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Mystery & Suspense: Recently Added
1-10 of 58

Texas -- not that you'll care.

In Louis Morneau's BATS, these unnecessarily maligned creatures are noshing on the residents of Gallop, Texas -- not that you'll care. A direct rip-off of THE BIRDS, although without any of its suspense and with no improvements in the special effects over Hitchcock's 1963 classic, this cheap-looking movie never rises above the level of a popcorn ...

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Review by: SteveRhodes

Added: 9 years ago

 

The bad news about EMPIRE is that it isn't a parody.

"For everybody -- everybody! -- money is what life is all about," Vic Rosa (John Leguizamo) lectures us in voice-over in one of his many pedantic sermons. Vic compares himself to entrepreneurs past and present, including John D. Rockefeller and Bill Gates. Vic, a local heroin kingpin, is in charge of the drug dealing territory of the Bronx that he ...

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Review by: SteveRhodes

Added: 9 years ago

Lynch’s masterpiece.

David Lynch’s Mulholland Dr is one great mind game. Here is a movie that challenges the viewer to not sit passively and watch the events unfold on the screen but to be actively engaged. It is a film in which you never can quite remember what comes next. As soon as it is over you want to rewind it and watch it again, because you obviously missed ...

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Review by: shaunhenisey

Added: 9 years ago

 

The movie has a plethora of logical flaws and implausibilites.

Some talented actresses are blessed with a demonstrated wide acting range while others, almost as gifted, have more limited types of parts for which they are suitable. As was amply evident after BASIC INSTINCT, Sharon Stone can play sensual roles with great abandon. Rejecting her natural abilities, she has spent the rest of her entire career trying ...

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Review by: SteveRhodes

Added: 9 years ago

The last act of CAPTIVES is the best as the tension.

Rachel Clifford once had a husband, but now she's got a lover instead. She and her husband split up recently after she found out that he was having an affair. So she has taken up with a man named Philip Chaney, who broke up with his ex-wife after he found out that she was having an affair. This little soap opera of affairs on top of affairs is ...

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Review by: SteveRhodes

Added: 9 years ago

 

Atmospherics trump story in EYE OF THE BEHOLDER, starring Ashley Judd in a hodgepodge of silly wigs.

Atmospherics trump story in EYE OF THE BEHOLDER, starring Ashley Judd in a hodgepodge of silly wigs. Writer/director Stephan Elliott (THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT), who appears to have studied at the Oliver Stone School of Theatrics, devotes all of his energy to the picture's look, leaving no time for storytelling. The resulting ...

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Review by: SteveRhodes

Added: 9 years ago

It is a mess of a movie.

COLOR OF NIGHT is an instant candidate for all Worst Movies of 1994 lists. It stars Bruce Willis and Jane March. It is a mess of a movie. If you are so adventurous as to pay your money to see it, perhaps you can figure it out; I could not. A typical scene has Bruce Willis as a psychiatrist listening to a group of patients in a circle talking ...

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Review by: SteveRhodes

Added: 9 years ago

 

Brian De Palma's FEMME FATALE is an unusual and an erotic thriller that frequently sends viewers into nervous.

Brian De Palma's FEMME FATALE is an unusual and an erotic thriller that frequently sends viewers into nervous, awkward laughter since they don't know quite what to make of it. But, if you just kick back and relax, you'll find that it's great sleazy fun. It features a dress with a serpentine top made only of gold and diamonds. Just watching that ...

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Review by: SteveRhodes

Added: 9 years ago

This fairy tale, which plays like an ever so slightly scary version of SPLASH.

From his smash hit, THE SIXTH SENSE, to his latest production, LADY IN THE WATER, writer and director M. Night Shyamalan has been on a steady descent, with each of his films being of significantly lesser quality than the one before. His last picture, THE VILLAGE, was a big disappointment, but his latest movie, which also stars Bryce Dallas Howard as...

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Review by: SteveRhodes

Added: 9 years ago

 

This waterlogged and convoluted tale, set in a jungle during a torrential downpour and non-stop lightening, is told in flashback.

BASIC, by director John McTiernan (ROLLERBALL) and writer James Vanderbilt, whose only other script was the laughably bad DARKNESS FALLS, is like two movies in one. One of these is a complete waste of time. This waterlogged and convoluted tale, set in a jungle during a torrential downpour and non-stop lightening, is told in flashback. Someone ...

