OK

OK
Cancel
Not on FilmNet yet? Join now!
Reviews
Search Reviews

On FilmNet

Reviews of the short films, Web series and feature-length movies available to watch on FilmNet.

In Theaters

In-depth reviews of the latest theatrical releases, from Hollywood to the festival circuit.

On DVD

Find out what's being released, what's worth renting, buying and staying away from.

A Look Back

Reviews and discussions of movies that have stood the test of time.

Interviews

Exclusive Q&A's with some of the most talented filmmakers on FilmNet.

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...

Read more

Review by: SteveRhodes

Added: 9 years ago

The film, nevertheless, wants to teach what we already know and do it like a kid's Golden Book.

In I DREAMED OF AFRICA, based on Kuki Gallmann's autobiography of her life in Africa, we learn that the Dark Continent is a beautiful and dangerous place. Of course, we already know that. The film, nevertheless, wants to teach what we already know and do it like a kid's Golden Book. As directed by Hugh Hudson and scripted by Paula Milne and Susan Shilliday, the episodes in Kuki's life fly by at channel-surfing speed. In an early scene, Kuki, played without much convincing drama by an immaculate Kim Basinger, tells her 7-year-old boy, Emanuele (Liam Aiken), that she's marrying her boyfriend, Paolo (Vincent Pйrez), who is taking them from ...

Read more

Review by: SteveRhodes

Added: 9 years ago

Hamlet

Genre: Drama

Yet, even people not enamored with the Bard may be as blown away by this film as was I.

Sometimes you are fortunate to see something so special and unusual that you have trouble writing about it. Kenneth Branagh's new HAMLET affected me that way. Every time I picked up my notes to finish writing about it, I would switch to some other review instead. (During the Christmas season, there are so many films opening that I stay behind. Sometimes I even have three press screenings at once. You can see why the New York Times needs three film critics to cover all the movies.) So why is there all this buzz about yet another adaptation of William Shakespeare's "Hamlet"? Afterall, there have been twenty-eight HAMLET movies already. ...

Read more

Review by: SteveRhodes

Added: 9 years ago

Since it's a film about our military, the leaders are shown, of course, as deceitful and in collusion.

What is it with Demi Moore? One cannot watch her good, but older, films like GHOST and A FEW GOOD MEN without appreciating her talent. Her later films, on the other hand, have had scripts that specialize in the absurd. Why couldn't she see how hopeless they were? Was she that blinded by the size of the salary she was offered? From THE SCARLET LETTER to STRIPTEASE to THE JUROR, all have seemed destined to be disasters. Her latest, G.I. JANE, is by the writer of WATERWORLD, David N. Twohy. Suffice it to say that it is RAMBO but with pretensions. Her character in G.I. JANE is accused once in the movie of trying to be Joan of Arc. Indeed ...

Read more

Review by: SteveRhodes

Added: 9 years ago

Face

Genre: Drama

FACE is a picture to admire even if not quite one to recommend.

Using two parallel timelines in FACE, Bertha Bay-Sa Pan tells the story of two slightly rebellious women -- a mother and her estranged daughter. The film begins in Queens, New York in the 1970s. Kim (Ling Bai), a 20-year-old who thinks her mother is too controlling, ends up conceiving a child through a date rape. The mother of the rapist insists that the two families consult the lunar calendar when choosing the date for the shotgun wedding,- since they still want to pick a lucky day. Needless to say, the new couple's life proves to be anything but lucky. Both parents abandon the baby, leaving it to be raised by her maternal grandmother. ...

Read more

Review by: SteveRhodes

Added: 9 years ago

The movie ED WOOD by director Tim Burton has got to be one of the most innovative.

You may or may not think this is one of the best movies of the year (Siskel and Ebert, I know, do), but for pushing the limits of an idea, the movie ED WOOD by director Tim Burton has got to be one of the most innovative. I was surprised how much I liked Burton's vision of ED WOOD since I am not a fan of Burton's work other than his BATMAN series which I sort of liked. Imagine making a movie about a director, Edward D. Wood Jr., who was voted the worst director of all time. Not only that, Ed Wood made what is widely credited as being the worst movie of all time, PLAN 9 FROM OUTER SPACE. Moreover, he also made GLEN OR GLENDA, BRIDE OF ...

Read more

Review by: SteveRhodes

Added: 9 years ago

The script makes the mistake of not focusing on any of the players.

GLORY ROAD, by first-time director James Gartner, is one disappointing basketball film, since it takes a great, true story and turns it into a very mediocre movie. Never deciding if it wants to highlight sports action or racial injustice, it ends up being a milquetoast version of each. From HOOSIERS to REMEMBER THE TITANS to FRIDAY NIGHT LIGHTS, we have come, rightly, to expect movies about sports teams to be lucid and compelling, but GLORY ROAD is neither. Although its heavily clichйd script probably meant the movie was hopeless, it is in the editing room where the movie was completely destroyed. We watch games in little snippets of ...

Read more

Review by: SteveRhodes

Added: 9 years ago

FLED is a fast action movie that appears to be about two convicts on the lam.

Director Kevin Hooks's FLED is a fast action movie that appears to be about two convicts on the lam, but is actually a highly contrived and ridiculous conspiracy on top of conspiracy plot. This is one of the those movies that requires you to check your brain in the lobby. Don't even try to count the implausibilities in Preston Whitmore's script. What saves the film is two fine pieces of acting by its stars, Laurence Fishburne as Piper and Stephen Baldwin as Luke Dodge plus the excellent performance by Wil Patton as the southern good old boy and smartest cop of all Matthew Gibson. FLED is needlessly violent as well, but all of this ...

Read more

Review by: SteveRhodes

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 with little success to play against type. GLORIA is her latest disaster. 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...

Read more

Review by: SteveRhodes

Added: 9 years ago

There is no genuine chemistry between the two leads, and the movie never comes close to jelling.

More aptly titled DOA, were that name not already taken, FLAWLESS is an unappealing mess of a movie. Written and directed by Joel Schumacher, whose last film was the sleazy 8MM, the movie has tonal problems from its gangster beginning to its madcap mayhem ending. Sometimes it wants to be a gay comedy, other times it wants to pull your heart strings and still other times it wants to shock you with Schumacher's signature violence. No matter what it tries, it rarely succeeds. Best described as a comedic tragedy, the movie ladles on lots of attempted humor. It is the sort of movie that has one person -- in our audience it was the same one ...

Read more

Review by: SteveRhodes

Added: 9 years ago

DANNY DECKCHAIR is a real sweetheart of an adult fairy tale from the Land Down Under.

DANNY DECKCHAIR is a real sweetheart of an adult fairy tale from the Land Down Under. This quirky comedy is something of a NOTTING HILL meets THE LORD OF THE RINGS since it features actors NOTTING HILL's Rhys Ifans and THE LORD OF THE RINGS's Miranda Otto playing a pair of unlikely lovers. It's the type of good-spirited comedy that has the whole audience going "ohhhhhhh" in unison when their romance briefly goes astray. Danny Morgan (Ifans) is a restless man who, with his scruffy beard and his long stringy hair, looks like a hermit. He is a bored concrete truck driver who spends most of his time stuck on Sydney's roadways, going nowhere...

