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Duck_of_Death23
Reviews
Heads or Tails (2005)
Cline and McAdams should call it quits.
I saw this movie a little bit over a month ago at the World premiere at the Weinberg Center.
To be as subtle as I can possibly be, this movie was a steaming turd. It's primary focus was to create art out of nothing; it's premise is so incoherent and far-fetched that I completely stopped caring after the first 20 minutes. I go to the movies to be enlightened and/or entertained. heads or tails did neither. The cinematography was horribly inappropriate, the acting made me cringe and the background score was the worst I ever heard in a feature film. Ever. What's even sadder was the fact that the composer was selling copies of his score in the lobby. I regret not buying it; when I want to drown out the sounds of my elderly neighbors and their coital activities I'd have an excuse to pop it in my overpriced CD player.
I'm upset about losing the $12 of admission but what hurts me most is the fact that two hours of my life are gone. They were taken from me. They're never coming back. Gone forever, those two hours I could've spent staring at a brick wall or watching season three of Family Guy. If I wanted to kill brain cells, I'd have gone shopping at my local liquor store and jumped head first into a bottle of tequila. All remaining cans of this film should be immediately destroyed and the filmmakers should be banned from operating any film-making mechanization for the rest of their miserable lives.
Oh, and if you're reading this my newbie auteur friends, let me give you two words of advice: First, this film is NOT art. Any yuppie liberal imbecile can pick up a camera and point the lens at something for a prolonged amount of time. Doesn't make it lyrical. The masters of their techniques; Kubrick, De Palma, Scorsese and Tarantino achieved exemplary film-making purely through talent, not by self-indulgence. Go play in the sandbox and let the pros handle the big stuff, okay? Two: Stick to the default jobs at your local KFC restaurant. Your careers in that profession will soar farther then your film-making occupations, believe you me.
Sadly enough, while I doubt this film will ever pick up a distributor, I read somewhere that it will be submitted to this years Sundance film festival. God help that audience.
Road to Perdition (2002)
Brilliant.
To me, Road To Perdition looked rather dry and non-compelling from it's trailers. But, I still was compelled to see it because I like movies about hitmen and I also liked the three main stars: Tom Hanks, the mob kingpin played by Paul Newman and the underrated Jude Law. Law above all, deserves an Oscar nomination for his role as the sociopathic reporter Maguire who tracks down an exiled 12 year old assassination witness and his father, a double-crossed hitman Michael Sullivan played uncannily by Tom Hanks in a role that didn't seem to fit his type. Mostly, Hanks plays characters who are outgoing, social and just normal. In Perdition, he is completely different. In Road To Perdition, he is the exact opposite. It was obvious within the first ten minutes that Sullivan was quiet, to his self and practiced unusual mannerisms, all which are beautifully illustrated with some of the most fantastic cinematography I have ever seen in a motion picture. The cinematography of this film made it seem as if it were an interactive painting, adding to a sense of surrealism and vertigo, which is appropriate considering it is based off of a graphic novel.
Road To Perdition is powerful, smart, and one of the best movies I have seen since Schindler's List. This movie will be remembered at Oscar time. It possibly deserves to win the Best Picture honors more than any other picture that has been released and nominated within the past decade.
Spider-Man (2002)
One of the grandest movie experiences in my life.
As an avid fan of the comic book super-hero "Spider-Man", I found myself disappointed watching the trailer during the theatrical showing of The Lord of the Rings. To me, Spider-Man appeared to be corny and hokey, along with cheesy visual effects and ridiculous costumes such as The Green Goblin. To me, awaiting the film as long as I had, the pain was too large to bear. I had been waiting since 1992, when James Cameron announced his screenplay. Since than, I myself have been patiently waiting and hoping for a good Spider-Man movie. But when I saw the trailer in December, I felt slightly cheated... ...Than fast forward to May 3rd. I went to the movies with my friends to see "Deuces Wild". But, one of my friends misinterpreted our intentions to see Deuces, so he went in to see the titled, "Movie of the summer": Spider-Man. To be honest, I didn't want to see Deuces Wild, at least not with the missing eight dollars from my wallet. To me, Deuces Wild was a "Wait-for-video-movie" if you know what I mean. With this, I felt bad and didn't want him to go in the theater all by his self, so I quickly exchanged my ticket and got a seat to see it with him. I was going to see it the next day with my mother, but I guess I couldn't wait that long. So, I saw Spider-Man and left the theater with a love for a movie I didn't know that I could ever have.