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Review by: SteveRhodes

Added: 9 years ago

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__domel__body => '&lt;p&gt;In Louis Morneau's BATS, these unnecessarily maligned creatures are noshing on the residents of Gallop, Texas -- not that you'll care. A direct rip-off of THE BIRDS, although without any of its suspense and with no improvements in the special effects over Hitchcock's 1963 classic, this cheap-looking movie never rises above the level of a popcorn flick. Check your brain at the door, order lots of snacks from the concession stand and eat slowly. You won't exactly be entertained, but you'll probably stay awake as you munch away.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;So which actors set off your casting red flags? For me they include Lou Diamond Phillips and Burt Reynolds, although both, admittedly, have -- on rare occasions -- done some nice acting. This movie stars Lou Diamond Phillips as Emmett Kimsey, the sheriff of the unlucky Texas town. (The cast, thankfully, doesn't include Reynolds.) Kimsey will do and say more dumb things that you can count.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The problem with the direction and with John Logan's script is that both treat the laughably bad material with dead seriousness. Only as a parody does the show have a chance. Phillips costars with Dina Meyer as bat expert Dr. Sheila Casper. No matter how ludicrous the story gets, Meyer acts like she thinks she's making a public health documentary about some genuine threat.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;(A self-styled &amp;quot;Bat Lady&amp;quot; came recently to my son's scout meeting in order to show us real bats, most of whose bite can't even break your skin, and to dispel their undeserved nefarious reputation. Bats, which she spends her entire life rescuing, are a natural and necessary predator for insects and are absolutely no threat to man except when rabid. And when rabid, they are too sick to fly, so about the only way to get hurt is to stick your finger next to them as they lie helpless.)&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;&amp;quot;Bats don't kill people. Period,&amp;quot; Sheila informs the sheriff. &amp;quot;So there must be some other explanation.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Yes, there is, and it's the standard clichй of a secret government project run by an evil scientist, Dr. Alexander McCabe (Bob Gunton), who'll try to thwart the killer bats' destruction.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Sheila's black assistant, Jimmy Sands (Leуn), in a heavily stereotyped role, at least tries -- without any success -- to elicit a few much needed laughs. A man who makes his living studying bats, Jimmy doesn't think much of them. &amp;quot;I like 'em, but at a distance, a real distance like on 'Wild Kingdom,'&amp;quot; he explains to his boss Sheila.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Among Jimmy's other lines in the unoriginal script are: &amp;quot;Houston, we've got a problem,&amp;quot; and &amp;quot;I don't know about the rest of you, but I don't want anyone moving up the food chain. Period.&amp;quot; (People say &amp;quot;Period&amp;quot; a lot in this film. It's the writer's pedantic way of reminding you of the supposed importance of the sentence.)&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The movie falls back on every tired horror movie clichй. Take Lover's Lane. When you were a teenager, you might have had some fun and memorable times there. But in horror movies, nothing good ever happens to kids who visit one. And in this movie nothing good ever happens for the audience. Enjoy that popcorn. It'll be the best part of the experience of watching BATS.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;BATS runs 1:30. It is incorrectly rated PG-13 for intense sequences of bat attacks and brief language. Having bloody corpses with guts everywhere and showing ferocious attacks, the movie clearly should have been rated R by the MPAA, not PG-13. The film would be acceptable for those teenagers who aren't prone to nightmares, but the movie is inappropriate for anyone less than 13.&lt;/p&gt;'
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__domel__body => '&lt;p&gt;&amp;quot;For everybody -- everybody! -- money is what life is all about,&amp;quot; Vic Rosa (John Leguizamo) lectures us in voice-over in one of his many pedantic sermons. Vic compares himself to entrepreneurs past and present, including John D. Rockefeller and Bill Gates. Vic, a local heroin kingpin, is in charge of the drug dealing territory of the Bronx that he calls the Empire. The area is such a rich mother lode that just twenty disputed feet between it and the next gang's turf are worth twenty-thousand dollars a week in revenue.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;EMPIRE, written and directed by Franc Reyes, comes out with its rhetorical guns blazing, as it takes on capitalism by suggesting that stock holders are the moral equivalent of drug dealers. I am not making this up. As Jack, a filthy rich investment banker puts it to Vic, &amp;quot;[Companies] have stock holders all over the world who are basically accessories in crime.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;This educational show teaches us that drug lords are really regular guys at heart. Even big drug powwows are interrupted so that the guys can play video games with their sons. When the drug dealers do fight, they prove that they didn't learn much from the video games. Rather than hiding, they stand up like statues as their big guns blow each others' brains out.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The bad news about EMPIRE is that it isn't a parody. It appears to believe all of its twisted economic theories, making the movie feel like it was made by some old Bolsheviks, who, in a vodka stupor, thought they were remaking THE GODFATHER. Leguizamo (MOULIN ROUGE's Toulouse Lautrec) is a fine actor who deserves something better than EMPIRE as his first high profile starring role.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;EMPIRE runs 1:30. It is rated R for &amp;quot;strong violence, pervasive language, drug content and some sexuality&amp;quot; and would be acceptable for older teenagers.&lt;/p&gt;'
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__domel__body => '&lt;p&gt;David Lynch’s Mulholland Dr is one great mind game. Here is a movie that challenges the viewer to not sit passively and watch the events unfold on the screen but to be actively engaged. It is a film in which you never can quite remember what comes next. As soon as it is over you want to rewind it and watch it again, because you obviously missed something. The film truly defies genre. It is a mystery, a thriller, romance and noir, all while also being a concept film. You think you have it figured out and then all of sudden you remember a certain scene and double back on yourself. It is a movie that forces the viewer to think- what a marvelous concept. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The plot cannot be easily summarized. I will do my best. The movie surrounds several seemingly unrelated but interconnected storylines. Betty (Naomi Watts) is a gorgeous, plucky blonde who just arrived in Hollywood from Deep River Ontario. She is enthusiastic and excited about being in the big city for the first time. She always has a grin on her face but something always seems a little ‘off’ with her. She arrives in Los Angeles and stays at her Aunt Ruth’s House. Her landlady Coco (Golden Age star Ann Miller) has a personality of her own and gives Betty the key to her Aunt’s apartment, along with some privacy. As Betty is unpacking, she finds a beautiful brunette (Laura Elena Harring) taking a shower. At first, Betty thinks the brunette must have had an arrangement with her Aunt- after all, it makes little sense for someone to walk into a stranger’s house, strip off their clothes and use their shower. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;This brunette was involved in a car accident on Mulholland Drive. The beginning of the film shows the brunette, still nameless, in a back of a limousine. A man in the front of the limo pulls a gun on her and then all of a sudden the vehicle is rear ended by speeding teenagers. The brunette survives with a case of amnesia and stumbles to Betty’s Aunt’s home, where she squats. The brunette has no idea who she is, how she got to the house, or why her head is bleeding. She looks up at a vintage movie poster of Gilda starring Rita Hayworth, and decides that Rita is as good a name as any. This is the name she uses when Betty finally realizes the brunette is not a friend of her Aunt. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Together, the two women try to figure out who “Rita” really is, Nancy Drew style. The only thing that Rita can remember is Mulholland Drive. Betty decides to make an anonymous call to the police to see if there was an accident reported on Mulholland. Sure enough, there was an accident. This answers little. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As Betty and Rita are enjoying coffee and conversation at the local Winky’s (more on Winky’s later) a waitress comes to the table to drop off the check. The waitress’ name is Diane. This sparks a revelation in Rita- she remembers the name Diane Selwyn. Could this be her name? The two women find the name in the phonebook and call the number. We see the phone ring in an undisclosed location. The phone is on a table, next to a red lamp. No one answers. The two women decide to pay a visit. After being accosted by a women who appears to know Diane (and not like her too much, at the moment) they find Diane’s apartment. There is a rotting corpse inside. Who is the dead woman? Who is Rita? No one ever thinks to ask who Betty is. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Another seemingly unrelated storyline involves a filmmaker named Adam Kesher (Justin Theroux). Kesher is directing a picture entitled The Sylvia North Story and is in the process of recasting the lead actress. There is clearly something going on behind the scenes here, because the mob is deeply interested in who gets the part. An ominous dwarf named Mr. Rogue (Michael J. Anderson- best known as Samson from HBO’s short lived Carnivale) appears to be running the show and giving instructions to mobsters to accost Kesher. When Kesher is brought into a production meeting with the executive producer, the Castiligani brothers (Dan Hedaya and Angelo Badalamenti) are there as well. The mobsters demand that Kesher hire a particular girl, Camilla Rhodes (Melissa George), for the lead in his film. Kesher at first refuses, but the mobsters put the pressure on by cutting off all of his credit. Eventually Kesher is summoned by The Cowboy (Lafayette Montgomery) who is threatening- and more than a little disturbing, in his cool confidence. The Cowboy tells Adam that he must hire Camilla, and that if he does good he will only see The Cowboy once again. If he does bad- he will see him twice.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;These are only the exposition arcs of the two main storylines in Mulholland Dr. If you purchase the film on DVD, there is a laminate inside the case. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;It is labeled-&lt;/p&gt;<br /> &lt;p&gt;“Mulholland Drive&lt;/p&gt;<br /> &lt;p&gt;David Lynch’s 10 Clues to Unlocking This Thriller”&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;1. Pay particular attention in the beginning of the film: At least two clues are revealed before the credits.&lt;/p&gt;<br /> &lt;p&gt;2. Notice appearances of the red lampshade.&lt;/p&gt;<br /> &lt;p&gt;3. Can you hear the title of the film that Adam Kesher is auditioning actresses for? Is it mentioned again?&lt;/p&gt;<br /> &lt;p&gt;4. An accident is a terrible event — notice the location of the accident.&lt;/p&gt;<br /> &lt;p&gt;5. Who gives a key, and why?&lt;/p&gt;<br /> &lt;p&gt;6. Notice the robe, the ashtray, the coffee cup.&lt;/p&gt;<br /> &lt;p&gt;7. What is felt, realized, and gathered at the Club Silencio?&lt;/p&gt;<br /> &lt;p&gt;8. Did talent alone help Camilla?&lt;/p&gt;<br /> &lt;p&gt;9. Note the occurrences surrounding the man behind Winkie's.&lt;/p&gt;<br /> &lt;p&gt;10. Where is Aunt Ruth?&lt;/p&gt;<br /> &lt;p&gt;You know you are in for a mindbender when the director is forced to give you clues before viewing the film. I still have not yet mentioned the man behind Winky’s, who seems to be a monster but may also just be homeless. I have said nothing about the mysterious blue key that “Rita” has on her when she wakes- or the blue box that it appears to open. Nor have I mentioned the mysterious nightclub “Silencio” in which Betty and Rita realize that all may be an illusion. I have written no words about the realizations that come in the last 45 minutes of the film. Mulholland Dr. is a movie to be seen and experienced. I had not seen the picture in many years and when the credits began to roll all I could think about was the plot. Now, days after seeing it again, all I think about is its mastery. This is a beautiful film, Lynch’s masterpiece. David Lynch has had his share of good movies (Blue Velvet, Eraserhead, The Elephant Man) as well as horrible ones (Lost Highway) but Mulholland Dr. is in a class of its own. It is hypnotic from start to finish. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The film was originally positioned to ABC as a television program. Each week, viewers would take an hour long trip to Mulholland Dr. where “nothing would be as it seemed.” I have read (although I can’t verify this) that the first portion of the film actually is the television pilot. ABC rejected Lynch’s work as too complex- too strange for the medium. I suspect they still had a sour taste in their mouth over Twin Peaks, Lynch’s great television series that, while a cult success, never achieved much in ratings. This was in the year 2001. Ironically, ABC’s next hit show would be Lost, another cult phenomenon which is just as complex and mysterious as Mulholland Dr most likely would have been. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;I don’t know for certain if Mulholland Dr would have been an effective television series. There is simply too much going on, and the revelations in the final act need to be experienced in relatively quick succession after the first act. I have a hard enough time trying to understand what the hell is going on in context to what I just watched thirty minutes ago, let alone nine weeks. ABC’s refusal to air Mulholland Dr was certainly a blessing in disguise. Lynch partnered with French production company Studio Canal and made the story into a feature length film. It is now one of the great movies. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;I would have loved to have seen the look on the audience’s faces when the film premiered at the 2001 Cannes Film Festival. Certainly viewers were mystified, but the Grand Jury gave David Lynch the coveted Best Director prize that year. Sometimes you don’t have to understand art to realize that it is magnificent. Lynch was also nominated for Best Director that year by the Academy (he lost to Ron Howard for A Beautiful Mind- an inferior film). &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Lynch is also to credit for the discovery of one of this decade’s best actresses: Naomi Watts. A virtual unknown from Australia at the time of filming, Mulholland Dr. put Watts in the spotlight. She was nominated for Best Actress at the 2001 Oscars and for some time was considered the front-runner. It is without a doubt one of the great female roles of the last decade. Watts is superb when she is on screen. In the beginning her performance as Betty is grating and quite annoying. Once those revelations start rolling in during the film’s final act, we begin to realize that Watts is perhaps the most powerful actress working today. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;And so, I am forced to discuss the film’s final act. I suppose a SPOILER ALERT is in order. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The entirety of the first two hours of the film is a dream. The Naomi Watts character is named Diane Selwyn. Diane was a struggling actress living in Los Angeles that got a bit part in Adam Kesher’s The Sylvia North Story, because her lover Camilla Rhodes, the mysterious brunette played by Laura Elena Harring’s character, won the lead. Diane is madly in love with Camilla, but Camilla does not reciprocate this love, and eventually leaves Diane to pursue a relationship with both Adam Kesher and a mysterious blonde (Melissa George- who in the dream portion of the film was portraying Camilla Rhodes). &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Camilla invites Diane to a party at Kesher’s home on, you guessed it, Mulholland Dr. At the party Camilla rubs in her relationship with Adam, and Diane meets Adam’s mother, Coco (Ann Miller) and spots nefarious characters at the party, including the Castiligani brothers as well as the mysterious cowboy. When she explains her roots as a Jitterbug champion from Deep River Ontario, the guests look at her and laugh, almost in a form of pity. Camilla continues to ignore her, infatuated with both Adam and the blonde.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Devastated and angry, Diane hires a hit man (Mark Pellegrino) to kill Camilla out of jealousy. The hit man shows Diane a blue key, and advises that when the job is done the blue key will appear on Diane’s coffee table. Diane goes home, masturbates to Camilla, and falls asleep. Her head hitting the pillow is the first thing we see in the film, and fittingly, Diane’s dream begins at the beginning of the film as well. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Diane imagines herself as an innocent blond, Betty, and imagines Camilla as a weak and hopeless woman. The entire dream uses dream logic. Betty will save “Rita” who is really Camilla, and force Camilla to love her. Diane creates roles for the nefarious characters in her dream, imagining that Camilla only got the lead due to mob manipulation. Diane imagines herself a great, talented actress – when in all actuality she has failed. The more abstract portions of her dream, including the confrontation between the man behind Winkies, are ways of Diane’s subconscious coping with the horrible act she has committed- killing a lover. The monster behind Winky’s is Diane’s anger. The dead body the two girls find, in the dream, is a subconscious realization to Diane of what she will eventually become. The dream’s climax is at the club Silencio- most likely a venue the two women went to in their relationship. Diane realizes, while asleep, that it is all an illusion, and that the reality of the situation will not change the dream. She slowly begins to wake. Diane wakes up, finds the key on the coffee table, and lays in her bed crying before shooting herself. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Maybe this is the real story, maybe it is not. Perhaps I am full of shit, as I am often told. No matter- this is what I think the story of Mulholland Dr really is. Granted, there are parts of my interpretation that may be reaching. I still can’t really understand what the blue box is all about, for example, or really what the man behind Winky’s represents. I also still don’t understand why Diane would be going to great detail to dream about Adam, away from Camilla. I still have no idea what the Cowboy thing is about. Peace comes from not caring. &lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Before becoming a director, David Lynch was a painter. Much of his work was surrealist and abstract. I highly doubt that people had the nerve to approach him at Art exhibitions and ask him what his work “meant.” Why is it that we can accept multiple interpretations of Art, but not of films? After all, films are art. The beauty of Mulholland Dr. is that it is less of a film, more of a painting. Each viewer has their own unique experience. When researching the film for this review I found a video of Lynch doing a Q &amp;amp; A with an audience. An audience member asked Lynch what Mulholland Dr. was about.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Audience Member: &lt;/p&gt;<br /> &lt;p&gt;“We just watched Mulholland Dr. Is there a specific message or theme? We were mesmerized by your picture, but we just were completely confused.”&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Lynch: &lt;/p&gt;<br /> &lt;p&gt;&amp;quot;The idea tells you everything. Lots of times I get ideas, I fall in love with them. Those ones you fall in love with are really special ideas, and in some ways I always say when something's abstract, the abstractions are hard to put into words- unless you're a poet. These ideas you somehow know, and cinema is a medium that can show abstractions. I love stories, but I love stories that have abstractions. Cinema can show these abstractions- these &amp;quot;difficult to say in words&amp;quot; things. A lot of the times, I don't know the meaning of the idea, and it drives me crazy. I think we should know the meaning of the ideas, and I think about them constantly. When I was making Eraserhead, I had no idea what my ideas meant. I started reading the bible, and when I was reading there was a sentence. (I read that sentence) and said, 'Forget it' that is this thing (Eraserhead). I should know the meaning for me, but when things get abstract it does no good for me to say what it means. All viewers, on the surface, we’re all different; this is where intuition and inner-knowingness kicks in. You see a thing, you think about it, you feel it, and you sort of know something inside, and you can rely on that. If you go after a film with abstractions to a coffee shop, and you are having coffee with your friends, someone may say something (their views on the film) and immediately you will say, 'No, No, No, that's not what that was about!' and your perspective comes out in discussion. So you do know what you think the film means, for yourself- and what you know is valid.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Well, there it is.&lt;/p&gt;'
alias => 'mulholland_dr'
dt-publish => '9 years ago'
genre =>
__attr__id => 13
name => 'Mystery & Suspense'
logo => 'logo.jpg'
movie =>
__attr__id => 896
cover => 'cover.jpg'
title => 'Mulholland Dr.'
rating => 100
reviewer =>
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avatar => 'shaunhenisey_1257894002.jpg'
login => 'shaunhenisey'
review-count => 20
user-dir => 'user_files/'
short-body => 'David Lynch’s Mulholland Dr is one great mind game. Here is a movie that challenges the viewer to not sit passively and watch the events unfold on the screen but to be actively engaged. It is a film in which you never can quite remember what comes next. As soon as it is over you want to rewind it and watch it again, because you obviously missed ...'
teaser => 'Lynch’s masterpiece.'
title => 'Mulholland Dr.'
type-id => 7
3 =>
