Not the best zombie movie I ever seen. It is ok. It takes a few times of watching it to really get the whole concept of the movie. Could have made the storyline a little better. Hey really all that matters is that theirs a lot of killing zombies and zombie killings happening.

Romero lines up the Bush administration for à la carte eats.
Land Of The Dead is directed & written by George A. Romero and it's the fourth film in his Zombie based series of films. It stars Simon Baker, John Leguizamo, Dennis Hopper, Eugene Clark & Asia Argento.
Human society has regrouped and formed a new community in a sealed off section of America. Run by a feudal government headed by Paul Kaufman (Hopper), the state survives on supplies garnered from the outside world by Riley (Baker) and his "Dead Reckoning" team. But during one of their raids they notice that one of the Zombies, Big Daddy (Clark), is starting to show signs of human awareness.
After the emergence of the Dawn Of The Dead remake in 2004 and the plaudits heaped upon zom-com Shaun Of The Dead also in 2004, one question immediately sprang to the minds of zombie fans, "could Romero, the don of the dead, be stirred into a new entry in his already heralded series?". Yes was the joyous answer to that, and although a torn ligament down from previous instalments, the great news is that Land Of The Dead rocks with gore and politico fervour. Naturally a lot has changed in the world of zombiedom since Romero's last venture in 85, but he manages to tonally keep the old fashioned feel while observing the unsteady social climate that was seeping from the wounds in 2005.
By his own admission he is taking pot shots at the Bush administration, while Hopper, on delightfully excessive form, deliberately channels Donald Rumsfeld. From fireworks in the sky bringing conformity, to class division down on the turf, Romero as always has something to say. The cast are a solid and energetic bunch, with Baker pleasingly coming up trumps as a hero type, while gore hounds are very well served here as George finds new and inventive ways of delivering the ick (one "head" sequence is genius). Sure there's a suggestion that the central idea of the zombies getting smarter is kind of going off tangent, but since he wrote the rules, he's also allowed to change them. But with this ending here it offers hope, not just in this skew whiff world he's created, but also of further film's to come. And that maybe is a touch too far? 7/10

Freaky hilarious to see real people's reactions to something they think is real. It's just crazy how do they make this without anyone knowing.

This is the worst movie I've ever watched 15 minutes of. Lars von Trier once said he knew at the latest fifteen minutes into a movie whether it was worth continuing, and I took that advice to heart, so here we are.
Okay. Seriously. SERIOUSLY? Yes, 102 years ago, "cinema" was in its early years. Silent movies, someone on a piano going plonkty plonk while people were drinking moonshine, smoking plutonium and coughing up pneumonia. Great. How fantastically interesting in a historical perspective. (Seriously, though, it is.)
But hello, and welcome to reality in the now. This is absolute garbage. The only way this is useful in any way is as a source for memes. I'd like to see this with a death metal soundtrack. Or in MST3K form. Anything. Or simply as something displayed on the wall at a rave, for kitsch.
This is TERRIBLE. Anyone who rates this more than 1 stars is either a movie historian (thumbs up, dudes, I do appreciate you work, whatever it is, maybe not actually) or a pretentious dumbbell, who has never enjoyed a movie in his or her life for fear of being wrong about enjoying it.
Christ on a mongoloid horse. Garbage.

This is a seriously creepy affair that follows the story of the young "Franzis" (Friedrich Feher) who goes to a fairground one night with his friend "Alan" (Hans Heinrich von Twardowski). They happen upon the performance of the coffin-dwelling somnambulist prophesier "Cesare" (Conrad Veidt) and his spooky master "Dr. Caligari" (Werner Krauss). "Casare" - who is all but skeletal in appearance, portends looming disaster for "Alan", and when he is found murdered next morning suspicions turn to this enigmatic pair- even though there is no real "evidence" at all! Things take an even darker twist when the anaemic seer predicts that "Jane" (Lil Dagover), a gentle creature admired by both the deceased and his surviving friend, is not long for this mortal coil either... It falls to "Franzis" to solve the mystery and save his love from... The story is bleak at times, the settings stark and angular, frequently almost abstract in appearance. Veidt is outstanding, as if he were in a nightmare in an Escher drawing, or some other such challenging structure for our minds to comprehend; and Krauss, too, with his maniacal eyes and almost orchestra leading hand gestures is wonderful too. The photography has a tendency to draw out the shots a little too much, but again - they help create a genuine sense of scariness. Nothing gory, or bloody - just eerie, and enormously effective. Unlike so many films that have attained critical acclaim, or cult status, this is actually a really good story with strong acting talent and wonderfully vivid visuals from Robert Wiene (and Willy Hameister) that really is amongst the best of it's - or any other - genre..

