Adams Movie Reviews

'In a world ordered by sexual imbalance,' wrote film theorist Laura Mulvey in her highly influential 1975 essay Visual Pleasure and Narrative Cinema, 'pleasure in looking has been split between active/male and passive/female.' One can only wonder what Mulvey would make of this 'erotic feature', directed by Styx Jones and the chances are she would not be too surprised that the development of porn/erotica (still predominantly confined to cinemas in '75 ' although video would soon change that) had reached a point where Jones' film would come to signify 'the industry' standard. Certainly, Playboy magnate Hugh Hefner knew what was going to happen; video would provide the first opportunity for his 'Playmate' models to actually move, therefore becoming more human, as opposed to (admittedly well-crafted) pictures on a page. Given that Playboy magazine is 'Entertainment for Men' it seems entirely justified that the images contained therein have been designed with the 'active/male' in mind. This may also be the reason that Sex on the Beach is such a mixed experience.
Taken at the level of highbrow masturbation material, Sex on the Beach succeeds admirably. The women on show look every inch the Playmate: the sight of these tanned beauties writhing around to bland pseudo-chill-out music creates a temporary state of euphoria within the heterosexual male viewer. It's hard not to be impressed when, for instance, during Beach Girl (the film is divided up into vignettes), Brande is photographed naked, providing two fantasies for the price of one: that of photographing a naked woman and the ideal conditions that a beach provides to view her in (an open environment where natural beauty seems in abundance). This particular scene is also baffling as we witness Brande disappear at the end, suggesting that it was in the photographer's (and, one suspects, our) head.
But if Mulvey's assertion that the female as 'passive' is taken in literal terms, then it also most likely applies to many of the other sections of the film. Take Bonfire Dance for example: Sarah dances around a fire, but the result is dull, perhaps the result of one too many close-ups, which are most likely of interest only to gynaecologists. She is presented as some sort beach goddess (the drummers evoke this neatly), but, haunting final image aside, the effect is not even remotely arousing. This problem seems to affect most of the strands: Cascading Water, as the title suggests, literally runs off before you can even get a grip on it; and Sun Charter, which takes place on boat, over-eggs the mix by trying to do too much at once. The result is shoddy: like a bad music video, only more explicit.
More interesting, though, are the representations of lesbianism. Baring in mind that Jones has quite obviously designed the film with a hetero-male in mind, he still manages to get away with an awful lot. Massage provides the most interesting angle for this; we take the viewpoint of the voyeur, peeking through empty shelving to spy on the act in progress. It's a strange sequence and one that lingers in the mind. Given recent acceptance of this behaviour as 'normal' within hetero-male fantasy (constant references in such American sitcoms as Friends have no doubt helped), it's understandable that Jones chooses to allow his cast to indulge themselves in such a manner. One could speculate that the models probably feel more comfortable with a female; that they may enjoy it more. It doesn't matter: it's not the point anyway. What's really going on here is that, because there is no actual penetration involved, the male viewer does not feel that the activity on display is a threat to his 'masculinity'; he can watch, enjoy, and still feel 'in charge'. The same goes for the segments in Island Girls: the lotions applied to the bodies not only serve as a method of relaxation for the women on screen but also provide a semen substitute that the viewer can make their own.
Next to this, the level of explicitness seems rudimentary. Recent big-screen excursions into the realms of 'hardcore' sexual activity in such films as Romance (Catherine Breillat, 1999), The Idiots/Idioterne (Lars von Trier, 1998), Intimacy (Patrice Chéreau, 2000) and the forthcoming Baise-moi (Coralie Trinh Thi, Virginie Despentes, 2000) have put paid to the argument that less is more. The BBFC's (British Board of Film Classification) policy change on 'R18' certificate material, which has effectively meant that hardcore porn is now legal in the UK, does little help Jones' case. In fact, actual sex seems totally off the menu in Sex on the Beach (which is kind of ironic given the title). The only real hint of this occurs during Sea Goddess. As Tara dances, we see that a young (male) pool hand is folding towels. He is clearly enjoying the display, as is Tara. As she walks off, she leaves her (one assumes) hotel room keys behind. Although not stated, the suggestion is that Tara really wants the man to come by her room so that they can engage in sexual activity. But, like everything else, Tara's actual reasoning is left behind closed doors; as, presumably, Hefner would have wanted it. In Playboy's Sex on the Beach, sex is virtual, but desire is real.