To me, this was the best super-hero movie I had ever seen. It's story was so compelling that when Peter Parker donned his spandex costume, it seems not only irrelevant, but unnecessary. This movie was so attentive that it followed and loved it's characters, not berating and using their misery to feed the mindless cliche-filled plot. The movie cared about what they were and who they were to become. Unlike every other comic book based movie I've ever seen, this one didn't use the characters to simply feed the story itself. Spider-Man's story was the characters.
Without doubt, this has to be the classic comic book movie brought to life for all time. As far as comic books translated to film are concerned, Spider-Man is and always will be, "THE DEFINITIVE COMIC BOOK PICTURE OF ALL TIME!!! Even though many didn't like the visual effects and saw them as the films fatal flaw, I LOVED THEM. First of all, it's a motif to the graphic novels. It isn't meant to be realistic. A comic books reality is it's own little world and it would only be fair to include some aspect of that comic into the film. The human side was convincing and realistic. It pulled it off and hit the nail on the head better than a lot of Oscar winning movies even. One of the central themes that runs through the film is about teenagers and their inabilities to express their true feelings to one another. Films like American Beauty fail to explore this degree of emotions simply because the synopsis focuses on the proverbial dark side of these situations. Comics, on the other hand, are an "Expedient exaggeration" of the real life world we live in. A satire if you will. Come on! How many maniac criminals would dress up in a green metallic suit and a dinosaur mask with "pumpkin bombs" and a futuristic one-man glider with super-sonic jet speed in real life?
I left the theater gleeful, fulfilled and waiting to see it again the next day with my mother.
A.I. Artificial Intelligence (2001)
A Masterpiece that will be better appreciated in time.
Vertigo. Star Wars. Fight Club. When these three films came out, they were financial disappointments. (Except Star Wars.) But, be that as it may, they all share the same disastrous prone tendencies. The critics despised them. Years later, the critics who ridiculed these classics are forced to eat their words. Vertigo is now considered to be Hitchcock's master work over Psycho, Rear Window and North By Northwest. Star Wars is thought of as a milestone in Hollywood history with it's visual effects and unprecedented cult following. Fight Club has launched a mass production of marketing including hats, shirts and posters, all which can be found conveniently at your local Suncoast. And for the year 2001, there was A.I.
It has been months since I have seen Steven Spielberg's latest film. As his first film in several years, I anticipated a fairly good show. Besides, it was in joint with my favorite director, Stanley Kubrick who had passed the project on to America's most beloved director. After Kubrick's death, I was baffled as to whether or his unfinished project Artificial Intelligence was to be made or remain in pre-production limbo forever. When I heard that good old Spielberg was to take over the project, I felt relief knowing no one else alive could tackle a Kubrick film like the master of emotion. I traveled to the theater two days after it's release. Going to a moderately late show, I remember the theater was extremely cold; metaphorically ironic considering it was the beginning of July. The metaphor being that Artificial Intelligence was a chilling story of a mecha boy who traveled through the remains of a post-apocalyptic society to become a real boy. As we have learned throughout history, the world is not always as "warm" as one thought.
Taking place in the near future, the polar ice caps have melted and flooded coastal cities. As the surviving civilization scramble to the middle of the continents, they begin to create advanced sophisticated forms of robots. A visionary robot manufacturer has created a landmark Artificially Intelligent toy. His name is David, who is played brilliantly by Haley Joel Osment. David's function: To give and receive natural love from his unnatural parents. We than cut to a father and mother visiting their son, who is diagnosed with an incurable disease. As he chills away in his cryogenic chamber, the parents of he come to a decision. The result is their adopting David in place of their dying son. In order to fully complete his meaning, David must be activated by a seven word combination. For David, he belongs forever to his parents. The only way for him to avoid his longing for love without them would be to disconnect him from service. The unfortunate circumstances of her hapless natural child causes Monica to imprint David. As David receives the love of his mother, a miracle takes place: Monica's natural son returns cured of his disease.
As the two children begin a game of rivalry, David's brother contemplates ways in order to get him in danger out of vivid jealously. Eventually, Monica reluctantly decides to take David back to the manufacturer to have him deactivated. Her heart is too big to have him disassembled, so she abandons him in the woods with "Teddy". This is the sweet tale of the story. Spielberg's version. The fantasy world. A happy environment where nothing goes wrong. Out of nowhere, we are introduced to Kubrick's nightmarish world in which we are forced to reexamine the cold hard reality we have ventured into.