Read more

Review by: SteveRhodes

Added: 9 years ago

Contribute your own review to FilmNet!

Share your perspective with the readers of our reviews. You can add your own review to any existing review on FilmNet.

Latest user reviews

Frida

3 years ago

By: limolink

one of the best. you are provide many more information

Read more

jonkajtys

7 years ago

By: TheLodgeShop

Great Review. Rally Great Article. Enjoyed the Read

Read more

The Road

8 years ago

By: ThePeoplesMovies

the road . When it comes to movies that start as novel then movie Ive got a tendancy to see the ...

Read more

By: cannesmann

Odd in presentation and pace. While some elements of the film are done in an avant garde manner, the...

Read more

The Box

9 years ago

By: FriendlyMisanthrope

but I must say... ...The Happening? harsh! I couldn't get through 30 minutes of that movie online ...

Read more

$_COOKIE

Request

action => 'index'
controller => 'reviews'
module => 'reviews'
p => 4

View vars

bandsFiles => 'http://i.filmnet.com/bands_files/'
baseDir => 'http://www.filmnet.com/'
channelFiles => 'http://i.filmnet.com/channel_files/'
festivalFiles => 'http://i.filmnet.com/festival_files/'
filmFiles => 'http://i.filmnet.com/film_files/'
filmcompanyFiles => 'http://i.filmnet.com/filmcompany_files/'
filmmakerFiles => 'http://i.filmnet.com/filmmaker_files/'
head =>
meta =>
items =>
0 =>
content => 'text/html; charset=utf-8'
http-equiv => 'Content-Type'
type => 'http-equiv'
1 =>
content => 'Check out FilmNet vast collection of movie reviews & interviews'
name => 'description'
type => 'name'
2 =>
content => 'Latest movie reviews, interviews, on FilmNet, in theaters, look back, I Dreamed of Africa, Hamlet, G.I. Jane, Face, Ed Wood, Glory Road, Fled, Gloria, Flawless, Danny Deckchair'
name => 'keywords'
type => 'name'
title => 'FilmNet - Reviews'
lang => 'en'
locale => 'en_US'
movieFiles => 'http://i.filmnet.com/movie_files/'
musiciansFiles => 'http://i.filmnet.com/musicians_files/'
reviewFiles => 'http://i.filmnet.com/review_files/'
reviewsPage =>
filters =>
0 =>
__attr__active_id => 'updates'
__attr__id => 'review-tab-id'
items =>
0 =>
__attr__id => 'updates'
name => 'Updates'
1 =>
__attr__id => 'filmnet'
name => 'On FilmNet'
2 =>
__attr__id => 'theaters'
name => 'In Theaters'
3 =>
__attr__id => 'dvd'
name => 'On DVD'
4 =>
__attr__id => 'classic'
name => 'A Look Back'
5 =>
__attr__id => 'interviews'
name => 'Interviews'
link => 'reviews/'
1 =>
__attr__active_id => 0
__attr__as => 't'
__attr__id => 'review-type-id'
items =>
0 =>
__attr__id => 0
name => 'All Reviews'
1 =>
__attr__id => 3
item-link => 'filmnet'
name => 'On FilmNet'
2 =>
__attr__id => 4
item-link => 'interviews'
name => 'Interviews'
3 =>
__attr__id => 5
item-link => 'theaters'
name => 'In Theaters'
4 =>
__attr__id => 6
item-link => 'dvd'
name => 'On DVD'
5 =>
__attr__id => 7
item-link => 'classic'
name => 'A Look Back'
link => 'reviews/?'
latest =>
__attr__id => 1109
alias => 'frida'
dt-publish => '9 years ago'
genre =>
__attr__id => 4
name => 'Drama'
logo => 'logo.jpg'
rating => 80
reviewer =>
__attr__id => 193
login => 'SteveRhodes'
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...'
teaser => 'Julie Taymor's FRIDA is a solidly entertaining biopic that's as easy to admire as a Grant Wood painting.'
title => 'Frida'
type-id => 7
search-string => ''
updates =>
pager =>
link => 'reviews/updates/?'
pagerParams => ''
pages => stdClass Object()
reviews =>
0 =>
__attr__id => 1079
__domel__body => '&lt;p&gt;In I DREAMED OF AFRICA, based on Kuki Gallmann's autobiography of her life in Africa, we learn that the Dark Continent is a beautiful and dangerous place. Of course, we already know that. The film, nevertheless, wants to teach what we already know and do it like a kid's Golden Book.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As directed by Hugh Hudson and scripted by Paula Milne and Susan Shilliday, the episodes in Kuki's life fly by at channel-surfing speed. In an early scene, Kuki, played without much convincing drama by an immaculate Kim Basinger, tells her 7-year-old boy, Emanuele (Liam Aiken), that she's marrying her boyfriend, Paolo (Vincent Pйrez), who is taking them from Venice to live on a remote farm in Africa. Although this means giving up his friends and his grandparents with whom they live, the boy's reaction is a quick surprise followed a second later by complete acceptance. Sure.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The tragedies are numerous (storms, car wrecks, poisonous snakes, wild animals, poachers, robbers, etc.), and, rather than choosing a few to develop properly, the screenwriters try to shoehorn them all in. The result is that episodes run by with the speed of cheetahs, and the director rarely takes time to set up any of them properly.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Got poachers? Let's organize a local army. Okay, done with that idea. What, you may ask, happened next? Did the army do any good, or did they end up getting themselves shot? We're never told. Storms blow in without warning and then are over with and forgotten before you can get interested. Go to the restroom, and you'll miss a minimum of two disasters.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The script reeks with clichйs. &amp;quot;What kind of people do this?&amp;quot; Kuki asks when, almost as soon as they touch down on African soil, they look in horror at the result of poachers. &amp;quot;We think we run this place,&amp;quot; she says later in the story. &amp;quot;We don't. It runs us.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The men in the story like to do lots of guy things, like disappearing into the bush to hunt and drink for a week or two. Paolo, in particular, isn't happy unless he is risking his life on a daily basis, and Kuki's son exhibits this same foolhardy behavior.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;One thing can unequivocally be said about the movie, Bernard Lutic's cinematography is stunning. But think about the material with which he had to work. From the ocean to the savanna, Africa is a photographer's dream assignment. Then again, some movies (FOOLS RUSH IN, for example) can make even the Grand Canyon look ugly, so Lutic could have blown it.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;My friend with me reminded me of a similar and much better show, &amp;quot;The Flame Trees of Thika,&amp;quot; which played two decades ago on Masterpiece Theater. The problem with I DREAMED OF AFRICA is that it tells a story that we've heard many times before and usually with a much stronger emotional impact. Perhaps if the film were recut with fewer incidents and more development of the ones left, it might have worked. But, as released, it only works as a travelogue.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;I DREAMED OF AFRICA runs 1:52. It is rated PG-13 for a scene of nudity/sensuality and some violent/traumatic episodes and would be acceptable for teenagers. Kids under 13 run the risk of being significantly frightened by the blood and the violence.&lt;/p&gt;'
alias => 'i_dreamed_of_africa'
dt-publish => '9 years ago'
genre =>
__attr__id => 4
name => 'Drama'
logo => 'logo.jpg'
movie =>
__attr__id => 881
cover => 'cover.jpg'
title => 'I Dreamed of Africa'
rating => 40
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'In I DREAMED OF AFRICA, based on Kuki Gallmann's autobiography of her life in Africa, we learn that the Dark Continent is a beautiful and dangerous place. Of course, we already know that. The film, nevertheless, wants to teach what we already know and do it like a kid's Golden Book. As directed by Hugh Hudson and scripted by Paula Milne and Susan Shilliday, the episodes in Kuki's life fly by at channel-surfing speed. In an early scene, Kuki, played without much convincing drama by an immaculate Kim Basinger, tells her 7-year-old boy, Emanuele (Liam Aiken), that she's marrying her boyfriend, Paolo (Vincent Pйrez), who is taking them from ...'
teaser => 'The film, nevertheless, wants to teach what we already know and do it like a kid's Golden Book.'
title => 'I Dreamed of Africa'
type-id => 7
1 =>