In the history of Wet & Wild videos, this Playboy DVD was the first one to not contain any Playmates, only unknown amateur models. I did recognize two of the models from the Girls of Hawaiian Tropic DVD, Sarah Hutchinson and Shellani Taarud, who aren't household names.

How unknown were the models? None of the previous reviewers mention Brande Roderick. I got this DVD soon after it came out in 1998. A recent viewing of it again brought to my attention a nice surprise: Brande Roderick appears here, 2 years before she becomes a Playmate, 3 years before she is crowned as 2001 Playmate of the Year.

She doesn't look the same, though, and if you don't look at the end credits, you might not notice her. Here, she has straight blond hair, some freckles on her nose and cheeks, very little makeup in this appearance, and she appears less busty here than she does in the current POY DVD she has out (pre-silicone days, perhaps, or she just hadn't filled out yet?).

Is it her? Yes, as her distinct tattoo just to the left of her belly button is the same. She does a nice 4-minute striptease with her bikini in front of a male photographer.

As for the whole DVD, it is a decent viewing, but not among the best of the Wet & Wild series, where Playmates star throughout the DVD, as Playboy has done with the latest Slippery When Wet DVD. 9 video segments total including Brande's appearance, a bit short at 52 minutes, as each segment runs from 4 to 6 minutes.

Among the other segments, there is one really nice girl-on-girl full body massage. There are two other girl-girl scenes where they mostly oil each other up or dance with one another.

Obviously recommended for Brande fans, not necessarily one of the better overall Wet & Wild DVDs. Definitely worth a rental to check out the pre-Playmate Brande appearance. If you prefer Wet & Wild DVDs with Playmates, this one isn't for you.

good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good good

I WANT MY 96 MINUTES BACK!!!! REALLY LAME HORROR FLICK!!
I don't know what it is about the quality of horror in the early 90s...but this is a good example of how it can go terribly wrong. If this film had been made in 1981 or 1971..or heck, even 1961 it could have had a good kitch factor...instead it's an overly stylized attempt at what a good 80's Slasher actually is.

The one star rating is for the casting of Lisa Kudrow (I think she's super cute as a brunette!)...and Comedian Kathy Griffin as a Lesbian Co-Mother-To-Be!!
The remainder of the movie gets a BIG ZERO!!!

Director Rodman Flender film doesn't have the resonance of great horror. At times it barely rises above an exploitation title, being hindered by gross out effects and the developing ridiculousness of the screenplay by Henry Dominic. The narrative reads as Rosemary's Baby redux with a dash of David Cronenberg and The Boys from Brazil.
After a forboding prologue where a pregnant woman is made to suffer because she drips blood onto her kitchen floor as she eats raw meat, we meet Brooke Adams who has been referred to the in-vitro centre where James Karen is a specialist. Of course, any doctor played by James Karen is automatically suspicious, and soon Adams becomes paranoid about the child she is carrying. Dominic has the sense to make Adams not the only pregnant woman, and also gives her access to a couple who have a child from the prodecure, which allows for her to have alternate opinions, though the points scored off the lesbian couple seem mean, though Adams' husband is conveniently out of town when things start going wrong. Luckily Flender delivers the best scene in the film for the climax, when Adams follows the sound of a baby crying and supplies a shock payoff. However after this highpoint, we plummet.
We get a grossout mage of the fetus moving a digit in the same shape as Adams' drawing, a laugh from the use of a Baby on Board sign, the low gag of a saccharine TV presenter turning shrewish off-camera, and the most disappointing setpiece when Brooks is being interviewed live and has an hysterical turn - for this Flender goes camp with the crew screaming for a re-run. The prologue deprives us of a shock, but later we get a second one even if in a ludicrous context involving a baby POV and the father's reaction. There is also an early gratuitous and long sex scene, a low impact Alien-like set, and the ending is too obviously left open for the sequel.
Adams' cracked beauty and individual voice add something to her role, and when she cries amongst stuffed baby toys she manages to convey a moment of pathos, even if she isn't as skilled, lyrical or vulnerable as a Mia Farrow. Also note this is another early role for Lisa Kudrow in her long black hair period.

