herrgaman

I saw this recently on Spanish television, dubbed in Spanish. Most memorable about this movie is the very high quality of the acting, in particular that of the two young stars; both are completely believable. The script goes in unexpected directions, and I appreciated that. The brief dream sequences have impact. Overall this is a good movie -- a story about teens that neither panders nor condescends.

I came with very low expectations and was wowed by this movie. Sergio Soto's editing is exceptional. Star Carlos Lico's performance of "Alegría" by Felipe Gil is the best song I've heard in a Mexican movie. The conventions of musical melodrama are more deftly handled than usual; Libertad Lamarque gets her standard, bizarrely staged, incongruous showstopping number, but it happens early and is the lone absurdist touch. Her star power noticeably influences the camera work, sometimes keeping her costars distractingly out of focus.

Toward the end the movie builds genuine dramatic tension -- unusual for a Mexican film of the era. The breaking of the fourth wall is used cleverly. Also, though she appears only briefly, Claudia Islas is a standout, stunning and enchanting. Sadly and typically, indigenous Mexicans are shown only briefly, and mostly in shadow.

It's interesting to catch a glimpse of how Mexico (or its white elite) viewed the country in 1968 -- as a nation confidently entering the world stage, a first-world contender, and a global peer.

Like "WALL-E," "Adios, amor" opens with no dialogue, so the first 15+ minutes contain only sound effects and music. Both movies also feature desperately lovesick protagonists. Only "Adios, amor," however, features a trumpet-playing kidnapper and larcenist. (But then again, if WALL-E had found a trumpet . . . )

The movie walks a very fine line between intentional and unintentional humor. There are interesting touches but overall it's too weird to be involving or poignant. As always, though, Saby Kamalich's acting is superb.

I've seen few television episodes this good in the past 20 years, from any country. "Professor T" really came into its own here, with the right balance of characterization, drama, and, most notably, interesting direction. This took "Professor T" from a kind of awkward dramedy reminiscent of "Monk" and "Ally McBeal" and made it unique, moving and visually riveting.

This is a decent movie, for a melodrama, and the racial views from that era in Mexico -- at least the ones the movie is willing to discuss, unlike the film's almost total absence of indigenous Mexicans -- can be interesting. There are musical numbers which drag on but must have been popular and expected. (It's a shame that underground American soul legend Steve Flanagan doesn't get a number.) Maybe the most memorable sequence is a long, incredibly bizarre, basically silent Chaplin-esque routine by Libertad Lamarque in which she appears to have cloned herself, portraying multiple characters in "humorous" roles, all to momentarily distract and amuse her daughter. Even for what is essentially a feature-length soap opera, that segment is weird.

Incredibly bad. One of the dumbest movies I've ever seen. Casually contemptuous toward women, and apparently proud of its cruelty. No gag is too trite or inane for these filmmakers. The only bright spot is that some of the acting is decent.

You hear about silent movies that no longer exist -- every copy has been lost or destroyed -- and it's always a real shame. But this movie would be better lost and forgotten.

This is a good movie, generally marketed as a comedy or comedy drama but there's almost no comedy; instead it's heartfelt and moving. The performances are effective. Paula Cusi stands out, and it's surprising that her film career was so brief (called "the face of Televisa" for her TV appearances, she's better known now for a rancorous dispute over the estate of her deceased husband, the son of Televisa's founder). Also notable is Mauricio Garcés, compulsively watchable, as ever.

Anchored by a solid, disconcerting performance from beloved Venezuelan folk singer Simón Díaz -- who brings a realness to the role which many classically trained actors could not match -- this movie can be uncomfortable to watch, but it's worthwhile. The Marxist themes are forthright, not to mention still relevant. In many ways this movie was my introduction to Latin American cinema, and as such it was perfect -- provocative, unusual, innovative.

Coming to this movie as an American, "La máxima felicidad" fits very well with US art house movies from the 70s and early 80s. It's unhurried, thoughtful, intelligent. Its treatment of sexuality and sexual orientation is understated (for the most part) but unusual and interesting. Controversial and provocative in its day, some of its themes are still only infrequently explored. The film seems largely undiscovered, especially outside Venezuela, which is too bad -- it would be popular in any Latin American film festival. Recommended.

I was shocked at how funny it was. I wasn't expecting much at all, but the acting and dialogue are about as sharp as they can be for a broad comedy from this era (regardless of language or country of origin). Mauricio Garcés is a fine comic actor.

