Get a copy of the original Natica Jackson -- about 60 minutes long. Good to great performances from Michele Pfeifer (post Scarface but pre super stardom), Brian Kerwin (misspelled as Brain on the Dollar Store video but correctly spelled otherwise), Holland Taylor, and Hector Elizondo.
It's fairly faithful to the original short story written by John O'Hara. Which is surprising given the ending which predated Susan Smith by at least 30 years.
Worth watching despite not being able to locate a really good copy. The ones I've seen all seem to be copied from bad VHS tapes.
At this point, I was expecting the adult werewolf parents to spring the surprise of their heritage on their son.
No, decent plot twist, and off our hero goes, collecting clues to his identity.
He matures as he goes along, but you can see his parents values of hard work and defense of women have a strong influence.
I thought the fight scenes were well choreographed; the makeup was quite nicely done; the storyline was believable and made your cheer for our hero and true love.
Good script; good acting; good editing. An enjoyable time to be had.
Other than a sense that this is a video and not a film, it deserves kudos for atmosphere, a build of suspense, a surprise ending, and loads of gore.
I didn't feel as though I was viewing a horror film with a predictable plot or characters.
This film deserves a lot of respect. It is creepy, the actors, although certainly not known, are good actors. I didn't feel as though the lines or the acting was forced. The only character I felt was almost a bit comedic was the bar owner but you see that in a lot of horror films.
Like Night of the Living Dead, the Ring, 6th Sense, this film brings a fresh perspective of horror.
Aside from that, this film stands on its own as good film with a tight script, excellent acting, and enough tension to keep us watching it. Like most reviewers, I stumbled across it accidentally on a movie streaming site.
Richard Thomas was the perfect actor for the lead. His sensitive interpretation of a boy becoming the man of the house through less than typical circumstances should have won awards.
But this movie wasn't as funny of Summer of 42 and wasn't as heart-braking as the Last Picture Show, so it failed to grab the attention it deserved.
It made great use of the river and the boat as it moved around the periphery of Manhattan.
The camera angles and lighting and even the plot were reminiscent of Citizen Kane. An almost anonymous interviewer (off-sides much of the time) asks questions until we have the full picture of the family.
Philip Seymour Hoffman has about 5 minutes in the film and for that reason, this film is now being re-marketed with his name. It was a nicely acted 5 minutes.
The movie belongs to James Spader. He sometimes smirks too much or acts like a smarty pants. Here he realistically plays a new husband and father gradually coming to terms with a bad situation.
The plot is tight; it moves along and the characters are well written and keep our interest.
I was wondering why James Spaders hair seemed painted or fakey or plastic-y. I thought I had forgotten what the hair styles back then looked like. There was a carnival setting that opened the movie and reappeared several more times before showing up at the end. I guess the carnival may be an attempt to show a chorus off to the side making commentary on the plot. It was interesting but seemed slightly off.
As Mule and Badass drag along Larry to prison forever, they stop along the way to make sure he gets some life experiences before being locked up.
Larry matures enough that by the end he can speak up about his unmelted cheese and attempt a getaway.
The dialog is perfect -- the slang, the intonation, and the attitudes have been captures. The acting is effortless.
Here it was lack of knowledge about what natural acting is. The lines were sprightly spoken and emphasized. It so reminded me of watching plays put on by middle school students.
The wife was a modern day June Cleaver. Dressed perfectly and with coordinating dress and sweater to bake cookies. Perfect makeup that changed with the scenes (where was continuity?). High heels.
The daughter had an odd habit of looking off screen before speaking. I guess she was being fed her lines or something.
Maybe this kind of stilted acting would have worked if the plot was interesting.
This series is a perfect storm of writing, acting, and characterizations that kept me returning to watch it more.
Gaby Hoffman, Jeffrey Gambor, Judith Light: all turning in nuanced performances.
On the surface we see a successful author of lightweight mysteries, visiting her fans, and enjoying their adulation.
Unbeknownst to the rest of the world, she has a childhood trauma that has given her some unique coping abilities that she has used to be successful.
