Reviews

This is one of those pre-Cannon sleaze-balls of a film; made back in early 1980, by James Glickenhaus.

Gintry (our hero,) begins his tale in Vietnam where he and his friend are held captive by the V-Congs. The scene recalls a very dated but still grotesque and nicely done decapitation of an American POW. Of course, they escape and do away with the bad-guys.

Skip to 1980, New York.

Gintry and his Pal are working at a meat-packing plant, when a couple of thugs decide to loot some free-beer. The pair stumble on to them and wind up kicking their ass. Some time later, on his way home from work, the gang tracks down Gintry's buddy and leave him a brain-dead veggie.

So Gintry decides to get even. He tracks them down to an apartment where he takes them out and then goes to take out the rest of the city's trash as well.

However, the film's real failure is to explain why Gintry decides to go after the rest of the city rather than just being satisfied with taking those who did him any wrong. Also, the mayor and his goon-squad were as unconvincing characters as any. They're in an office talking about how some vigilante's prescience will cost him an election, while ignoring the fact that doing nothing about the city's colossal crime rate will do more damage to his next election.

The Chicken-house scene is gratitous and will leave a memory in one's mind for many years to follow. This is perhaps the movie's most disturbing moment. Otherwise, it has a nice, talented cast for such a low-budget who play out fine and it is definitely a worthwhile time-waster.

I caught this on one of the many HBO channels, one night, a month or so back. It was absolutely fantastic!

The one thing that really added a lot of character to the protagonist, was how he led his wife on his leash, while he secretly lusted after his long-time mistress, who he couldn't have because she was Egyptian. This really dulls down the non-stop killing machine, which most characters of this sort turn out to be throughout the film. Otherwise, he's an all-around nasty dude, killing people and setting others up for the fall, until he finally meets his by his own uncle's hand.

Elsewhere, I thought the little brothel at the beginning was far-out! A real avant-garde scene, which set the mood and atmosphere for the rest of the film. Nicely done and woven into the story, I thought.

BTW, Kudos to McDowell who's an excellent but very underrated actor. He and several other notable faces were what separated this from the rest of its contemporaries, in that the acting and dialogue actually had some quality to it too. A real plus!

A must-see for all those who are into underground or exploitation cinema.

This is a film, which definitely fulfills my kind of pro-Right Wing worldview. However; coming from a director/producer like Schumacher,

I am rather cynical about its sincerity, since many of Schumacher's previous projects, esp. those based on the Grisham novels, seemed to

me, to be completely the reverse in ideology, and left me with a bad taste in my mouth.

Of course, critics have, since its release, have knocked for being "racist," since it blamed "minorities" for a majority of the crime, chaos and destruction, when a hard-hitting reality-check, would simply reveal that it is simply refusing to be too PC to NOT reveal this. Of course, I don't recall, hearing any racial slurs used in the film or anything really more suggestive than most other action films; put out these days. Most of the people, IMHO, who come out, and accuse Falling Down, for that, are simply overreacting and quiet idiotically, like some of the REVIEWERS on this board.

Otherwise, this is a definite must see for folks who are into working-class hero type flicks.

I kept reading all those reviews, which claimed that Barb Wire was a futuristic ripoff of Casablanca, but I haven't seen Casablanca in many, many, years, but I did notice that a part in the film where the Martial Guard had some poor dope in custody, and had his brain hooked up to some machine so they can read his mind, reminds me of Cameron's "Strange-Days," where they had these machines, which you hooked up to your brain to share someone else's thoughts as a new drug. I'm surprised no one else caught on to that.

Otherwise, I'd have to say that if you're checking out Barb Wire to watch Pam's goodies, then don't waste your money, she does a whole lot better job in a homemade film, she'd done, w/ her ex-hubby Tommy Lee. My advice is to watch that one instead!

This is absolutely unbelievable! This is the story of a Jewish journalist who's assigned to a story in east Germany, and then is arrested, and somehow tricks skinheads into believing that he's a sympathiser. So the skinheads take him out for a drink, and shoot the hey with him for a while. Of course, although he's a foreigner, and skinheads' attitudes towards foreigners aren't as open-armed as they are in this film, I'm surprised that Yuron didn't get his jaw busted open against a sidewalk shortly after.

Anyhow, the next day, Yuron goes on to meet up with a few skin heads that he met the night before. There, they take him to a snuff-film. Of course, this scene's completely unnecessary and gutwrenching. As if even a few loose-knit skinhead gangs are to trust some dude they've met out of the bloom with something that can buy them life in the can or the chair!