Face Time was one of the smartest and most entertaining interview shows I've ever seen. Kurt Andersen is a great interviewer. The William Friedkin and Peter Guber segments in particular provided genuinely memorable insight into behind-the-scenes Hollywood.

As of February 2017, six people on IMDb have rated this series, which amazes me. How can quality this good be so little remembered? Anyone interested in the entertainment industry would have enjoyed this show.

I can find no episodes online, and the old Trio website has now completely disappeared. So, if you've got some Face Time on an old VHS or DVD-R, put it up on YouTube. Great stuff.

One issue with many "Christian movies" like A Vow to Cherish is that they don't seem even to aspire to preach to anyone outside a very specific choir. Had the messaging and delivery here been more thoughtful and more subtle, more lives might have been changed through this ministry (and ministry is plainly what the movie means to be). A broader approach to the subject, and to Christian redemption, would have been not only more entertaining, but also likelier to transform open-minded viewers searching for peace and grace in troubled times.

That said, the acting is quite good. Ken Howard is basically a legend, and it's fun to see him on screen with Ossie Davis. There are also a few nice touches in the direction and editing. But unless you're a fan of Billy Graham or deeply predisposed to his worldview and ideology, the reverend's lengthy appearance preaching in a stadium almost single-handedly ruins the picture. That scene as filmed is a baffling choice, because a local church service would have accomplished these narrative and spiritual goals in a more natural, less readily off-putting way.

The Graham scene in particular takes an otherwise gentle message of faithfulness and loyalty, and delivers it with all the tender appeal of a swinging sledgehammer. I liked parts of this film but I cannot recommend it at all.

Just saw the unaired pilot online at Nerdist. Easily one of the funniest half-hours I've seen in the past decade. Inexplicable that it wasn't picked up by FX for a full season; it's only slightly more outré than "It's Always Sunny in Philadelphia." In a way it was ahead of its time. The writing and tone might be better suited for a streaming service. Maybe because I like sci-fi, this was even funnier to me than "Reno" was back in the day. It's not easy to do sci-fi comedy well, but this show nailed it. The Yahoo series "Other Space" was, to say the least, substantially different, and not nearly as funny.

Here's hoping Thomas and Company revisit the concept.

In closing, and I quote: "Jake Gyllenhaal."

Apparently this movie was rarely seen until it was recently broadcast in a subtitled version on French TV. "Secret Lives" is engaging and entertaining, albeit somewhat dated and, at times, unintentionally humorous. It isn't stupid, and that's more than you can say for a lot of movies, then and now. Many of the scenes stay with you. A major disappointment is the ending, which is very abrupt and beyond downbeat; it's as though someone cut off the last twenty minutes of a more fulfilling movie. I suppose the ending was meant to be horrifying--and in that regard it succeeds to some degree--but it's really more maudlin and unsatisfying. One highlight is Horney's acting, which should have led to more English-language roles; she could have rivaled Dietrich. The best parts of the film are some very interesting choices made by Greville. His directing takes a rather ordinary script to a higher level, and it is a joy to watch.

Mr. Rogers did what few artists have done in the history of mankind - strengthened and supported his audience so profoundly and so generously that he became a transformative force in their lives. I feel fortunate to have learned from him. In all too many homes, Mr. Rogers was and is the only voice of understanding, gentleness and positive reinforcement. Imagine how different our world would be if more young people could be exposed to his philosophy of acceptance and love.

There are so many children who never hear their parents say the words "I love you" - not once, not ever. And then they hear Mr. Rogers sing of all the ways people say "I love you," like "the cooking way" and "the eating way," and it's a comfort and reassurance beyond words. No other public figure provides this kind of life-changing insight to the people most in need.

On behalf of everyone you helped, of all the souls you touched in a badly damaged world, Mr. Rogers - we thank you, and we love you.

I'm one of a tiny minority of viewers who feel that this film is almost horrifyingly bad. I respect all the people involved--Eastwood is a fine artist, as are Linney, Robbins, etc--but Eastwood's film, except for a few performances and technical aspects, never even rises to the level of mediocrity. Eastwood trusts the performers too much to correct the bad acting which repeatedly crops up. The dialogue, by the otherwise admirable Helgeland, is often woefully unrealistic and ham-handed. Above all, the story is a complete disappointment; the audience is left mystified, rather than wowed, at the film's epilogue. Clearly this film was not made for me.