__attr__id => 1072
__domel__body => '&lt;p&gt;Some talented actresses are blessed with a demonstrated wide acting range while others, almost as gifted, have more limited types of parts for which they are suitable. As was amply evident after BASIC INSTINCT, Sharon Stone can play sensual roles with great abandon. Rejecting her natural abilities, she has spent the rest of her entire career trying with little success to play against type. GLORIA is her latest disaster.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Babe Ruth didn't quit baseball after one season to play football in a quixotic quest to prove his athletic dexterity, and neither should Stone reject what she does best. Janeane Garofalo, for example, is no less wonderful an actress because she could have never pulled off Stone's part in BASIC INSTINCT; neither is Stone any less talented because she couldn't do Garofalo's comedic roles.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Gloria, directed by respected director Sidney Lumet and adapted by Steve Antin from the 1980 screenplay by John Cassavetes, was not screened in advance for critics, almost always a sign that the studio isn't behind the picture. After seeing it in a nearly empty audience after it opened, it is clear why they held it from the press. It is a film more to be endured than enjoyed.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As the story opens, an angry Gloria (Stone) is being released from prison after 3 years confinement. She's got a bad attitude and a big mouth. She also has a bad case of wavering and overblown New York accents, a disease suffered by much of the rest of the cast.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;An annoying child actor named Jean-Luke Figueroa plays a soon-to-be orphan named Nicky. Just before his whole family is gunned down by hoods working for Gloria's ex-boyfriend Kevin (Jeremy Northam), Nicky's dad gives him a banana yellow floppy disk with secrets about Kevin's operation and offers him a piece of fatherly advice. &amp;quot;Be a man,&amp;quot; his father lectures him sternly. &amp;quot;Don't trust nobody. Not no broads. Nobody.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Most of the film's leaden dialog is delivered with the emotive power of the automated time and temperature announcements. Add in the movie's almost non-existent background noise and the excruciatingly slow pacing, and you can hear the sounds of the lines falling to the ground like stones.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Lumet places his actors in the frames like fruit in a still life painting. They stand awkwardly mouthing the stiff sentences that pass for discourse. (&amp;quot;Say you're my baby,&amp;quot; Kevin coos demandingly. &amp;quot;I'm not gonna,&amp;quot; Gloria pouts back.)&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The movie has a plethora of logical flaws and implausibilites. The kid rarely seems the least bit worried or scared, no matter how many people are after him with guns, trying to kill him. And in one key scene, the yellow floppy he holds is assumed to be the right disk without checking it and is further assumed never to have been copied.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Gloria, who keeps saying how she hates kids, takes Nicky under her wing and protects him from Kevin and the bad guys. Think her maternal instincts will show up before the movie finally and predictably ends? If you don't know the answer, you may be just the right viewer for this film.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;You have to say this for Stone: she can keep a straight face. When explaining life to a 7-year-old kid, she says with utter seriousness, &amp;quot;You got a lot of love making to make; you got a lot of boozing to do.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;GLORIA runs 1:48. It is rated R for profanity, violence and brief male nudity and would be acceptable for teenagers.&lt;/p&gt;'
alias => 'gloria'
dt-publish => '9 years ago'
genre =>
__attr__id => 13
name => 'Mystery & Suspense'
logo => 'logo.jpg'
movie =>
__attr__id => 874
cover => 'cover.jpg'
title => 'Gloria'
rating => 40
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'Some talented actresses are blessed with a demonstrated wide acting range while others, almost as gifted, have more limited types of parts for which they are suitable. As was amply evident after BASIC INSTINCT, Sharon Stone can play sensual roles with great abandon. Rejecting her natural abilities, she has spent the rest of her entire career trying ...'
teaser => 'The movie has a plethora of logical flaws and implausibilites. '
title => 'Gloria'
type-id => 7
4 =>
__attr__id => 1069
__domel__body => '&lt;p&gt; Rachel Clifford once had a husband, but now she's got a lover instead. She and her husband split up recently after she found out that he was having an affair. So she has taken up with a man named Philip Chaney, who broke up with his ex-wife after he found out that she was having an affair.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;This little soap opera of affairs on top of affairs is even more complicated because of Rachel and Philip's current situations. She is a part-time dentist at a male prison in Britain, where Philip is a prisoner. Soon after he comes to her with grinding-teeth syndrome, they begin to get the hots for each other. Since Philip is on a program where he can leave the prison one day a week to go to college, there are more opportunities than just the dental chair to become intimate with each other. (They manage clandestinely to fondle each other so much in the chair that viewers may come to think of the dental office in an entirely different way.)&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Julie Ormond plays Rachel, and Tim Roth is Philip in the 1994 movie CAPTIVES. Ormond has gotten few good roles to display her talents other than SABRINA. Roth, on the other hand, plays basically the same evil character, and quite well, in most of his films (HOODLUM, PULP FICTION, ROB ROY), but the best is his self-parody role in the Woody Allen musical EVERYONE SAYS I LOVE YOU.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As Rachel and Philip begin an improbable romance, and she literally lets her hair down when she comes through the visitor's rather than the staff entrance to see him one visiting day.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Their trysting spot is a women's restroom at a bus stop, where they engage in passionate and intense, but not particularly graphic, sex. Soon Rachel doesn't just like Philip, she is sending him erotic tapes to listen to in the comfort of his prison cell.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Given his long lack of female companionship, the fact that Philip falls for someone as beautiful as Rachel is completely believable, but that she would fall for the crude looking and acting Philip is pretty hard to buy. Badly miscast, Roth is convincing as a prisoner but not as an irresistible lover.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;In the film's least believable aspect, she's willing to risk her job and his upcoming release to have sex with him in public places, but she doesn't feel that she knows him well enough to be able to ask him why he was sent to prison in the first place. Sure. It's halfway through the story before she finally gets up the courage to find out what he did, and by then you can probably guess his crime.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Another hard to fathom part is the way Rachel leaves all of the sharp instruments of her trade in plain view so that the prisoners could easily steal them.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Not nearly creepy enough and only sporadically romantic, the film drifts along in fits and spurts. CAPTIVES's director Angela Pope is much better in her subsequent film, the devastating HOLLOW REED.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The last act of CAPTIVES is the best as the tension finally ratchets up when Rachel begins to experience some of the dangers involvement with the criminal element of society.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;CAPTIVES runs 1:40. It is rated R for a strong sex scene, profanity and violence and would be fine for older and mature teenagers.&lt;/p&gt;'
alias => 'captives'
dt-publish => '9 years ago'
genre =>
__attr__id => 13
name => 'Mystery & Suspense'
logo => 'logo.jpg'
movie =>
__attr__id => 871
cover => 'cover.jpg'
title => 'Captives'
rating => 60
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => ' Rachel Clifford once had a husband, but now she's got a lover instead. She and her husband split up recently after she found out that he was having an affair. So she has taken up with a man named Philip Chaney, who broke up with his ex-wife after he found out that she was having an affair. This little soap opera of affairs on top of affairs is ...'
teaser => 'The last act of CAPTIVES is the best as the tension.'
title => 'Captives'
type-id => 7
5 =>