__attr__id => 1078
__domel__body => '&lt;p&gt; Sometimes you are fortunate to see something so special and unusual that you have trouble writing about it. Kenneth Branagh's new HAMLET affected me that way. Every time I picked up my notes to finish writing about it, I would switch to some other review instead. (During the Christmas season, there are so many films opening that I stay behind. Sometimes I even have three press screenings at once. You can see why the New York Times needs three film critics to cover all the movies.)&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;So why is there all this buzz about yet another adaptation of William Shakespeare's &amp;quot;Hamlet&amp;quot;? Afterall, there have been twenty-eight HAMLET movies already. Surely there is no longer anything new to say.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;In two words, the answer is: four hours. Four hours plus a twenty minute intermission to be precise. Granted, that for those who hate Shakespeare, the idea of sticking around this long will sound like masochism. Yet, even people not enamored with the Bard may be as blown away by this film as was I.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Let me explain. Branagh chose the film's length for two reasons. First, he wanted to break with tradition and do a full text version of the play. This means that viewers would get to enjoy the many minor scenes that directors eliminate because of time considerations.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Second, he wanted to allow enough time for the play to breathe. This is the groundbreaking idea that makes the play so uniquely accessible. Hamlet has more lines worth pondering than ten other plays, but usually the listener can not pause to reflect on them because the actors are flying through their lines so they can get the movie completed within a traditional length. Never I have I understood or appreciated HAMLET so completely, and I predict that others fortunate enough to see the movie in its full four hour length will feel the same way.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;There is much history behind the running time. Let me summarize what I heard about it. Branagh wanted a four hour version, but the distributors and the theater owners thought it would be a financial disaster for them. Normally they could fill the theater twice during that period. Branagh was forced to create both a two and a four hour version with the latter to be shown briefly in three cities in the world. After a hue and cry, especially on the Internet, the strategy was changed to releasing both versions widely. Moreover, the shorter version will be a 35mm print, whereas the longer will be the original 70mm. Plans, of course, could still change before the nationwide release next year.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;I was privileged to see one of the selected members of the Bay Area press that Castle Rock invited to a special screening in San Francisco. We were supposed to see the 70mm four hour version, but the print was &amp;quot;stuck in London,&amp;quot; so we saw a 35mm print of the four hour version instead. Like Sergio Leone's ONCE UPON A TIME IN AMERICA (1984), which has both a truncated and a full length version, the longer one is the one is see. I would drive hours to see the four hour version of Hamlet. Given there was a massive storm the day I saw it, that is exactly what I did and was it ever worth it.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The sets by Tim Harvey for Hamlet are stunning. This adaptation of the play is set in the nineteenth century. The interior scenes in Elsinore Castle have a long mirror lined gallery. They combined adjoining sound stages at Shepperton to create the largest single set ever constructed in the United Kingdom. The exterior scenes were shot at Blenheim Palace where they used more artificial snow than any movie in history. Yes, even more than DOCTOR ZHIVAGO. (The press kit assures us that it is &amp;quot;environmentally friendly&amp;quot; fake snow so you needn't be troubled by that while watching the picture.)&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The music by Patrick Doyle (SENSE AND SENSIBILITY and HENRY V) has a haunting and lovely theme as well as dramatic parts full of kettle drums, horns, and wailing choirs. Beautifully sad and majestic music so memorable that you may want to buy the CD,&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The costumes by Alexandra Byrne (PERSUASION) are fashioned using a lush color palette of royal reds and golds set off against dramatic whites and blacks. The cinematography by Alex Thomson makes you feel the warmth of the interior and the cold of the exterior. Branagh said he did not want &amp;quot;gloomy castles and dour costumes,&amp;quot; and his crew delivered. The sets are as inviting as the text is compelling.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Branagh is my favorite Shakespearean actor and director. Anyone doubting his abilities should see his brilliant HENRY V, which remains his best acting ever. (As a director, HENRY V is not his best film; HAMLET is.) Branagh brings an intensity and a focused approach that illuminates every word he speaks. Early on, Hamlet tells his mother, Queen Gertrude (Julie Christie), &amp;quot;Seems, madam! nay it is; I know not 'seems.'&amp;quot; His thin lips quiver as he delivers the lines, and he appears as if he may explode at any moment.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Every actor puts his stamp on Shakespeare's most famous lines, &amp;quot;To be, or not to be.&amp;quot; Branagh decides to downplay them somewhat in favor of other lines. He delivers the speech in a mirror with the camera focused on the mirrored imaged rather than directly on him.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As is appropriate, Branagh is the star about which the other performers revolve. Appropriate both because of his position in the play and because of his talent. Nevertheless, the other luminaries in this star studded sky are worth mention and perhaps some Oscar consideration.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Branagh says he purposely cast the film with a host of big names to ensure the audience can &amp;quot;look and see and hear with greater clarity&amp;quot; even the minor roles. I want to get the one exception to this rule out of the way quickly since it is my only criticism of the film. Jack Lemmon, as Marcellus, is a disaster and appears totally lost on how to approach the role. Luckily, Lemmon has only a few minutes of screen time. The rest of the actors range from quite good to exceptional.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Besides those already mentioned, Derek Jacobi gives a controlled and effective reading of the malevolent Claudius. Interesting choice since Jacobi's signature role was as Emperor Claudius in &amp;quot;I, Claudius.&amp;quot; Branagh said he first saw &amp;quot;Hamlet&amp;quot; at age fifteen with Jacobi in the lead. That performance left an indelible mark on his memory of how the play was so &amp;quot;exciting, sexy, dangerous, and violent.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Kate Winslet (HEAVENLY CREATURES, SENSE AND SENSIBILITY, and JUDE) delivers the best performance of her short but talented career as the fragile and vulnerable Ophelia. When Ophelia goes mad, you believe it.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Nicholas Farrell (Antonio in TWELFTH NIGHT) plays Horatio with much passion. Charlton Heston and Rosemary Harris are perfectly cast as the Player King and Queen. Timothy Spall (SECRETS AND LIES) is Rosencrantz, and Reece Dinsdale is Guildenstern. Robin Williams is quite funny in the small part of Osric, but Billy Crystal underplays the comic role of the First Gravedigger. Michael Maloney (Dauphin in HENRY V) as Laertes is explosively powerful.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;An incredible motion picture experience. Movies this good remind us of the power of the medium. See the four hour version. Accept no substitutes. And try to see the 70mm version that I missed. 70mm gives images a three dimensional realism that the smaller 35mm format can never bring out. I have trouble imagining a more striking visual that the 35mm print I saw. You could see something even better.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;HAMLET runs 3:58 plus an intermission. It is rated PG-13. There is brief sex, some nudity, and violence. The film would fine for kids say nine or ten and up. I recommend this film to you in the strongest terms whether you like Shakespeare or hate him, and I give it my top rating of ****. Do NOT miss this film.&lt;/p&gt;'
alias => 'hamlet'
dt-publish => '9 years ago'
genre =>
__attr__id => 4
name => 'Drama'
logo => 'logo.jpg'
movie =>
__attr__id => 880
cover => 'cover.jpg'
title => 'Hamlet'
rating => 100
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => ' Sometimes you are fortunate to see something so special and unusual that you have trouble writing about it. Kenneth Branagh's new HAMLET affected me that way. Every time I picked up my notes to finish writing about it, I would switch to some other review instead. (During the Christmas season, there are so many films opening that I stay behind. Sometimes I even have three press screenings at once. You can see why the New York Times needs three film critics to cover all the movies.) So why is there all this buzz about yet another adaptation of William Shakespeare's "Hamlet"? Afterall, there have been twenty-eight HAMLET movies already. ...'
teaser => 'Yet, even people not enamored with the Bard may be as blown away by this film as was I.'
title => 'Hamlet'
type-id => 7
2 =>
