Belakovskaia, Anjelina Movie Reviews

This ridiculous (and that's saying something) sixth (but not final as opposed to it's title) installment in the Nightmare on Elm Street series doesn't have one good thing going for it. Sloppy direction from Rachel Talalay (Tank Girl), a poor script (even though it tries to delve more into Freddy's past), and too few (and poorly done) deaths with little or no gore. The nice cast, which includes Breckin Meyer, the late Yaphet Kotto, and inspired cameos from Roseanne, Tom Arnold, Johnny Depp, and Alice Cooper who graces the screen as Freddy's abusive father. The climatic ending was originally shot to be presented in 3-D format in theaters (if you purchase the box set of Nightmare films it includes two pairs of 3-D glasses just for this film, but none are found in the stand alone package), but there is hardly anything here worth embracing, even for long time Nightmare fans. Fortunately, original creator Wes Craven would return for the last installment, Wes Craven's New Nightmare, which breathed fresh life into the stale series.

More of a comedy than horror!
There is only 1 remaining elm st kid left! Freddy has kept him alive so he can bring Fred his daughter! Anyway Fred's daughter comes to Springwood and finds out that her father was Freddy! She sets out to kill him with the help of her friends!
The weakest of the series but it is still worth a watch or two!!!
Ok Special Effects!

The 6th installment of the Nightmare on Elm Street series, I'd have to say, was really the only real good one next to the original. The movie was more funny than scary, but it was still an excellent addition to the series, but not many other people agree with me, well, that's their opinion.

Freddy Krueger (Robert Englund) does not look as menacing as he did in the other Nightmare movies, but the most menacing Freddy looked I think was in Freddy vs Jason. Anyway, Freddy IS a little too goofy here, and it detracts a bit from the level of horror that this film could have had. However, there were still scary parts, and one thing that really won me over about the movie is the fact that we get to dig in to Freddy's past a little bit, and we are shown how the dream killer we all know and hate or love came to be. I won't spoil anything from there.

The acting was okay. There were a few elements I wasn't sure about, like the woman in the beginning when she called our major character a [whimp]. Other than that, the acting was typical for a Nightmare film, but then again, people don't usually watch these movies for great acting, they usually just go to see the killer do his thing.

I really have nothing to say about the special effects, some of them were cheap, some brilliant, that's it. I recommend Freddy's Dead: The Final Nightmare to any Nightmare on Elm Street fan, as it was one of the best to me.

When Sarah first laid eyes on the brash, impetuous Dr. Nick Callahan, her life changed-instantly. The American woman had been expecting an evening of drinks, dancing and dinner conversation with her husband at a charity dinner for humanitarian aid. Instead she got a foul-mouthed, maverick relief worker with shock-and-awe tactics on his mind: Nick crashed the party with an emaciated African child in tow hoping to jolt the deep-pocketed into financial action. Things didn't go as he planned. The hardened guests laughed and had Nick dragged off by the authorities.

Sarah, though, was more than a little shaken by seeing suffering in the flesh. So she packed a bag and headed off for a stint in Ethiopia ... with Nick. The years fell into each other like dominos, and as a decade passed Sarah's heart became more and more entwined with the cause of the downtrodden-and fell more in love with Nick.

When Angelina Jolie first read the script for Beyond Borders, she felt like Sarah glimpsing that starving Ethiopian at the fundraiser. "I was really moved by it," she stated. "I knew nothing about the subject matter." Not that that's surprising. Starvation, rampant disease and unpredictable violence are all things Americans have very little contact with. Solicitation videos produced by such groups as World Relief, UNICEF, Compassion or World Vision might bring tears to the eyes of those watching, but how deep do the affected then dig to do something? On one level, Beyond Borders works like those videos (amped up to the power of 10). It slaps Americans across the face with bleak realities (shots of people grotesquely disfigured by disease and neglect; images of perishing infants and brutally butchered indigents) beyond our comfortable comprehension. Shooting the film prompted Jolie to adopt a Cambodian orphan, and it will, at the very least, make American moviegoers heartily thankful for their country.

Not that one should think the movie is morally upstanding-or even that it exhibits particularly good filmmaking just because it dwells on a world of despair. Its episodic, over-long, meandering plot gets tiresome. The characters aren't quite two-dimensional, but they're flat enough to be unbelievable. Then there is the tissue-paper thin love story, which all too quickly attempts to justify adultery. And Nick's bouts of profanity are ear-stinging. It's at its best when it portrays the life-and-death struggles of those in war-wracked nations. But even here, satisfactory answers to basic sociopolitical questions (such as what role the United Nations ought to play in the affairs of sovereign nations, how non-governmental relief organizations should obtain funding, the use of explosive ordnance for "good" and the role of Communism in the state of the Third World) are never proffered.

