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Drama: Recently Added
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Frida

Genre: Drama

Julie Taymor's FRIDA is a solidly entertaining biopic that's as easy to admire as a Grant Wood painting.

Julie Taymor's FRIDA is a solidly entertaining biopic that's as easy to admire as a Grant Wood painting, which is surprising since the movie tells the story of controversial Mexican painter Frida Kahlo. At its worst it's like a paint-by-numbers picture, but at its best, it sizzles with great Mexican folk music and warmly inviting cinematography. ...

Read more

Review by: SteveRhodes

Added: 9 years ago

 

Supposedly, just before you die, your entire life flashes before your eyes.

Supposedly, just before you die, your entire life flashes before your eyes. Something similar happens to aging baseball pitcher Billy Chapel (Kevin Costner) in the aptly named, FOR LOVE OF THE GAME. Throwing what may well be his last game, his entire life flashes by him as he struggles with over-the-hill muscles to eke out one last valiant effort...

Read more

Review by: SteveRhodes

Added: 9 years ago

HIGH CRIMES, which reunites KISS THE GIRLS's Ashley Judd and Morgan Freeman.

HIGH CRIMES, which reunites KISS THE GIRLS's Ashley Judd and Morgan Freeman, is an entertaining mystery and thriller by director Carl Franklin (ONE FALSE MOVE). Set during a military trial that sometimes resembles a kangaroo court, the story is filled with devilish machinations and partially predictable but nonetheless satisfying twists. The plot, ...

Read more

Review by: SteveRhodes

Added: 9 years ago

 

A lifeless, mean-spirited film, it arrives DOA at your local theater today.

BEAUTIFUL isn't. A lifeless, mean-spirited film, it arrives DOA at your local theater today. Advertised as a comedy, the picture, thanks to Sally's Field's inept direction and Jon Bernstein's dull script, is, instead, a depressing drama. With beauty pageants as its subject, BEAUTIFUL should have been an easy success. Is there anything easier to ...

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Review by: SteveRhodes

Added: 9 years ago

CASA DE LOS BABYS is a preachy story about six neurotic.

John Sayles's CASA DE LOS BABYS is a preachy story about six neurotic, American women: Skipper (Daryl Hannah), Nan (Marcia Gay Harden), Gayle (Mary Steenburgen), Leslie (Lili Taylor), Jennifer (Maggie Gyllenhaal) and Eileen (Susan Lynch). They are all getting cranky, having spent a couple of months in hotel rooms while waiting for the bureaucrats of...

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Review by: SteveRhodes

Added: 9 years ago

 

CARANDIRU, by director Hector Babenco, is a harrowing movie, based on a true story.

CARANDIRU, by director Hector Babenco (THE KISS OF THE SPIDER WOMAN and IRONWEED), is a harrowing movie, based on a true story, set and filmed in a real Brazilian prison. Housing 8,000 prisoners, Carandiru was one of the largest in the world before it was recently demolished. Although intriguing, the film is way too long and is narratively all ...

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Review by: SteveRhodes

Added: 9 years ago

I've seen this year, but most people will probably never see it, figuring that the movie is another forgettable teen comedy.

Sometimes acceptance isn't a good idea. Congressman Tom Oakley (Bruce Davison) has learned to "accept" (read "give up on") his messed-up, 17-year-old daughter Nicole, even though he admits that she's destructive, volatile and angry. As the almost always wasted Nicole, Kirsten Dunst turns in a gut-wrenchingly honest performance that reduced me to ...

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Review by: SteveRhodes

Added: 9 years ago

 

Crash

Genre: Drama

CRASH, is directed and co-written by Paul Haggis, the Oscar nominated writer of MILLION DOLLAR BABY.

CRASH, a movie set ironically during the Christmas season, would have much more aptly been called RACE, as its large and talented cast chews up the scenery, packing every sentence with some racial insult. A funny and sometimes downright hilarious movie, RACE, I mean CRASH, is directed and co-written by Paul Haggis, the Oscar nominated writer of ...

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Review by: SteveRhodes

Added: 9 years ago

I'll never forget the three lead performances, and I certainly hope I never meet anyone like their characters.

Paul McGuigan's GANGSTER NO. 1 is an extremely violent British gangster movie that recalls older classics like THE LONG GOOD FRIDAY. The best part of the picture is the acting, although the warm, intimate cinematography, full of chilling close-ups, is superb, the editing, full of unusual transitions, is inviting and the rich, ironic music perfectly ...

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Review by: SteveRhodes

Added: 9 years ago

 

The artists you meet in the film are a strange lot to say the least. Everyone is an artist.

After the recent I SHOT ANDY WARHOL, the new movie BASQUIAT (also as BUILD A FORT, SET IT ON FIRE) begs the question of whether we need another movie about Andy Warhol's world. Ignoring the answer, artist Julian Schnabel wrote his first script and directed his first movie about Jean Michel Basquiat (Jeffrey Wright) who was a black painter who died ...

