right to use this again. Warner had made the original and as owners of TNT no doubt had little cost in a remake. The original was a smash hit, insuring a massive look-in audience.

The result is a shambles.

Pale, thin, imitation "Goodbye Girl" that should never have seen the light of day (or cathode ray tube).

The performances of Daniels and Heaton are dreadful, or perhaps "capital P , capital U, capital TRID" says it best. Heaton actually give a better performance in her grocery store ads.

There is no emotion, no passion, no energy.

There are many reasons to remake an movie, usually because of limitations imposed on the original due to budget or production methods. There were no such limitations imposed on the original

and therefore no reason for a remake, especially a remake that is essentially 99 pct original dialog.

The classic play "The Front Page" has been remade many times. Love or hate the versions they at least had something new. In "His Girl Friday" they switched genders. In the Jack Lemmon - Walter Matthau version they had a great comedy duo. In "Switching Channels" is was updated to a TV newsroom.

I have no objection to a revival, plays were meant to be performed. Imagine if it was decided that the best performance of a work of Shakespeare was in the 1800s and therefore the play would never be performed again. When you have a classic version of a film, which can be enjoyed by subsequent generations, a remake is unnecessary.

Let's face it, Richard Dreyfuss won an Oscar for his performance in the original for a very good reason. Marsha Mason, Quinn Cummings, Ray Stark (Producer - Best Picture) and Neil Simon were all nominated for Oscars.

Richard Benjamin, brings nothing new to the table in this production, either as director or in his unnecessarily expanded part as Oliver Frey (Nicol Williamson wasn't even credited for his part in the original).

In summary, as others have said before, rent the original.

Before Bill Tush went to Hollywood for CNN and before TNT, TCM, Cartoon Network and the rest of the Turner Empire invaded the airwaves there was "SuperStation WTBS" a satellite rebroadcast of UHF channel 17 from Atlanta.

Fresh from his cult status as the host/anchor/writer of then WTCG's overnight "newscast" ( sometimes featuring a dressed up dog ) Bill Tush hosted this wacky hour of original sketch comedy taped in the same studio that was used for weekend wrestling programming.

Featuring talent from Atlanta comedy clubs and local theatre groups including future "Saturday Night Live" writers and "3rd Rock From the Sun / That 70's Show" creators Bonnie & Terry Turner and comedienne Jan Hooks, the comedy routines generally centered on TV shows and the TV industry.

"P.U. Magazine" a wicked send up of Group W's nauseating "P.M. Magazine" featured way too cheerful hosts trying desperately to outdo each other.

"60/40" a nearsighted slap at "20/20" and "60 Minutes" featured Tush as reporter "Mickey Hinkley".

"The Tammy Jean Show" featured Hooks as a female televangelist at the height of the Jim and Tammy Faye Baker scandal. Hooks was joined by Bonnie Turner as her Erik Estrada loving organist and Terry Turner as her guitar playing straight-man.

"Captain Space" had Tush in the title role with the cast wearing silver plastic weightloss suits and Hooks as "the ravishing Darla" in a parody of old SciFi B movies that often looked like a human version of the Muppets "Pigs in Space".

Another skit took a swing at a show from the Turner network which inhabited the basement under the WTBS studio where Tush was taped. "Mandy Freebird" hosted "Freebird Reports" an oh-so thinly disguised look at fledgling CNN's "Freeman Reports" interview program.

Local TV news was skewered by "Tri-Cities Action News" (a production of Tri-Cities Action News, copyright Tri-Cities Action News)

In addition to the comedy sketches the program featured any musical act which was passing through or could be talked into coming to Atlanta.

Late night cult record star Slim Whitman ( more than Elvis or The Beatles !) appeared in the premier broadcast followed in later shows by groups including The Vapors and Roseanne Cash.

While never as zany or slick as its higher cost cousins "SCTV" and "Saturday Night Live" the Tush show was nonetheless masterful in its ability to make something of nothing ( in one skit about Santa's reindeer, antlers were made by attaching rubber gloves to baseball caps !)

Should you ever get a chance to see it in reruns (alas doubtful) you will see the budding of the brilliant comedy of Bonnie and Terry Turner in a rare closeup peek.