Let's separate BEYOND BORDERS from all the hoo-ha about Angie's (deservedly) celebrated UN work. Also, it's a relief to see her not being asked to wear spandex and kick ass. So often, when an actor (or any artist) scores with a particular type of role and establishes a personality, we ask them to repeat over and over.
Anyway, I though Jolie and her co-star, GOSFORD PARK's Clive Owen were both quite good, despite the two dimensionality of their roles. Owen: idealistic, noble, emotionally unavailable. Jolie: naive, well-intentioned, simpering. The movie itself falls into the old trap of portraying serious issues in light of how they affect good looking white liberals. The Ethiopia sequence is particularly galling, as Jolie's rescue of a (digitally animated?) baby is portrayed as a major victory in the war against famine. By the time we get to Chechnya, it's just an action movie. The scenes of Jolie at home never take off-- she apparently met the actor playing her husband (Linus Roache) ten minutes before shooting. BEYOND BORDERS is a perfectly entertaining afternoon at the movies, but a movie that seriously addressed the causes of world hunger is probably one most of us wouldn't watch.

I'm still reading Angelina Jolie's, "Notes from My Travels" a non-fiction book written by Jolie based on her recent travels (as real life Goodwill Ambassador for the UNHCR - United Nations High Commissioner for Refugees) to numerous refugee areas around the globe.
Having read only the beginning of Jolie's book (and then seeing "Beyond Borders") I'm seeing qualities from her book, portrayed on screen - her passion for the aid and care of refugees.
The film is more of a tragic love story on how far one woman will go, for love. The risks and sacrifices they make doing their everyday humanitarian work and for the love of each other.
Some of the scenes felt choppy and didn't really flow - scenes between her life at home (in London) as wife and mother and the scenes when she did her UN work (around the world). Overall, I enjoyed the movie and would recommend it to expose to people, what has happened and what is happening around the world.

This is a good film, funny in parts, but you find yourself wanting to see more antics in the the control room. Still, it is a movie worth renting. You'll buy it only if you have friends who are into flying...

This a really good film. Follows a group of air traffic controllers as they stand at a crossroads and figure it all out. Excellent performances by John Cusack, Bill Bob and Angelina. Nicely done all the way around. Excellent.

Presentes by british director Mike Newell, PUSHING TIN with John Cusack and Billy Bob Thornton hasn't had much success at the box office last summer. Why ? Cusack and Thornton are both excellent actors, Newell directed two great hits in the recent years, FOUR WEDDINGS AND A FUNERAL and DONNIE BRASCO with Al Pacino, and the comedy genre is generally appreciated by international audiences.

So, it's a weak screenplay. NO ! In my opinion, PUSHING TIN's screenplay is one of the smartest of 1999. At least, for a non-american audience. Imagine John Cusack impersonating THE air-traffic controller of your worst nightmares : big mouth, cafeine-loaded and willing to stay the best even if it means to endanger hundreds of lives.

So, what a relief when appears Billy Bob Thornton, a half-breed Choctaw (an american-indian nation), with a sexy wife and a politically not so correct attitude. His motorcycle (not a Harley...) is faster than Cusack's car, he can handle more airplanes on his screen and beats Cusack's records when playing basket-ball.

So, with subtlety, Mike Newell attacks a certain number of american attitudes or certitudes. Now do you understand why PUSHIN TIN had no success at all ?

A trailer as sole bonus feature. Spanish subtitles.

A curious DVD.

OK, so most of the reviews I read for this film said how great it was, well I for one think those opinions are based on the fact that young men and some women who enjoyed it mainly thrived on the sight of seeing Angelina's breasts. The acting was poor, the script was stupid, and the sets were lame. I have seen some pretty bad movies in my time (ie Killer Kondom) but this one took the cake.. I would watch tromavision flicks over this one ANY day. save your money. If you want to see a good sci fi type movie watch ones that have been in the box office for more than a week ;)

... I'm not a big fan of elias koteas- you know the guy who always plays the dopey i kinda look like i could be robert dinero's goofy looking cousin. So watching him being the onscreen love of angelina jolie was torturous!

Angelina jolie put out a great effort in this movie however... and the chinese jacket she just happened to find on the streeet- in the perfect size for her- had part of my chinese name written on the back! lmao...