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Review by: SteveRhodes

Added: 9 years ago

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__domel__body => '&lt;p&gt;Julie Taymor's FRIDA is a solidly entertaining biopic that's as easy to admire as a Grant Wood painting, which is surprising since the movie tells the story of controversial Mexican painter Frida Kahlo. At its worst it's like a paint-by-numbers picture, but at its best, it sizzles with great Mexican folk music and warmly inviting cinematography.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Kahlo is played energetically by Salma Hayek, who is like a mouse of a woman next to her elephantine co-star, Alfred Molina who plays Kahlo's husband and fellow artist Diego Rivera. Rivera, an infamous womanizer, brags that he is &amp;quot;physiologically incapable of fidelity,&amp;quot; something that Kahlo is aware of when she signs on to be the third Mrs. Rivera. Kahlo turns out to have her own roving eye, spotting male and female prey. Rivera, who lives a comfortably middle-class existence, is an active communist. He likes nothing better than arguing about Stalin vs. Hitler and socialism vs. communism. At one point, Rivera lets Leon Trotsky take refuge in Kahlo's father's house. Trotsky is played badly by Geoffrey Rush who adopts an awful Russian accent.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The most memorable sequence in FRIDA comes when Kahlo is injured for life in a bus accident. The movie's follow-up to the disaster is less satisfying. Although the artist was in pain for the rest of her life, in the movie she appears rather spry and healthy in most of the post-accident scenes except for the weeks just after the accident and just before the end of the film.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Unlike the best artist movies, FRIDA takes little time in examining the creative process. Instead, it is much more interested in the artists' sexual escapades and subsequent arguments. These are quite fun, however, and turn the film into a nicely lurid soap opera, which has the twist of being based on a true story. I like a good soap opera, and, on that level, FRIDA delivers. But the Oscar buzz about it just isn't warranted.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;FRIDA runs too long at 2:00. It is rated R for &amp;quot;sexuality/nudity and language&amp;quot; and would be acceptable for older teenagers.&lt;/p&gt;'
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short-body => 'Julie Taymor's FRIDA is a solidly entertaining biopic that's as easy to admire as a Grant Wood painting, which is surprising since the movie tells the story of controversial Mexican painter Frida Kahlo. At its worst it's like a paint-by-numbers picture, but at its best, it sizzles with great Mexican folk music and warmly inviting cinematography. ...'
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__domel__body => '&lt;p&gt;Supposedly, just before you die, your entire life flashes before your eyes. Something similar happens to aging baseball pitcher Billy Chapel (Kevin Costner) in the aptly named, FOR LOVE OF THE GAME.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Throwing what may well be his last game, his entire life flashes by him as he struggles with over-the-hill muscles to eke out one last valiant effort. He is &amp;quot;40 years old, arm weary and achy,&amp;quot; says the game's announcer. This last game of his, perhaps, just perhaps, might even be one for the record books. Then again, maybe not. His arm gives out quickly these days, and he's been only 8-11 this season.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Some people stop to smell the roses. For Billy, it's a well-worn baseball mitt that has the aroma that excites his nose. Knowing that his last day on the mound has arrived, he even pauses in a packed stadium to gaze upward at the clouds that have graced his many days at the ballpark.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Earlier that day, he came to realize that his career was coming to an end. The owner of his team, the Detroit Tigers, told him that the team was being sold. He recommended that Billy retire because, otherwise, the new owners planned on trading him anyway. A Tiger all of his life, this was a devastating blow. Grimacing, Billy closed his eyes and lowered his head into his hands.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;To add insult to injury, his girlfriend of the past 5 years, Jane Aubrey (Kelly Preston), told him that she was leaving him for a job in London.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;&amp;quot;Billy, this ain't your day,&amp;quot; his long-time friend and catcher Gus Osinski (John C. Reilly) tells him.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Directed with an inviting poignancy by Sam Raimi (A SIMPLE PLAN), the movie charms with its old-fashioned story of love. Costner, in one of his best performances in years, creates a character who earns our respect and our sympathy. In his subtly emotive turn as an aging superstar, he manages to make his pain palpable without ever letting things dissolve into schmaltz. Still, you may want to have your handkerchief at the ready since the story has the potential to reduce you to tears as it did several in our audience.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;FOR LOVE OF THE GAME is more a love story than a sports story. Billy is in love with the game and with his girlfriend, but if forced to choose, Jane would up second. Structured as a series of flashbacks, Billy's life is told as he pitches his last game. A good sports movie becomes an even better study of a man and his two loves.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Jane, an innocent looking girl-next-door type, works at a New York fashion magazine writing articles such as &amp;quot;Scents and Sensibilities.&amp;quot; Their affair has carefully structured rules so that they see each other when he's in town for a game, but they are otherwise free to see anyone they like. These rubrics end up causing them much grief.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The chemistry between the two lovers is genuine, and their attraction rises above the sexual. A typical conversation between them has her amazed at his knowing the exact number of games he has lost in his career. &amp;quot;You count them?&amp;quot; she asks with surprise. &amp;quot;We count everything in baseball,&amp;quot; he remarks, showing that he thinks his profession is too pedantic. &amp;quot;That's all we do.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As they get to know each other better, her questions become more pointed, as she delves deeper into his psyche. &amp;quot;Have you ever got your heart broken?&amp;quot; she wants to know. &amp;quot;Yeah, when we lost the pennant in '87,&amp;quot; he replies, not even realizing that she was speaking of love of another human being.