• Year: 1983
• Released: 06 Oct 1983
• Country: Hong Kong
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0201060/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/shaolin_intruders
• Metacritics:
• Available in: 720p, 1080p,
• Language: Cantonese, Mandarin
• MPA Rating: Not Rated
• Genre: Action, Drama
• Runtime: 89 min
• Writer: Ke Huang, Yun Ling, Kuang Ni
• Director: Chia Tang
• Cast: Tung-Shing Yee, Jason Piao Pai, Phillip Ko
• Keywords:

	7.1/10
	75% – Critics
	false% – Audience

Shaolin Intruders Storyline

Shaolin Temple becomes suspect when several clan leaders are robbed and killed by the deadly Shaolin Palm technique.

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Shaolin Intruders Movie Reviews

Creative martial arts

SHAOLIN INTRUDERS is another engaging and action-packed Shaw Brothers martial arts epic, once again influenced by the growth of special effects-fuelled blockbusters in Hollywood. Thus we get extra-outlandish fight sequences, with Shaolin monks contorting themselves into all kinds of wacky positions to fight and test our heroes. Chor Yuen veteran Derek Yee handles the hero role well, but his thunder is stolen by a Puckish turn from Jason Pai Paio as his partner in crime and the exemplary supporting cast, including Phillip Ko, Ku Feng, Lee Hoi Sang and Chan Shen. The plot is limited here, but the twists are satisfying and the action excels.

Good Movie

I liked this movie a lot… There’s not much I can say that hasn’t already been covered by Brian Camp. He covered everything, maybe more than you needed to know.

I thought it was great that he mentioned Lau Yuk-Pok (aka Liu Yu-Po, aka Liu Yu-Pu). He’s right, she wasn’t in a lot of films. For those who are searching for a little more info about her, i’ll input the best I know of.

She was born in Taiwan on May 3rd 1963. She joined Shaw Brothers at their invitation in the 80’s and played in “Winner Takes All”, “Rolls, Rolls, I Love You”, “Shaolin Prince”, “Shaolin Intruders”, “The Weird Man”, “Portrait in Crystal”, “Secret Service of the Imperial Court”, “New Tales of the Flying Fox”, “Butcher”, “Thunderclap” and “Qin Yong (aka A Terra-Cotta Warrior)”. She returned to Taiwan in 1985 after finishing “Qin Yong”, and started a career in TV drama. Later she married Chang Chien-Chung, who worked in an advertising agency, and eventually emigrated to the United States.

In 1991, they gave up their careers to become missionaries. In 2001, she became a writer and published two books about herself as a mother and a patient (I would assume “cancer patient” but cant find a definite answer). She died on May 11th 2009. There’s some commentary on the Celestial DVD edition of Shaolin Intruders about her.

Shaolin Intruders

Shaolin Intruders is a fairly decent Kung-Fu film, albeit it may have a bit more humor added to the mix, nonetheless, it is good entertainment.

The fight scenes at the Shaolin Temple are well choreographed and inventive. Two bumbling friends try to find out who is killing renowned house clan leaders, and it takes them to the Shaolin Temple. The only way they can gain access to the Shaolin students to identity their faces, since one of their female friends saw them on a stealing spree, is to get past Shaolin monks, who put up a vigorous defense.

In all, there’s some duplicity and scheming involved. It makes for decent action.

• Year: 2001
• Released: 30 Nov 2001
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0193560/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/texas_rangers
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: PG-13
• Genre: Action, Adventure, Drama
• Runtime: 90 min
• Writer: George Durham, Scott Busby, Martin Copeland
• Director: Steve Miner
• Cast: James Van Der Beek, Rachael Leigh Cook, Ashton Kutcher
• Keywords: tiger, texas, texas ranger, usa–mexico border, racial segregation, 19th century,

	5.2/10
	29/100
	29% – Critics
	false% – Audience

Texas Rangers Storyline

Set after the American Civil War in the 1870s, ‘Texas Rangers’ is a story about a group of men determined to maintain peace and contain the chaos that is erupting on the Texan frontier. Native Americans are attempting to reclaim their land, Mexicans are pouring over the U.S. border, and renegade outlaws are tearing up the state, so the Texas Rangers swear to protect the innocent and their loved. To do so, they must be willing to maintain the peace where law enforcement cannot, fight while they are out-manned and out-armed by the opponent, and be willing to die for the freedom for which they fight.—Anna

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Texas Rangers Movie Reviews

A Fistfull of Rangers

These people obviously love the old “spaghetti westerns”. I was expecting Clint Eastwood to show up at any time. So true to the old genre that it’s almost camp. Even the music is true to the genre that I expected to hear the theme from The Good, The Bad,and the Ugly at any moment… Some of the lighting and background is obviously theatrical, and the editing from scene to scene is clipped in places. I don’t know why people are complaining so much when this was obviously more than a little tongue in cheek, with a tip of the hat to Italian westerns. Hey, who needs a plot when you’ve got the good guys against the bad guys? Viewed in that light, it was well-done. Otherwise, hardly an historical document 😉 If you want to know about Texas, read James Mitchner…

Pretty bad new age Western.