Billy drago-you don't really see him til the end of the movie- but if you're a fan- it's pretty a classic performance.

there's this one guy- who is also in... like every movie made that requires a ... chinese dude in this movie... i think his name is something lee... but it was pretty surprising to see him in this movie...

Wow! All I can say is that this movie was incredible. I was blown away by Angelina Jolie in another one of her hits. This movie is best watched with a bowl of Classic Trio ice cream.

Denzel is his usual brilliant self. The director had no idea what he wanted to do with Angelina Jolie's character. The plot is muddled and the dialogue is ridiculous and trite.

Rental only.

Although there are echoes of SEVEN in this flick, it's well worth watching. Denzel is amazing as a bed ridden detective and Angelina shows us what she's made of--some stern acting stuff. Great plot, twists... scary stuff going on here, folks. The scene with the taxi--that's all I am going say--has stuck with me for years. A definite thriller.

As much problems as I have with Deaver as a writer [big yawn], I loved the movie. My only recommendation is that I worked for 14 years in Forensic Psych and this movie has very little... "nah never happen". [Been known to start laughing at Steve King's movies... too fantastic or like the Cell... lovely to look at but not worth a penny plotwise.]

As someone else said not a movie to watch doing dinner. Love the directors version on the DVD. I went back as he suggested and realized the clues were there to who it was. Worth buying just for that. Anything else... Well I figure you can read everyone elses five cents.

I should have known to stay away from this when our local newspaper gave it an F. But, 9 times out of 10, film critics are usually wrong, and I end up loving what they hate. So, we went anyways.....Well, for once, we should have listened to that paper. This movie is SO ridiculous, and the acting is SO horrible, and the plot is SO completely asinine, that it brings a question to mind....who in their right mind could have possibly thought this script was worthy of committing to celluloid??? My friend and I managed to keep people from walking out and lamenting on their lost 7 bucks by cracking jokes throughout the whole movie, and halfway through, we had the whole theater (all 6 of them, my party of 3 included) turned around in their seats watching us to see what we were going to say next. I don't think any of us actually saw the ending.....I do have a sort of affection for this movie for the fact that I realized that no matter how bad the movie is, I can always manage to keep myself entertained, simply by making fun of it. For that, it gets my one measly star. Well, that and you're required to put at least one when you review these things. Although I do have to agree with one of the reviewers..I haven't laughed so hard in a while either!

Some reviewers call the premise absurd.... I don't know... I didn't find it to be such a stretch of the imagination. Some one loses their license to be a doctor and gets roped into doctoring for a bad guy... It could happen! I thought Timothy Hutton performed well as well as David Duchovany. Nicely done.

I would give it five stars because it is my favorite movie of all time, but some would say that it's far from perfect. I really like this movie because the main character, has flaws. It makes it seem more realistic to me when people in movies aren't perfect. It has good camera work that I really like. It makes for some cool shots and I never felt lost when some action was going on. It has a cool car chase, just the right amount of comedy here and there, a decent story, fairly good acting, and some good action! This definatly could have been better, but I think it has just the right combination of things to make it an enjoyable movie that I think anyone that is a fan of action or David Duchovny should definately see. I don't think you'll be dissapointed!

Given how disappointingly liberal, preachy, trite and predictable so many of Hollywood's dramas are, this film presents both tremendous moral balance and a wonderful ease of presentation, all the while offering up one surprise after another. It's as if this film was shot nearly at the time it was to have happened; so clean, real, and spare is the spiritual atmosphere surrounding the characters. Whether the lead characters' authentic, highly believable progress through the story, a simply fantastic performance by young Lucas Black, or the spot-on cameo by a very able Bruce Dern, this film exposes Western sensibilities (even in the mid 20th century) to perfection - Billy Bob Thornton deserves credit for making a beautiful sleeper of a film far too realistic, too believable, and too traditional to ever win a second glance from the Hollywood crowd. See it, and if you're like me, own it for it's simply riveting social and historical placement.

It's a shame that Billy Bob Thorton and Co. had to cut so much from this movie. After two hours, I felt as though I could stand another two. This movie is an excellent rendition of Cormac McCarthy's novel, and remains very, very true to the book. The acting is nearly flawless, especially that of Matt Damon (John Grady Cole), Henry Thomas (Rawlins), and Lucas Black (Blevins). The directing was great, the scenery and landscape all very beautiful.

That having been said, I must include the comment that I wish this movie had not been edited so much. Having read the book, I could easily follow the story of the movie, and enjoyed it thoroughly. My wife, on the other hand, has not read the novel, and was completely lost throughout despite my attempts to piece together the scattered fragments for her.