In a long, Kubrick-like zoom, we track away from a man's face played by Jude Law in one of his best performances. A Sex toy robot named Gigolo Joe is working with one of his clients; a first-timer who hired him to "perform his services." As he secludes and hides from those who hunt him, we begin to understand what we have entered. The dark visions ensue. The Flesh Fairs. The incessantly daunting police. The callous manufacturers who make mechas and than commend them for being unique, but not authentic. It is THE real world we have entered. Mechas are hunted by humans (or orgas) for not being licensed and are disintegrated sadistically by their captors. And than there is Rouge City, whose decadent sexual themes are thrown around as calmly as the economical symbolisms of New York's modern Stock Market. In a chance meeting, David congregates with Gigolo Joe. The two journey in search for the blue fairy, who will allegedly make David a real boy. This takes them to the end of the world, A haunting recreation of Earth's most recognizable city underwater: New York. Both characters are representatives of Spielberg's childhood fantasy world and Kubrick's bleak anarchist world. David being Spielberg's compassionate, yearning and affectionate protagonist. And Gigolo Joe being Kubrick's icy, comical and methodical antagonist.
Many people hated this film, audience and critical alike mostly because of the weak ending. I admit, I left the theater disappointed of the lack of substance. But now I feel a subtle warmth towards the film and even the ending. To me, it was necessary for it to end on a blissful level; it's character began that way. It is my belief that a film should metaphorically close the way it opened. And in a way, the ending is a good representation of that. Had it ended where most thought it should had, the positive elements of humanity would have been lost like David in the sea.
In time, other's will realize it's true meaning and upon enough viewings, possibly change their universal opinions. A.I. isn't meant to be about how mankind will destroy itself. It's meant to be about how HOPE may be what saves us after all.
Léon (1994)
Hey you there! Wanna learn the Ring Trick?
The only way you can is if you see the Uncut International Version with 24 minutes of additional footage titled Leon: The Professional on DVD! I know I sound like a sales representative and I assure you that I am not. It is a lot better than the original version shown in America and ingeniously fore-shadows the end. After seeing the new version, I kept saying, "This new version is 10 times better!" It was. Even though the first american version was awesome, the new version has more touching scenes. The first version didn't sear as much as I thought it could have. It was missing something. It was as if the movie was beating around the bush instead of diving in. After seeing the Uncut International Version, I can see how deep the film goes. Before, I wasn't sure whether the relationship between Leon and Mathilda was close friendship or love. Now I know it was love. After seeing this version, I understand the emotion and power of The Professional more. Gary Oldman did not have any additional scenes, which kind of left me disappointed as he was a fun loving psychopath that unfortunately shares the same mentality as Alex from A Clockwork Orange. Both enjoy to harm other people for fun, invade peoples' homes with their mindless thugs and the music of Beethoven. How convenient.
I loved The Professional before, and I still love it. I just love it more now. I had the movie on VHS before I bought it on DVD. About a dollar per additional minute. I'd pay it again. Never has a dollar gone so far. I suggest you go out and purchase the Uncut International Version with 24 minutes of additional footage titled Leon: The Professional on DVD! Buy it now!
Reservoir Dogs (1992)
Hidden Agenda
Talk about violence. This film has plenty of it. Most of the killing in Reservoir Dogs can be easily avoided but isn't. The male ego takes over here as all of the characters have their own hidden agenda. For example: Mr. White: Save Mr. Orange. Mr. Blonde: Kill as many people as possible. Mr. Orange: Not bleed to death. The only one of the thieves who doesn't really have an agenda except survive is Mr. Pink, the only character who is professional. As history has taught us, people are willing to die for things that they believe in. The things they believe in may be void or completely irrelevant to the mission at hand. The film is more of a satire than anything, of this nature because everything that happens in terms of tragedy was avoidable as easy as looking in the other direction and dropping these agendas for something more important. Quentin Tarantino makes movies that are a landmark to modern day cinema. With all this death, it appears the main reason he made it was to kill people. The way the characters talk is as if they were actual people in a conversation. I laugh at many of the jokes they tell. I like the suits they wear as well as the story-line because it never really shows the robbery, and as we learn throughout the movie, the chaos in the store may have in fact been more intense than originally thought. I can't wait to buy the action figures, especially the Marvin Nash torture play-set with the removable ear. That brings me to the movies most controversial scene: Stuck In The Middle With You. The most chilling person in this movie is Mr. Blonde played masterfully as Michael Madsen. The scene with him and the cop is disturbing and at the same time politically incorrect (You don't torture people for fun). An obvious versatile actor, Michael Madsen went from this movie to Free Willy. Wow, his career really soared. One minute he's mass murdering a jewelry store. The next he's freeing willy.