Then Yuron goes to the police-station, and meets up with the hot officer-ette who busted him the other night, and tries to file a report. He tells her of what he saw, and of course, for some reasons unexplained, she refuses to file the report, but sympathises with Yuron so much she goes on a crusade to put these thugs behind bars.

Then the next memorable thing, is where Yuron goes to meet the granddaddy of the organisation, who insanely shoves a gun into his face, before they remove it. Of course, not realising that their elder may have some good advice, they allow Yuron to go unchecked from there on out, until some guy Mark Webber's mentioned of hearing about him.

My advice is to not waste your time... Unless you're a masochist.

My biggest rag on this film, is where Thomas is going around from house to house, and by the end discovers he's been carrying human ashes to deliver to the next of kin. Yea right! Like crematorium technology was advanced-enough in the 40s to cremate Jews or others on that sort of scale? Not to mention that it's dubious that they had all that extra. preoccupied manpower or wholeheartedness, when the bigger threats came from the US, UK, and other nations.

However, the only reason I do appreciate this film at all, is the fact that it did open me up to classic swing, and that's about all. I do truly believe that this film was designed to promote swing, and not to promote any real light on WW2.

"The only good bug's a dead bug." Is the film's core philosophy. That sounds like the old American attitude of "the only good Indian's a dead Indian." Is this suppose to sensationalize sci-fi or mock war movies? Or is it trying to mock the arrogance of American pop-culture? Well whatever it's trying to do, I sure enjoyed it, though it did take a while for it to grow on me.

I, however, don't.

I am shocked to find people giving this: "the best Scream by far" review that I won't give. I wonder if those who gave this toss that sort of review actually watched the film or if they just merrily gawked at the pretty-boys, until they got hacked to death?

After all, at least a good-quarter to half the film had them discussing about the fact that they're in a sequel? Doesn't this remind you of something right of Scooby Doo or some silly, childish cartoon of the sort, where some mouse, dog, or other potential pet w/ the powers of human speech, mentions something about a scene missing from the script? That's great for humor but definitely not for horror! To top it all off, they spend some minutes of the film watching a crude reenactment of the original, which results in not only the ridiculing of themselves but the unforgivable disrespect of their own audience. If they don't want to make a stupid sequel that bad then they should've set this one out, and let some other poor dope take the responsibility of releasing such junk. But instead they decided to KILL their careers w/ this farce!

The reason I like Eastwood so much is because I think he's almost a modern day John Wayne, except vastly superior, since I didn't care too much for Wayne at all. Anyhow, the only thing I thought that saved this film from being a silly, childish, run of the mill 80s yarn is the appearance of Eastwood. The misfits are the same bunch I'd expect to find out of the graduating class of those silly Police Academy movies. Otherwise, this film is only half-serious where it focuses on more of Eastwood's character's life. The most memorable scene in this film is where the 300 pd, 7ft. Swedish hulk gets his butt kicked by Eastwood, and the fight scene between the drill sargeants in the pond.

Though I prefer to stay away from sequels, because as a rule they are almost always not even half the film of the original. But this is one of those rare exceptions, where it's twice the film, and here most tend knock it more than praise it. What's a matter, not enough trashy gimmicks like sex and gore to go around? Geez folks lighten up! This takes me back to the "Welcome Back Cotter" days.

Perhaps I made the mistake of seeing this one first in theaters as a small boy, before I saw the original?... I don't know... Anyhow, the soundtrack's far superior to the original, w/ "Coooolll Rider" and the "Mistress for all Seasons" tune. IMHO motorbikes are far cooler than cars. High testosterone powered bikers are far cooler than a bunch of pansy mamma's boys as the first film focused on. Pfeifer's best work is Ms. Zanone and even one-hit-wonder actor Adrian Zmed is classic as her jerky boyfriend... So I ask you again, what's so terribly bad about this film?

Though I thought the scenario and story were a bit too Gomer Pyle-ish for me, I am willing to forgive the filmmakers for that since this film basically has every great, respectable comedian in the book. I just hope it can be a laugh for our dogs-of-war on enemy lines as well, instead of an insult.

I've heard people and critics alike knock and praise this film left and right. However, although I found this film exceedingly long and somewhat boring at points, I do believe I sympathize w/ it's overall message. Its message is although it's centered around the ignorance and inhumanity of Roman pop-culture of the ancient world it's really parodizing and somewhat mocking America's bloodthirsty obsession w/ sex and violence in today's trashy pop-culture.

At some points, it plays out like a Shakespearean tragedy. At others it plays out like a John Woo actioner. I do think that Jouquin Phoenix proves himself as an actor, since I've not seen him anything but two small previous roles including 8mm. Otherwise, I do believe that the technology of the times was so fantastic-seeming it's hokey.