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Lovingly filmed by John Bailey with the twinkling glow of New York at night and with the warm colors of a baseball game, the movie is invitingly sentimental and nostalgic. Paced with the same slow rhythms of a baseball game itself, which will either delight or annoy you, the picture never fails to entertain. It may not belong in quite the same league as THE NATURAL or FIELD OF DREAMS, but it's certainly a hit. Even if it may not quite be a home run, it's an awe-inspiring triple that'll have you cheering and maybe even weeping.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;FOR LOVE OF THE GAME runs a little too long at 2:18. It is rated PG-13 for brief strong language and some sexuality. The movie would be fine for kids around 10 and up.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;My son Jeffrey, age 10, was visibly bored during the movie. He gave it just a single *, complaining that it was too predicable and the flashbacks were too hard to follow. His friend John, age 11, gave it ** 1/2 but had trouble figuring out what was a flashback and what wasn't. John's twin, Steven, liked the movie and gave it ***. All of them felt a bit uncomfortable when the characters discussed with whom they were sleeping.&lt;/p&gt;'
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short-body => 'Supposedly, just before you die, your entire life flashes before your eyes. Something similar happens to aging baseball pitcher Billy Chapel (Kevin Costner) in the aptly named, FOR LOVE OF THE GAME. Throwing what may well be his last game, his entire life flashes by him as he struggles with over-the-hill muscles to eke out one last valiant effort...'
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__domel__body => '&lt;p&gt;HIGH CRIMES, which reunites KISS THE GIRLS's Ashley Judd and Morgan Freeman, is an entertaining mystery and thriller by director Carl Franklin (ONE FALSE MOVE). Set during a military trial that sometimes resembles a kangaroo court, the story is filled with devilish machinations and partially predictable but nonetheless satisfying twists. The plot, involving a military cover-up, isn't the most original, but the adroit cast and crew milk it for all its worth. You'll jump, you'll cheer, you'll laugh and you'll be rooting for the defense team. In short, you'll have a good time.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The thriller gets in gear when Tom (James Caviezel, FREQUENCY), a mild mannered craftsman, is picked up by an FBI swat team on a peaceful San Francisco street. Accompanying him is his loving and lovely wife, Claire (Judd), a likable but tough lawyer. Tom is being arrested for the murder of innocent civilians in a massacre that happened in 1988 in El Salvador while Tom was part of a clandestine military operation.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;A nefarious Brigadier General William Marks (Bruce Davison), who had some part in the El Salvador incident, is working behind the scenes to see that Tom is convicted for this crime which Tom claims that he never committed. The general is &amp;quot;the most decorated, the most powerful, ...&amp;quot;, explains Lt. Terrence Embry (Adam Scott), Tom's barely out-of-puberty, military-appointed counsel, who figures that defeating Marks will be nearly impossible.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The man who makes the movie is Morgan Freeman as Charlie Grimes, an attack dog of a lawyer hired by Claire. A Harley-riding ex-drunk, Charlie works for the prestigious firm of Grimes and Associates, which is the shingle that hangs outside his shack of a home. The &amp;quot;and Associates&amp;quot; refers to his dog. A man who has spent his life irritating the military, he is just the man for the case, but first he must explain the realities of practicing law at a secret military tribunal to Claire. Speaking like an SAT test, he tells her, &amp;quot;Military justice is to justice as military music is to music. Wake up and smell the napalm.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Although Charlie looks like he will be no match for the guys with the medals, he upstages them from the get-go. After shocking the judge and prosecutor at the pretrial hearing, he looks over at Claire and says with a twinkle in his eyes, &amp;quot;So it begins.&amp;quot; And for the audience, so begins another superlative performance by Freeman, who is almost as good as he was in the wickedly funny NURSE BETTY. Just sit back and enjoy the fun. You won't be disappointed.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;HIGH CRIMES runs 1:55. It is rated PG-13 for &amp;quot;violence, sexual content and language&amp;quot; and would be acceptable for kids around 11 and up.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;My son Jeffrey, almost 13, gave it ***. He liked the plot, the twists and everything about the movie.&lt;/p&gt;'
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short-body => 'HIGH CRIMES, which reunites KISS THE GIRLS's Ashley Judd and Morgan Freeman, is an entertaining mystery and thriller by director Carl Franklin (ONE FALSE MOVE). Set during a military trial that sometimes resembles a kangaroo court, the story is filled with devilish machinations and partially predictable but nonetheless satisfying twists. The plot, ...'
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__domel__body => '&lt;p&gt;BEAUTIFUL isn't. A lifeless, mean-spirited film, it arrives DOA at your local theater today. Advertised as a comedy, the picture, thanks to Sally's Field's inept direction and Jon Bernstein's dull script, is, instead, a depressing drama.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;With beauty pageants as its subject, BEAUTIFUL should have been an easy success. Is there anything easier to satirize than beauty pageants? Last year's marvelously funny DROP DEAD GORGEOUS showed what is possible. Even if BEAUTIFUL can't rise to that level, does it have to be so painful to watch? Every performance is gratingly awful, and all the roles are badly miscast.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Attractive Minnie Driver, as Mona Hibbard, the story's protagonist, doesn't have the body for a beauty pageant winner. Her head and her bones are too large, and her movements are too awkward. She's a terrific actress, but even she can't pull this one off, especially given how badly and unsympathetically her part is written.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;To give you an idea of just how ugly BEAUTIFUL can be, one of the key subplots concerns Mona's disowning her own daughter, Vanessa. It seems that you can't be Miss American Miss if you have children. When Mona, who likes to sleep her way to victory, comes up pregnant, she keeps the baby but tries to claim that she is the child of her friend Ruby (Joey Lauren Adams). Vanessa is played cloyingly by Hallie Kate Eisenberg (PAULIE).