__attr__id => 1077
__domel__body => '&lt;p&gt; What is it with Demi Moore? One cannot watch her good, but older, films like GHOST and A FEW GOOD MEN without appreciating her talent. Her later films, on the other hand, have had scripts that specialize in the absurd. Why couldn't she see how hopeless they were? Was she that blinded by the size of the salary she was offered? From THE SCARLET LETTER to STRIPTEASE to THE JUROR, all have seemed destined to be disasters.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Her latest, G.I. JANE, is by the writer of WATERWORLD, David N. Twohy. Suffice it to say that it is RAMBO but with pretensions. Her character in G.I. JANE is accused once in the movie of trying to be Joan of Arc. Indeed Moore plays it like Bruce Willis playing Joan of Arc -- think DIE HARD 5, but with a message. The preachy script spends more energy philosophizing than worrying about the narrative. Remarkably little happens in the film, but it is so preposterously presented and takes so long in unfolding that the first hour will seem like an eternity.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The film opens with a hazy confirmation hearing for a new Secretary of the Navy. As the nominee describes the progress that has been made getting women into the military, he is interrupted by Texas Sen. Lillian DeHaven, sitting on a platform high above him. &amp;quot;Whoa, whoa, whoa, Mr. Hayes,&amp;quot; she chides. &amp;quot;If a cannibal used a knife and fork, would you call that progress?&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Since it's a film about our military, the leaders are shown, of course, as deceitful and in collusion. They develop a scheme whereby women are given the opportunity to qualify for combat positions believed to be too hard for them and then they can declare women unfit in general. Since the toughest outfit is considered to be Navy SEALs, they let the first woman train for that group. And when later it looks like Lt. Jordan O'Neil, played by Moore, might make it as a SEAL, they develop an even more grandiose conspiracy that includes closing five bases in Texas -- thus putting thousands of people out of work -- and concocting false charges against O'Neil. This cabal will stop at nothing to prevent a woman from becoming a SEAL.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The military in this film is one in which instructors physically abuse their recruits while a hundred people watch and no one complains or tries to stop it. Although all of the SEAL candidates are hurt, none are injured more so than Lt. O'Neil. She is basically beaten to a pulp. Blood streams out of her mouth as she is slugged repeatedly during some of the milder violence that she has to endure. G.I. JANE is a needlessly gory film that is so over-the-top it is hard to decide what parts of it might be realistic.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;In one scene, a naked Lt. O'Neil is finishing her shower as her instructor, played with rarely credible evil by Viggo Mortensen, promotes her on the spot. In a line so cliched that he must have had trouble delivering it with a straight face, he says, &amp;quot;Remember, there are no bad crews, only bad leaders.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;After drifting aimlessly from one outlandish scene to another, the tedious film's last third takes the asinine plot to new lows and makes the unbelievable first parts look almost plausible in comparison. (G.I. JANE manages to be even more ludicrous than THE SHADOW CONSPIRACY that I saw last week. At least that film had few pretensions of realism.)&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;And if that is not enough to take, there is the acting, or rather overacting. Anne Bancroft, now merely a shadow of her former self, plays Sen. DeHaven. Bancroft's heavy southern accent goes in and out like the tide. She attempts to play a genteel southern lady of the old school, but is never convincing even if she does wear flowing dresses, drink bourbon, and live in dark paneled rooms. To be fair, the script gives her some of the worst of the movie's leaden lines. (&amp;quot;Don't ever think of playing politics with me, little darlin', or you'll be up way past your bedtime.&amp;quot;) People in the film don't converse, rather they engage in political monologues and sermonettes. Lt. O'Neil's instructor shouts D. H. Lawrence poetry in the faces of the SEAL trainees.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Moore spends most of the film grandstanding while her character assiduously claims she isn't. &amp;quot;I'm not here to make some sort of a statement,&amp;quot; Lt. O'Neil informs the base's commanding officer upon her arrival. &amp;quot;If you were someone else, you wouldn't be making statements about making some sort of a statement, would you?&amp;quot; intones the chauvinistic commander.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Usually reliable director Ridley Scott does not trust the audience to understand his points so he overemphasizes them and drills them into our heads through repetition. He has the military villains frowning and smoking big smelly cigars. Scott's uninvolving action sequences are little more than loud, and he seems obsessed with imbuing the film with a message with a capital &amp;quot;M.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Although most of the film can be quite annoying as Scott exploits an important subject, the picture does have its moments. Hugh Johnson's handsome cinematography gives the film an intensity and an honesty that the script lacks. His use of a spastic zoom during the gunfire was a bit much, however. Cheri Minns's stark make-up for Demi Moore shows the wear and tear on her face from too much water and too many beatings. And finally for those fans of Moore's body, editor Pietro Scalia's favorite scene transition is another glimpse of Moore buffing up doing one hand push-ups. Personally, I would have preferred acting to sweating.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;G.I. JANE runs overly long at 2:08. It is rated R for violence and profanity. The film would be fine for mature teenagers. I give the picture thumbs down and * 1/2 for its unrealized potential.&lt;/p&gt;'
alias => 'g_i_jane'
dt-publish => '9 years ago'
genre =>
__attr__id => 4
name => 'Drama'
logo => 'logo.jpg'
movie =>
__attr__id => 879
cover => 'cover.jpg'
title => 'G.I. Jane'
rating => 40
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => ' What is it with Demi Moore? One cannot watch her good, but older, films like GHOST and A FEW GOOD MEN without appreciating her talent. Her later films, on the other hand, have had scripts that specialize in the absurd. Why couldn't she see how hopeless they were? Was she that blinded by the size of the salary she was offered? From THE SCARLET LETTER to STRIPTEASE to THE JUROR, all have seemed destined to be disasters. Her latest, G.I. JANE, is by the writer of WATERWORLD, David N. Twohy. Suffice it to say that it is RAMBO but with pretensions. Her character in G.I. JANE is accused once in the movie of trying to be Joan of Arc. Indeed ...'
teaser => 'Since it's a film about our military, the leaders are shown, of course, as deceitful and in collusion. '
title => 'G.I. Jane'
type-id => 7
3 =>
__attr__id => 1076
__domel__body => '&lt;p&gt;Using two parallel timelines in FACE, Bertha Bay-Sa Pan tells the story of two slightly rebellious women -- a mother and her estranged daughter. The film begins in Queens, New York in the 1970s. Kim (Ling Bai), a 20-year-old who thinks her mother is too controlling, ends up conceiving a child through a date rape. The mother of the rapist insists that the two families consult the lunar calendar when choosing the date for the shotgun wedding,- since they still want to pick a lucky day. Needless to say, the new couple's life proves to be anything but lucky. Both parents abandon the baby, leaving it to be raised by her maternal grandmother.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Interlaced with this story is one set 19 years later, when the baby, Genie (Kristy Wu), is now grownup and dating. When Kim returns for Genie's graduation, Genie seethes while Kim grovels. So much time and resentment has come between them that any reunion appears to be almost impossible.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Although the outlines of the two stories might suggest otherwise, they never gel. The acting is sincere and earnest, but the script is way too clichйd -- &amp;quot;Eat, eat, you too skinny,&amp;quot; being a typical line. FACE is a picture to admire even if not quite one to recommend.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;FACE runs 1:24. It is not rated but might be PG-13 for brief nudity and sexual situations and would be acceptable for kids around 11 and up.&lt;/p&gt;'
alias => 'face'
dt-publish => '9 years ago'
genre =>
__attr__id => 4
name => 'Drama'
logo => 'logo.jpg'
movie =>
__attr__id => 878
cover => 'cover.jpg'
title => 'Face'
rating => 60