Where to begin ? Probably best not to. An all star cast can't save this turkey with its B movie plot and dreadful special effects. Brian Keith and Natalie Wood as Soviet scientists ? Martin Landau as a red faced military clown ? Ed Wood gave us "Plan Nine From Outer Space" apparently Meteor is Plan Ten ! If you like SciFi you should watch it once, just to see how bad "bad" can be.

Preceded by "Snavely Manor" ( Harvey Korman, Betty White ) followed by "Payne" ( John Larroquette, JoBeth Williams ) this second attempt to Americanize the classic British sitcom "Fawlty Towers" pulls a gender bender switch by casting Bea Arthur as the owner of a small country inn.

While the sharp tongued Arthur (Maude, Golden Girls) was well suited for the verbal jousting of the role, the series lacked the pure physical slapstick of the British original.

While imitation may be the sincerest form of flattery I recall being outraged to discover that the credits for the program made no mention of "Fawlty Towers" even though many scenes, particularly in the pilot, were lifted directly from the original.

How Leonard Maltin can be quoted as calling this movie a "Near-brilliant mixture of humor and horror" (as proclaimed on the VHS box) is beyond me. This movies is dreadful. The story makes little or no sense, the sets and makeup are below "B movie" schlock.

This film alone is reason enough to ban Polanski from the US.

All Is Forgiven was one of the funniest sitcoms of the 80's and almost no one saw it. Yanked by NBC after only a few episodes to make room for the insipid (and thankfully short lived) 'The Tortellis', it had a brief rerun on cable (A&E?) and now, alas, is gone. I'm happy to say that I have most of the episodes on tape. This had the potential to be another "Cheers" or "Murphy Brown" with an outstanding cast including Bess Armstrong, Terence Knox, Shawnee Smith, David Alan Grier and the WONDERFUL Carol Kane. In the unlikely even it pops up again on cable, watch it, TAPE IT! and LAUGH!

Yes, dazzling effects. Big deal. Dazzling effects are expected in effects movies. The storyline, apart from the basic three sentence plot description, defies understanding. "The Architect" ? give me a break. More bull**** shoveled here than The X Files Movie.

The Burly Brawl is just a fight, big deal, ooh ooh, lots of Agent Smiths but to what end ? Big car crash chase, ho hum.

This movie was an overblown mess in search of a story.

A Kung Fu B movie with 200 million dollars worth of SFX is still a B movie.

If one could review 2010 in a vacuum (no space pun intended) it must be admitted that it is an adequate film version of the book. However the fact that this film is also a sequel to one of the most powerful, original and awe inspiring motion pictures in history forever plunges it into a shadow from which there is no escape. Indeed, 2010 commits the ultimate movie sin, it is BORING. Roy Scheider is horribly miscast as Dr Heywood Floyd, John Lithgow passable as Walter Curnow and Bob Balaban inexplicably appearing as Dr Chandra, HAL's "creator". Only Helen Mirren, drawing on her personal Russian background, brings any flair to the screen, the other actors stumble around like so many others who dont "get" science fiction spouting technospeak without the slightest hint of comprehension. Keir Dullea literally walks around the sets in a daze as the spectral reincarnation of astronaut David Bowman while making up for lost time with HAL as Douglas Rains provides a reprise as the voice of the wayward computer who's past evil is finally and logically explained.

Another reviewer praises 2010 for being coherent in opposition to 2001's incomprehensibility. I disagree completely. 2001 was staggering in its visual impact and provocative in its narrative style. It gave you guidelines and images which you filled in with your own imagination. 2010 left nothing to the imagination and inspired no late night coffee house discussions.

Tom Cruise plays, well, "Tom Cruise" is this sad pale sci-fi "product" from the Spielberg factory of over developed concepts. Not a scene went by where I didnt feel poked, prodded and manipulated. So many, many plot holes its amazing this flick could stand up under its own considerable weight. While we do get a sniff of "Blade Runner" and "Total Recall" most of the stink here is pure self-importance on the part of its cinematic creators. If Cruise is playing a character one degree different than the unpleasantly moody "Ethan Hunt" of "M.I." it certainly isnt obvious. Spielberg's direction provides neither awe nor wonder and few if any surprises or mystery. The SFX were unimpressive, especially the much touted fight / chase sequence - much looking like it was lifted from a Playstation 2 Racing Game cartridge.

While this IS the type of movie you want to see on a big screen, it's doubtful you'll feel you got your $9 worth.