A prim and proper schoolgirl goes against her mother's wishes when she dates a motorcycle-riding juvenile delinquent.
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Sean C (kr) wrote: Woody Allen sticks a bunch of short film ideas and places them in Rome. That is the whole film, and the number of Allen tropes is so common as to be dull. A good cast could have saved these tropes as it certainly did in other Allen films. However, the cast looks bored most of the time. The stories are connected by very little and the city itself is a mere background; it does not come alive as it often does in his best work. I would rate it lower but Alec Baldwin was quite good.
Ai C (nl) wrote: Hisss is not at all a great movie, but it is not the worst one too!! There have been more worse films than Hisss, In fact, it is a watchable one, in my opinion. It is not so convincing at several places, but still we can watch it. It certainly has more standards than a B-grade movie. Hiss could have been much better if the director worked a little more harder on the script.
Tsubaki S (ru) wrote: Drug cartels using pigeons to transport cocaine? HURR DURRR! The religious propaganda doesn't help either.
Zane T (es) wrote: You'd think a movie directed by Sam Raimi and co-written by the Coen Brothers would be gold. At least something with a cult tatus attached to it, but this movie isn't that good. I laugh at some scenes and smile at the goofiness of it. I remember watching this when I was a kid and thinking how I had never seen a movie with dark humor before. This movie is an attempt at screwball slapstick comedies, such as The Three Stooges. Unfortunately, the production of Crimewave, aka The XYZ Murders, is the stuff of Hollywood legend. Studio interferrence in casting and production, actors hooked up on coke, something about exorcising demons from the hotel room, etc. This movie never really achieves what it was intended to. I think Raimi just gave up and decided to make a movie to fulfill some contract. Bruce Campbell is nice as the heel. He would have never worked as the dorky security guard. Be that as it may, it probably wasn't a good idea to redub Paul L. Smith's voice. While I think both him and Brion James really understand the outlandishness of their characters, they seem to cartoonish to be killers. And that may be the biggest problem. Something tells me this was supposed to be a lot darker like Raimi's Evil Dead movies.
evilnstuff (br) wrote: Jeremy Davies did an excellent job in the movie, I especially enjoyed watching his rehearsal footage - awsome! I've watched this version at least 8 times and wont be long before I see it again.
Alexandria M (it) wrote: Middle-aged "students" are awkward and fat people are a laughingstock.That's about it.Oh, and "PUMA... PUMA!!"
Leon B (fr) wrote: Review:Man, this film was bad! I think that the director was trying to make a comedy/road movie about a racing driver who gets kidnapped and told to drive for a thief on the run, but it's totally not funny and the storyline is ridiculous. I'm usually a fan of John Cusack movies, but I think that he made this film just for the pay day. I think that the whole film is set in Australia, on the cheap, which didn't fit with the 2 American main characters who seem a bit out of place. I can understand why it went straight to DVD because it definitely wouldn't have worked on the big screen. Disappointing!Round-Up:After watching John Cusack's excellent performance in the Butler and Paperboy, I think that he's allowed to make a couple of Boo Boo's which won't hurt his career. I'm just surprised that he agreed to do the movie after reading the weak script. The same goes for Thomas Jane who did do quite a bad Punisher but he was good in Thin Red Line & Face Off, even though they were made years ago. Anyway, this film isn't one that I will remember in a hurry.Budget: $12millionWorldwide Gross: N/AI recommend this movie to people who are into there road movies about a man who get kidnapped to drive for a man who steal from the mob. 2/10
Harry W (gb) wrote: As with any film released under the Monster Pictures label, The Editor sounded like a real cult classic experience.The Editor is a film with proud ambition. Centred around taking viewers back to the glory days of an Italian film style known as Giallo Cinema, The Editor has a lot of room for clever satirical edge within its style and its narrative. Unfortunately, it quickly becomes misguided due to poor storytelling. Giallo cinema is a style that viewers should hopefully be familiar with in one form or another. Its a genre which mixes crime, mystery and supernatural elements into an eroticized film style with a distinctive Italian vision. As we learned from Alrugo Entertainment's Italian Spiderman (2007), there is certainly room to explore this style with an effectively satirical edge. Unfortunately, The Editor suggests that it is best left contained far below feature length