__attr__id => 1062
__domel__body => '&lt;p&gt;Atmospherics trump story in EYE OF THE BEHOLDER, starring Ashley Judd in a hodgepodge of silly wigs. Writer/director Stephan Elliott (THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT), who appears to have studied at the Oliver Stone School of Theatrics, devotes all of his energy to the picture's look, leaving no time for storytelling. The resulting mess is a muddled and befuddled film that makes Judd's last picture, the critically derided DOUBLE JEOPARDY, look like a cinematic masterpiece in comparison.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Pulling out all of the tired, old clichйs and trying to invent a few new ones, Elliott gives us an ant's-eye view of walking feet in one scene and lots of flashing lightning in another. His staging choices never consider issues of plausibility. Would-be undercover cops keep going in tandem to a crowded diner but never remove their sunglasses indoors. And big plate glass windows attract naked fornicators like flies to honey.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As the boyish snoop known as The Eye, Ewan McGregor (THE PHANTOM MENACE) gives a dense and impenetrable performance. Actually none of the cast manage anything approaching a decent performance. Given Elliott's bizarre direction, maybe the actors shouldn't be criticized too harshly. Still, if you are one of their fans, you'll be grimacing a lot.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Joanna (Judd) is a serial killer. The Eye, who works for a secretive -- is there any other? -- government agency, is trailing her using a variety of technical gadgets. His weapon of choice is a rifle with a hunting scope and a super-sensitive listening device. It also fires bullets when necessary. The Eye is accompanied by his missing daughter, who may or may not be dead. They have long conversations, not that you'll care.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The illogical and choppy script reminds one of a story told by a rambling first-grade student. Sometimes The Eye seems to be trying to stop Joanna, sometimes he seems to be falling in love with her and at other times he acts likes a compulsive voyeur who just can't stop staring.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Some movies are frustrating because you can't figure out where they are heading. EYE OF THE BEHOLDER is even more infuriating because you realize that, not only do you have no idea where it's going, you don't even care.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Are there any interesting parts to this putative thriller? I counted two. Once, when I closed my eyes, which I should have done more often, I realized how nice the music was when the ridiculousness of the visuals didn't intrude. The other, a bit of eye candy, occurs during a bath scene at a hotel. As Joanna lies naked in a bubble bath, The Eye fondles the smooth tile on the other side of the wall in his room. For Judd's many adoring male fans, the scene provides an apt metaphor for their perpetually unrequited love.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;EYE OF THE BEHOLDER runs 1:47. It is rated R for some strong violence, sexuality, language and brief drug content. The picture would be acceptable only for older teenagers.&lt;/p&gt;'
alias => 'eye_of_the_beholder'
dt-publish => '9 years ago'
genre =>
__attr__id => 13
name => 'Mystery & Suspense'
logo => 'logo.jpg'
movie =>
__attr__id => 865
cover => 'cover.jpg'
title => 'Eye of the Beholder'
rating => 40
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'Atmospherics trump story in EYE OF THE BEHOLDER, starring Ashley Judd in a hodgepodge of silly wigs. Writer/director Stephan Elliott (THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT), who appears to have studied at the Oliver Stone School of Theatrics, devotes all of his energy to the picture's look, leaving no time for storytelling. The resulting ...'
teaser => 'Atmospherics trump story in EYE OF THE BEHOLDER, starring Ashley Judd in a hodgepodge of silly wigs.'
title => 'Eye of the Beholder'
type-id => 7
6 =>
__attr__id => 1054
__domel__body => '&lt;p&gt; COLOR OF NIGHT is an instant candidate for all Worst Movies of 1994 lists. It stars Bruce Willis and Jane March.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;It is a mess of a movie. If you are so adventurous as to pay your money to see it, perhaps you can figure it out; I could not. A typical scene has Bruce Willis as a psychiatrist listening to a group of patients in a circle talking about all of their bizarre problems. They ask him his credentials. He says &amp;quot;I went to college&amp;quot;.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Mainly Bruce Willis stares at the other people and seems to be thinking what ever possessed me to agree to be in this movie. Why didn't I ask to read the script first?&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The putative director was Richard Rush. The preposterous gibberish they speak was written by Matthew Chapman and Billy Ray. The dialog was so ridiculous that it made you wonder if this was supposed to be a parody of a bad movie.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;COLOR OF NIGHT is rated R, but I think it is not suitable for anyone of any age. It lasts for 2 hours and 3 minutes, if anyone could stay through it all. I certainly could not, but I feel confident that I missed nothing by not staying till the bitter end. I give it absolutely no stars at all!&lt;/p&gt;'
alias => 'color_of_night'
dt-publish => '9 years ago'
genre =>
__attr__id => 13
name => 'Mystery & Suspense'
logo => 'logo.jpg'
movie =>
__attr__id => 857
cover => 'cover.jpg'
title => 'Color of Night'
rating => 20
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => ' COLOR OF NIGHT is an instant candidate for all Worst Movies of 1994 lists. It stars Bruce Willis and Jane March. It is a mess of a movie. If you are so adventurous as to pay your money to see it, perhaps you can figure it out; I could not. A typical scene has Bruce Willis as a psychiatrist listening to a group of patients in a circle talking ...'
teaser => 'It is a mess of a movie.'
title => 'Color of Night'
type-id => 7
7 =>
__attr__id => 1051
__domel__body => '&lt;p&gt;Brian De Palma's FEMME FATALE is an unusual and an erotic thriller that frequently sends viewers into nervous, awkward laughter since they don't know quite what to make of it. But, if you just kick back and relax, you'll find that it's great sleazy fun. It features a dress with a serpentine top made only of gold and diamonds. Just watching that dress in action is easily worth the price of admission.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The story's long opening sequence, which turns out to be the best part of the picture, revolves around a very elaborate robbery of the diamonds on the aforementioned dress. Certainly the most memorable part of this section is a lesbian love scene that surpasses the famous two from MULHOLLAND DR.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;X-MEN's Rebecca Romijn-Stamos plays the film's lead character, Laure Ash, a cunning, daring and very sensuous criminal. Sexually, she's a switch hitter, and, in addition to her lesbian scene, she does a great striptease for one of her male partners. But she's no lover. She's more like a black widow spider who would be happy to kill those whom she beds.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The complicated story has Laure's fellow crooks trying to find her after she skips out with the diamonds that they stole. Peter Coyote plays a man who experiences every businessman's fantasy. A beautiful woman sits next to him on an airplane and then falls asleep on his shoulder. When she wakes, the fantasy continues.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Antonio Banderas plays Nicolas Bardo, a sexy, skillful but slightly doofus paparazzo who gets caught in Laure's web. Ryuichi Sakamoto's heavy-handed music feels like an amalgamation of the music from every old film noir that you've ever seen. The surprise is that this over-the-top approach to the scoring actually works quite well with De Palma's flamboyant direction. Assuming that you don't try to take the movie too seriously, the only major problem with it is its length -- it needs to have about fifteen minutes of slack trimmed.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Feel like a guilty pleasure that has a complex storyline? FEMME FATALE is just what you're looking for.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;FEMME FATALE runs 1:50. The film is in English and in French with English subtitles. It is rated R for &amp;quot;strong sexuality, violence and language&amp;quot; and would be acceptable for older teenagers.&lt;/p&gt;'
alias => 'femme_fatale'