I recently underwent surgery. The hostpital's movie channel showed "The Unborn," and I figured "what the hell, I'm not going anywhere. Might as well watch it" (and the intravenous machines I'm hooked up to won't allow me to reach the TV.) Well this was the scariest thing I've ever seen. My heart raced at such a pitch that my plasma drips exploded. What a movie. Brooke Adams was wonderful; better than Mia in Rosenberg's Baby. If you like your horror "on the rocks," THE UNBORN is for you.

Jeffrey Lynn and Marjorie Reynolds star in the low-budget MGM programmer HOMETOWN STORY, also called HER HOMETOWN STORY.

Lynn plays a failed politician, now writing for a newspaper and uncovering the shady dealings in reputable factories. Notable only for the early performance of Marilyn Monroe as secretary Iris, and the emotional playing of Reynolds.

Jeffrey Lynn is also quite good (he was one of the original contenders for the role of Ashley in GONE WITH THE WIND), and turns in a good performance.

This two-tape set is a must for Marilyn Monroe completists everywhere. 1) The 1951 film "Hometown Story" stars Jeffrey Lynn as a bitter ex-politician who goes to work for his uncle's newspaper. Monroe has a small but very amusing and memorable role in the picture. 2) "The Marilyn Monroe Story" is one of the best documentaries about the legendary sex goddess ever put together. John Huston, who directed Marilyn in her first really well-known film(THE ASPHALT JUNGLE) as well as her last film(THE MISFITS), takes us on an incredible journey through this remarkable woman's life.

Hometown Story (1951) features Marilyn Monroe in one of her earliest roles, and while Marilyn probably fuels most of the sells for this item, the movie itself is actually quite good in its own right. Jeffrey Lynn plays Blake Washburn, a newly un-elected state senator who returns home with quite an electoral chip on his shoulder. He's not above punching a guy for joking about the election, and even his old friends are likely to be met with a cold shoulder. Washburn takes over his uncle's newspaper, but all he cares about is starting an editorial crusade that will help him win his Senate seat back. Slim Haskins (a young Alan Hale, Jr. of Gilligan's Island fame), his best friend and lead reporter, grows increasingly frustrated at Washburn's politicized agenda, and even Washburn's long-suffering fiancé Janice (Marjorie Reynolds) cannot get through to him, even when she threatens to call the whole thing off. Undaunted, Washburn rakes big business up and down the coals of his editorial pages, even after one local businessman, John McFarland (Donald Crisp), gives him an Economics 101 lecture on the importance of big business and its products in everyday life.

Then Washburn's little sister Katie (Melinda Plowman) enters an old mine to retrieve her new puppy and becomes the victim of a terrible cave-in. The wealthy Mr. McFarland comes to Katie's aid in a very big way, as does big business itself through a number of its mechanical and life-saving products. Hometown Story carries an important message, and it delivers this message in a quite moving and certainly entertaining manner. As for Marilyn Monroe, she plays Washburn's secretary Iris; it is by no means a large part, but she does appear in several scenes. Her acting skills are not very polished at this stage of her career, but she certainly accomplishes her main task of making tight sweaters look absolutely amazing. Alan Hale's character has the hots for Iris, and I cannot help but get a kick out of watching "the Skipper" trying to put the moves on Marilyn Monroe.