All the elements to makes this a great genre movie are present here, especially in its formulaic but yet promising story premise. Then where did it go wrong? By the characters and cast for starters.

The movie has an impressive cast and most do a more than fine job. It’s ironic that however the actors I were most worried about (Usher Raymond, Ashton Kutcher) did a great job playing their roles and the actors I was most confident about (Dylan McDermott, Tom Skerritt, among others) were miscast in the movie. But disappointing or not, every character in the movie lacked some good development and background. The main character (played by James Van Der Beek) start off promising but as the movie progresses you more and more begin to wonder to yourself what makes the main character so special or even relevant for the story. Dylan McDermott is a good actor and he also for most part is good in his role but he just isn’t convincing enough as an experienced tough dying gunslinger. It makes you wonder why Robert Patrick and McDermott didn’t switched roles in this movie. It would had made the story at least a bit more believable. The main villain is being played by Alfred Molina. Perfect you would think. The character however seriously lacks some development and depth which makes him a pretty shallow and way too uninteresting main villain for the movie. And then there are the actors who are just simply underused in the movie, such as Tom Skerritt. I mean does he even have lines in this movie? Cause I really can’t remember any. So poor casting and character treatment all around for this movie.

They tried very hard to make this movie a cool action movie, also with a bombastic action score from Trevor Rabin. But however the movie is lacking in way too many action sequences to make this a good genre movie. They also desperately tried to make the action moments cool, with quick shots and cuts, that however really don’t add up to each other and instead make the movie an incoherent one when it comes down to its action. The movie as a whole has poor editing all around. It almost seems as if this movie wasn’t even shot entirely and the movie was not put together until in the editing room, when it was too late to do some pick up shots.

Despite it’s promising premise, nothing in the movie really works out the way it was supposed to. It really is too bad because in its core this movie really had potential. But perhaps they should had known better not to touch the Western genre, that has been pretty death by now for the few past decades. This movie now is nothing more than a still somewhat watchable movie for on a rainy afternoon, that perhaps should had gone straight-to-video immediately instead.

Perhaps best watchable for the die hard genre fans only, everyone else can better just skip this one.

4/10

http://bobafett1138.blogspot.com/

The sort of thing that Hollywood used to churn out by the dozen

In 1875, ten years after the end of the Civil War, Texas, especially the area along the Mexican border, is a wild, lawless place where ranchers and homesteaders are frequently threatened by bandits. The State Governor therefore decides to re-create the Texas Rangers, who had been disbanded after the Civil War, to uphold the law. The film follows the exploits of a company of Rangers led by Leander McNelly. The villain of the story is John King Fisher, the leader of a gang of outlaws who specialise in stealing cattle and then fleeing into Mexico, where the stolen cattle are sold to the Mexican army. The gang are ruthless killers, who have no compunction about murdering unarmed civilians in cold blood. It came as no surprise to discover that the film is loosely based on fact and that McNelly and King Fisher were real historical figures; “Leander McNelly” did not sound like the sort of name any scriptwriter would invent for a fictitious character. The film allegedly takes some liberties with the historical record, but these are unlikely to upset anyone other than experts on Texan history.

Although the Texas Rangers are, strictly speaking, a law enforcement agency rather than a military unit, the film bears more resemblance to a war movie than to a cop film. The plot is that old staple of war movies, the one about the tough, experienced commander who takes a group of raw recruits (most of them are young men with little or no experience of guns or policing crime) and turns them into a crack fighting unit. In their initial battle with the bandits, the Rangers fall into a trap, and many of the young and ill-trained men are killed. Nevertheless they regroup, attract new recruits and face off against Fisher and his men in a final showdown.

