Pickwick12

Teen Star Academy definitely is a movie that someone made, and it has music in it that is definitely music.

Oh, who am I kidding? This is an absolute classic, neck and neck with Manos: The Hands of Fate in its sheer presumptuous incompetence.

There is nothing this movie will not try (and fail) at doing, no film convention it will not blithely destroy.

There's a weird, mesmerizing poetry in the unrealistic dialogue and stilted interactions, as if you're watching something that isn't failing to be realistic in human terms but is instead absolutely succeeding for the Martian audience it's meant for.

Endless showcases of vaguely talented to blatantly untalented children, nonsensical subplots, and a flatulent dog. This is as enjoyable as The Room or a Neil Breen film. It's submlinr absurdity, so totally and completely a failure that it becomes high art. I definitely do recommend it. Highly.

It's obvious a lot of reviewers of this film had no idea what to expect because of having no idea what is in the book it's based on. I'm not criticizing; there's certainly an argument for the fact that an adaptation should work on its own, even if you're unfamiliar. I'm not objective because I've read the book, and I thought it was pretty stunning. As an adaptation, the movie replicated the experience I had reading it-which is what I wanted and expected.

I expected stylized dialogue and characters, with wildly surreal, satirical plot points united by theme rather than subject. If you don't understand what exactly unites the movie's acts and their progression, I struggle to explain it without getting overly spoilery but would suggest deeper investigation and checking out the novel, which is superb. To me, it makes sense. The interaction of the intensely personal with the broadly circumstantial creates a framework to discuss the capital I "Issue" that every human must deal with-and the ways we choose to cope, together and separately.

What I applaud Noah and his actors for is making me care. The book has a brilliant writing style, but its surreality failed to give me some of the visceral sucker punches managed by Adam and Greta in particular.

This film is not going to be for everyone, and I suspect its cast and crew was well aware of this. It's self-consciously extremely intellectual, long, and strange, with humor as dry as a desert. And it's purposefully unsettling. I would argue that it very much should be. It's making us look at something we all face daily-whether we like it or not.

This series is one of the most baffling I have ever watched. I have literally no idea how the same team crafted something with the incredible, subtle, moving and intriguing highs of this show, but at the same time lows that would barely make it onto a weekly CW superhero standard in its twilight years.

It's simply wildly uneven-in tone, in acting, and in writing.

The other thing I don't understand is the demographic target. The worst moments of this show are weak enough that only children wouldn't be annoyed by them, but there's so much truly tense/gory/frightening content that I can't believe the target is kids. Even for preteens, it's very dark.

All that said, there's something about this. The premise is fascinating, and some of the well-directed scenes are near-masterpieces. It's a pity the same quality wasn't maintained throughout.

For me, there's enough here to keep me through a miniseries, and I'll probably tune in again if there's more. If it had a longer slate of episodes, I doubt I would make it.

Once in a very long while, the stars align to create truly transcendent art on screen. "Goblin" is an example of this, as the maturation of talented writer Kim Eun-Sook blends with nuanced directing, breathtaking cinematography and the formidable acting skills of Gong Yoo and the rest of the stellar cast.

This is great art and great television, regardless of the country of origin. That is not to minimize the South Korean expertise that created it, but simply to avoid the sometimes- backhanded compliment of "great...for a KDrama." It's just great TV, full stop.

I've watched KDramas for about a decade, and this one is the best I've seen. Highly recommended, not just for drama fans, but for all fans of quality cinematic art around the world.

Finally, a mainstream US network series comes close to the excellence of international mystery hits. Reminiscent of Broadchurch and the true-life story depicted in The Imposter, The Family has an excellent atmosphere of tension, alternating between police, victim, and family perspectives to produce a suspenseful and layered story that leaves the viewer confused in a good way, intrigued, and wanting more.

Not a perfect series but a very good one, The Family has a strong cast and an interesting story. Well worth a look for mystery lovers and those who enjoy a well- acted, immersive experience that is far superior to most network television series. Suspect everyone; suspect no one, then suspect everyone again, and enjoy the ride.