Jeffrey Lynn and Marjorie Reynolds star in the low-budget MGM programmer HOMETOWN STORY, also called HER HOMETOWN STORY.

Lynn plays a failed politician, now writing for a newspaper and uncovering the shady dealings in reputable factories. Notable only for the early performance of Marilyn Monroe as secretary Iris, and the emotional playing of Reynolds.

Jeffrey Lynn is also quite good (he was one of the original contenders for the role of Ashley in GONE WITH THE WIND), and turns in a good performance.

This two-tape set is a must for Marilyn Monroe completists everywhere. 1) The 1951 film "Hometown Story" stars Jeffrey Lynn as a bitter ex-politician who goes to work for his uncle's newspaper. Monroe has a small but very amusing and memorable role in the picture. 2) "The Marilyn Monroe Story" is one of the best documentaries about the legendary sex goddess ever put together. John Huston, who directed Marilyn in her first really well-known film(THE ASPHALT JUNGLE) as well as her last film(THE MISFITS), takes us on an incredible journey through this remarkable woman's life.

Hometown Story (1951) features Marilyn Monroe in one of her earliest roles, and while Marilyn probably fuels most of the sells for this item, the movie itself is actually quite good in its own right. Jeffrey Lynn plays Blake Washburn, a newly un-elected state senator who returns home with quite an electoral chip on his shoulder. He's not above punching a guy for joking about the election, and even his old friends are likely to be met with a cold shoulder. Washburn takes over his uncle's newspaper, but all he cares about is starting an editorial crusade that will help him win his Senate seat back. Slim Haskins (a young Alan Hale, Jr. of Gilligan's Island fame), his best friend and lead reporter, grows increasingly frustrated at Washburn's politicized agenda, and even Washburn's long-suffering fiancé Janice (Marjorie Reynolds) cannot get through to him, even when she threatens to call the whole thing off. Undaunted, Washburn rakes big business up and down the coals of his editorial pages, even after one local businessman, John McFarland (Donald Crisp), gives him an Economics 101 lecture on the importance of big business and its products in everyday life.

Then Washburn's little sister Katie (Melinda Plowman) enters an old mine to retrieve her new puppy and becomes the victim of a terrible cave-in. The wealthy Mr. McFarland comes to Katie's aid in a very big way, as does big business itself through a number of its mechanical and life-saving products. Hometown Story carries an important message, and it delivers this message in a quite moving and certainly entertaining manner. As for Marilyn Monroe, she plays Washburn's secretary Iris; it is by no means a large part, but she does appear in several scenes. Her acting skills are not very polished at this stage of her career, but she certainly accomplishes her main task of making tight sweaters look absolutely amazing. Alan Hale's character has the hots for Iris, and I cannot help but get a kick out of watching "the Skipper" trying to put the moves on Marilyn Monroe.

I just recently became a Vivien Leigh fan after seeing her in great films. I picked this up at my public library, looking foward to see her again. When I put into my VCR and when this movie appeared at the screen, I must say I was terribly disappointed. Nothing like GWTW or Waterloo Bridge. Her version of Cleopatra was ofial. And Claude Rains also gave me a bad impression, since it was the first time I had ever seen him on screen. I fell asleep half way through the movie, and when I woke up, I intended to fall back asleep. It was a horrible waste to my Saturday evening. But you can't be totally harsh because Vivien Leigh was going through some tough times during the making of the movie. But i'd recommended Waterloo Bridge, or GWTW, or any other Vivien Leigh film, but not CAESAR AND CLEOPATRA.

This version of Caesar and Cleopatra is an historical farce. The talent of Leigh and Rains are wasted on this thing. At the start of the film when Leigh meets Caesar Leigh plays the role of Cleopatra as a whimsical/foolish/giddy girl. Outrageous. Good costumes for a period piece but when compared to the Claudette Colbert or Elizabeth Taylor verions this is a disgrace. Don't bother...you have been warned.