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'Using two parallel timelines in FACE, Bertha Bay-Sa Pan tells the story of two slightly rebellious women -- a mother and her estranged daughter. The film begins in Queens, New York in the 1970s. Kim (Ling Bai), a 20-year-old who thinks her mother is too controlling, ends up conceiving a child through a date rape. The mother of the rapist insists that the two families consult the lunar calendar when choosing the date for the shotgun wedding,- since they still want to pick a lucky day. Needless to say, the new couple's life proves to be anything but lucky. Both parents abandon the baby, leaving it to be raised by her maternal grandmother. ...'
teaser => 'FACE is a picture to admire even if not quite one to recommend.'
title => 'Face'
type-id => 7
4 =>
__attr__id => 1075
__domel__body => '&lt;p&gt; You may or may not think this is one of the best movies of the year (Siskel and Ebert, I know, do), but for pushing the limits of an idea, the movie ED WOOD by director Tim Burton has got to be one of the most innovative. I was surprised how much I liked Burton's vision of ED WOOD since I am not a fan of Burton's work other than his BATMAN series which I sort of liked.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Imagine making a movie about a director, Edward D. Wood Jr., who was voted the worst director of all time. Not only that, Ed Wood made what is widely credited as being the worst movie of all time, PLAN 9 FROM OUTER SPACE. Moreover, he also made GLEN OR GLENDA, BRIDE OF THE MONSTER, and other such classics.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;There are two great things going for this movie. One, is the amazing true life story. Ed Wood was the eternal optimist who made one stinker after another, but still believed his next movie would be a success. The other is the amazing and infectiously happy acting of Johnny Depp (whom I loathed in WHAT'S EATING GILBERT GRAPE) playing Ed Wood. If you don't come out of this theater feeling upbeat, you must have gone in the wrong door in the multiplex. If the movie you saw was not filmed (Stefan Czapsky) in glorious black and white, then you saw the wrong movie.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Actually one of the problems I had with the movie was that it is playing the movie house with screens the size of small states. This is strictly an art house flick. This was a real problem for me.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Back to the fascinating story. You get to meet Bela Lugosi played by Martin Landau. At Oscar time, expect to see nominations for best actor to Depp and supporting actor to Landau. The movie happens during at a time when Lugosi career was about over with which is somewhat of a parallel to Landau's career, before this movie.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;This is one of those films filled with minor actors and actresses you have seen before. Sarah Jessica Parker, who was great in HONEYMOON IN VEGAS, plays Wood's girlfriend. Jeffrey Jones, the principal from FERRIS BUELLER'S DAY OFF, plays Criswell, the &amp;quot;great&amp;quot;, well famous, psychic of the time. G.D. Spradlin who played the evil Senator, the one with the dead horse in his bed, from GODFATHER II, here plays the head preacher of the Beverly Hill Baptist Church which aids Wood's most trashy classic. Fact is stranger than fiction.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Since I have never liked Johnny Depp nor Tim Burton very much, that I am liked this film at all, is probably a testament to just how good it is. If you like Burton movies, hey, you are probably going to go gaga over ED WOOD.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As fascinating as the plot of this movie was, I found it lost my interest in parts. There is just so much to say about someone whose specialty is making something terrible. Nevertheless, if you like quirky movies or if you are interested in the art of making movies, I am sure you will like this film.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;ED WOOD runs a little long at 2:05. The movie is rated R for profanity, cross-dressing, and drug use, but it actually is a fairly harmless movie. I would have no trouble letting older teens see it, and you could take younger teens with you. I recommend it to everyone except the totally non-experimental types--you probably don't want to take &amp;quot;the grandparents&amp;quot; to see it. I give ***.&lt;/p&gt;'
alias => 'ed_wood'
dt-publish => '9 years ago'
genre =>
__attr__id => 2
name => 'Comedy'
logo => 'logo.jpg'
movie =>
__attr__id => 877
cover => 'cover.jpg'
title => 'Ed Wood'
rating => 80
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => ' You may or may not think this is one of the best movies of the year (Siskel and Ebert, I know, do), but for pushing the limits of an idea, the movie ED WOOD by director Tim Burton has got to be one of the most innovative. I was surprised how much I liked Burton's vision of ED WOOD since I am not a fan of Burton's work other than his BATMAN series which I sort of liked. Imagine making a movie about a director, Edward D. Wood Jr., who was voted the worst director of all time. Not only that, Ed Wood made what is widely credited as being the worst movie of all time, PLAN 9 FROM OUTER SPACE. Moreover, he also made GLEN OR GLENDA, BRIDE OF ...'
teaser => 'The movie ED WOOD by director Tim Burton has got to be one of the most innovative.'
title => 'Ed Wood'
type-id => 7
5 =>
__attr__id => 1074
__domel__body => '&lt;p&gt;GLORY ROAD, by first-time director James Gartner, is one disappointing basketball film, since it takes a great, true story and turns it into a very mediocre movie. Never deciding if it wants to highlight sports action or racial injustice, it ends up being a milquetoast version of each. From HOOSIERS to REMEMBER THE TITANS to FRIDAY NIGHT LIGHTS, we have come, rightly, to expect movies about sports teams to be lucid and compelling, but GLORY ROAD is neither.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Although its heavily clichйd script probably meant the movie was hopeless, it is in the editing room where the movie was completely destroyed. We watch games in little snippets of action, with quick shots filmed up close so that it's never quite clear who is doing what and when. And the editor is obviously more interested in the reaction shots of the coaches and the fans than he is in the players on the court. All of the tension and excitement is drained from most of the games so that more time can be devoted to the back stories, which are staged clumsily and unconvincingly. In fact, the movie wastes the first 45 minutes of its screen time with pretty standard basketball practices followed by the traditional after-hours carousing around the local bars by the players who are breaking training.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The story starts as Coach Don Haskins, the coach of a high school girl's basketball team in 1965, is recruited to be the new coach of Texas Western University. The school has no funding, even for recruiting, but it is at least a Division I school, so it gets to compete against all of the big schools that matter.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;After the editing mistakes, the second biggest problem in the film is the casting of the key role of Coach Haskins, who is on-screen for most of the movie. SWEET HOME ALABAMA's easygoing romantic lead, Josh Lucas, plays the coach. Never believable, Lucas's Haskins doesn't yell at his team from the sidelines. Oh no, he talks to them in a voice so low and polite that it would never, ever be heard in the real noise of a basketball gym. (Ben Affleck was originally cast in the role, so I guess it could have been worse.) In contrast, Jon Voight delivers a tough, credible and memorable piece of acting as Coach Adolph Rupp, the coach of the legendary University of Kentucky team that Texas Western faces in the movie's big, final game.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The script makes the mistake of not focusing on any of the players but gives each one of them just enough time to get the audience mildly interested without any emotional payoffs.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Although Coach Haskins took a losing team and recruited enough new players to turn it into an upset winner, what is unique about this team is that seven of the twelve players were black. At that time, not a single black played Division I basketball in the South, but this coach recruited seven of them to play on his team, much to the consternation of the racists wherever they played. (Still, it is interesting to note that the only coach who makes an overtly racist act in the movie is Haskins, when he tells his star white players that they will not be able to play for even a second as subs in the final game. He will only let the black players play, even though many of the whites had been instrumental in the team's success up until then.)&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;There are many incidents of racial harassment against the blacks by rival fans, but the movie keeps downplaying it by cutting away quickly and not letting the players demonstrate much rage or anger.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Sometime this story will be retold in a much better movie. I look forward to seeing it.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;GLORY ROAD runs 1:46. It is rated PG for &amp;quot;racial issues including violence and epithets, and momentary language&amp;quot; and would be acceptable for kids around 9 and up.&lt;/p&gt;'
alias => 'glory_road'