Dip huet seung hung (1989)
Gee whiz Jeffrey. Think you killed enough people?
The Killer is a heart-pounding cult classic, and it's easy to see why. Off hand, the film contains the most electrifying action scenes in the history of motion picture. Not as good as The Professional in terms of how an assassin's mind works, it beats it heavily with action. The shootout in the church is better than that of the Government Lobby scene in The Matrix. John Woo has made a symbolic masterpiece out of gun-slinging, that appears more of a ballet than pure chaos (which it is). Like most of Woo's films, you must sacrifice story and acting and even realism to capture the true entertainment value. But who cares? The action scenes are worth the full admission price. Don't think while watching. It doesn't require much thought anyhow. The movie is entertainment, not one that will yak your ear off with talking. I know this review is hostile and at the same time defensive. Don't get me wrong, I love this movie but it has flaws. I don't care though, because if I want character development or whatever, I'll rent a Martin Scorsese movie. Violence runs amok as does the hugely unnecessary body count. It appears that the sole purpose of Woo making this movie was to simply kill people. I am still puzzled however, where the heck did the crime syndicate find that many gangsters to try and knock off ol' Jeffrey?
The Godfather (1972)
"I Believe In America."
"America has made my fortune." This is the opening quote to The Godfather and in my opinion, the best movie in American history. And what would America be without it's greatest cinema-piece? It would be a nation lost of entertainment, a nation without a character as undeniable as Marlon Brando's Godfather. Without him, there would be a missing link to every actor in the history of cinema minus the few previous such as Humphrey Bogart's Rick Blaine from Casablanca. The performance of he convinces anyone that Don Vito Corleone is truly alive. Not only alive in the film, but alive as an actual person who speaks to us in volumes, a man who's moral guidelines and love for his family make him a respectable role model, even though he is the head of a mafia family. Don Corleone reaches out to all that see this movie and he is instantly respected as a person of honor, one who we know is of high power, yet is more a democrat rather than a fascist like other corrupt crime lords. Sonny, his son is in fact, fascist in a manner of speech and it shows when he must take over the business. Tragically, Michael the youngest son of the Corleone family is molded into the form of "zero tolerance" throughout the picture. The film really isn't about the Mafia; it's about family. The most important thing in The Godfather isn't the rise of power or the loss of it, only how much the other people in your life mean to you.
Many movies inevitably become boring and have scenes that are meant to be remembered but are easily forgettable. The Godfather never becomes boring. It hooks you the minute it begins and keeps you attached. Impressive for nearly a three-hour movie. An undertaker gives a speech to convince Don Corleone to avenge his daughter against the decadent hoods that attempted to rape her. From there on, the movie continues as a sweeping epic. Death strikes many times in this movie; all the moments of this are breathtaking and at many times, heart-wrenching. I sympathize for the many characters in The Godfather that meet with tragedy because they are so lovable. The 1972 classic takes you inside of the crime syndicate; a place I am oddly enough, happy to be. I feel like a member of the Corleone family every time I watch. Prior to viewing, I must admit that this world wasn't my most desired destination. Many parts and lines are memorable in this movie. What's so amazing is that most of them are back to back, which is a trademark of director Francis Ford Coppola. Most of his films achieve continuous scenes, ones that are embedded in our minds forever. For further proof, see Apocalypse Now or The Godfather Part II.
The Godfather is however, better than it's sequel. Even though the second film may have a more powerful and haunting conclusion and may also have more of a meaning, it still doesn't dig as deep into your soul like the original. Why is the first movie better you ask? Because The Godfather is in this one. Not Robert De Niro's version, but Marlon Brando's. To attempt to replace Brando is a ridiculous waste of time. Brando is The Godfather. No one else can compete with that.
The Mummy Returns (2001)
It's just as bad as the first one, more or less
This film was so bad that I cannot even say anything about it. THE MUMMY RETURNS is as far as I am concern, not worth it. The movie was unappealing, predictable and too long. This film contained hardly any enjoyment for me. At least The Rock enjoyed the scorpion he ate.
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
Who doesn't love this bomb?
