The Katakuri family has just opened their guest house in the mountains. Unfortunately their first guest commits suicide and in order to avoid trouble they decide to bury him in the backyard. Things get way more complicated when their second guest, a famous sumo wrestler, dies while having sex with his underage girlfriend and the grave behind the house starts to fill up more and more.
Ben H (de) wrote: Kinda fun, kinda stupid...fun stuff for theatre folk.
JY S (de) wrote: Fast Track: No Limits, from Axel Sands, apparently has its limits.Drifting in at 100 minutes, the film's main story line is fitting enough for street racing. The subplots on the other hand, are a mess and under developed. Ultimately, the film leaves that unfilled feeling.The street racing, while showing some potential, is hampered down by a bunch of below average camera work. The actual races are quite brief as well.The acting is mediocre at best. Erin Cahill and Alexia Barlier are a delight to the eyes more than anything. Andrew Walker and Joseph Beattie are monotone in nature.Fast Track: No Limits never puts the pedal to the metal. That should explain it all.
Tucker S (nl) wrote: Very underrated. Maybe David Lynch's best movie, as well as most overlooked.
Dustin D (jp) wrote: Women on the Verge of a Nervous Breakdown isn't as funny or clever as it thinks it is, but it is a vibrant movie with a madcap momentum I appreciate. Ideas are presented and dropped in a way that makes the movie hard to comprehend at times. This is evident with the ending SPOILERS involving a high-speed chase and shootout that doesn't really make sense. Couldn't Pepa have called the police to stop the would-be murderer? I know they established Pepa's phone was broken, but she could have called from a payphone instead of risking her life and putting innocent people in danger. Also, the epilogue hints that everything will be wrapped up nicely, but in reality, Pepa would be in a world of trouble come the next morning. I guess a woman on the verge of a nervous breakdown wouldn't act as rationally as a viewer would hope...Check it out for the dweeby baby-faced Antonio Banderas.
Michael T (fr) wrote: Released late in the summer movie season of 1987, the thriller Best Seller had to compete with The Big Easy and No Way Out. Though a lot of critics liked the film, it disappeared from the cineplexes rather quickly but found an audience on home video. Recently I picked up the film on Blu Ray from Olive Films. The film starts in 1972 with a raid on a police evidence locker by a group of masked gunmen wearing Richard Nixon masks. Three uniformed LAPD officers are killed, including an inside man but one officer survives to report what he knows and ultimately write a book about it. Dennis Meachum (Brian Dennehy) goes on to become a best-selling author of police procedurals (like Joseph Wambaugh) while continuing his career as a decorated police officer. But after his wife's death from cancer, Meachum is broke, burnt-out in his police career, suffering writer's block and owes his publisher an overdue book. Enter a mysterious, amoral killer named Cleve (Dennis Woods) who claims to have been a hit man for a respected businessman, David Matlock (Paul Shenar) and he wants Meachum to expose his former boss in his next book. The script was written by Larry Cohen, who wrote and directed a number of very entertaining horror films in the 1970s and 80s and has written the scripts for many very entertaining thrillers. Denehy, as usual, delivers a solid performance as Meachum but this is Woods' film. Cleve is vicious and brutal, but wants to come across as likeable in the book. Meachum grows to like Cleve, as does the audience despite the fact that the guy is a stone-cold killer. Credit Woods performance with that. This is a film I enjoyed renting and watching on VHS back in the day but I had forgotten about it. A forgotten gem from the late 1980s.
Ian R (au) wrote: A clever comedy that pokes fun at the mystery genre by parodying the sheer audacity of many mystery novels and films. The real comedy of the film comes from the clever parodies of famous literary detectives Hercule Poirot, Ms. Marple, Charlie Chan, Nick and Nora Charles, and Sam Spade. The real highlight of the film however is a rare acting appearance by Truman Capote author of In Cold Blood.
Armando P (mx) wrote: So people think Aliens is better than Alien? Really? Come on...
Borhan K (ru) wrote: A mind warp of a film. The movie is about a geneticist that looses his son from this weird disease and he gets invited to Germany to make a talk on the subject. After this he actually ends up working for the team to try and figure out a cure for the disease.There is a part of the dialogue i like and that's the only part that is getting half a star. They talk about creating cures for diseases and instead of like mosquitoes carrying the diseases they carry the cure.They used the example of this to be like in Central Africa and you know what it actually has some substance to it if they can actually transfer the reverse to the insects that are causing the diseases to spread they can spread the cure.Beyond this little insight the film talks about as the foundation of the reasoning behind it all.It goes down hill from there and stays that lifeless gross mind trip of a movie.I have never done drugs but this movie for my imagination would be like if i was on a massive Acid trip.Not suitable for the kiddies and do yourself a favor and give this movie the flick.