dt-publish => '9 years ago'
genre =>
__attr__id => 4
name => 'Drama'
logo => 'logo.jpg'
movie =>
__attr__id => 876
cover => 'cover.jpg'
title => 'Glory Road'
rating => 60
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'GLORY ROAD, by first-time director James Gartner, is one disappointing basketball film, since it takes a great, true story and turns it into a very mediocre movie. Never deciding if it wants to highlight sports action or racial injustice, it ends up being a milquetoast version of each. From HOOSIERS to REMEMBER THE TITANS to FRIDAY NIGHT LIGHTS, we have come, rightly, to expect movies about sports teams to be lucid and compelling, but GLORY ROAD is neither. Although its heavily clichйd script probably meant the movie was hopeless, it is in the editing room where the movie was completely destroyed. We watch games in little snippets of ...'
teaser => 'The script makes the mistake of not focusing on any of the players.'
title => 'Glory Road'
type-id => 7
6 =>
__attr__id => 1073
__domel__body => '&lt;p&gt; Director Kevin Hooks's FLED is a fast action movie that appears to be about two convicts on the lam, but is actually a highly contrived and ridiculous conspiracy on top of conspiracy plot. This is one of the those movies that requires you to check your brain in the lobby. Don't even try to count the implausibilities in Preston Whitmore's script.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;What saves the film is two fine pieces of acting by its stars, Laurence Fishburne as Piper and Stephen Baldwin as Luke Dodge plus the excellent performance by Wil Patton as the southern good old boy and smartest cop of all Matthew Gibson. FLED is needlessly violent as well, but all of this notwithstanding, I liked the show as did the audience. A fast paced bit of entertainment that will make you laugh, sometimes when you are not supposed to, and will pump up your adrenaline.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;As the show starts, a witness who is to testify against Frank Mantajano, the head of the Cuban Mafia, is killed thus causing the Senate investigating committee to be without its star witness. The show quickly shifts to a chain gang in Georgia where new convict Dodge and old hand Piper escape while chained to each other's wrists. Soon U. S. Marshall Schiller appears out of nowhere and kills another escapee with his hands up trying to surrender. It seems there are big conspiracies brewing, and Schiller, among others, is involved. Officer Gibson is the only one that can see the obvious so he follows the &amp;quot;good&amp;quot; guys and the bad.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The reason for all of the chasing is that Dodge hacked into the computer of Brigantine International. This is okay because he determined that the company was greedy. Moreover he stole $25,000,000 and gave $20,000,000 of it to charity. He explains all of this to Piper and tells him, &amp;quot;On the Internet my code name is CyberThug.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The show is quite funny. One small thing that is fun is that when they get in a jam, one will say to the other, &amp;quot;didn't you see&amp;quot; and then name some movie title as if all knowledge is found in some movie. Among movies so referenced were: THE GODFATHER, DELIVERANCE, THE FUGITIVE, and SHAFT.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;My favorite character is the wise but unassuming Officer Gibson, whose accent is so thick you could cut it with a knife. He reminded me a lot of the pregnant lead detective in FARGO. Gibson advises Schiller, &amp;quot;I think you are just spitting in the wind, and you know what they say about spitting in the wind. It may blow back in your face.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The chemistry between the two leads is quite good. I think Laurence Fishburne is a great talent, and it showed here. Without him, I don't think they would of had a show, but they do have him and so for me it worked.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Which scene did the audience like the least? Baldwin's love making scene! It is so overdone and with such cliches, i.e., done in front of a roaring fire, that they were laughing at it, and it is not supposed to be funny. When the Piper and his girlfriend, Cora, well played by Salma Hayek, have an erotic bread kneading scene, it works much better.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Let me not dwell on this implausibility thing, and rather than get into the intricate conspiracy maze, let me give two small examples. If you were being chased by people with big guns and helicopters while you were chained to a large man who was running with you, would you keep trying to knock him out and thereby run the risk of having to run while dragging him? Also, why is all the key data stored one little floppy and without any duplicate? I could go on, but I will not. I was able to put my brain in neutral so perhaps you will be able to as well, and this stuff not bother you.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;FLED runs a little over an hour and a half. It will certainly be an R for sex, nudity, and most of all gory violence of the type where many people die with large bullet holes and blood spurting everywhere. It would be probably be okay for teenagers if they are mature. I hated the story, but I had a good time, laughed some, and liked the acting, except for pathetic overacting by Schiller and the whole Cuban Mafia crowd, so I am giving it a thumbs up and rating it ** 1/2.&lt;/p&gt;'
alias => 'fled'
dt-publish => '9 years ago'
genre =>
__attr__id => 1
name => 'Action & Adventure'
logo => 'logo.jpg'
movie =>
__attr__id => 875
cover => 'cover.jpg'
title => 'Fled'
rating => 60
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => ' Director Kevin Hooks's FLED is a fast action movie that appears to be about two convicts on the lam, but is actually a highly contrived and ridiculous conspiracy on top of conspiracy plot. This is one of the those movies that requires you to check your brain in the lobby. Don't even try to count the implausibilities in Preston Whitmore's script. What saves the film is two fine pieces of acting by its stars, Laurence Fishburne as Piper and Stephen Baldwin as Luke Dodge plus the excellent performance by Wil Patton as the southern good old boy and smartest cop of all Matthew Gibson. FLED is needlessly violent as well, but all of this ...'
teaser => 'FLED is a fast action movie that appears to be about two convicts on the lam.'
title => 'Fled'
type-id => 7
7 =>
__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 with little success to play against type. GLORIA is her latest disaster. 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...'
teaser => 'The movie has a plethora of logical flaws and implausibilites. '
title => 'Gloria'
type-id => 7
8 =>
__attr__id => 1071
__domel__body => '&lt;p&gt;More aptly titled DOA, were that name not already taken, FLAWLESS is an unappealing mess of a movie. Written and directed by Joel Schumacher, whose last film was the sleazy 8MM, the movie has tonal problems from its gangster beginning to its madcap mayhem ending. Sometimes it wants to be a gay comedy, other times it wants to pull your heart strings and still other times it wants to shock you with Schumacher's signature violence.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;No matter what it tries, it rarely succeeds. Best described as a comedic tragedy, the movie ladles on lots of attempted humor. It is the sort of movie that has one person -- in our audience it was the same one person -- laughing loudly and frequently, as the rest of the viewers watch stoically.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;The story concerns the awkward friendship between a depressed, homophobic, stroke-victim, Walt Koontz (Robert De Niro), and an unhappy transvestite, Rusty Zimmerman (Philip Seymour Hoffman), who wants to be a woman as soon as he can get the money. Besides the tens of thousands of dollars for the sex change operation itself, he also requires $28,000 for &amp;quot;extensive psychological testing&amp;quot; before the operation.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;&amp;quot;I'm lonely; I'm ugly; I'm a drag queen,&amp;quot; Rusty concisely summarizes his view of his life. Although he tries to act tough (&amp;quot;I left sensitivity back in the sand pile&amp;quot;), he lets himself get pushed around. Walt begrudgingly comes to Rusty to get singing lessons as a form of speech therapy. De Niro, turning in one of his most uninteresting performances ever, accurately portrays the speech patterns of his character but forgets to give him any life. The entire movie features labored acting whose presentation has the dullness of an old knife.