I suppose it was only a matter of time before this classic Charles Dickens story got the Disney treatment - but given that it's completely devoid of any darkness or eeriness, this rather too cheerful and vibrant pet-fest doesn't really work for me. The eponymous kitten is adopted by a gang of dogs that, much like "Fagin's Boys" in the book, engage in a bit of petty crime for their boss "Fagin" who, himself, lives in terror of the malevolent "Sykes". When the latter cottons on that "Oliver" has been adopted into a wealthy home, he insists that "Fagin" enact a trap to lure "Jenny" from her luxury mansion so he can ransom her back to her dad. It falls to "Oliver" and his canine companions to thwart this dastardly plan. You can't really fault the quality of the animation and an array of musicians including Barry Manilow and Dan Hartman are behind the songs that won't exactly stick in your mind afterwards, but that do help to keep this amiable production rolling along. Sadly, though, it's all just way too predictably light and fluffy and takes just a little too much of a factory approach to one of the more substantial stories of English literature. Younger kids may like it though - it's pretty joyous and extols the virtues of loyalty, team playing and friendship and it's not without the odd laugh to two.

**Action, entertainment and verisimilitude together in a film that is better than many others, more regularly remembered.**
This is a conventional American-style action film, where everything revolves around the unassailable and sacrosanct figure of the President. There are loads of films like this, such as “Air Force One” or “Olympus Has Fallen”, which may help to explain why it ended up so forgotten, despite being nominated for three Oscars (Best Editing, Best Supporting Actor and Best Original Screenplay). It's not a new film, but it guarantees action and entertainment, and looks very appealing to televisions and home market. In this case, the script focuses on the threat of a madman who is willing to do anything to assassinate the American president, and on the attempts of a veteran Secret Service agent to discover and prevent him.
In a film where the plot does not reserve any surprises or innovation, predictability can be a problem. In fact, there's nothing here that we haven't seen before. However, everything is done very competently and the commitment of all those involved is quite evident. The whole story is fairly well written and, apart from a few minor flaws, comes across as solid and credible. Wolfgang Petersen's direction also makes a decisive contribution to the positive outcome of the final product.
The cast contains several well-known names, but, unsurprisingly, it is Clint Eastwood who secures the lead role. And once again, the veteran shows us all the charisma he has. He really manages to balance his usual tough guy image with a fragility that his age accentuates and justifies. John Malkovich also did a good job. It's not the best of his career, but it was honest, credible and done with great professionalism. Rene Russo is the female standout, but in a movie with so much testosterone, she has little to do other than appear tough enough to keep up with those men and be the love interest of one of them.
Technically, the film has several points of merit that deserve to be highlighted and analyzed. When I read a little about this film (I have this habit, to be able to understand certain details and clear up some doubts that arise when watching), I discovered that there was, on the part of the production, a concern with the details. To make things more credible, they even asked the Secret Service for advice. And whenever a film production takes into account the relevance of details to the verisimilitude of the film, we have a duty to commend such efforts. Cinematography is the dominant standard in films of the time, and the sets and costumes are also what was imagined. There are many well-executed action scenes, and some good special effects and visuals. Editing is also very good.

I wish it was paced better, but 'In the Line of Fire' still makes for a good time.
Clint Eastwood and John Malkovich is a great line-up and both are entertaining in this, the latter is just terrific at playing a loopy bad guy. There's a fair few well known peeps behind them, including John Heard and Gary Cole - it's a fairly strong cast.
The story is an interesting one, though given that you'd expect the film to move along at a better pace but it kinda just walks through its 128 minute run time. It's not a drag or anything, but I definitely wasn't on the edge of my seat unfortunately. It's still a film I'd recommend, though.

daft power fantasy
I'll admit right away: I stopped watching after the first fifteen minutes.
There's some fun to be had in super-powerful action heroes, bulletproof martial-arts, guns with unlimited ammo in their magic magazines. But this was just silly, bordering on stupid.
If anything goes, then nothing matters. There is no real danger, the fictional stakes are supposedly high but effectively moot, and the motivations shallow.
I didn't waste more of my time on this one, and I think neither should you. Some accomplished actors earned their paycheck here; good for them. A WOMBAT.

This never stops being funny no matter how many times you watch it.
I think Marisa Tomei won or was nominated for an Oscar for this... and it was well deserved. In a lot of her movies she played the role of "a pretty face" but she not only stood her ground against Joe Pesci but she actually out shined him in a few scenes.
That is a hard thing to do, usually when Pesci is cast he's the best part of the film... and he was priceless in this... and Marisa Tomei out did him.
So what you have is a movie that is endlessly quotable, completely hysterical, and has two of the best performances you'll see in any movie, drama or comedy... with a script that backs it up.
Movies don't get better than this.