Ryan M (ag) wrote: Steven Seagal's death was the highlight, and the rest of the film was one long denouement.
Joey C (kr) wrote: May writing this review take away some of the sting that comes with knowing I just wasted 3 hours of my life on a film thats it's unoriginality was only outshone by its budget.
David K (nl) wrote: I have watched this movie 10+ times, and it still gets me. Captivating, Thrilling and with stellar performances from Clooney, Wilkonson and especially Tilda Swinton
Lenny R (de) wrote: One of the weakest entries in the series, steering away from the somewhat darker tone of GoldenEye, firmly back into Roger Moore territory. Brosnan tries much of the time to play it straight, but the story is too superficial and the dialogue often too silly, with possibly a record number of excruciating puns (thanks to Bruce Fierstein, the guy who wrote all GoldenEye's dud-liners, here the solo writer), for this approach to work. Director Roger 'Stop Or My Mom Will Shoot' Spottiswoode doesn't help, treating things as superficially as his writer. Sure, a Bond director should avoid imposing a style that is at odds with what people expect from a Bond movie - *koff!*Tamahori*koff!* - but SOME style would be nice. The look of this movie has dated much more than those either side of it - both handled by skilled, seasoned directors who understood the aesthetics of a Bond film. This guy just...doesn't.The villain, Elliot Carver, isn't exactly a formidable nemesis, and Jonathan Pryce plays him as an entitled, whiny little snot. Despite the heinous acts he has his minions carry out, he has no menace to him whatsoever. His henchman, Herr Stamper, is not a particularly distinctive character. Gotz Otto makes him come off like a scowling poseur. Again, no menace. The rent boy get-up doesn't help. The idea of Bond having to reconnect with a past lover is perhaps the most interesting aspect of the plot, but Paris is so annoying you can see why he left her in the first place. Or maybe that's just because she's played by Teri Hatcher, of whom I've never been a fan. Ricky Jay is OK, but his character, Gupta, seems to have wandered in from a different movie. Vincent Schiavelli could never disappoint me, but his character, the evil torturer Dr Kaufman, who could have been a classic henchman, is played entirely for laughs. While his scene is pretty funny, it could have been so much more had it not been treated with such a light touch. Moneypenny, who was modernised a bit in Goldeneye, reverts back to her old form here, and has probably the worst lines in the movie. Samantha Bond does what she can with it, but, like Brosnan, that isn't much. The talents of Geoffrey Palmer and Colin Salmon are pretty much wasted. Joe Don Baker's Wade, who served as comic relief in GoldenEye but still managed to qualify as a character, is here a buffoonish caricature in a ridiculous hat. Wai Lin is just as badly written as everyone else, and Michelle Yeoh is ridiculously overqualified to play her. She's one of my favourite actresses ever to play a Bond 'girl', but there's just nothing she can do with such a bland character. There is one scene in which she gets to show off her kung-fu skills, but it feels like it's been spliced in from a better (though still not great) movie. The motorcycle/helicopter chase is an interesting idea, especially the touch of having Bond and Wai Lin handcuffed together, forcing them to cooperate and trust each other. But it's stupid that out of all the bikes they had to choose from they chose the biggest, heaviest one there - that just happened to be a BMW. I remember someone (possibly Spottiswoode, but I don't care enough to check) saying they didn't want them to just happen upon a lightweight, zippy trailbike when they needed one, and wanted to give them a challenge. If that's the case, ALL the bikes should have been heavy cruising bikes, otherwise why the hell WOULDN'T they choose a lightweight, zippy trailbike? And then, of course, Wai Lin removes her lockpick earring and opens the cuffs - AFTER the chase, because...I don't know.The best bit of action is the car chase, in which they seem to have tried to make up for the lack of car gadgets in GoldenEye by cramming in every trick imaginable. It is very silly, with Bond using his tricked-out phone to drive by remote control from the back seat, but good fun. The only problem I have is that, again, it's a BMW, and this time it's a sedan. A BMW sedan. BMW. Sedan.Sheryl Crow's theme song isn't great. It doesn't sound like Sheryl Crow, as though she's trying too hard to emulate the 'Bond theme' genre, rather than bringing her own style to it. The rejected original song, written by David Arnold and Don Black and sung by k.d. lang, is a better song, but too much of a throwback for my taste.