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Although Daniel Orlandi's costumes are colorful, Declan Quinn destroys their effect with his grim and ugly cinematography -- more of the film's tonal problems. Schumacher, who also gave us the abysmal BATMAN &amp;amp; ROBIN, can't seem to make up his mind whether he wants to make LA CAGE AUX FOLLES or SEVEN. Whenever he throws in something fun, like the contrast between the conservatively-suited gay Republicans and the flamboyant cross-dressers, Schumacher feels compelled to destroy the moment. Rather that just enjoy the visual delights of the situation, he writes Rusty a diatribe against all Republicans, even gay ones.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;There are also subplots about the search for a mobster's missing money and about Walt's search for unpaid female companionship. None of this makes any difference because Schumacher's narrative, or lack thereof, can't sustain the viewer's interest. There is no genuine chemistry between the two leads, and the movie never comes close to jelling.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;FLAWLESS runs 1:50. It is rated R for pervasive language and strong violence and would be acceptable for older teenagers.&lt;/p&gt;'
alias => 'flawless'
dt-publish => '9 years ago'
genre =>
__attr__id => 2
name => 'Comedy'
logo => 'logo.jpg'
movie =>
__attr__id => 873
cover => 'cover.jpg'
title => 'Flawless'
rating => 40
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'More aptly titled DOA, were that name not already taken, FLAWLESS is an unappealing mess of a movie. Written and directed by Joel Schumacher, whose last film was the sleazy 8MM, the movie has tonal problems from its gangster beginning to its madcap mayhem ending. Sometimes it wants to be a gay comedy, other times it wants to pull your heart strings and still other times it wants to shock you with Schumacher's signature violence. No matter what it tries, it rarely succeeds. Best described as a comedic tragedy, the movie ladles on lots of attempted humor. It is the sort of movie that has one person -- in our audience it was the same one ...'
teaser => 'There is no genuine chemistry between the two leads, and the movie never comes close to jelling.'
title => 'Flawless'
type-id => 7
9 =>
__attr__id => 1070
__domel__body => '&lt;p&gt;DANNY DECKCHAIR is a real sweetheart of an adult fairy tale from the Land Down Under. This quirky comedy is something of a NOTTING HILL meets THE LORD OF THE RINGS since it features actors NOTTING HILL's Rhys Ifans and THE LORD OF THE RINGS's Miranda Otto playing a pair of unlikely lovers. It's the type of good-spirited comedy that has the whole audience going &amp;quot;ohhhhhhh&amp;quot; in unison when their romance briefly goes astray.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Danny Morgan (Ifans) is a restless man who, with his scruffy beard and his long stringy hair, looks like a hermit. He is a bored concrete truck driver who spends most of his time stuck on Sydney's roadways, going nowhere, an apt metaphor for his marriage to Trudy (Justine Clarke). Trudy is an ambitious real estate agent, whose ambitions center on her desire to have an affair with Sandy Upman (Rhys Muldoon), a good-looking TV weatherman.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;With one failed scheme after another -- like the time he tried to turn himself into a human slingshot -- Danny tries to inject a little excitement into his mundane existence. One bright idea of his, however, works beyond his wildest dreams. Attaching balloons to his deckchair (a.k.a. lawn chair), he finds that he can float, not just a little bit, but way up into the heavens where a big storm is brewing.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Danny's journey out of this world into a better one turns him into a national celebrity, which means that all of the camera crews and reporters spend their time turning Trudy into one too. &amp;quot;Where did he go,&amp;quot; the reporters want to know, &amp;quot;and why did he do it?&amp;quot; This loss of her husband and the notoriety it brings makes her one of the happiest and most sought after women in the country. She is the center of attention, and she loves it.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Meanwhile up in the sky, Danny ends up descending rapidly. He drops straight into the yard and the life of Glenda Lake (Otto), a meter maid in the remote, small town of Clarence. Everyone in town knows everyone else, and everyone knows that no one likes Glenda, the town's reigning wallflower. But -- surprise -- under Danny's glow, she blossoms into a real beauty. &amp;quot;You scrub up well,&amp;quot; Big Jim Craig (Anthony Phelan), Clarence's best known businessman, tells her when he sees her with makeup on and wearing a revealing dress.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;With the professor in residence -- which is what Glenda tells the locals that Danny is -- the whole town begins to come alive. In the movie's funniest episode, Darren Kehole (Angus King) decides he will start posing in the nude so that the town's female artists-to-be, of which there seem to be an inordinately large number, can have something to paint. He keeps them in streams of giggles, as he attempts various poses not found in most classical paintings. The movie, which is on the PG-side of PG-13, keeps all of this very chaste and awfully cute.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;Will Danny have to give up the happiness that he's found in Clarence or will his big city woes eventually engulf him again? Trust in the power of the happy ending.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;DANNY DECKCHAIR runs a breezy 1:30. The film is in easy to understand Australian without the need of American subtitles. It is rated PG-13 for &amp;quot;sex-related situations&amp;quot; and would be acceptable for kids around 8 and up.&lt;/p&gt;'
alias => 'danny_deckchair'
dt-publish => '9 years ago'
genre =>
__attr__id => 2
name => 'Comedy'
logo => 'logo.jpg'
movie =>
__attr__id => 872
cover => 'cover.jpg'
title => 'Danny Deckchair'
rating => 80
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'DANNY DECKCHAIR is a real sweetheart of an adult fairy tale from the Land Down Under. This quirky comedy is something of a NOTTING HILL meets THE LORD OF THE RINGS since it features actors NOTTING HILL's Rhys Ifans and THE LORD OF THE RINGS's Miranda Otto playing a pair of unlikely lovers. It's the type of good-spirited comedy that has the whole audience going "ohhhhhhh" in unison when their romance briefly goes astray. Danny Morgan (Ifans) is a restless man who, with his scruffy beard and his long stringy hair, looks like a hermit. He is a bored concrete truck driver who spends most of his time stuck on Sydney's roadways, going nowhere...'
teaser => 'DANNY DECKCHAIR is a real sweetheart of an adult fairy tale from the Land Down Under. '
title => 'Danny Deckchair'
type-id => 7
rss-link => 'reviews/updates/?'
user-reviews =>
reviews =>
0 =>
__attr__id => 1113
alias => 'one_of_the_best'
body => 'one of the best. you are provide many more information'
dt-publish => '3 years ago'
object-title => 'Frida'
reviewer =>
__attr__id => 23410
avatar => 'default.jpg'
login => 'limolink'
staff-review-alias => 'frida'
title => 'one of the best'
1 =>
__attr__id => 1112
alias => 'great_review'
body => 'Great Review. Rally Great Article. Enjoyed the Read'
dt-publish => '7 years ago'
object-title => 'jonkajtys'
reviewer =>
__attr__id => 4717
avatar => 'default.jpg'
login => 'TheLodgeShop'
staff-review-alias => 'interview_with_jonkajtys'
title => 'Great Review'
2 =>
__attr__id => 1110
alias => 'the_road_'
body => 'the road . When it comes to movies that start as novel then movie Ive got a tendancy to see the ...'
dt-publish => '8 years ago'
object-title => 'The Road'
reviewer =>
__attr__id => 3364
avatar => '1baff70e2669e8376347efd3a874a341.jpg'
login => 'ThePeoplesMovies'
staff-review-alias => 'the_road'
title => 'the road '
3 =>
__attr__id => 886
alias => 'odd_in_presentation_and_pace.'
body => 'Odd in presentation and pace. While some elements of the film are done in an avant garde manner, the...'
dt-publish => '9 years ago'
object-title => 'Fritz, Francis an...'
reviewer =>
__attr__id => 1930
avatar => 'default.jpg'
login => 'cannesmann'
staff-review-alias => 'fritz_francis_and_frederick'
title => 'Odd in presentation and pace.'
4 =>
__attr__id => 630
alias => 'but_i_must_say...'
body => 'but I must say... ...The Happening? harsh! I couldn't get through 30 minutes of that movie online ...'
dt-publish => '9 years ago'
object-title => 'The Box'
reviewer =>
__attr__id => 1447
avatar => 'FriendlyMisanthrope_1256257531.jpg'
login => 'FriendlyMisanthrope'
staff-review-alias => 'the_box'
title => 'but I must say...'
rss => 'http://www.filmnet.com/rss/reviews/updates/'
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: 70.83K
Stylesheet Files
Javascript Files
Images