_**Funny, with characters you care about**_
"My Cousin Vinny" was a hit when it was released in 1992. Two youths from New York are wrongly accused of murder while traveling through Alabama and one of them (Ralph Macchio) calls on his inexperienced lawyer cousin, Vinny (Joe Pesci), to defend them. Vinny roles into town with his hot fiancé (Marisa Tomei) intent on winning his first big case.
I've heard a lot about this movie over the years, but never got around to seeing it till the other night and was pleasantly surprised. It's part fish-out-of-water comedy and part courtroom drama. The hulking Fred Gwynne plays the staunch judge, an amusing performance. It was Gwynne's last film.
The movie is filled with laughs throughout, but it's more than just a goofball comedy. At some point early in the second act I strangely found myself liking Vinny and wanting him to succeed. I also found myself warming up to Vinny & his fiancé as a couple. They're an odd couple, but somehow click. I guess this is where Marisa got the reputation for liking short, stocky men.
Speaking of Marisa, she's just stunning here, although I prefer her more as she gets older, e.g. 2008's "The Wrestler.”
The film was shot in Georgia and runs 120 minutes.
GRADE: B+

Ooooh, yeah, I just ripped into Revolutions for breaking from the way The Matrix and Reloaded looked and now... the Animatrix.
And I'm not going to do the same thing.
All the segments looked a little different, which I liked. But this comes along and it sort of fills in the backstory of the Matrix world. Almost like the, brothers at the time, sisters now looked at the Matrix and realized that Sci-Fi geekdom was loving it and they had to really explain a history so that the geeks like me had something to sink our teeth into and argue about at the comic book store on Wednesday nights.
And then, with the Animatrix, they gave it to us... and THANK YOU.

Featuring nine animated shorts set in and around The Matrix, written and directed by the cream of Japanese anime creators, with the Wachowski brothers' blessing, The Animatrix arrives with a weight of expectation similar to Reloaded.
However, while it's visually sublime - a magical mystery tour of animation styles- it doesn't fully deliver. Overall, the disc is debilitated by story issues and an overwhelming number of downbeat endings, which place it far from the cathartic exhilaration of the original movie.
The Wachowskis themselves penned The Second Renaissance Part 1, a beautifully designed look at life pre-Matrix, using a faux newsreel style to chilling effect as the machines rise.
Dark-edged, brutal and less smoothly styled, The Second Renaissance Part 2 shows those machines creating The Matrix.
Program - the most truly manga-fied effort - is a love story set in Medieval Japan; artistically startling, but less profound than it thinks it is.
An athlete breaks out of the Wachowskis' wonderland through sheer willpower in stylized short World Record. Bouquets for its strange, angular art; brickbats for a confusing story.
A Kid's Story, on the other hand, is suffused with a dream-like quality, as Clayton Moore (who appears in Reloaded and Revolutions) tries to escape The Matrix with Neo's help.
Until a climax which betrays the internal logic of The Matrix, Detective Story is by far the best of the shorts - a spot-on black-and-white noir about a detective enlisted to find Trinity.
Beyond (a group of children exploit a glitch in The Matrix) is slight and atmospheric; while Matriculated (outside The Matrix, humans reprogram a machine) is a visually stunning, frankly hallucinogenic trip which out-Kubricks 2001.
Lastly, The Final Flight Of The Osiris, the much-vaunted precursor to Reloaded: a triumph for CG photorealism, but the story is wafer-thin.
Verdict - Though undeniably beautiful, overall, the disc is debilitated by story issues and an overwhelming number of downbeat endings, which place it far from the cathartic exhilaration of the original movie.
3/5
- Empire Magazine

I found this movie to be quite entertaining and would like to watch it again sometime. It tells a fairly straightforward adventure story with good writing and fine acting, and even as they fill us in on the folklore of trolls, they don’t weigh us down with it. There is a delay before the total reveal of the creatures and it is worth the wait. I am not a self-proclaimed authority in special effects, but I thought they did a great job.
Horror is included in the genre description, but it is not the sort of gory horror film I usually avoid. I see there is a new movie out on the subject, so it might be interesting to compare the two.

Interesting and decent movie getting the most of what it has at hand for a probably quite low budget.