When trauma hits once again, she copes because she has a genius ability to compartmentalize everything.
At times, I wondered if this was going to be a rehash of Misery or perhaps another take on The Burning Bed.
The movie successfully mixes the seriousness of a near death with lighthearted satire.
The relationship between the two detectives is tested, mainly because last season ended with them covering up their own guilt in the disappearance of a serial killer.
The writing is top notch; I did not figure out the ending until it was revealed. Those folks with evil intentions sometimes inadvertently produce good results; others with good intentions produce evil.
I guess it isn't any more offensive than "Days of our Lives" or "The Edge of Night." Thin unbelievable plot lines, acting that sometimes is embarrassing. Carol Burnett got it right when she had scenes depicting a typical soap.
I'm not so much surprised that it is a Soap Opera and it is bad. I am surprised at the number of folks who think this show is a cultural event because it's British and imported to Public Television.
This is interesting to see for the look into the fashions, the slang, the morals and the music of that period.
-- Julie Newmar showing a belly button (I Dream of Jeannie wasn't allowed to show that part of the anatomy. -- a gay plot line that used the word "gay" and didn't hide it under euphemisms. -- Single women being the aggressor in sexual pursuit and openly saying they liked sex. -- bell bottoms -- dresses with high necklines and flowing skirts. -- culottes as part of business attire. -- adultery without someone being killed off.
By the time I saw this movie, the teens I knew were 20. The horrors they inflicted did not end at age 14 as it did in the movie. It ended for one of them at age 16 when she experienced a brain injury from a car accident driving while under the influence; the second one's ended at age 21 when she suffered a heart attack-stroke combination, thus leaving her baby to a father who liked to punch. The third shaped up.
I don't know if the author was like this at age 13, but I do know she nailed the reality of life for some 13 year olds. She nailed the helplessness of the parent.
It's a movie worth watching even if you don't have teens of your own.
I've read reviews that state it's reminiscent of "Streetcar Named Desire"; I'd put it much stronger than that. It is a modern day version of the Streetcar story. We spent dinner after seeing the movie naming all the parallels between this movie and the Williams play. (San Francisco is known for its Streetcars; did Woody Allen deliberately seek an actress named Blanche(tte) to play Blanche?).
Cate Blanchette deserves an Oscar nomination for her performance that really pulls off the delicate border between sanity and craziness.
The supporting actors were all wonderful. I can't imagine another actress other than Sally Hawkins for the role of Ginger. Alex Baldwin gave a nuanced performance; Andrew Dice Clay's control made him all the more menacing. Bobby Cannavale in tears was endearing.
The movie withholds a surprise punch, but maybe not so surprising if you keep "Streetcar Named Desire" in mind.
For a film with a lot of dialogue, it moved very quickly. I looked forward to the flashback scenes.
The story was complex on so many levels: the wonderful family relationship of the Mozarts as they travelled around Europe. The strong feminine influences; the strictures of society that allow the older sister's intellect to waste away; the daughters of the king who were locked away in isolation.
The costumes were authentic without being overly lush.
The relationship between the young Wolfgang and his older sister was quite touching.
The growth of the lead actress from barely a teen to a woman accepting her fate was written (all within a year or so) and acted very well.
There was an interesting subplot with the king's daughter that showed the two girls/women accepting the same fate albeit at different levels of society.
Some of the plot elements difficult to understand are uniquely Greenlandic. The tourist woman who dies is a Greenlandic legend about wandering the world and then returning home only to die just before reaching Greenland. The two small totems brought home from the cave have something to do with marriage and are somehow related to strong family ties.
This film is quite evocative, the music is Greenlandic. The use of the music is different from most other film types. It may have something to do with the Greenlander's ability to live with long strong silences.
The film is more impressive once you know that the actors are amateurs. For all of them, this is their first full length film; the lead actor pays his rent by carpentering; the family unit is really related to each other.
The Greenlandic language is interesting. You can hear strains of German, Danish and English. There is a strong guttural sound to some of the consonants.
I agree with one of the other reviewers that the published summary has little to do with the actual film.