Overall, I'd recommend the DVD for the fans who'd really enjoy it, since there's another 21/2 hrs of deleted scenes and documentaries on another disc.

"Mankind is like a virus." So the agent says, and boy does that ever ring true. This is perhaps the one moment in the film that does provoke thought. The rest of it however, is like Star Wars Ep. 1 - being crushed by a huge, endless, almost pointless but philosophical and entertaining video-game which dares ask the question "what would it be like to be a computer virus."

I was just curious, but when is Uncle Sam, esp. during the time of war, when they have hundreds to thousands of young sons dying on the battlefield gonna remember poor Joe Blow even if he's the last of whole bunch of sons blown away by Nazi storm troopers? If Spielberg would've logically answered this question during the course of this film, then I guess he would not have a film to make would he? It seems to me that the root of this film is rather illogical and rather unlike the Uncle Sam I've gotten to know over the years, and makes the whole point of this film an unbelievable but entertaining mess.

I never did like anything Sandler did before I saw this movie with very few exceptions -Airheads comes to mind- but this one changed the way I looked at Sandler forever. It is an off the wall ridicule of slow-witted, backwoods rednecks who go out, and become star quarterbacks on their high school football team.

I am glad to see that Henry "Fonz" Winkler is working again, and is good to have a comedy vet abroad the cast. Fairuza is the damn sexiest I've seen her in her whole career. Bates' character is a little annoying but cute.

For a laugh, I'd recommend it.

Though I do realize what a sleazy piece of toss Boogie Nights is as opposed to some of the better, classier flicks down the course of film history, I guess I'd have to honestly admit that the reason I still after about 2-3 years of watching it on cable love it, is for the reason it does take me back to the good, old days - the 70s - and does identify w/ my taste in 70s porno. Being that I am a Holmes' fan now and then, I'm surprised that none I've read so far pointed out that Boogie Nights was supposed to parodize the lives of certain pornographers throughout it's history.

For instance critics believe that the scene where Reynolds stomps the hell out of that poor dope on the street is suppose to mirror the events in Jamie Gillis' life, since he was responsible for the first-ever pro-am flick, though I don't know if he resorted to that sort of violence. And there are other parodies of real-lives, but just for instance. If you know any thing about erotica's history then you'll be able to recognize the parallels.

On the downside, you have Marky Mark, John Reilly and friends snorting lots of coke, being idiotic and undesirable, and wasting about two hours of our time. However, I'm glad Reynolds back to work again. I haven't seen him in anything recent since Smokey and the Bandit.

I'm not going to bother wasting any good time on the problems within the film's directorial or productional techniques, but am going to focus a moment on the film's message - the film's roots.

It seems, (esp. in the end during McConnehay's speech,) that it wants us to believe that if you're a Black American, and you feel victimized by some hillbilly honkey, then you are justified in killing, injuring, or harming them in any way you feel necessary... Who cares about the law? Who cares about social order? Who cares about the latter consequences of our actions? Who cares about the other 5/6 family members we may have other than the one victimized one? And if you are white American, even if you're victimized by the reverse, you are never justified in avenging yourself or enforcing the law properly, because blacks (esp. among the criminal community) are still righteous and it's immoral for you to do anything about it.

This film is absolute trash. It stresses more on gimmick and hype than it does on talent or anything else; including logic or realism. Don't waste your time.

"What country you from Bret? What! Well that ain't no country I've ever heard of. They speak English in what?"

The character Jules makes this film for the classic it is. If Tarantino had thrown in Vince w/ a partner more like himself, then I'd have to say that this would be perhaps the most boring movie I ever saw.

This is a movie, chartered by three separate but revealing short stories, about the same characters. The first begins with a prologue in a coffee shop, then takes you to an apartment where some thugs get capped off by Jules and Vince. Then the next stories' about Vince taking his bosses' wife on a date, and then goes on to tell about a boxer who stiffs Marcelus of a bribe, and then graduates to explain the prologue.

Homophobes may not want to watch this one. There is a scene that will make you cringe as I did the first time.

The dialogue is what makes this film unique, original, and funny as hell. It is also the masterpiece which had introduced me to crime/action films, which before I had been previously uninterested in.

This movie is so laughable it's pathetic! Boy I've seen some crappy productions in my day, but none of them, can hold a candle to some of Woods' stuff. Then again, a second thought, will tell us that at least Woods' stuff can make us laugh, and most others can't, although I sincerely doubt it was meant to do so. Anyhow, if you want a laugh, check it out. If you want a serious scifi film, check elsewhere.

The one thing I've noticed is that the reviewers who gave this film a poor review was the fact that they failed to realize that this movie seemed to be made in order to mimic somehow the McVeigh abolition of the FBI HQ in OKCY. It is for this reason I do give this film a thumbs up instead of a thumbs down.