Though updated for the present time and reworked slightly, The Night Manager stays forcefully true to the characterizations and atmosphere of Le Carre's classic spy novel. Tom Hiddleston shines as the complicated protagonist, and Huge Laurie and Olivia Colman provide forceful screen presence to offset his vulnerably self-contained persona.

Fans of Le Carre's work are likely to enjoy The Night Manager, as are those who enjoy an atmospheric mystery populated with beautiful men and women, intelligent writing, and international stakes. Not a series to watch without paying attention, it is a series well worth the time and effort to absorb and enjoy it fully.

James Franco exercises his full acting range in this adaptation of Stephen King's taut, time-travel thriller. Early on, it's very true to the plot, style, and tone of King's book, so fans of the novel should be pleased if it continues in the same way. At the same time, those unfamiliar with the book are thrown into an engaging world with its own quirks and rules. Franco navigates moments of surprising pathos and surprising humor with ease, pulling the viewer into Epping's experiences and showing us his thoughts and feelings, even when dialogue is sparse.

11.22.63 is intelligent, thoughtful television that belongs in the current streamed-TV and specialized-content landscape that contains shows like The Man in the High Castle, Fargo, and the (dearly-departed) Hannibal. It's not an easy show to watch when you're half asleep or cleaning the house. If you're willing to give it your full attention, however, it's more than worth the time.

This is an absolutely terrible film. As a Christian, I give a lot of allowances to faith-based films, but no amount of allowances can redeem a film that is simply not excellent in any way.

The acting is poor, the script is entirely unprofessional, and the filming technique is poorer than a student film-level effort.

That is not even mentioning the horrendous cultural inaccuracies of white Americans playing Israeli and Philistine characters and the offensive anachronism of Saul's daughter walking around freely in a camp of soldiers. This film was made with no respect or regard for the historical context of the story or the cultural heritage of the characters.

There is no reason to see this or take anyone to see it. Scripture itself is very powerful, and the story of David and Goliath is incredible. Read it for yourself and be blessed. Don't waste money on a film that should never have been made.

A loving and faithful screen rendering of one of the most remarkable novels published in recent memory, Wolf Hall brings to life the gripping story of Thomas Cromwell, whose story unfolds in front of the backdrop of Tudor England with its mercurial personalities and ever-changing political fortunes.

There's nothing artificially showy about this drama. It's pure excellence, a production that unites an unparalleled cast with an exquisitely intelligent script. As a fan of the book, I'm not sure how this will strike those who haven't read Mantel's work, but those who have will be more than satisfied.

Spy is so insanely underrated as a show that it's not even funny (at least in the United States). Thankfully, that's the only thing that isn't funny because the show itself is absolutely hilarious. The first series introduces the hapless but well-meaning Tim, his scheming best friend, his idiosyncratic MI5 coworkers, his ex and her besotted boyfriend, and his precocious son Marcus. The second series deepens and broadens the characters and turns some early misconceptions on their heads.

One of the most entertaining things about Spy is that it manages to be both an excellent spy spoof, in the manner of the also-underrated "Chuck," and an unexpectedly touching domestic sitcom. As with other British shows in a similar vein, it's obvious that Spy's stars are not phoning in their performances at all. In particular, Darren Boyd gives a performance absolutely deserving of his Bafta win, and Jude Wright strikes exactly the right tone as his genius son.

Spy is witty, intelligent, funny, and consistently engaging. No show is perfect, but there's so much to love that it might as well be.

I ordered this on Netflix for the fun of it and definitely had a good time. It's intended for kids/tweens, but still entertaining for Holmes fans in general. Jonathan Pryce is an interesting older Holmes, and I loved Bill Paterson's Watson getting to know a sort of re-imagined Mary Morstan. Anna Chancellor made me wish she was in a different adaptation. I think her Irene deserved a more serious outlet. The story's concentration on the irregulars themselves is fun, since Conan Doyle's details about them were sketchy.