Yes, those that complain that this 1946 film version of Shaw's famous play of the same name is mainly 'stage-bound' and the acting often seems 'stilted'-- well, sigh, they surely have a point.

Bernard Shaw himself (he did not die until the 1950s) is credited with the screenplay, which may have something to do with the criticisms. Shaw is very talky and hard to 'transfer' to motion picture standards of verisimulitude, but this movie has a beautiful, delightful Vivien Leigh, the incomparable Claude Rains, the beautifully dashing Stewart Granger, plus 'old friends' of the classic British cinema such as Flora Robson, Felix Aylmer, Basil Sidney, Stanley Holloway, Leo Genn, Francis L. Sullivan -- all who appeared in wonderful films like Laurence Olivier's 'Hamlet', David Lean's 'Great Expectations' and many other intelligent pictures of that pre- and post-war (WWII, that is) period. (There is even a very very young, but very lovely as always, Jean Simmons as a slave of Cleopatra who plays the harp.)

The picture attempts an 'epic' look, with battles yet noted I'm afraid by unconvincing stunt work and 'casts of thousands' sort of milling about -- and Cecil B. De Mille does this so much better than Gabriel Pascal, the director of 'Caesar and Cleopatra'. But I myself admit I love the Shavian ambience -- the intellectual activist actually attractive (in Shaw's plays at least!) to the winsome young woman; sex as friendship, discussion and respect; thought as more important than 'action-adventure'.

If Shaw's plays do seem too dated to you and they generally bore you, yes, stay far away from this film! But if you brighten when 'entertainment' is also provocative to the intellect and not only to the eye (and other sense organs) -- and particularly if you have great affection for the era of British cinema dominated by Olivier, David Lean, and the early Tony Richardson and featuring so many familiar and adept character actors that fill the firmament with 'supporting' stars, you will like the movie, and ignoring its quite obvious flaws, enjoy every minute: I guarantee it!...

Shorts, tight t-shirts and funky skull caps are the uniform that will be worn for space flight in the 1970's. Actually this movie was somewhat accurate in the depiction of space flight. As seen through the eyes of people in the 50's im sure this was pretty high tech thinking. A commie spy forces a landing on the moon and the astronauts must find a way to survive for they cant get back to the space station. All in all a charming slice of cheese from a time at the hight of the cold war.

As a 1953 follow-on to the 1950 Destination Moon (see also), this work is interesting in that it features the va-va-va-voom Donna Martell as Heinlein's typically strong but ultimately submissive female lead. Not necessarily bad unless you're a feminist, I guess; still she, like other Heinlein heroines, comes across sharp as a tack compared to the rather obtuse hammer-sack jocks she's compelled to work with.

The paternal commander played by Hayden Rorke (aka Dr. Bellows in I Dream of Jeannie) is obviously a stand-in for Heinlein himself -- think of SiaSL's Jubal Harshaw in uniform -- who bizarrely shows his kink in threatening to spank his unruly female subordinate. Definitely creepy.

This work anticipates Kubrick's 2001 etc by 15 odd years, but scans like the other straightforward, stiffly acted clunky space operas typical of the time. The plot and situations are adult and so I would not recommend this movie for preteens.