&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Incidents in BEAUTIFUL will more likely have you going &amp;quot;yuck&amp;quot; than laughing. When the teenaged Mona is starting off in the beauty world, she sleeps with a whistle. At night, as she cuddles with her plush toy in bed, she has her whistle at the ready in order to ward off her lecherous father. At least it works so that we don't witness child abuse.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Since the teenaged Mona isn't even finishing in &amp;quot;the top 20&amp;quot; of contests that don't seem to have more than a dozen entrants, she hires a beauty consultant. This consultant is played by none other than Kathleen Turner (BABY GENIUSES), which again proves the rule that I've had for the past decade. Any movie willing to have Kathleen Turner in it is bound to be a stinker. Yes, she was once a good actress. The operative word in that last sentence is &amp;quot;was.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;BEAUTIFUL should have been released as a TV movie. If so, it would have been a decidedly below average TV movie. Actually, were it not for Sally Field and Minnie Driver being associated with the production, it would never have been released in any venue.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;BEAUTIFUL runs a long 1:52. It is rated PG-13 for language and thematic elements. Although it would be acceptable for kids 11 and up, I would not recommend this to anyone of any age.&lt;/p&gt;'
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__domel__body => '&lt;p&gt;John Sayles's CASA DE LOS BABYS is a preachy story about six neurotic, American women: Skipper (Daryl Hannah), Nan (Marcia Gay Harden), Gayle (Mary Steenburgen), Leslie (Lili Taylor), Jennifer (Maggie Gyllenhaal) and Eileen (Susan Lynch). They are all getting cranky, having spent a couple of months in hotel rooms while waiting for the bureaucrats of some unnamed Latin American country to approve their adoption of local babies.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The movie, which might work as a play, has two modes. In one, it keeps lecturing us about the pervasive poverty in this Spanish speaking country. The poorest kids steal out of necessity, and the slightly better off ones have to go to school wearing shoes that are too tight. We are provided with example after example in order to insure that we get the point. The pedantic picture also labors to show how these women, all but one of whom speak basically no Spanish, don't have a clue as to the dire situations of the local citizens.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The second, and much more effective mode, has the women engage in some insightful and frequently funny dialog. Taylor, as the only single mother-to-be, gets the lion's share of the script's best lines. &amp;quot;I've got sox older than you&amp;quot;, she says in a put-down line to a young hunk who tries hitting on her at the beach. &amp;quot;I figure that if [my daughter] doesn't absolutely despise me by the eighth grade, I'm ahead of the game,&amp;quot; Leslie tells Gayle. And, of the local television trash, she says to one of the other women, &amp;quot;You don't need the words to watch TV. Stupidity is the universal language.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;If you weren't aware that Americans have a much higher standard of living than Latin Americans or if you just like being entertained with some witty dialog, CASA DE LOS BABYS is a reasonable choice. On the other hand, if you're looking for something truly worthy of being called a Sayles movie, just rent one of his older ones like LONE STAR.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;CASA DE LOS BABYS runs 1:36. The film is in English and in Spanish with English subtitles. It is rated R for &amp;quot;some language and brief drug use&amp;quot; and would be acceptable for teenagers.&lt;/p&gt;'
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dt-publish => '9 years ago'
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short-body => 'John Sayles's CASA DE LOS BABYS is a preachy story about six neurotic, American women: Skipper (Daryl Hannah), Nan (Marcia Gay Harden), Gayle (Mary Steenburgen), Leslie (Lili Taylor), Jennifer (Maggie Gyllenhaal) and Eileen (Susan Lynch). They are all getting cranky, having spent a couple of months in hotel rooms while waiting for the bureaucrats of...'
teaser => 'CASA DE LOS BABYS is a preachy story about six neurotic.'
title => 'Casa de los babys'
type-id => 7
5 =>
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__domel__body => '&lt;p&gt;CARANDIRU, by director Hector Babenco (THE KISS OF THE SPIDER WOMAN and IRONWEED), is a harrowing movie, based on a true story, set and filmed in a real Brazilian prison. Housing 8,000 prisoners, Carandiru was one of the largest in the world before it was recently demolished.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Although intriguing, the film is way too long and is narratively all over the map, varying from a fictionalized documentary to an almost surreal soap opera and comedy. Watching the movie, you find yourself increasingly ignoring the stories -- a prisoner/medic smokes crack while sewing up a fellow prisoner with a finger almost severed by a rat bite, and another prisoner talks about his two &amp;quot;wives,&amp;quot; one who likes to be bitten on the butt during sex and his other wife who is so jealous that she sets the bed on fire. Instead of following the storyline, you begin to think about the conditions of the prison itself.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Disease in the prison runs rampant because of the extremely unsanitary conditions and because of the dangerous behaviors of the inmates. Hard drugs are readily available and unprotected sex is common practice. The men, most of whom seem to be HIV-positive or to already have AIDS, share the disease with their wives and girlfriends on the regular family visits. The prison itself doesn't look like one, appearing more like a gang-infested slum. The guards stay on the walls, leaving the prisoners to self-regulate themselves in a LORD OF THE FLIES fashion.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The acting is all good save the most central character of all, the prison doctor, who relates the story. As played by Luiz Carlos Vasconcelos, the doctor is an ever-smiling cipher. What, pray tell, is this guy so happy about?&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;CARANDIRU runs way too long at 2:28. The film is in Portuguese with English subtitles. It is rated R for &amp;quot;strong bloody violence/carnage, language, sexuality and drug use&amp;quot; and would be acceptable for older teenagers.&lt;/p&gt;'
alias => 'carandiru'
dt-publish => '9 years ago'
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title => 'Carandiru'
rating => 60