The story has some plot holes, Holmes isn't 100% canon, and it's definitely not a classic adaptation, but I'd recommend it as a fun thing to watch for an evening if you like seeing different versions. If you have kids, it's family-friendly.

Added Note: This movie is rife with Holmes tropes. Beware of stepping on them, as they sort of litter the floor with their inescapable presence.

I was prepared to be totally charmed by this film, but my overall feeling is that it lacked something vital that I can't exactly put my finger on. The acting was marvelous, as is expected from the likes of David Tennant and Jessica Hynes, but I didn't feel like the movie reached the peak of either humor or emotion that it could have reached. That's not to say there were no excellent moments. Some scenes were very humorous, and it definitely proved that bad driving is amusing to watch. Ultimately, I think a main problem with the film was its length. At 90 or so minutes, it did not have adequate time to develop all of the characters and subplots properly. I think if it had been a full two hours it could have been much better. Overall, I found it mostly light and fun with few memorable moments.

This episode tells the first half of a story from a book written about the Doctor back in the '90s that was rated by readers as the best DW story ever.

To me, it was very unsettling, less because of the villains than because of what occurs with the Doctor himself.

The acting is excellent as always, the story is well paced, and a real sense of danger is established.

The second half hasn't aired yet, but I'll be excited to see exactly how the Doctor pulls out of this one.

Overall, this episode is brilliant in two ways: it has very brave character development along with chilling villains in true Who style. Nothing to complain about; I just can't wait for the ending.

There is nothing like a good short film.

This one contains almost no dialogue, but is clever, touching, and funny. The acting is very good, especially considering the constraints of time and scope.

David Tennant especially shines as the Traffic Warden who might make you think twice about saying mean things next time you get a parking ticket.

The music, setting, and characters unite to create a piece of art that is harmonious and a treat for the eyes and ears. Extra little touches add a layer of clever creativity that elevates it from good to great.

I highly recommend this short. It is one of the best I have ever seen.

This film is so many things that it is difficult to put them all into words. The story of a little girl who goes to a magic land has delighted readers for fifty years now, but never before have filmmakers had the technology to convincingly create the things C.S. Lewis imagined with such clarity. The special effects and creatures are marvelous.

The acting is also laudable. The children deliver obviously heartfelt performances, particularly commendable because the story requires them to display so many different emotions.

The score contributes to the beauty of the film, adding a subtle layer of mood that never overpowers the action.

The story is well told, fast-paced and moving. As huge fan of the book, I am not disappointed.

Finally, I believe there is something transcendent about this movie. It moves beyond the realm of most children's films, even good ones, and explores themes of loss, courage, death, fear, weakness, and ultimate sacrifice.

I leave every viewer to find out for himself or herself what it all means.

What I believe you'll be sure of is that it definitely means something, and it just might take your breath away.

This film is beautiful and thought-provoking in a number of ways. The story is a "normal" account of two Jewish boys growing up during World War II and the creation of the Jewish State. The situations in the film are not overly dramatized or sensationalized. Regular moments with family and friends are rightly judged to be sufficiently interesting to form the basis of a compelling drama.

Historical context serves as a vibrant backdrop for the lives of traditional Jews, who form an ever-diminishing minority, and progressive Jews, who still seek to hold to their heritage while embracing aspects of modern life. The conflict between the two worldviews is marvelously expressed through the friendship of the two boys and through the differences in their fathers, each of whom completely embodies a certain way of life. The film also makes a strong point about children following and not following in their parents' footsteps, and how someone's essence is more important than his career.

There is a Jewish-inspired pathos to this movie that is difficult to describe, but very moving to watch. The acting is great, and the writing is unparalleled. For a long time, I considered this my very favorite film. I have since realized that no one film can possibly occupy that spot, but this one is forever at the top of my list.

As with many British miniseries, this one obviously did not cost very much compared to a major motion picture or even a more mainstream television show. Nevertheless, the excellence of material and acting more than makes up for any deficiencies.