Database queries

Metadata cache is DISABLED

Adapter 0

  1. [0.33 ms] connect
  2. [95.2 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.`staff_review_id` IS NOT NULL AND r.is_published_review = 1 AND r.is_deleted_review = 0) ORDER BY `r`.`dt_published_review` DESC LIMIT 5
  3. [0.3 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '910')
  4. [0.31 ms] SELECT `users`.* FROM `users` WHERE (user_id='23410')
  5. [0.26 ms] SELECT `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 (r.review_id = '1109')
  6. [15.14 ms] SELECT `users`.* FROM `users` WHERE (user_id='46')
  7. [32.15 ms] SELECT `users`.* FROM `users` WHERE (user_id='4717')
  8. [31.96 ms] SELECT `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 (r.review_id = '531')
  9. [1.53 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '612')
  10. [0.25 ms] SELECT `users`.* FROM `users` WHERE (user_id='3364')
  11. [0.23 ms] SELECT `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 (r.review_id = '799')
  12. [0.26 ms] SELECT `v`.* FROM `videos` AS `v` WHERE (video_id = '2602')
  13. [0.23 ms] SELECT `users`.* FROM `users` WHERE (user_id='1930')
  14. [0.29 ms] SELECT `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 (r.review_id = '809')
  15. [0.17 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '422')
  16. [0.23 ms] SELECT `users`.* FROM `users` WHERE (user_id='1447')
  17. [0.22 ms] SELECT `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 (r.review_id = '570')
  18. [440.1 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.`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 1
  19. [1.28 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  20. [0.22 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  21. [745.1 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.`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 OFFSET 30
  22. [16.69 ms] SELECT FOUND_ROWS() AS zend_paginator_row_count
  23. [0.33 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  24. [0.17 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  25. [592.44 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
  26. [0.3 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '881')
  27. [0.35 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  28. [0.55 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  29. [461.98 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
  30. [15.61 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '880')
  31. [2.32 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  32. [0.76 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  33. [820.13 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
  34. [1.91 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '879')
  35. [25.95 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  36. [1.98 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  37. [511.64 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
  38. [12.23 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '878')
  39. [8.19 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  40. [37.89 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '2')
  41. [457.53 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
  42. [2.41 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '877')
  43. [2.28 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  44. [0.17 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '4')
  45. [581.14 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
  46. [13.92 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '876')
  47. [26.73 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  48. [0.27 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '1')
  49. [522.7 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
  50. [0.28 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '875')
  51. [0.28 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  52. [0.17 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '13')
  53. [576.23 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
  54. [0.28 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '874')
  55. [0.27 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  56. [1.19 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '2')
  57. [793.54 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
  58. [0.28 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '873')
  59. [0.29 ms] SELECT `users`.* FROM `users` WHERE (user_id='193')
  60. [0.16 ms] SELECT `rg`.* FROM `review_genres` AS `rg` WHERE (genre_id = '2')
  61. [479.96 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
  62. [0.3 ms] SELECT `m`.* FROM `movies` AS `m` WHERE (movie_id = '872')

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: 10267.65K

Custom Timers

Controller: 7986.72 ms

Overall Timers

reviews
reviews
index
Avg: 8740.49 ms / 1 requests
Min: 8740.49 ms
Max: 8740.49 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 62 in 7337.56 msfile 146 Filesmemory 20262K of 1024Mtime 8740.49 msregistry Registry (7)«