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avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'CARANDIRU, by director Hector Babenco (THE KISS OF THE SPIDER WOMAN and IRONWEED), is a harrowing movie, based on a true story, set and filmed in a real Brazilian prison. Housing 8,000 prisoners, Carandiru was one of the largest in the world before it was recently demolished. Although intriguing, the film is way too long and is narratively all ...'
teaser => 'CARANDIRU, by director Hector Babenco, is a harrowing movie, based on a true story.'
title => 'Carandiru'
type-id => 7
6 =>
__attr__id => 1098
__domel__body => '&lt;p&gt;Sometimes acceptance isn't a good idea. Congressman Tom Oakley (Bruce Davison) has learned to &amp;quot;accept&amp;quot; (read &amp;quot;give up on&amp;quot;) his messed-up, 17-year-old daughter Nicole, even though he admits that she's destructive, volatile and angry. As the almost always wasted Nicole, Kirsten Dunst turns in a gut-wrenchingly honest performance that reduced me to tears. If CRAZY/BEAUTIFUL had been made by some big name director, rather than the perceptive but relatively unknown John Stockwell (&amp;quot;Cheaters&amp;quot;), Dunst might garner serious Oscar consideration for her part. It is one of the best pieces of acting that I've seen this year, but most people will probably never see it, figuring that the movie is another forgettable teen comedy.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As the story opens, Nicole is busy cleaning the beach as part of her sentence for her DUI conviction. It is there that the wealthy, white Nicole meets Carlos (Jay Hernandez), a poor Hispanic who is Nicole's exact opposite. He's a poor kid who is working hard to get accepted into the Naval Academy so that he can be a pilot. Nicole and her girlfriend Maddy (Taryn Manning) see life as one long party. They think nothing of skipping class to drink themselves silly, coming on to strangers and generally shunning any kind of positive behavior. When Carlos, who is bused two hours to go to Nicole's rich school, says that he knows her, she rolls her eyes in a contemptuous flirt and tells him, &amp;quot;Doubt it!&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Needless to say, Nicole and Carlos become lovers, much to the consternation of his strict mom. Nicole's disapproving stepmother is only concerned about her toddler. Tom, who has spent his life trying to save the world, hasn't a clue as to how to rescue his own daughter. Davison stays away from the clichйs so you go from despising his character to empathizing with his plight.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Nicole, who wins your heart early-on, looks a mess. With sunken blue eyes, dirty, scraggly, blonde hair and disheveled clothes, she makes you want to give her a swift kick in the pants to straighten her out. But, she's as likeable as she is infuriating. In the story's key scene, she takes Carlos to bed as her father stands outside her glass-walled bedroom. Carlos is shocked, but Nicole claims that its okay since her father lets her do anything that she wants. Besides, she points out, her father would be proud that she's using a condom. Their safe sex is totally Carlos's idea. Dunst is frighteningly sexy. Although Carlos may be safe, you can easily see Nicole getting AIDS or some other disease from sex or needles. Reportedly, the director had to cut many scenes in order to bring it in at PG-13. Although Nicole carries a bottle around like a young girl clutching her teddy bear, she is never shown drinking from it or doing drugs. Nicole's splotchy face, however, shows the ravages of long, daily hours of destructive behavior.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Carlos's brother calls Nicole, &amp;quot;the trash girl,&amp;quot; since she was picking up garbage when they first saw her. It's an apt nickname for more reasons than one. With its realistic depiction of teen angst, CRAZY/BEAUTIFUL will break your heart without ever attempting to manipulate it. One hopes that after this part, more directors will offer meaty roles to Dunst, who looks like a young version of and clearly has the potential to be the next Meg Ryan.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;CRAZY/BEAUTIFUL runs 1:35. It is rated PG-13 for mature thematic material involving teens, drug/alcohol content, sexuality &amp;amp; language and would be acceptable for teenagers.&lt;/p&gt;'
alias => 'crazy_beautiful'
dt-publish => '9 years ago'
genre =>
__attr__id => 4
name => 'Drama'
logo => 'logo.jpg'
movie =>
__attr__id => 899
cover => 'cover.jpg'
title => 'Crazy/Beautiful'
rating => 80
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'Sometimes acceptance isn't a good idea. Congressman Tom Oakley (Bruce Davison) has learned to "accept" (read "give up on") his messed-up, 17-year-old daughter Nicole, even though he admits that she's destructive, volatile and angry. As the almost always wasted Nicole, Kirsten Dunst turns in a gut-wrenchingly honest performance that reduced me to ...'
teaser => 'I've seen this year, but most people will probably never see it, figuring that the movie is another forgettable teen comedy.'
title => 'Crazy/Beautiful'
type-id => 7
7 =>
__attr__id => 1097
__domel__body => '&lt;p&gt;CRASH, a movie set ironically during the Christmas season, would have much more aptly been called RACE, as its large and talented cast chews up the scenery, packing every sentence with some racial insult. A funny and sometimes downright hilarious movie, RACE, I mean CRASH, is directed and co-written by Paul Haggis, the Oscar nominated writer of MILLION DOLLAR BABY.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Populated with characters who are all stereotypes, the complicated story feels more like a fascinating writing exercise than it does a movie, in which you normally expect characters that are more genuine and coincidences that aren't around every single corner. But that is more a commentary than a criticism. Once you accept that everyone in this film version of L.A. views every aspect of their lives through the color of their skin and everyone else's, it is easy to go with the flow and be entertained by the film's bold preposterousness. It is a movie that is really out there.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;There is a single exception. Late in the picture there is a child endangerment scene that is so far beyond the pale that I started literally to jump up and walk out in protest. After clearly crossing the line, the movie then tries to win us back into its good graces, but I initially had trouble forgiving it. I came close to docking the movie two full stars for that shameless incident but decided in the end to ignore it entirely in my rating, since the film's acting is so universally superb. Sandra Bullock, a wonderful actress who keeps signing up for bad movies, is never better than she is here as an uncontrollably angry housewife married to the District Attorney (Brendan Fraser).&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;CRASH runs 1:40. It is rated R for &amp;quot;language, sexual content and some violence&amp;quot; and would be acceptable for teenagers.&lt;/p&gt;'
alias => 'crash'