A truly excellent film. Fascinating and devastating, Beloved rewards the attentive, thoughtful viewer. This film should be required viewing in American high school literature classes; I can think of no picture which deals more effectively or creatively with the national horror that was slavery. Newton's performance is admirable, but I find Kimberly Elise's portrayal astonishing in its realism and subtlety. It says much about society's capacity for selective amnesia that Beloved is one of the few extensive treatments of slavery in cinema history. Indeed, until Spike Lee makes his long-promised slavery epic, it will remain the only truly penetrating depiction of the country's darkest chapter. It is a film to be cherished.

This isn't one of the all-time greats, but this is a fine, and very watchable, movie with some really nice touches. The sequence in which Jones' character first arrives in and looks around Sanaa is very well done; it's quiet and reflective, an unusual move in a major Hollywood picture.

I don't really see the jingoism others complain about. Any self-respecting nation would depict its fighting men and women the way Americans have depicted themselves and their armed forces in this movie. Where others see offensive self-absorption and undue self-respect, I see a very normal sense of self-worth.

Sinise's portrayal of Wallace is astonishing, but I was most impressed by Mare Winningham's perfect performance as Lurleen. Like any Southerner, I'm more than accustomed to actors' ham-handed, mangled versions of Southern intonation and dialect, but Winningham was amazing. She BECAME Lurleen Wallace. At times you can be fooled into thinking that Winningham is lip-synching over an archival recording of Lurleen's speeches. Everything about her performance is superb.

I had zero expectations for this flick, and I would NEVER watch the original Brady Bunch episodes, but A Very Brady Sequel is terrific. Virtually everything works here. Gary Cole has brilliant comic delivery--I sure wish we saw more of him these days. This is one of those movies that you appreciate more over time; it isn't necessarily laugh-out-loud hilarious, but it is incredibly entertaining. Great literature this is not, but if you want a funny, well crafted comedy with some great writing and performances, give this Sequel a look.

This is easily one of the most entertaining TV movies ever. Great performances, particularly from Baxter and Ivey. Do not miss this movie if it comes on. There's a reason it's regularly among the top 10 cable shows whenever it's on.

This is the all-time great overlooked series that is so little remembered, it doesn't even qualify for cult status. I managed to see it on late-night TV in Sweden, and I was astonished by the quality of the writing. Everything about it was consistently top drawer from episode one, unlike virtually every other great show I can think of. No wobbly, awkward start here.

Some series just come and go under the radar, nobody seems to take notice. What a shame that happened with this show. Don't hold your breath for a deluxe DVD box set, but that's exactly what "Vengeance Unlimited" deserves.

Apparently you have to love Hitchcock to love "Shadow of a Doubt," judging from the comments in this forum. I'm no Hitchcock aficionado, but I did come to the picture with enough knowledge of his work to expect interesting filmmaking, great performances, smart dialogue and masterful suspense. I was disappointed on every count. The directing itself has some nice touches, but overall it's a bit ham-handed, as are the performances--especially from the youngest daughter, whose work here is laughably bad (though that's understandable as she was no professional--but couldn't the DIRECTOR have coaxed a better performance out of her?). My favorite parts were the performances of the young Hume Cronyn, and of Travers. Cronyn is excellent here, outacting Cotten turn for turn. Worst of all is the dialogue--unrealistic and exaggerated. This is a picture very much of its day. It's worth seeing, to be sure, but it's no masterpiece.

This movie does not strike a single false note. Every touch is right on target. Unfortunately it's almost never shown, so do not miss a chance to see it. Except for the fashions and locations, Griffin and Phoenix has not aged a day. Very beautiful, moving and funny.

If you're looking for clever, original animation; funny, inventive dialogue, both for kids and adults; and a genuinely entertaining movie-going experience, then seek out "Jimmy Neutron." I've noticed a recurring theme among those who pan this movie: They seem to have little knowledge of (or affection for) science and technology, the source of much of the humor; and they're sadly lacking in a childlike sense of wonder. For a lot of viewers of all ages, though, this movie is a childhood fantasy vividly brought to life. It's a film I'm proud to watch with my daughter, and we both think it's a riot.

"Jimmy Neutron" is special because it respects the adult in every child, and it brings out the child in many adults.