Just some quick thoughts...I saw this back before it was released theatrically in the US (iTunes had it as one of its ‘see-it-before-it-hits-theaters’ movies). It was good...the ending was somewhat anticlimactic, but the bulk of the film was solid, aided by a terrific performance from Otto Jespersen as a grizzled old troll hunter who works for the government and has been growing increasingly frustrated with their secrecy. The special effects also were incredible (here in 2012, when special effects have progressed so far, for me to mention the special effects in a truly film marks them as something special). A few storytelling quirks (mainly subplots that didn’t mean much or go anywhere) held it back a bit for me, but overall: very good, and worth the watch.

Ashley Judd stood out with her strong performance, balancing vulnerability and determination really well. Morgan Freeman was great too, his calm, confident presence fits perfectly in roles like this, and he definitely carried a lot of the movie’s weight.
On the other hand, William Converse-Roberts, who played Dr. Wick Sachs wasn’t very convincing. For a character tied to such a disturbing element of the story, his performance lacked the intensity or depth needed to make it truly impactful. It felt like a missed opportunity to add more tension to the scene.
That said, the movie overall was cool. It had a solid pace, good production values, and kept me engaged throughout. While it’s not one of those thrillers that blows you away, it’s worth a watch

Watched this one again last night and still holds up as a solid 1990s crime-thriller based on the James Patterson novel with a great cast headlined by Morgan Freeman and Ashley Judd as well as Cary Elwes, Tony Goldwyn, Brian Cox, Jay O. Sanders and Jeremy Piven. **3.75/5**

Not that bad of a movie. Gets involved in a sex ring. Alex Cross has to figure out if she a victim or a participant.

Morgan Freeman is quite effective here in this adaptation of James Patterson's novel about the kidnap of the niece of this police psychologist/detective. Racing to her North Carolina school, "Cross" discovers pretty quickly that she is likely to be the latest in a line of youngsters abused and killed at the hands of the so-called "Casanova"! Fortunately, one of his would be victims - "Kate" (Ashley Judd) - manages to escape her captivity, and with "Cross" and time very much against them, tries to track down this murderer. It stays fairly faithful to the book and that's maybe why it doesn't quite work. The narrative is really rather dry, the dialogue all a bit too wordy and though the subject matter is quite disturbing, there isn't a great deal of menace on show for us here. "Cross" is just too clever; the clues too obscure for us but childsplay for him, and after a while that starts to grate a little. The best examples of this genre allow the audience to participate in the manhunt along with the characters. Not so much here. Freeman owns the screen, as usual, and Judd is perfectly acceptable as his feisty and determined sidekick as we head to a denouement that has just enough jeopardy to keep it interesting. There are loads of "Alex Cross" books, so I would expect more from this character - I hope this is but a bedrock for a darker and more complex sequel.

_**Starts good and becomes increasingly farfetched**_
A serial killer is loose in Durham, North Carolina, who’s actually a serial collector of young women. Forensic psychologist Alex Cross (Morgan Freeman) ventures down from D.C. to assist in the investigation since his niece is one of the victims. He eventually teams-up with a surgeon who escaped the perpetrator’s lair (Ashley Judd). Cary Elwes and Tony Goldwyn are also on hand.
“Kiss the Girls” (1997) is a detective thriller in the mold of “Silence of the Lambs” (1991) with some “Se7en” (1995) and a dash of “Scream” (1996), but less gruesome and therefore presumably more palatable to a larger audience. What I appreciate most about this flick is the lush nighttime sylvan cinematography. The cast is good as well.
The first half is great for this genre, but the story gets progressively implausible from there with a muddled midsection. And then there’s the ‘big reveal’ at the end, which was predictable from the get-go. At the end of the day “Kiss the Girls” is worthwhile if you like detective thrillers and the cast, but be prepared for a wildly unrealistic tale. The sequel, “Along Came a Spider” (2001), had the same problem where the ‘big reveal’ is even more eye-rolling.
The film runs 1 hour, 55 minutes, and was shot in North Carolina and Southern Cal.
GRADE: C

Andy is all grown up and in the military at 16. Chucky is back trying to take a new little bits sole. He's even funnier in this one.