dt-publish => '9 years ago'
genre =>
__attr__id => 4
name => 'Drama'
logo => 'logo.jpg'
movie =>
__attr__id => 898
cover => 'cover.jpg'
title => 'Crash'
rating => 80
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'CRASH, a movie set ironically during the Christmas season, would have much more aptly been called RACE, as its large and talented cast chews up the scenery, packing every sentence with some racial insult. A funny and sometimes downright hilarious movie, RACE, I mean CRASH, is directed and co-written by Paul Haggis, the Oscar nominated writer of ...'
teaser => 'CRASH, is directed and co-written by Paul Haggis, the Oscar nominated writer of MILLION DOLLAR BABY.'
title => 'Crash'
type-id => 7
8 =>
__attr__id => 1091
__domel__body => '&lt;p&gt;Paul McGuigan's GANGSTER NO. 1 is an extremely violent British gangster movie that recalls older classics like THE LONG GOOD FRIDAY. The best part of the picture is the acting, although the warm, intimate cinematography, full of chilling close-ups, is superb, the editing, full of unusual transitions, is inviting and the rich, ironic music perfectly sets the mood. Delivering frightening, memorable performances are Malcolm McDowell (A CLOCKWORK ORANGE) as the old Gangster No. 1, who also narrates, Paul Bettany (the imaginary roommate in A BEAUTIFUL MIND) as Gangster No. 1 in his prime and David Thewlis (Besieged) as Freddie Mays, the &amp;quot;Butcher of Mayfair.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As the movie begins, the older Gangster No. 1 has just learned that Freddie is getting out of prison after thirty years. McDowell's weathered and haggard face looks like it is molded out of coarse clay. No sooner have we met the older criminal than we flashback to 1968, when almost all of the story takes place.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;In an Oscar caliber performance, Bettany plays an explosive character who spends most of the time repressing an evil grin. If the story were set on the other side of the Atlantic, you could say that the young Gangster No. 1 looks like an all-American boy type. But he is no sweetheart. Shortly after coming to work for the hyper-violent Freddie, Gangster No. 1 demonstrates his capacity for evil by dropping a taxi on a delinquent bill payer's head. A cocksure guy, his weapon of choice is a hatchet, and, in the movie's most memorable moment, he uses it and lots of other weapons to chop up a rival gangster. As he gets blood soaked, the music (&amp;quot;I'll never let you go. Why? Because I love you so.&amp;quot;) fills the theater.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Loyalty isn't what Gangster No. 1 is about. He covets his boss's expensive Italian suits, his money, his power and everything about him except his girlfriend, Karen (Saffron Burrows), whom he despises. It's not Karen personally, but her sex that is a problem for him. As he misogynistically puts it in the narration, &amp;quot;Let a bird in your life, and there's knickers in your corn flakes.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;If you're very sensitive to violence, this isn't the picture for you. My only complaint is that the film goes on for about a quarter of an hour too long. I'll never forget the three lead performances, and I certainly hope I never meet anyone like their characters.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;GANGSTER NO. 1 runs 1:43. It is rated R for &amp;quot;strong brutal violence, pervasive language, and brief drug use and nudity&amp;quot; and would be acceptable for high school seniors and older. Consider it as NC-17, which is what it should have been rated.&lt;/p&gt;'
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dt-publish => '9 years ago'
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cover => 'cover.jpg'
title => 'Gangster No. 1'
rating => 80
reviewer =>
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avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'Paul McGuigan's GANGSTER NO. 1 is an extremely violent British gangster movie that recalls older classics like THE LONG GOOD FRIDAY. The best part of the picture is the acting, although the warm, intimate cinematography, full of chilling close-ups, is superb, the editing, full of unusual transitions, is inviting and the rich, ironic music perfectly ...'
teaser => 'I'll never forget the three lead performances, and I certainly hope I never meet anyone like their characters.'
title => 'Gangster No. 1'
type-id => 7
9 =>
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__domel__body => '&lt;p&gt; After the recent I SHOT ANDY WARHOL, the new movie BASQUIAT (also as BUILD A FORT, SET IT ON FIRE) begs the question of whether we need another movie about Andy Warhol's world. Ignoring the answer, artist Julian Schnabel wrote his first script and directed his first movie about Jean Michel Basquiat (Jeffrey Wright) who was a black painter who died at the age of 27 from a heroin overdose. Basquiat's paintings have been exhibited alongside both those of Warhol's and of Schnabel's, and Basquiat was a personal friend of Andy's and a full fledged member of his entourage.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As the show opens, 22 year old Basquiat is getting out of the cardboard box in which he lives. Although he grew up in a middle-class family, he spends his days spraying graffiti on the walls all over the city. He goes into a coffee shop and pours syrup all over the table and then begins to finger-paint in it before they throw him out. There are quotes from the narrator about van Gogh - how he was considered crazy in his day and managed to sell only one painting before he died. The show tries hard to convince us Basquiat could be the van Gogh of our time.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Although Basquiat is considered important since he was one of the first African Americans to become a famous pop artist, I found his work on a par with a typical kindergarten class. In one scene in the movie, Warhol and Basquiat comment on a guy who is urinating on Warhol's painting to give it just the right look. If you can get beyond the drug culture aspects, they smoke dope and blow it up their nose in the show, and can ignore the quality of the &amp;quot;art&amp;quot;, the acting is quite good.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The artists you meet in the film are a strange lot to say the least. Everyone is an artist. As Andy's electrician (Willem Dafoe) explains to Basquiat that he is an artist too, but &amp;quot;I'll be 40 in July, and I'm glad I never got recognition. It gives me time to develop.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The show is full of the people that swarm around Basquiat as soon as they realize that there is money to be made. Every agent wants to represent him, and every gallery owner wants to display his works. One of the earliest to write about him is Rene Ricard (Michael Wincott from DEAD MAN). As Rene explains it, &amp;quot;when I speak nobody believes me, but when I write it down everybody knows it to be true.