The film is directed by Steve Miner, previously known to me only as the man who made “Lake Placid”, a dreadful horror-comedy unlikely to appeal to anyone other than those who feel that there is something inherently hilarious about someone getting their head bitten off by a gigantic crocodile. Fortunately, Miner makes no attempt to inject comedy elements into “Texas Rangers”, and it is a better film than “Lake Placid”, although that is not really saying much.

The past few years have seen something of a revival of the Western genre. Many recent Westerns (“Dances with Wolves”, “Unforgiven”, “Wyatt Earp”, “3.10 to Yuma”) have been grand films made on an epic scale, but “Texas Rangers” is a much more modest, small-scale effort, more reminiscent of the old Western B-movies. Its total running time is very short for a twenty-first century film- the version I saw on British television recently only ran to eighty minutes. It is essentially a good-guys-versus-bad-guys Western of the old school with plenty of action and gunplay but without any deep significance. There are occasional attempts to inject a note of moral ambiguity- McNelly can be uncompromising in his methods- but there is little doubt that he and his men wear the metaphorical white hats and the Fisher gang the black ones. This is the sort of thing that Hollywood used to churn out by the dozen in the forties and fifties. 5/10

• Year: 1989
• Released: 26 May 1989
• Country: Italy
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0157981/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/maya
• Metacritics:
• Available in: 720p, 1080p,
• Language: Italian
• MPA Rating: N/A
• Genre: Horror
• Runtime: 100 min
• Writer: Marcello Avallone, Andrea Purgatori, Maurizio Tedesco
• Director: Marcello Avallone
• Cast: Peter Phelps, Mariella Valentini, Cyrus Elias
• Keywords: human sacrifice, curse, demon, maya temple, witch doctor,

	4.8/10
	false% – Audience

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Maya Movie Reviews

Alternates Between Gripping Supernatural Moments and Derivative Horrors

In the 8th century, an evil king attempts to extinguish a Mayan Indian tribe but is unsuccessful. He vows revenge and, being a wizard who can move freely between the world of life and death, slips into the netherworld. According to Mayan legend, the king will return when a man who knows of the bridge between the two worlds is killed at a pyramid-like temple. So says a character at the beginning of MAYA, which for at least ten minutes is entirely gripping, as we watch archaeologist Solomon Slivak (William Berger) play out the role of instigator who goes to the temple and gets murdered so the king may return to Earth.

Upon Berger’s exit, MAYA director Marcello Avallone, and his co-writers Andrea Purgattori and Maurizio Tedesco, seem unable to expand much on the concept of the “night as the fracture between two worlds,” as a pre-credit title card notes. At regular intervals, Avallone drifts away from the supernatural, inserting routine stalk-and-slash gore sequences that smack of artistic compromise.

The “night fracture” theme plays out, though, as Slivak’s daughter (Mariella Valentini) arrives in a poverty-ridden Mexican community, asking a lot of questions and falling for a down-and-out adventurer and gambler (Australian actor Peter Phelps). Soon, both of them are snared in the legend of the returning king, and people around them get murdered in horrible ways.

For example, two punk dudes down from Texas to raise hell run afoul of the evil spirit, which crushes both of them with their own truck. A death by fish hook scene is similarly contrived and ridiculous. The best suspense scene shows Phelps’ girlfriend tossed about a bath tub, an invisible force repeatedly smashing her face against metal pipes.

Phelps confronts an old friend of Slivak’s, who is the only one who can stop the evil spirit from sacrificing a small child atop the temple, during the Celebration of the Dead. The doctor yells some mumbo-jumbo, stuff flies off the walls in POLTERGEIST fashion, and the spirit is supposedly sent back to its netherworld. After the dust has cleared, there is one last cinematic jolt, a throwaway ending sequence set in an airport that is almost as creepy as the opening set-piece.

MAYA never strays very far from playing its horror very straight, with knifings and beatings and other earthly killings. When it investigates the underpinnings of the supernatural, however, it becomes for fleeting moments a really fun movie.

This Italian production was filmed in Isla de Margarita (Venezuela).