Rides the line between the original _Child's Play_ movies and the _X of Chucky_ movies not just in timeframe, but also in tone. It doesn't always work in _Child's Play 3's_ favour, but there is still some fun to be had with this entry.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._

**_Tough Cops of NYC living in a town across the Hudson River in Jersey…_**
…where the half-deaf Sheriff (Sylvester Stallone) is basically a nice-guy tool of their arrogant leader (Harvey Keitel). When the angry cops engage in corruption concerning a cover-up, it attracts the attention of an Internal Affairs investigator (Robert De Niro), who tries to enlist the help of the Sheriff. Ray Liotta and Robert Patrick are also on hand.
“Cop Land” (1997) is a crime drama with an ensemble cast, the second film of writer/director James Mangold. There are a lot of characters and so it’s wise to use the subtitles to keep track of who’s who. It’s one of those films where you have to pay close attention or you won’t be able to follow what’s going on and get frustrated. Siskel & Ebert’s review (available on Youtube) does a good job of pointing out the movie’s strengths and weaknesses: Siskel carefully followed what was happening and so praised the flick whereas Ebert got irritated by the overstuffed production.
The first time I saw it, I felt the way Ebert did but, seeing it again recently, I lean more toward Siskel’s position. There’s a Director’s Cut, released in 2008, that adds about 14 minutes of extra footage and makes what’s happening more sensible. While this is great and I want to see it, the Theatrical version is fine if you pay attention and keep track.
It comes in the noir-ish tradition of “On the Waterfront” and is similar to Bruce Willis’ “Striking Distance,” just less comic booky and grittier, not to mention more convoluted. Yet it’s superior to both of these IMHO. The future “Crash” (2004) was obviously influenced by it.
Stallone gained 40 lbs for his role and is convincing as the pushover Sheriff, who’s basically backed into a corner where he has little choice but to consider a radical turn. Meanwhile Liotta, Keitel, De Niro and T-1000 all bring their A-game with intense performances.
In the feminine department, Annabella Sciorra plays the wife of one of the cops (Peter Berg), a woman who the Sheriff evidently still loves. Meanwhile Cathy Moriarty is on hand as Uncle Ray’s cheatin’ wife while Janeane Garofalo plays the Sheriff’s increasingly frustrated deputy.
The film runs 1 hour, 45 minutes, and was shot in Edgewater, New Jersey, and the nearby George Washington Bridge, with some scenes done across the river in Manhattan.
GRADE: B+

Well, it has almost everyone that could really act in the 90s in it. That is a plus.
And Stallone actually does a great job of being a washed up no-nothing out of shape small town sheriff. He rarely takes roles that actually require him to act so it's always a shock when you see films and realize that, no, Sly is in fact really a stellar actor. This is one of those movies.
It's also one of those movies that stays with you as a classic. Not as well known as Chinatown, but the kind of movie where, after you forget about it, you get the chance to re-watch it and realize once more how great it actually was.

This has a really good ensemble cast, but the sum of the parts really don't add up to much of an whole. Sylvester Stallone is local sheriff "Freddy", in charge of policing a small town - Garrison - near New York that is largely populated by it's police officers. The television news reports and our frequent attendance at the cemetery soon demonstrate to us that being a cop has become an even more perilous affair. Just who is behind this new danger? Harvey Keitel ("Ray") is the kingpin sergeant who many believe is to be applauded for enabling many officers to escape the Big Apple itself and set up home for their families in relatively safe and secure surroundings, but is he really the altruist that he purports to be? The death of one officer leads "Tilden" (Robert De Niro) to lead an internal investigation, but when that is mysteriously shut down by the Mayor, it falls to "Freddy" to find the truth. There are just too many characters in this film, there is far too much dialogue and for the most part, really too little action. It shines a dimly lit light on police corruption, but to be honest most of these are pretty unsavoury characters who would stab their own mothers in the face for a quick buck. De Niro is all to rarely on screen and I found Ray Liotta's "Gary" just too unconvincing after about ten minutes. If this is supposed to be brotherhood, hmmm, I think I will pass.

Weird that it took me so long to watch given the cast. Look, _Cop Land_ isn't the best movie in the filmography of anybody involved, but it was a worthwhile watch, and a nice way to break up the crap horror we've been on a bender of lately.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go_.

Sheriff Freddy Heflin (Stallone) is an ordinary officer who spends his boring life in the town where he lives. Time passes so slow in a quiet little town of “Cop Land”. This bulky sheriff does nothing other than controlling traffic and surrendering to his pinball addiction. When a misfire broke out in town, Freddy jumped into it with the help of Lt. Moe Tilden (Robert De Niro). This seems like a big leap of the career-stuck sheriff. Two thumbs of for Stallone for giving up his all muscles body, something is well-maintained for years and also his choice for accepting a role much different from his usual heroic/action ones. Stallone did much better in his role when compared to his acting in Get Carter or D-Tox

The set-up is intriguing and the conflict is incredibly well done, but the pay-off is **such** a let-down. Has some original ideas that are mostly explored early on in the second half of _Anon_ despite its similarity to a couple of _Black Mirror_ episodes (chiefly _The Entire History of You_). Not something I'll re-visit, but better than I had expected.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._

Classy, interesting movie that is ridiculously underrated.