dt-publish => '9 years ago'
genre =>
__attr__id => 13
name => 'Mystery & Suspense'
logo => 'logo.jpg'
movie =>
__attr__id => 854
cover => 'cover.jpg'
title => 'Femme Fatale'
rating => 80
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'Brian De Palma's FEMME FATALE is an unusual and an erotic thriller that frequently sends viewers into nervous, awkward laughter since they don't know quite what to make of it. But, if you just kick back and relax, you'll find that it's great sleazy fun. It features a dress with a serpentine top made only of gold and diamonds. Just watching that ...'
teaser => 'Brian De Palma's FEMME FATALE is an unusual and an erotic thriller that frequently sends viewers into nervous.'
title => 'Femme Fatale'
type-id => 7
8 =>
__attr__id => 1048
__domel__body => '&lt;p&gt;From his smash hit, THE SIXTH SENSE, to his latest production, LADY IN THE WATER, writer and director M. Night Shyamalan has been on a steady descent, with each of his films being of significantly lesser quality than the one before. His last picture, THE VILLAGE, was a big disappointment, but his latest movie, which also stars Bryce Dallas Howard as the leading lady, is a bigger letdown still. Why he casts such a minimally talented actress like Howard is a bigger mystery than the movie itself, which is completely predictable. It's also silly and sappy and likely to induce slumber in most viewers. Neither the characters nor the story are something that you'll care about in the least.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The convoluted plot involves a water nymph called Story (Howard), who shows up on land and needs to be saved. Story is a wimpy woman with pasty-colored skin. This fairy tale, which plays like an ever so slightly scary version of SPLASH, involves a beast who looks a wolf having a bad hair day and a kid who interprets the hidden meaning of cereal boxes. Story is a &amp;quot;Narf,&amp;quot; but not just any Narf. She is none other than the &amp;quot;Madame Narf,&amp;quot; which comes only once in a generation.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As the male lead, Paul Giamatti (SIDEWAYS) plays Cleveland Heep, a super with a stutter -- no, not a superhero, but a superintendent (read maintenance man) at an apartment complex in Philadelphia. Cleveland, whom everyone needs -- but only to fix their toilets and lights, finally finds his calling when Story needs him to organize the occupants of the apartment complex to play various roles on her rescue team.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Alfred Hitchcock was smart enough to stick to cameos in his movies. As Shyamalan becomes increasingly self-indulgent, he keeps finding bigger parts for himself. This time, he cast himself in a key role of a writer and eventual martyr, whose best selling book, bizarrely called &amp;quot;The Cookbook,&amp;quot; will change the world forever. One suspects that Shyamalan sees his films as having a similar power.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The movie does have one completely satisfying scene and one that critic-hating audiences worldwide will love. As a pompous film critic named Farber, Bob Balaban looks the movie's one monster straight in the eye with the confidence of a man who has seen enough bad horror movies to know exactly what will happen next. In scenes like these, the guy always escapes at the last minute, he reckons. Of course, you can guess what really happens this time -- to the great glee of the audience. Glee, however, is something that is in short supply in this tedious tale.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;LADY IN THE WATER runs 1:50. It is rated PG-13 for &amp;quot;some frightening sequences&amp;quot; and would be acceptable for kids around 10 and up.&lt;/p&gt;'
alias => 'lady_in_the_water'
dt-publish => '9 years ago'
genre =>
__attr__id => 13
name => 'Mystery & Suspense'
logo => 'logo.jpg'
movie =>
__attr__id => 851
cover => 'cover.jpg'
title => 'Lady in the Water'
rating => 40
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'From his smash hit, THE SIXTH SENSE, to his latest production, LADY IN THE WATER, writer and director M. Night Shyamalan has been on a steady descent, with each of his films being of significantly lesser quality than the one before. His last picture, THE VILLAGE, was a big disappointment, but his latest movie, which also stars Bryce Dallas Howard as...'
teaser => 'This fairy tale, which plays like an ever so slightly scary version of SPLASH.'
title => 'Lady in the Water'
type-id => 7
9 =>
__attr__id => 1041
__domel__body => '&lt;p&gt;BASIC, by director John McTiernan (ROLLERBALL) and writer James Vanderbilt, whose only other script was the laughably bad DARKNESS FALLS, is like two movies in one.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;One of these is a complete waste of time. This waterlogged and convoluted tale, set in a jungle during a torrential downpour and non-stop lightening, is told in flashback. Someone kills the monstrous Sgt. Nathan West (Samuel L. Jackson), a man who hazed his men every chance he got. Several other soldiers die as well in this night-time conflagration in the jungle.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Much better is what happens in the present as DEA Agent Tom Hardy (John Travolta) and Lt. Julia Osborne (Connie Nielsen) interrogate the survivors. Dunbar (Brian Van Holt) and Kendall (Giovanni Ribisi), the only two survivors of this incident, have different stories about what occurred and who is to blame for the deaths. But the movie's last act, which insults the viewers' intelligence right and left, brings in too many facts completely out of left field.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Only Travolta's over-the-top performance -- Does he have any other kind? -- and the story's very last twist are much fun. The movie lumbers along until it decides to reveal its truths. The guy at the top of the story's big conspiracy is so obvious that it had our audience screaming out his name in disgust. You may feel like screaming too. Personally, I think the studio should have screamed, &amp;quot;Rewrite!&amp;quot; before they greenlit the movie.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;BASIC runs 1:38. It is rated R for &amp;quot;violence and language&amp;quot; and would be acceptable for most teenagers.&lt;/p&gt;'
alias => 'basic'
dt-publish => '9 years ago'
genre =>
__attr__id => 13
name => 'Mystery & Suspense'
logo => 'logo.jpg'
movie =>
__attr__id => 844
cover => 'cover.jpg'
title => 'Basic'
rating => 60
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'BASIC, by director John McTiernan (ROLLERBALL) and writer James Vanderbilt, whose only other script was the laughably bad DARKNESS FALLS, is like two movies in one. One of these is a complete waste of time. This waterlogged and convoluted tale, set in a jungle during a torrential downpour and non-stop lightening, is told in flashback. Someone ...'
teaser => 'This waterlogged and convoluted tale, set in a jungle during a torrential downpour and non-stop lightening, is told in flashback.'
title => 'Basic'
type-id => 7
rss-link => 'reviews/classic/?&g=13'
search-string => ''
rss => 'http://www.filmnet.com/rss/reviews/classic/?&g=13'
schoolFiles => 'http://i.filmnet.com/school_files/'
search =>
form-action => 'reviews'
userFiles => 'http://i.filmnet.com/user_files/'
videoFiles => 'http://i.filmnet.com/video_files/'