Somehow this movie never played on TV in my locale (Milwaukee/Chicago) when I was a horror-crazed kid (unlike apparently every other cheap SF flick of the period). For fans of low-budget 1950s space operas this is a terrific find. Project Moonbase neatly straddles the fence between "serious" science-fact specimens such as Destination Moon or Riders to the Stars and tacky "babes in space" fare like Cat Women of the Moon or Queen of Outer Space. It shares a similar look and feel with all those films and other typical titles of the era from Astor, Allied Artists, UA, and other independents, such as Missile to the Moon, Fire Maidens of Outer Space, War of the Satellites, etc. Co-written by pioneering modern SF icon Robert Heinlein (Destination Moon, The Puppet Masters, Starship Troopers) and low-budget western producer Jack Seaman, PM contains enough sober "speculative fiction"/rocketry tech stuff to satisfy hardware geeks as well as plenty of cool atomic-age design and forehead-slap-inducing sexism ("I ought to turn you over my knee and spank you") for irony-wallowing bad cinema fanatics. 'Genre' names peppering the credits include director Richard Talmadge (the silent movie star, stunt man, and 2nd unit director); Ed Wood's house cinematographer, William C. Thompson, and makeup man, Harry Thomas (unfortunately no one gets their face burned off with acid in this); former Columbia art director Jerome Pycha (Riders to the Stars, Unknown Island, Prehistoric Women), and future director (Cry Baby Killer, Twilight Zone, Lost in Space) Justus Addiss.
The year is 1970, the United States has a floating space platform, and the government is about to embark on exploration of the moon. The Russkies, who look and sound like Midwestern businessmen, find out, and decide to sabotage the operation by commandeering one of our spaceships and crashing it into the space station. To accomplish this, they infiltrate the mission with one of their 350 (!!) Exact Doubles of Prominent Scientists that they just happen to have lying around. After some talky explanations of gravitational principles by General "Pappy" Greene (Hayden Rorke, I Dream of Jeannie's Dr. Bellows), Major Bill Moore (Ross Ford), and Colonel Briteis (pronounced "bright-eyes," cringe now) played by Donna Martell (Rocky Jones: Space Ranger) are selected, along with the doubled Dr. Wernher, for the mission to observe the dark side of the moon, much to their mutual consternation. See, Maj. Moore and Col. Briteis used to be an item . . . . During these set-up scenes it seems like you're in for one of those dry Gog type of flicks, but hang in there, things start to pick up once the space flight gets underway. For some reason they scream and sweat profusely on takeoff (?!), and they all wear easily the silliest uniforms ever seen, comprised of tee shirts, short shorts, big honking belt buckles, and demure felt aviators' caps, which look cute on Ms. Martell but laughable on everyone else. Once they arrive at the space station we get a docking-with-the-space-wheel sequence, crazily angled sets, some (intentionally?) hilarious scenes of crewmembers matter-of-factly walking on ceilings and sitting on walls, and "please don't walk on the walls" signs posted in the corridors. (These scenes are strangely prescient of Kubrick's 2001: A Space Odyssey; could this be one of the dozens of SF flicks he screened while preparing his masterpiece?). Bill, Col. Briteis, and the fake Dr. Wernher take off from the station on the observation mission, Bill suspects Dr. Wernher's true identity (he's unfamiliar with the Brooklyn Dodgers!), they're eventually forced to ditch their craft on the Moon, and Bill and Wernher go EVA to set up a communications relay. Throughout all this we get lots of nicely realized spaceship and moonscape sequences, conceptually on par or better than anything in a comparably-budgeted movie, forgiving a few laughably obvious gaffes. I also love how it appears that people on the ship's view screen seem to be simply sitting behind a hole in the wall, and late-night TV junkies will fondly nostalgia-trip on the B&W "target" test pattern they occasionally display. It all climaxes (spoiler alert) with an incredible only-in-the-50s "family values" denouement wherein the downed craft is proclaimed Moonbase #1; the now-clinching Bill and Briteis are "ordered" to get married by Dr. Bellows, er, General Greene since they'll be cohabiting on the Moon until a rescue mission can be mounted; the president of the United States turns out to be a woman (!!); and Maj. Moore jumps Col. Briteis just as the closing titles fill the screen. While not as patently ludicrous as Cat Women, Fire Maidens, or Queen of Outer Space, Project Moonbase is similarly bent in its own unique way, and easily as entertaining (the 63 minutes fly by). Fans of cheap B&W 50s space epics cannot fail to be entertained. Highly recommended.
This is another in Image's generally outstanding Wade Williams Collection and doesn't fail to impress. For a movie of its poverty-stricken pedigree the print is spectacular, with excellent black level, contrast, and brightness; rich gray values and crisp shadow/highlight detail; and virtually no damage save some very light speckling and spotting. As near to pristine (as claimed on the case) as could possibly be expected. The only extras are 12 chapter stops and a lightly speckled and lined but otherwise very nice looking trailer. A bare-bones yet essential addition to the DVD library of any 1950s SF aficionado.