Decent but flawed supernatural horror obscurity

Italian horror has never especially depended on coherence. Fulci and others made up for it for it with the horror of their visions, Argento and his like made up for it with the intensity of their art. I don’t fault Maya for lack of coherence, but lack of conviction, it has the right moves for the most part but comes off insipid in the end. It has an interesting mythological basis, the resurgence of an evil Mayan king (the awesomely named Ze Bul Bai) who has conquered death and wants revenge, prompting horror, but while it isn’t lacking in engaging incident it has little anchor. The story sees one Lisa Slivak coming to a Venezuelan town on the death of her father and becoming entwined in the weirdness he was researching, indeed became part of himself, with inexplicable death all around building to a climax of sorts. Director Marcello Avallone is adept in creating a sense of unusual place, a certain heady atmosphere that goes a long way towards carrying the film, he also has a real knack for tension, through filters and lighting the ability to summon menace in quiet images, disturbance in the calm before the storm. He also has a knack for sharp and shocking violence, though the film is never all that gruesome (don’t worry, there is a bit of cool gore such as some fish-hook fun) the nasty bits do tend to pack quite a nifty punch. Where the film falls is its lack of a notable hero or villain. Mariella Valentini is perfectly pleasant as Lisa, but hardly memorable, while Peter Phelps does his best as the male lead Peter, but regrettably is written as sort of a dick. There isn’t anyone else to pin interest on either, other characters are mostly either forgettable or dick-heads that deserve demise. As for villainy you can forget about it, this is supernatural territory but the what behind the grisliness on show never puts in an appearance and is never really concrete. And this isn’t a subtle show either, just one where things don’t really add up. Still, for the most part this is a good watch, only really coming apart in the final block. There’s some cool bloodshed, nudity, a Hong Kong style puke scene and some decent atmosphere, its all pretty entertaining. Worth a look for connoisseurs I think, don’t expect too is the best way to get the best of its charms say I.

Marcello Avallone’s best horror movie (out of the two he has made).

Of the nine films directed by Marcello Avallone, only two were horrors: the first was an unremarkable demonic movie by the name of Specters, which not only suffered from a dull and utterly nonsensical plot, but offered little in the way of genuine scares, and even failed to compensate with that staple of 80s Italian horror, OTT gore. That film was followed two years later by Maya, which was just as incomprehensible, if not more-so (that ending! WTF?), but at least presented viewers with a unique setting, a reasonable amount of atmosphere, and more than enough nasty violence to satisfy the gore-hounds (along with plenty of gratuitous female nudity for thems that like it).

Mariella Valentini plays Lisa Slivak, who travels to Venezuela to identify the body of her father, who has died in mysterious circumstances. As Lisa investigates, with the help of rather unlikeable local lothario Peter (Peter Phelps), numerous people begin to die in unusual and gruesome ways. Quite who or what is behind these bizarre deaths is beyond me—the plot is kinda hard to fathom out—but the killings are both creative and sadistic: a would-be rapist has his leg crushed by a truck before getting his head impaled by a metal pole, a naked Latino hottie gets her face bashed in by unseen forces while in the bath (her nose splitting open as it hits the edge of the tub), and another victim is suspended by fishing hooks in her neck. To add to the nastiness, there’s also a stomach churning scene where a ‘finger-wrestler’ has his fighting digit snapped in two (blood spurting from the messy wound), and a strange ritual that sees a man vomiting up live snakes (similar to those weird Hong Kong black magic movies of the early 80s).

5.5 out of 10, rounded up to 6 for IMDb.

• Year: 1990
• Released: 01 Mar 1991
• Country: Canada
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0101264/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/abraxas_guardian_of_the_universe
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: R
• Genre: Action, Drama, Sci-Fi
• Runtime: 87 min
• Writer: Damian Lee
• Director: Damian Lee
• Cast: Jesse Ventura, Sven-Ole Thorsen, Damian Lee
• Keywords: new york city, police, wormhole, stripper, alien, canuxploitation,

	2.9/10
	21% – Critics
	false% – Audience

Abraxas, Guardian of the Universe Storyline

An alien “policeman” arrives on Earth to apprehend a renegade of his own race who impregnates a woman with a potentially destructive mutant embryo.—N.X.K.

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Cheapjack sci-fi boasts good Ventura performance…

He’s no Laurence Olivier, but Jesse Ventura is very likable as an actor. Low-budget science-fiction B-flick with shades of “The Terminator” involves good cop Ventura chasing bad cop Sven-Ole Thorsen from the future to present-day Canada. The shoestring special effects are pretty much a joke, and the film never comes up with the kind of futuristic scenario depicted on the poster. However, this thing is almost single-handedly saved by handsome Ventura’s low-key performance. No, he’s not going to win any awards for his acting, but he doesn’t force his dialogue and is an appealing presence on the screen. The picture is the epitome of mediocre, it isn’t original nor remarkable, but on a minor, TV-viewing level it’s decent fare. ** from ****

Keep a straight-face.