George C. Scott is the best thing about this film. He makes me crack up every time the camera focus upon him. The reason he is so funny is because of the atmosphere he creates. He behaves like a child, not knowing the serious crime they have committed or are going to commit. He never takes himself too seriously or the whole situation about the United States beginning an apocalyptic war between Russia.
Dr. Strangelove or: how I learned to stop worrying and love the bomb is my personal favorite film. I am a big Stanley Kubrick fan and this one is his best in my opinion. Kubrick knew how to get an audience to laugh, shriek or simply sway their hands by presenting the unbelievable. In Dr. Strangelove, he achieves this height by making a world of all three. He has us laughing at characters so twisted and comedic that you cannot help but laugh. He has us shrieking from the terror and dread of an actual nuclear war breaking out. And he has us swaying our hands at the absurdity of these characters and situation that we are viewing as an unbelievable satire of this government struggling to save us from doom.
Peter Seller's performances as The President, the British officer and of course, Dr. Strangelove are brilliantly blazed onto the screen. Sterling Hayden gives deranged generals a brand new meaning as Jack the Ripper, the man who starts the mess. And of course, George C. Scott as General "Buck" Turgidson. Scott gives one of the most hilarious performances in motion picture history as a man bent on worldly destruction. He doesn't care how many people die, he wants his nation to win the cold war. Chaos is what makes this man go around, with facial expressions that are non-approachable from even the greatest comedian. I love this movie because it fits my style of comedy, and it's characters are so relentlessly funny that it is irresistible. Its truly not a serious film, yet it has a serious subject.
Wo hu cang long (2000)
Surpasses any other fight scenes in movie history
I just got back from seeing this movie from the front row seats, and what can I say: WOW! I loved it. The second it began, the score sucked me in and gave me goosebumps unlike any other motion picture. The first fight scene was so heart pounding and intense that it was like being in this film as a character watching those two fight. The way the characters bounced off walls, walked and then jumped off of the water, even running up and down trees and their branches, all was breathtaking and was none other than the actors on wires instead of the tired old usual CGI. The characters give riveting performances. The cinematography is exceptional. The fights surpass any other, even the Matrix and Enter the Dragon. The love story really was effective and credible unlike most action-fantasy films that simply place these elements into the plot to give it a heart. Crouching Tiger, Hidden Dragon does not show evidence of this, because it already had a heart and it's power and awe-inspiring beauty was it. Of all of the movies nominated to win the best picture oscar, this one has my vote.
A Clockwork Orange (1971)
Good for laughs and lashings of the ol' ultraviolence
Stanley Kubrick's 1971 classic is known for it's surrealism and shocking story line. Many believe the film is nothing more than a test of a person's morality. Many believe that the film promotes violence in a negative way on young modern day culture. I believe the film promotes the ability to simply think of the darkness that lies beneath the human soul.
A Clockwork Orange is the story of a teenage criminal named Alex who learns the hard way that you reap of what you sow. The film sets you up so that when Alex commits his crimes you feel rather humored or jolly. I, myself would blame this on the music. The music provides a sense of repulsiveness and therefore allowing the members of the audience to know right from wrong in theory. The music I think is used to allow the audience member to feel and live in Alex's obvious state of euphoria when committing these crimes. But, when Alex is captured and forced into "non-violence", he is let out of prison after two years of what he calls a human zoo onto the streets he once destroyed. We cannot feel nothing but empathy for our character as every one in his life rejects and attacks him. The reason we feel this empathy is because the emotion is finally released onto the story, and I felt that the character had reclaimed his humanity by being hurt the same way he once hurt others.
Another reason I believe that we can feel empathy is because of the balance of anger and happiness. When Alex is raping or bashing another person, he feels happy, unlike the very people who seek revenge upon our lead character. They are not happy when they are avenging their lost dignity. Instead, they are mad. Anger has consumed them and caused them to lash out at a defenseless man who has lost it all. Of all of the violent scenes in the film, of all terrifying ideas that come into play, only one scene actually takes the sticks out when I think of A Clockwork Orange. The scene is when Alex is let out of prison and goes home to greet his parents for the first time in two years. Here, he consciously learns that what he had done was wrong and must pay for his sins. As the background violin score begins to play, I could not help but nearly cry as he began to. This scene is arguably the most powerful scene and always I feel touched by the humanity that courses through it. I love A Clockwork Orange just because of this scene and how it can make all the bad in the film forgettable for just one moment of clarity.