This is most likely the worst film I've ever seen, and I've seen several movies on late-night cable. But at least those movies are good at what they're doing. The creators of The Zero Boys have no idea how to make a competent thriller, and it shows almost immediately. It's not the least bit scary, and if it were, it wouldn't matter because we don't care about any of the characters. Jared Moses as Rip is the only decent actor in the bunch, so you just know they gave him the smallest role. Kelli Maroney, in particular, is laughably bad. No wonder you haven't seen any of this movie's main players anywhere else. I say 2 stars, if only for how much fun it is to give this movie the MST3K treatment.

Your going to ask yourself how I could give this movie a 4 star rating. Well, let's start with saying I am basing this rating on a B movie level which is much different from a traditional rating to be honest. Those who knows B movies will love this one. This ranks as one of my all time fave, it surprised me when I saw it many years ago for I thought it would be an action flick and then I realized that it was freaking the heck out of me. This is what I would call the Deliverance of 80's B movies, freaky psychos in an old house, a bunch of hot shot Wargame players get hunted in the dark of night. The ending alone calls for chills down your spine. If you like B horror thrillers then I recommend this one highly!

This is Nico's best film, with Island of Death ranking 2nd. The other DVD release out a few years now, was very [poor] quality, so it will be nice to see this resurrected again. This has to be the scariest and best low budget, B-movie horror flick of all time. The scene where the boys witness the unknown female getting murdered on the TV in the barn, knowing that it was filmed in the very spot they stood, just minutes before they got there, is one of the most original and scary sequences in any horror film I've ever seen. Lots of other truly frightening scenes in this one. It starts out a bit slow, with some silly paintball action and sophomoric banter, but gets off and running quickly enough when they start their ride through the woods and one of them thinks they see a girl running amongst the trees... A true cult classic, the zero boys is well worth the bucks.

This is most likely the worst film I've ever seen, and I've seen several movies on late-night cable. But at least those movies are good at what they're doing. The creators of The Zero Boys have no idea how to make a competent thriller, and it shows almost immediately. It's not the least bit scary, and if it were, it wouldn't matter because we don't care about any of the characters. Jared Moses as Rip is the only decent actor in the bunch, so you just know they gave him the smallest role. Kelli Maroney, in particular, is laughably bad. No wonder you haven't seen any of this movie's main players anywhere else. I say 2 stars, if only for how much fun it is to give this movie the MST3K treatment.

Your going to ask yourself how I could give this movie a 4 star rating. Well, let's start with saying I am basing this rating on a B movie level which is much different from a traditional rating to be honest. Those who knows B movies will love this one. This ranks as one of my all time fave, it surprised me when I saw it many years ago for I thought it would be an action flick and then I realized that it was freaking the heck out of me. This is what I would call the Deliverance of 80's B movies, freaky psychos in an old house, a bunch of hot shot Wargame players get hunted in the dark of night. The ending alone calls for chills down your spine. If you like B horror thrillers then I recommend this one highly!

This is Nico's best film, with Island of Death ranking 2nd. The other DVD release out a few years now, was very [poor] quality, so it will be nice to see this resurrected again. This has to be the scariest and best low budget, B-movie horror flick of all time. The scene where the boys witness the unknown female getting murdered on the TV in the barn, knowing that it was filmed in the very spot they stood, just minutes before they got there, is one of the most original and scary sequences in any horror film I've ever seen. Lots of other truly frightening scenes in this one. It starts out a bit slow, with some silly paintball action and sophomoric banter, but gets off and running quickly enough when they start their ride through the woods and one of them thinks they see a girl running amongst the trees... A true cult classic, the zero boys is well worth the bucks.