HTML Information

Tags
HTML Size: 54.08K
Stylesheet Files
Javascript Files
Images

Database queries

Metadata cache is DISABLED

Adapter 0

  1. [12.54 ms] connect
  2. [5.76 ms] SELECT SQL_CALC_FOUND_ROWS DISTINCT `r`.*, `vr`.`video_id`, `cr`.`channel_id`, `ur`.`user_id`, `mr`.`movie_id` FROM `reviews` AS `r` LEFT JOIN `video__reviews` AS `vr` ON vr.review_id = r.review_id LEFT JOIN `channel__reviews` AS `cr` ON cr.review_id = r.review_id LEFT JOIN `user__reviews` AS `ur` ON ur.review_id = r.review_id LEFT JOIN `movie__reviews` AS `mr` ON mr.review_id = r.review_id WHERE (1 AND r.`review_type_id` = 7 AND r.genre_id = 13 AND r.`staff_review_id` IS NULL AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC LIMIT 10
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File Information

146 Files Included
Total Size: 1495.1K
Basepath: /mnt/fs.9/disk1/local/www/filmnet/application/frontend/settings/../../../

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/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator/Adapter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator/ScrollingStyle/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator/ScrollingStyle/Jumping.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/Namespace.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/SaveHandler/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Translate.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Translate/Adapter.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Translate/Adapter/Gettext.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Uri.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Validate/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Version.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/HeadMeta.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/HeadTitle.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Container.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Container/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Container/Standalone.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Interface.php

ZFDebug Library Files

/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Database.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/File.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Html.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Memory.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Text.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Time.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Variables.php

Memory Usage

Controller: 10196.76K

Custom Timers

Controller: 1243.85 ms

Overall Timers

reviews
reviews
list
Avg: 2248.25 ms / 1 requests
Min: 2248.25 ms
Max: 2248.25 ms

Reset timers by sending ZFDEBUG_RESET as a GET/POST parameter

Registered Instances

Zend_View_Helper_Placeholder_Registry => Zend_View_Helper_Placeholder_Registry Object()
acl => Zend_Acl Object()
baseDir => 'http://www.filmnet.com/'
cache => Zend_Cache_Core Object()
config => Zend_Config Object()
db => Zend_Db_Adapter_Pdo_Mysql Object()
translator => Zend_Translate Object()
copyright 1.8.0/5.2.10-2ubuntu6variables Variableshtml HTMLdatabase 44 in 974.61 msfile 146 Filesmemory 20191K of 1024Mtime 2248.25 msregistry Registry (7)«