Dorothy Sayers' novels are mystery classics, and these adaptations remain true to her stories. Of course, one person's interpretation of a role may be very different from another's, but I was especially struck with the way Harriet Vane is portrayed. It's as if she walked straight out of the pages of the books. Edward Petherbridge is marvelous as Lord Peter, though he does not act the role in exactly the way I would have expected. He is a bit more mild mannered and sedate that I had envisioned Lord Peter to be. He is irresistibly charming anyway.

For me, some of the most important aspects of the books and films are their Britishness and their scholarly quality, both of which are amply in evidence in these adaptations.

Despite what appear to be penny pinching production values, this set is well worth watching and re-watching for its engaging plots and marvelous characters.

As a huge fan of Hogan's Heroes, I was attracted to the vague similarities to it that exist in "Blackadder Goes Forth." But this series has British charm and hilarity all its own. All the Balckadder series are funny, but I believe this one is the best. The episode in which Blackadder is on trial is a favorite, as is the final episode.

Hugh Laurie, one of my favorite actors, does a marvelous job as George "last of the tiddlywinking leapfroggers" and, of course, Baldrick and Blackadder play off one another seamlessly. The slightly more serious nature of the subject matter does not seem forced. In fact, the humor makes the ending more affecting.

Blackadder has become a British classic, and this installment lives up to the others and surpasses them in spots. In my mind, Blackadder and his friends will forever be frozen in time, going "over the top."

I saw this film in a sneak preview, and it is delightful. The cinematography is unusually creative, the acting is good, and the story is fabulous. If this movie does not do well, it won't be because it doesn't deserve to. Before this film, I didn't realize how charming Shia Lebouf could be. He does a marvelous, self-contained, job as the lead. There's something incredibly sweet about him, and it makes the movie even better. The other actors do a good job as well, and the film contains moments of really high suspense, more than one might expect from a movie about golf. Sports movies are a dime a dozen, but this one stands out.

This is one I'd recommend to anyone.

I one reviewed a movie on IMDb and said it was the worst I had ever seen, but this movie has superseded that one to become the worst.

1. The movie was not historically accurate. There were several severe problems with accuracy. The idea that a woman, without at all disguising herself as a man, could have ever become a musketeer is awfully presumptuous to begin with. Next, all the characters were CLEAN throughout the movie. The time period in which it was set ought to have clued in the filmmakers that a little dirt was in order, since people rarely to never bathed. Also, almost all of the French characters spoke with British accents. The costumes looked new, like they had never been worn before.

2. The acting was abysmal. OK, there were a couple of decent actors, but I can't imagine how they were convinced to be in this. The main actors, however, Susie Amy and the main musketeers, were severely lacking in acting skill. I'm not sure if this was their fault or the director's, so I will give them the benefit of the doubt. My sister's comment was that at the height of Valentine's emotional output, she looks like she has just broken a nail.

3. The story was extremely close to the story of "The Three Musketeers," where the musketeers must protect the queen from having her indiscretions become known. In this story, they are protecting the young king, but other than that, the differences are slight. Evidently the screen writer did not have the creativity to think up something actually new.

There was one thing I enjoyed very much about this movie. It gave us a lot of laughs. My sister and I muted the TV and made up dialogue to go with the terrible wigs and bad acting.

I would recommend this movie to anyone for a laugh.

"Jeeves and Wooster" is one of the best pure adaptations I have ever seen in a television show. As a huge fan of the books, I have no problem with any characterizations or plot dramtizations. The best thing about this series is its Britishness. Both Jeeves and Wooster drip with satire. Each episode is laugh out loud funny. It is much better made than many British television offerings, such as the Peter Wimsey series (although I love it, too). I highly recommend a look at this series to anyone who has a British sense of humor or enjoys '20s glamor.

Generally, I prefer to review movies I dislike, because I am better able to quantify negative opinions than positive ones, but "To Kill a Mockingbird" deserves a review as few other movies I have ever seen. I probably cannot make any statement about this film that has not already been made many times, but it really is one of the most beautiful and moving films I have ever seen.