It did a good job of exploring the mind of someone in McVeigh's situation, and showing some possible motive for his actions. It also did a fair enough job of parodizing middle-class America, and building plenty of suspense and tension.

However, if you're faint of heart, then you need to see another movie, this flick is rather graphic.

I saw this movie a few years back. I'd have to say that the conspiracy theories in this flick, (like in Conspiracy theory w/ Mel Gibson) ranges anywhere from the ridiculous to the convincing. Which of them could be the most likely I'm convinced of one myself, and I'll share that later on.

Being a native Texan, and having seen that warehouse where Oswald allegedly shot Kennedy, straight through the back, and in the head, I am not convinced that he could've done so in the amount of time, they said he did. However, I do believe that someone was hiding behind the fence on the grassy knowel on the other side of the same warehouse, and killed the president. Since there were all sorts of reports by bystanders who were told to shut up about by police shortly after.

As far as the conspiracy theory I'm convinced of, if any, is the one where the film suggests in a conversation between Costner and Sutherland about Jackie Kennedy having Jack killed for banging Marilyn Monroe, and then having her offed. Of course, I can't prove a thing, but remember this, she's the one who'd everybody least suspect. In these scenarios, it is most typically the one people would least suspect, and I can say that most wouldn't be surprised if it turned out that Johnson had him killed over the allegation that he was going to have America disarmed during his office, or some lunatic like Oswald acting on his own, or that the mob was mad about something, and the mob theory sounds far-fetched, because even though they are the mob, they wouldn't have enough power to assisanate the world's powerful and important man - the US president.

What a bunch of self-righteous, self-serving, pretentious psychobabble! I am not sure where to begin attacking this film for the farce it is, but I guess I should start by saying that this has very little if anything to do with white pride or racialism, in this country or elsewhere. Believe me I've seen a load of unbelievable farces in my time, but they all seemed entertaining somehow, except this, I don't know perhaps it's my experience with the real-life racialist movement here.

I really did like the way, that Derek got three years for blasting away a couple of thugs who were threatening his life by breaking into his home, and when he's released it tries to make you feel guilty when the cool, righteous, and enlightened negro isn't getting out anytime soon, since he committed crimes that obviously weren't in the name of self-defense.

Also, I'm surprised that Derek's incarceration in the joint, led to his ultimate rehabilitation as a racist. In reality, it probably would've affirmed his previous views tenfold.

Another thing I liked was the attack on the family. The writers portray Derek's father, for instance, as some workaholic, redneck cop w/ a Marlon Brando attitude towards blacks and the system. The emotion of this scene, is almost enough, to make one feel ashamed for harboring a rational, sound opinion or belief on a critical issue such as that. It's revolting.

There are probably a few points I could rag on, but one thing that really caught my eye, which I found disturbing were the others' reviews. Almost no one here spoted the political agenda of this film, as another propaganda film, against White America, and that's truly shocking. When will people wake up around here, and smell the coffee?

This review may not be too popular, but I could care less, after all, opinions are only opinions.

I own a copy of this, and I bought it because it's from the director of the infamous cannibal ferox. The story begins in Niagra Falls, where a woman's drugged, kidnapped, and smuggled into South America. There they have a Jim Jones' type leader who makes everyone take some drug that turns their brains to mush.

A little while later, her sister w/ the help of a pilot go searching for her in the jungle. They find her alright. Once they're into the cult, the leader falls head-over-hills for her sister, and subjects her to all sorts of sick stuff. When they try to escape, the cult-leader sicks the cannibals on them.

There's just something about this film, I don't know what it is, but it reminds me of the flintstones. Watch it really close, and see if you don't agree with me. Otherwise it's lots of sex and brutality, but little on acting, scripting, or talent in general. Check it out, if you're a cannibal flick fan, otherwise stay away.

Hess' role as a real sleaze pretty much saves this flick. In fact, I'd have to say that 90% of this film is aimed on him and his character. I agree none of the victims are too likeable, and it almost really does make you want Hess and Radice just to wail their vengeance upon everybody. There's a good twist ending, which makes Hess and Radice out to be the victims from the start, but most probably wouldn't bother watching that far unless you're into exploitation.

This film is so screwed up! Picture yourself in the mind of a very sick and insane individual (the Narrator.) There you have the gist of Fight Club.

In short, it's about the Narrator and his split personality starting up a "fight club" and also rigging up bombs all over town for some reason. The twists are huge, and are somewhat freaky, and does make it kinda hard to follow in this one. I got in at about half way through this film, so when I started watching, I was so utterly confused.