This flaw (and a large one it is) makes it difficult for this movie to have widespread appeal. Unless you've read the book, plan on being confused most of the time. Still, this movie is well worth seeing, even if you have to read McCarthy's novel first so you can understand it.

Billy Bob Thornton's film adaptation of Cormac McCarthy's award-winning novel is an elegiac, handsomely rendered western about a young Texas cowboy whose inchoate longing for adventure takes him south of the border. Matt Damon portrays John Grady Cole, a dispossessed rancher joined by best friend Lacey Rawlins (Henry Thomas) on his trip to Mexico, by where wealthy rancher Don Hector Villarel (Rubén Blades) offers them work. Cole falls in love with Don Hector's spirited daughter, Alejandra (a luminous Penelope Cruz), but their tempestuous romance is disrupted when he's imprisoned for crimes instigated by another traveling companion. The story unfolds in the years immediately following World War II, during which time the last vestiges of the Wild West were disappearing. Director Thornton (Sling Blade) wants us to empathize with his young protagonists: They're more than boys but not yet men, yearning to be part of a tradition already receding into history. A contemporary evocation of western-movie themes, All the Pretty Horses is also a lovingly crafted, occasionally plaintive celebration of an all-but-vanished way of life. The DVD edition includes production notes, talent files, and theatrical trailers. You can see how this movie could have been jacked up into a one-level action picture, but what makes it special is how Thornton modulates the material. Even the prison knife-fight scenes aren't staged as action confrontations, but as quick, desperate and strangely intimate. A rare and exemplary film.

Given how disappointingly liberal, preachy, trite and predictable so many of Hollywood's dramas are, this film presents both tremendous moral balance and a wonderful ease of presentation, all the while offering up one surprise after another. It's as if this film was shot nearly at the time it was to have happened; so clean, real, and spare is the spiritual atmosphere surrounding the characters. Whether the lead characters' authentic, highly believable progress through the story, a simply fantastic performance by young Lucas Black, or the spot-on cameo by a very able Bruce Dern, this film exposes Western sensibilities (even in the mid 20th century) to perfection - Billy Bob Thornton deserves credit for making a beautiful sleeper of a film far too realistic, too believable, and too traditional to ever win a second glance from the Hollywood crowd. See it, and if you're like me, own it for it's simply riveting social and historical placement.

It's a shame that Billy Bob Thorton and Co. had to cut so much from this movie. After two hours, I felt as though I could stand another two. This movie is an excellent rendition of Cormac McCarthy's novel, and remains very, very true to the book. The acting is nearly flawless, especially that of Matt Damon (John Grady Cole), Henry Thomas (Rawlins), and Lucas Black (Blevins). The directing was great, the scenery and landscape all very beautiful.

That having been said, I must include the comment that I wish this movie had not been edited so much. Having read the book, I could easily follow the story of the movie, and enjoyed it thoroughly. My wife, on the other hand, has not read the novel, and was completely lost throughout despite my attempts to piece together the scattered fragments for her.

This flaw (and a large one it is) makes it difficult for this movie to have widespread appeal. Unless you've read the book, plan on being confused most of the time. Still, this movie is well worth seeing, even if you have to read McCarthy's novel first so you can understand it.

Billy Bob Thornton's film adaptation of Cormac McCarthy's award-winning novel is an elegiac, handsomely rendered western about a young Texas cowboy whose inchoate longing for adventure takes him south of the border. Matt Damon portrays John Grady Cole, a dispossessed rancher joined by best friend Lacey Rawlins (Henry Thomas) on his trip to Mexico, by where wealthy rancher Don Hector Villarel (Rubén Blades) offers them work. Cole falls in love with Don Hector's spirited daughter, Alejandra (a luminous Penelope Cruz), but their tempestuous romance is disrupted when he's imprisoned for crimes instigated by another traveling companion. The story unfolds in the years immediately following World War II, during which time the last vestiges of the Wild West were disappearing. Director Thornton (Sling Blade) wants us to empathize with his young protagonists: They're more than boys but not yet men, yearning to be part of a tradition already receding into history. A contemporary evocation of western-movie themes, All the Pretty Horses is also a lovingly crafted, occasionally plaintive celebration of an all-but-vanished way of life. The DVD edition includes production notes, talent files, and theatrical trailers. You can see how this movie could have been jacked up into a one-level action picture, but what makes it special is how Thornton modulates the material. Even the prison knife-fight scenes aren't staged as action confrontations, but as quick, desperate and strangely intimate. A rare and exemplary film.