I first read Harper Lee's lovely novel when I was a young teen, and it was one of those books that gave me an experience that changed the way I perceived the world and my own family. The movie stays true to the wonderful, innocent prose.

Every time I watch, I see my father in Atticus Finch. He, too, is a southerner who respects people and defends his beliefs. He also has always respected his children and treated us the way Atticus treats Scout and Jem. I also see other family and friends in various characters in the film, because we have such strong southern roots. Even the negative aspects of racial antipathy and loss of childish innocence bring certain memories to mind.

Those who did not grow up in the south or with southern families might not see parallels the way I do, but the movie would be a gem to anyone. Gregory Peck put in the performance of his career, and the children acted in the least forced manner I have ever seen. The cinematography is also beautiful, and the script is perfectly balanced-not too sparse, but also not dialogue heavy.

The best thing about "To Kill a Mockingbird" is that it preserves the spirit of the novel that resounds with so many people. This film stands as one of the best ever arguments for tolerance, loving families, and the beauty of life through a child's eyes. Everyone who watches movies ought to see it.

"Emma" is a lovely, witty film. It is sweet, but not sickening because it contains a generous amount of sarcasm and Jane Austen's classic social commentary.

Jeremy Northam, Gwyneth Paltrow, and Ewan McGregor have particularly memorable performances, though the parts they play seem unusual for them, especially for Paltrow.

Romantic comedies, in my opinion, are often on a brainless level, so it is nice when a movie comes along that is both intelligent and romantic at the same time. One of the best things about it is that it does not take itself too seriously.

Jane Austen lovers will eat up this film, which sticks to the lighthearted spirit of Austen's writing. It is not my favorite Jane Austen adaptation-"Pride and Prejudice" holds that spot-but it is a delightful film that is worth seeing and seeing again.

For some reason, people seem to leave "Persuasion" out when they are naming Jane Austen adaptations. I find that lamentable, since it is such a wonderful film. It is exceedingly British, which means that Americans might find it a little hard to understand, but personally I think it is superb.

All the acting is stellar; I can't really identify a bad performance. Ciaran Hines especially shines as the warm but reserved Captain Wentworth.

Of all the Jane Austen adaptations (except "Pride and Prejudice") I believe "Persuasion" is the truest to the time period. The characters act within the conventions of regency England and seem to be comfortable doing so.

I would recommend this movie to any Jane Austen lover or a person who enjoys period films or classic literature. A person who does not fall into those categories might enjoy it as well, but is likely to find it slow and difficult to understand.

This may be one of the only times in my life when I say this, but in the case of Master and Commander, the movie is far more engaging than the books. Because I am a nerdy sort, I felt a certain compulsion to at least take a stab at Patrick O'Brian before seeing the film, so I attempted to slog through The Far Side of the World. It was a harrowing experience! Anyway, I went ahead to the movie before I finished the book and was pleasantly surprised to find that such a tedious, though well-written, book translated into an entertaining, watchable film. Russell Crowe and Paul Bettany worked well together again, and the characters of Aubrey and Maturin seemed to fit them like a well-tailored coat. Crowe brought Aubrey to vibrant, intense life, and his performance will not soon be forgotten. I have heard various complaints about Maturin's inaccuracy to the book. Granted, I am not a die-hard O'Brian fan, but from what I have read, I feel that Bettany was true to the spirit of the character, if not to the letter. There is an argument to be made for the fact that certain things on paper may not translate well to film, anyway. In addition, Billy Boyd gets lots of screen time, which only adds to the fun. One of my favorite things about the movie was the authentic portrayal of life on a ship, with its filth, lack of privacy, and genuine camaraderie. I also enjoyed the all-maleness of the story and the fact that the bonds between the characters were strong though not overly emotionalized.

I found this movie to be highly suspenseful and very exciting. I have heard a lot of complaints about it being boring, though. I would simply say that it is not for everyone. The more literary a person is, the more likely he or she will be to enjoy it. I will definitely see Master and Commander again and savor its cinematic beauty, exciting story, and superb acting.

See it. I dare you!