as the gimmicks do not provide the extensive support that the film needs. On the surface, The Editor has a very simple premise to it. Being a story about a film editor embroiled in a string of murders, the mystery behind the story should have some intrigue to it. Unfortunately, the feature quickly becomes convoluted as the story insists on jamming way too many characters into the film. There are so many random characters that come with their own stories and subplots even though the film uses them purely for melodramatic effect with no intention on expanding upon them. In the end, most of them are stereotypes, murder victims or generic stock characters. Quite a few of them are used for the purpose of adding nudity to the experience or getting killed, but the effect of this comes from the efforts of the makeup department more than anyone else. As far as characters and story goes, The Editor spends less time playing with its generic conventions and more time jamming too many twists and turns into the story for anyone to keep up with. The Editor should have had a really simple narrative because giallo cinema is not a style of filmmaking aimed at the most intellectual of viewers. I'm certain that there are cult audiences who will neglect the confusing story just for the stylish nature of the film, but given that the story is so bent on cramming new melodramatic twists in at every turn it really weighs down on the experience without making it any better. Ultimately, The Editor is a film made my amateur filmmakers. It certainly has a lot of passion to it and certifies that Adam Brooks and Matthew Kennedy know what stylish assets makes Giallo cinema such an effective guilty pleasure, but coherent writing lies beyond their ambitions. The Editor wants to be a legitimate Giallo thriller and a parody of one at the same time, but the directors fail to find the correct balance to make it work. Any attempts at actual storytelling in The Editor get in the way of the experience, and the heavy-handed narrative does favours for nobody. If you actually try to keep up with the story in The Editor, you'll find that the structure of the narrative collapses into a collection of aimless sketches. With every segment aimed at satirizing some new part of the Giallo formula, there ends up being too much for anyone to keep track of and so audiences end up bombarded with an endless array of characters who have little lasting value to the actual story. Giallo is not necessarily the most widely recognized or popular genre, so the satirical intentions of The Editor will appeal predominantly to a very small fan base in the western world. There's surely an audience who will appreciate its cult value, but the convoluted narrative will give no mainstream appeal to the film. Nevertheless, I will admit that the directors have a fine grasp over the visual style of the film. There is a lot of tenacious dedication to getting every part of the imagery just right, and the two directors responsible for The Editor manage to make the stylish focus of the film one which does give them some credibility in face of such ridiculous narrative incoherence. It only does so much to support the film, but The Editor has a very distinctive look to it. The cinematography uses a lot of extremely close-up shots with intense use of focus, as well as some quick zooms for the melodramatically intense moments to the story. The colour scheme is also a key factor in the memorable imagery of the film as it stirs up a surreal atmosphere, one which is both glamourous and grim. There is constantly a sense of shadow over everything which keeps everything feeling grim, and it proves effectively atmospheric. Plus, in keeping with the exploitation nature of the film's intentions there ends up being a fairly effective quantity of blood and gore in The Editor. With the story surrounding a mysterious collection of murders, The Editor manages to kill off its many characters in a clever variety of ways. And with all these murders comes plenty of violence to support it. The Editor is a proudly violent film which throws blood and gore all over the scene with clear humourous intentions. And to add to that, there is a lot of nudity in the film. But rather than just having female nudity, there is a higher than average quantity of penis in The Editor which puts elements of homoeroticism into the film. It's not too common that male nudity pops up in an exploitation film unless it is for the sake of some moment of genital mutilation, but The Editor takes a more equal approach to exploiting the physical appeal of all their cast members regardless of gender.The Editor has plenty of blood, gore and nudity to live up to its status as an exploitation film, but with a ridiculously incoherent narrative that takes itself too seriously weighing down on the structure of the film, it ends up unable to find the balance between being a serious Giallo film and a self-parody.