Given how disappointingly liberal, preachy, trite and predictable so many of Hollywood's dramas are, this film presents both tremendous moral balance and a wonderful ease of presentation, all the while offering up one surprise after another. It's as if this film was shot nearly at the time it was to have happened; so clean, real, and spare is the spiritual atmosphere surrounding the characters. Whether the lead characters' authentic, highly believable progress through the story, a simply fantastic performance by young Lucas Black, or the spot-on cameo by a very able Bruce Dern, this film exposes Western sensibilities (even in the mid 20th century) to perfection - Billy Bob Thornton deserves credit for making a beautiful sleeper of a film far too realistic, too believable, and too traditional to ever win a second glance from the Hollywood crowd. See it, and if you're like me, own it for it's simply riveting social and historical placement.

It's a shame that Billy Bob Thorton and Co. had to cut so much from this movie. After two hours, I felt as though I could stand another two. This movie is an excellent rendition of Cormac McCarthy's novel, and remains very, very true to the book. The acting is nearly flawless, especially that of Matt Damon (John Grady Cole), Henry Thomas (Rawlins), and Lucas Black (Blevins). The directing was great, the scenery and landscape all very beautiful.

That having been said, I must include the comment that I wish this movie had not been edited so much. Having read the book, I could easily follow the story of the movie, and enjoyed it thoroughly. My wife, on the other hand, has not read the novel, and was completely lost throughout despite my attempts to piece together the scattered fragments for her.

This flaw (and a large one it is) makes it difficult for this movie to have widespread appeal. Unless you've read the book, plan on being confused most of the time. Still, this movie is well worth seeing, even if you have to read McCarthy's novel first so you can understand it.

Billy Bob Thornton's film adaptation of Cormac McCarthy's award-winning novel is an elegiac, handsomely rendered western about a young Texas cowboy whose inchoate longing for adventure takes him south of the border. Matt Damon portrays John Grady Cole, a dispossessed rancher joined by best friend Lacey Rawlins (Henry Thomas) on his trip to Mexico, by where wealthy rancher Don Hector Villarel (Rubén Blades) offers them work. Cole falls in love with Don Hector's spirited daughter, Alejandra (a luminous Penelope Cruz), but their tempestuous romance is disrupted when he's imprisoned for crimes instigated by another traveling companion. The story unfolds in the years immediately following World War II, during which time the last vestiges of the Wild West were disappearing. Director Thornton (Sling Blade) wants us to empathize with his young protagonists: They're more than boys but not yet men, yearning to be part of a tradition already receding into history. A contemporary evocation of western-movie themes, All the Pretty Horses is also a lovingly crafted, occasionally plaintive celebration of an all-but-vanished way of life. The DVD edition includes production notes, talent files, and theatrical trailers. You can see how this movie could have been jacked up into a one-level action picture, but what makes it special is how Thornton modulates the material. Even the prison knife-fight scenes aren't staged as action confrontations, but as quick, desperate and strangely intimate. A rare and exemplary film.

This movie is only good for the erotic sex scene with the hot guy and the gray haired vamp. He says that he never did anything like that before (yeah, right). Just look at his hot face, and body, then listen to his voice...mmm...also look at his face during the sex scene and right before she bites him. After all that his legs and pulled down pants and underwear shake...ooh, I am so hot right now. It's too bad that he had to bite the dust...LOL. If you are a teenage boy like me see this movie for the hot chicks too.

This is a Playboy movie (under the Eros production name) that is best described as a late-night softcore skin fest with a hokey vampire storyline plugged inbetween the steamy love scenes.

The women here are actually quite beautiful, and there are a good number of love scenes here. Instead of the typical 2 or 3 scenes you might see in a typical Showtime or Cinemax late-night movie, there are about 7 or 8 love scenes here. At least 1 every 10 minutes, some scenes go for quite a few minutes.

Lots of gratuitous skin showing by the two lead actresses, Madison Clark (who bears a resemblance to actress Mia Sara) as the good girl and Angelia High as the bad girl.

If you're looking for a decent plot or suspense, you won't find it here. If you want to see a female version of Interview with the Vampire, this movie might fulfill your fetish.

The DVD itself is very barebones, with only a chapter selection as its only menu.

I don't ask for much in a vampire movie --- vampires who aren't messy eaters, some kind of romantic connection between sex and vampirism (it's central to the myth, really), and characters that make some kind of sense. On most counts, "Embrace the Darkness" succeeds. Admittedly, it is more about T&A than vampirism, but it succeeds in that genre too. As for the babes ... to each his own, but to my way of thinking, two or three of the most beautiful women ON THE PLANET are in this movie.