&amp;quot; Later Rene goes on to claim that, &amp;quot;We're no longer collecting art; we're buying people.&amp;quot; One of his first agents, Gina Cardinale (Clair Forlani), glowing describes his art as, &amp;quot;This is the true voice of the gutter.&amp;quot; Gosh, I'll guess take two then.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Unlike Jared Harris's more remote characterization of Andy Warhol in I SHOT ANDY WARHOL, here David Bowie is great as the legendary pop artist. He throws himself into the role with gusto. Andy's friend and agent Bruno Bischofberger is played with amazing restraint by the frequently combustible Dennis Hopper.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Even after he becomes famous, Basquiat still dresses like a homeless person. The costumes by John Dunn are dead on. Kind of shocking having an apparent bum going into a fancy department store, asking to taste the caviar and buying a three thousand dollar tin of the best in the store.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;One of the more ironic lines in the film comes from his friend and fellow artist Albert Milo (Gary Oldman). Albert tells Basquiat that &amp;quot;good conversation is hard to find in this town.&amp;quot; The irony is that Basquiat seems incapable of forming coherent sentences. Jeffrey Wright is brilliant in his interpretation of the artist. A nice piece of acting.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The music by John Cale and all of the songs chosen are one of the high points of the show. Frequently the camera (Ron Fortunato) will slowly pan a scene without dialog but with beautiful songs being song. I wish there had been even more of these scenes.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Rounding out the cast, we have Benicio Del Toro, Christopher Walken, Jean Claude Le Marre, Parker Posey, Elina Lowensohn, Paul Bartel, Courtney Love, and Tatum O'Neal among many others. It looks like half of Hollywood wanted a part. Although you may not care about the people they play, the acting, as I said earlier, is worth seeing.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;BASQUIAT is incorrectly listed in the press kit as running 1:26. I timed it at about 1:50. The shorter length would have been better, and we could have stood a few less stars and parts. The film is rated R for drug use and some bad language. There is no sex, nudity, and only one mildly violent scene. It is possible to misinterpret the show's message as graffiti is a way to great riches and drug usage is cool. As an adult, I can see beyond that, but teenagers might not. For that reason, I am recommending that teenagers not see the show. For adults, I give it a marginal thumbs up for the acting and the music. His paintings get a big thumbs down from me, but this is a movie review, not an art review. I award the film ** 1/2.&lt;/p&gt;'
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dt-publish => '9 years ago'
genre =>
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name => 'Drama'
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movie =>
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cover => 'cover.jpg'
title => 'Basquiat'
rating => 60
reviewer =>
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avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => ' After the recent I SHOT ANDY WARHOL, the new movie BASQUIAT (also as BUILD A FORT, SET IT ON FIRE) begs the question of whether we need another movie about Andy Warhol's world. Ignoring the answer, artist Julian Schnabel wrote his first script and directed his first movie about Jean Michel Basquiat (Jeffrey Wright) who was a black painter who died ...'
teaser => 'The artists you meet in the film are a strange lot to say the least. Everyone is an artist.'
title => 'Basquiat'
type-id => 7
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  12. [0.3 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  13. [0.13 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  14. [98.18 ms] SELECT 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.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  15. [0.23 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '907')
  16. [0.22 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  17. [0.13 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  18. [103.08 ms] SELECT 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.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  19. [0.21 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '905')
  20. [0.22 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  21. [0.13 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  22. [103.44 ms] SELECT 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.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  23. [0.21 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '903')
  24. [0.22 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  25. [0.13 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  26. [98.74 ms] SELECT 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.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  27. [0.2 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '902')
  28. [0.22 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  29. [0.13 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  30. [95.75 ms] SELECT 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.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  31. [0.3 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '899')
  32. [0.24 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  33. [0.14 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  34. [99.36 ms] SELECT 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.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  35. [0.25 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '898')
  36. [0.23 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  37. [0.13 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  38. [107.42 ms] SELECT 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.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  39. [0.25 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '893')
  40. [0.22 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  41. [0.13 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  42. [136.61 ms] SELECT 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.`reviewer_id` = 193 AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC
  43. [0.22 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '887')
  44. [4.5 ms] SELECT DISTINCT `rg`.* FROM `review_genres` AS `rg` LEFT JOIN `reviews` AS `r` ON rg.`genre_id` = r.`genre_id` WHERE (1 AND r.`review_type_id` = 7 AND r.`is_published_review` = 1 AND r.`is_deleted_review` = 0) ORDER BY `rg`.`genre_name` ASC