The movie does examine the darkness that flows throughout the human mind. Life has two paths; Love or hate. Alex chose hate and got exactly in return what he had thrown onto others. Love is beneficial towards the evil aspect in a way of exchange as Alex slowly learns. How close are we to becoming a planet of evil, as Alex did? How close are you?
Taxi Driver (1976)
The One Movie That Will Never Be Forgotten
Taxi Driver is one of my favorite movies. Robert De Niro is brilliant as the mentally disturbed, yet universally lonely Travis Bickle. Jodie Foster is extraordinary as the 12 year old prostitute Iris, vengeful towards her parents. Martin Scorsese did a ground breaking movie, not for the violence, but for it's powerful impact as a humanist story in a way of speaking. Upon first inspection of this film, I really didn't know what to think about it. I thought it was unnecessarily violent towards the end, and thus thought the murder in the film was ludicrous and pointless. But I watched it again the next day, and discovered something about not only Travis, but New York. New York was a disturbing place back in the 70's according to Bickle. Even though New York is "cleaned" up modern day, the story and characters are not in anyway outdated.
The picture quality of the televisions, the fashions and background of New York City may feel outdated, but they are materialistic things, not the actual core of this story. Loneliness is their just as much as it is today, and the feeling of this film are universal. The film doesn't senselessly indulge into a preposterous plot or negates from its character, and that gives us time to associate with Travis. We all feel like him at one time or another, and our central protagonist is a chilling yet touching person to watch. He thinks about assassinating a Presidential candidate 24/7. He is an avid porn theater attendant so much it drives the only person that may care for him away, and he feels the way we all ultimately feel: Alone.
This film isn't old or ever will be, because things truly never change. Their will always be "Travis Bickles" in the world, because a room is always filled with a hopeless guy in the corner hoping to be noticed and appreciated. Travis's attempt to save Iris is somewhat of a contradiction; since no one will save him, he must save someone who at one time asks to be saved but doesn't fancy the idea afterwards. Even though Travis is around people while driving the cab during the night shift doesn't mean he is appreciated or noticed. He feels like Iris screaming for help, yet no one seems to answer. Travis knows that he has to answer because it is only fair to another person that you would treat them as you would like to be treated.
Robert De Niro became one of my favorite actors after I saw this film, only acknowledging him as a "respected" actor to that point. But I finally realized that I identified with his character and felt whole again knowing I wasn't the only one who felt alone. Being accepted isn't everything or the material things, only the feeling of yourself. Five stars out of five.
Fight Club (1999)
An instant cult classic and one of 1999's best pictures.
"Fight Club" is unlike any other modern day film. It ingeniously shows through violence that emotions are not meant to be hidden or suppressed. The film begins with a car company narrator (Edward Norton) who appears to be reluctant of sharing his name with anyone. Insomnia effects him for several months until his doctor clues him into support meetings of testicular cancer and Tuberculosis. The meetings allow him relief for an amount of time until another false tourist (Helena Bonham Carter)interferes. He once again becomes cursed with sleepless nights.
Our narrator meets Tyler Durden (Brad Pitt) while on a business flight. This leads to a wild downward spiral for the narrator and the things in his life when this soap making sadistic mentor and he begin Fight Club for emotionally scarred and misunderstood men. I think that this movie was very under appreciated and even revoked by others. I think that you have to understand that the film is not just about violence and senseless therapeutic fighting, it is about human nature and how that can get in the way of our impossible ideals.
"Fight Club" points out that no person is no better than another no matter how rich or famous you are or may become. The point of the movie is to be happy with who you are and don't ever allow someone to steal your dignity, pride and self-image no matter how much pressure builds upon the idealistic preaching of a perfect world that will never be perfect. The world will always be imperfect unless you live.
I would recommend this picture to movie buffs and people who like black comedies, because it does have hilarious parts which aren't truly things you normally chuckle over, but you find yourself laughing. The film has a lot of brutal honesty that allows this unprecedented masterpiece to be an unforgettable cinematic experience.
Mission to Mars (2000)
The worst movie ever made
I have never gone into a theater and come out more disappointed. I was expecting an entertaining film with great action and full blown suspense. The only thing I left with was grief for paying admission to a nap. This movie was so unoriginal and cheesy that I almost felt bad for Brian De Palma for making another bad movie, such as the last film (Snake Eyes) wasn't all too hot either. I didn't like this boring film simply because it was worthless and annoying. I think that waiting for video isn't even right, wait for the broadcast premiere on abc or something. Trust me, you'll thank me later.