Kristen and her son Oliver have just moved into a gorgeous new neighborhood. Recently divorced, Kristen is anxious to help Oliver adjust to the new life and environment. They meet Justin, a handsome and intriguing ex-soccer star who wows Kristen with his good looks and fun-loving spirit. Despite warnings from her ex-husband Jason, she hires Justin as a caretaker for Oliver and offers to let him live in her guest house. But Kristen is being stalked by someone who knows she is new to the neighborhood. Strange and dangerous things begin happening and no one can be trusted. Did Kristen make a big mistake letting Justin into their lives? As an intricate web of lies and deceit unfolds, it's up to Kristen to protect herself and her family (mylifetime.com).
Eleanor R (gb) wrote: Definitely going to drag Michael to see this movie!!!
Derek W (gb) wrote: I was pissed when I first came across this in suncost. I was about half way through a scrip that is pretty much the exact same thing, but this is just so good I just had to let it go.
Kevin D (es) wrote: Summer of the Monkeys VHS Summer of the Monkeys DVD Summer of the Monkeys Book
Rebecca W (ag) wrote: OMG I never realised Laurel Holloman was in it till I started watching. God she was amazing! She looked different to what she does in The L Word, but her speech paterns and acting were just as wonderful in this as she is now. Overall I liked the film, there relationship was sweet and believable, but as a whole I thought it had dated quite badly. Could just have been the clothes though!
Harry W (es) wrote: Shock Treatment is terribly uninspired and just boring in a depressing way. And the dubbing of the poor replacements for Susan Sarandon and Barry Bostwick is just horribly weak and unoriginal which just lacks the heart of The Rocky Horror Picture Show or the effort or creativity of originality or enough stimulation to keep me entertained beyond the first boring ass forgettable 20 minutes. But the rest is forgettable too, so Shock Treatment is a total waste of many things.This was just a bad idea from start to finish.
Eric B (jp) wrote: First, a warning: "Camera Buff" has nowhere near the stylized atmosphere of later Krzysztof Kieslowski films such as "Red," "Blue" and "The Double Life of Veronique." Kieslowski's first feature is about overcast mornings, gray walls and functionally lit rooms, and the musical score barely exists. The cast is almost as colorless."Camera Buff" can be classified as a satire, but it's too bleak to have any real laughs. Filip Mosz is a vulnerable man with a dull factory job and a habit of hiccupping when nervous. His wife is about to give birth. To document his child's life, he splurges on a film camera. Then his boss hears of the purchase and hires him to shoot the plant's upcoming anniversary celebration -- even though Filip is an obvious novice (the film's Polish title strictly translates as "Amateur").Complications escalate from there. His movie (which is not portrayed as anything impressive) is shown at a small festival and inspires further projects. But as his footage begins to show too much grim reality, the local Communist Party develops concerns and his boss presses him to make edits. Since the boss helps fund him, these objections can't be brushed off. Meanwhile, Filip's risky new obsession increasingly exasperates his wife and may ruin their relationship.The film is a bit overlong and has a slow middle, but the last act packs a powerful message. This includes an unexpectedly touching moment with a handicapped man seeing himself on television -- there is nothing so sentimental elsewhere in the story, and the emotional tug comes purely from the look in the actor's eyes. Beautiful work. And the final scene is perfection.Director (and Kieslowski colleague) Krzysztof Zanussi makes a short appearance as himself, inserting some philosophy about filmmaking ethics during a presumably unscripted symposium. The line between drama and documentary blurs here."Camera Buff" takes aim at both Communist bureaucracy and the new-sensation hype that dependably drives the movie industry. "A film director once joked that he was a civil servant," a TV executive tells Filip. "Actually, he was right."
Spencer S (de) wrote: Mario Bava became an iconoclastic director of Italian horror and the Gothic landscape with his directorial debut for Marathon Pictures in 1960. The newly minted director adapted a Russian short story named "Viy" only taking a small amount of the story and characters, and transformed it into a near incomparable story of resurrection, hauntings, and period horror including poltergeists, witches, and demons. Set in Russia, but the dialogue is all in English, the story revolves around a condemned witch and her servant who are tortured, burnt at the stake, and interred in a forgotten cemetery by the witch's brother. After a clumsy man wanders across the crypt, when his carriage breaks down, he pricks himself and bleeds on the desiccated remains of the witch, bringing her back to life to haunt her descendant, who eerily looks exactly like her. The film is also an ode to the black and white monster movies of the thirties and borrows its look and appeal from Universal in particular. It's a savage and grotesque kind of film, which utilizes gore and blood to its advantage, but instead of being gratuitous it's used smartly to scare the audience further. The scenes in the witch's coffin before she's resurrected, are always so interesting to watch because there's something obviously fake about the way her face looks, but at the same time there's an unpleasant realness to her features and the way her skin peels away under the iron maiden's spikes. The scenes where the family is haunted remain very creepy and scary to this day. The way the effects are set up, and the way Bava builds the tension to an excruciating level only make for a more interesting watch. The setting was well set up, but not executed well with the characters being so anachronistic and wooden. The best performances come from Barbara Steele when she's playing the witch and Arturo Dominci as the ever loyal and always frightening Javuto. When he comes to the father's bedside and floats out of the room in a rush it was pretty freakish to say the least. This film exemplifies why Italian directors oftentimes make the best horror films, and why Bava is one of the best at doing it.
Brian K (au) wrote: While an international success in 1962, one can't help but feel a little uncomfortable today laughing at impoverished Sicilian customs lampooned by largely Neapolitan cast and crew. Still, a fun little romp though.
Jeff D (ca) wrote: Mitchum makes Thunder Road more than just another car-centric b-movie from the 50s. His performance makes you forget about it's minor faults and lets the viewer enjoy the fun ride. Thunder Road is further proof as to Robert Mitchum being one of greatest icons in Hollywood history.
Tex T (ag) wrote: I think many critics missed the thrust of this movie, so to speak. Especially in our time, the pull and demands of religious zealotry, the art of statesmanship (or lack thereof), the value and meaning of a piece of land soaked in blood. It's like most film critics were just too busy that day to take a closer look.
Michael M (ru) wrote: This movie wasn't as bad as I'd expected it to be mostly because the leads are so darn likable. And I often enjoy frank dialogue about sex in general so it was nice to see them pull no punches. What's weird is a movie about hooking up and having a two night stand involves absolutely zero female nudity. Kind of a disappointment really. There are a few laughs to be had as well as some good scenes.