File Information

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

Application Files

/mnt/fs.9/disk1/local/www/filmnet/application/Bootstrap.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/channels/models/Channels.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/default/models/Assistant.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/default/models/Filters.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/reviews/controllers/ReviewsController.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/reviews/models/Movies.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/reviews/models/ReviewGenres.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/reviews/models/Reviews.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/users/models/Users.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/modules/videos/models/Videos.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/settings/config.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/system/acl.php
/mnt/fs.9/disk1/local/www/filmnet/application/frontend/system/routes.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/Acl.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/AjaxCheck.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/AutoLogin.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/FlashMessenger.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Controller/Plugin/InmailMessageCount.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/Paginator/Adapter/DbSelect.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/View/Serializer.php
/mnt/fs.9/disk1/local/www/filmnet/library/App/View/Xslt.php
/mnt/fs.9/disk1/local/www/filmnet/www/index.php

Zend Library Files

/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Assert/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Resource.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Resource/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Role.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Role/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Role/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Acl/Role/Registry/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Auth.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Auth/Storage/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Auth/Storage/Session.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Backend.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Backend/ExtendedInterface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Backend/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Backend/Memcached.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Core.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Config.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Helper/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Helper/FlashMessenger.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Helper/ViewRenderer.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/HelperBroker.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/HelperBroker/PriorityStack.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Dispatcher/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Dispatcher/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Dispatcher/Standard.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Front.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Plugin/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Plugin/Broker.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Plugin/ErrorHandler.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Request/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Request/Http.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Response/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Response/Http.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Rewrite.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Module.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Regex.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Adapter/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Adapter/Pdo/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Adapter/Pdo/Mysql.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Expr.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Profiler.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Profiler/Query.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Select.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Statement.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Statement/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Statement/Pdo.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Table/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Inflector.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/PregReplace.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/StringToLower.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/CamelCaseToDash.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/CamelCaseToSeparator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/Separator/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/SeparatorToSeparator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/UnderscoreToSeparator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Form.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Json.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Json/Expr.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader/Autoloader.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader/PluginLoader.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader/PluginLoader/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Locale.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Locale/Data/Translation.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Filter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Filter/Priority.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Formatter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Formatter/Simple.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Writer/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Writer/Stream.php
/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: 10177.48K

Custom Timers

Controller: 1681.51 ms

Overall Timers

reviews
reviews
list
Avg: 2665.56 ms / 1 requests
Min: 2665.56 ms
Max: 2665.56 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 1216.75 msfile 146 Filesmemory 20171K of 1024Mtime 2665.56 msregistry Registry (7)«