This movie was really bad, one of the worst movies I've ever seen. What was the point ? Native American self loathing, Gay Native American self loathing. Who cares !!!!

I'm a middle aged white woman who loves Alexie's work so I was excited to buy this movie. Although it is rough in places, overall it is a good effort. Alexie can be confrontational, and this semi-autobiographical film does not romaticize Indians nor does it sugar coat their lives. I found parts of it hard to watch, but we members of the majority culture need this slap in the face. Alexie wanted to make his own film and quickly discovered that if he was going to work with Hollywood to do it, he would have to make compromises. Instead, he decided to totally finance, write and direct it himself, use local Seattle actors and crew, and shoot it digitally. The result is definitely not mainstream cinema, and not even indie cinema, but something more in the vein of Dogme. This is not a happy film, but definitely a worthwhile and powerful experience.

The first key is to first face the issues. Before you can do that you must admit these issues exist. Sherman helps bring these issues up front, in your face. I find in talking to people about this film, the ones that do NOT like it are homophobics. People also have a hard time watching two Indians beat up a white guy. But these things happen every day. We are not painted red men sitting on a pony. We are all human, and Sherman shows us in all our glory, pettiness, anger, desperation, and most private moments.
The interviewer was the woman I didn't like. I didn't "get" her purpose. In talking to my girlfriend she said we're not supposed to like her, that my girlfriend has seen white people talking to me in this manner. The interviewer is every non-Indian that wants to put the Indian in their place. Knowing this helps when you watch the movie.
I find Gene, Evan, Swil and Michelle breaking all the stereotypes. They are mixed blood, they are gay, they are recovering alcoholics, they are amazing musicians, teachers, and you want to love them for all they are and all they are not.

Stay away from this DVD. This DVD is a long somber story with constant dramatic violins humming in the background. It is the perfect tone for a warmovie but not for a documentary on Ansel Adams. Adams himself isn't really present in this film (he has about three lines of text), although there is enough footage available. Adams was a still photographer but don't expect any still photo's. Al his images are zoomed in and out and panned up and down and left and right.
If you want to see a artist at work and the work he made you better buy the DVD Art Wright made with a simpel 16mm camera about Brett Weston.

I purchased this as a birthday gift for my wife, who has recently picked up photography as a hobby. We both feel like we've spent 90 minutes in the presence of a brilliant, fascinating, passionate visionary. We are amazed at his life and work. In short, this documentary does what any good, short documentary should do: It makes you want to know Adams and his work better.

PROS:
* Nice biography of Adams' life, highlighting the role his father played in facilitating Ansel's self-directed learning as a youth, his introduction to photography, his marriage (with its ups and downs), etc. We were able to see what drove Ansel Adams.
* Need I say anything about his work? There has never been and never will be another photographer like Adams. This documentary just makes me want to sit in front of his photos for hours!
* Insights into how his photography and extensive time in the wilderness shaped his philosophy/worldview.
* Insights into how he exposed and developed photographs to reveal what he saw as he took the pictures--his embrace of realism.

CONS:
* The television screen is not an ideal place to view Adams' photos. Ric Burns did a great job of panning and zooming to allow us to experience Adams' work, but if you're really interested in Adams, you need to buy some of his prints or a coffee table book or find a museum with a collection of Adams photos. This is not Ric Burns fault--he did an amazing job telling this story.

PURCHASING RECOMMENDATION:
If you are interested in Ansel Adams, photography, or even just interested in art and the creative process, this is an excellent film. Highly recommended.

The photo documentary for which all others should be based upon. Whether you like, love or hate AA, this is a well make, moving and informative Biography of AA. Of course is was done by one of the Burns brothers so it has to be great.

Covers the life of AA, is trial and tribulations, his highs and lows. It also covers some of his greatest accomplishments as well as is personal achievements.
MUST HAVE IN YOUR DVD COLLECTION!!!