Anything starring ex-wrestler / former Minnesota governor Jesse Ventura gotta be worth your weight in gold. After appearing as support in such films ‘Predator’, ‘The Running Man and ‘Ricochet’, his first leading role happens to be in something rather lesser; ‘Abraxas, Guardian of the Universe’. It’s a low-rent, corny b-grade sci-fi chase get-up in the form of those efforts done in the late 80s / early 90s (‘The Hidden’, ‘The Peacekeeper’ and ‘Dark Angel’) with certain elements of ‘The Terminator’ (1984) obviously featuring.

Abraxas, an alien officer comes to earth to track down a renegade who plans to impregnate a woman with a child, which would be an actual ticking time bomb waiting to explode if caught in the wrong hands. He captures the renegade, but is too late to stop the pregnancy. Instead of destroying the threat, he spares the mother and baby’s life. Times passes and the renegade escapes and heads back to earth to find the child, but Abraxas is soon on his trail by trying to get to the child first.

It’s best that you just go with the flow. Don’t look too hard into it, as it won’t be impossible to get some sort enjoyment out of it with its unintentional mocking and bizarre nature (like the birth scene). Ventura rocks, but something about his burly physic not matching up to his well-mannered delivery of the material raises some chuckles with his almost-like second-rate Terminator impression. At times the chewy dialogues (honestly it was Shakespeare stuff) seemed too much of a mouth-fall for the two outer-space guests. A robotic Sven-Ole Thorsen forcefully played the evil foe, but Ventura has an sincerely likable air to him that makes him rather appealing in the role. Marjorie Bransfield is decent in her part. Also appearing in very minor support is James Belushi (who has a ridiculous conversation with Bransfield’s character) and the dependable Michael Copeman.

Damien Lee (b-grade actor/writer/director) manages to make the production look better technically than its budget would allow. Sure the minimal special effects and (out of place slow-motion) action set-pieces are low-scale, but modestly crafted. It’s well-photographed and the soundtrack is a flavoured sample of swiftly soothing jazz (odd I know) and electrifying rock. The flabby script is constantly stiff drivel and the screenplay while focused is still quite pedestrian (with a meandering midsection), but whenever Ventura’s narrative voice-over pops up it amuses. The supposed humour on the other hand, (which the script tries for in parts) is dumb and falls flat, because they’re not the moments you’ll laugh at. Talk about a dud of an ending.

Undistinguishable, but better than expected camp that has some heart.

Poorly made Terminator rip off

OK. Nobody in their right mind could have expected much from this movie. But even though I knew Jesse Ventura was the headliner and that the budget was low, I didn’t expect this film to be as bad as it was. The most glaring problem, surprisingly, isn’t the acting. It’s the sound. Ventura enunciates so poorly that it is easy to miss half of his lines (not that it matters in terms of moving the “plot” forward), and the sound itself is reminiscent of 16mm home movies. Expanding on the awfulness of the recording quality is one of the worst background soundtracks I have ever been forced to endure. Improvisational jazz, a U2-clone new wave band, and what sounds like a 12 year old with a Casio keyboard are randomly applied to the scenes in a manner reminiscent of the classically awful soundtrack of Manos: Hands of Fate. http://www.imdb.com/title/tt0060666/usercomments?start=10

Ventura and his arch-enemy (Sven Thorsen playing a cross between Grizzly Adams and Arnold Schwarzeneggar) don’t bother with facial expressions, changes in pitch or intonation, This is probably a good thing, because the rest of the cast is actually passable. James Belushi’s cameo is the highlight of the film. His scene is really quite funny, and placed well in the film, since it is likely to bring some viewers back from the brink of suicide. Damian Lee has a remarkable repertoire of poorly made extremely low budget films, and Abraxas is, amazingly, one of his better efforts.

The “plot” consists of two super-beings, one a rogue and the other a kind of intergalactic super-cop, who have arrived on earth. The rogue immaculately conceives with a human in order to spawn “the com leader” (At least I think that’s what they call it – the sound is so bad that even after hearing this about 50 times in various accents, I still don’t know what was being said). The com leader is a little boy who has the ability, when upset, to light fires and “spontaneously combust”. Remarkably, the writers do not seem to have been aware that this phrase connotes self-immolation, not destructive potential. Abraxas’ job is to stop the rogue, and to kill the ‘com leader’. The Com Leader’s mother is played by Marjorie Bransfield (the class of the acting talent here), and she appeals to Abraxas’ super-humanity in an effort to save her son.

Predictable is too subtle. This film is frankly obvious from beginning to end. I can’t recommend it to any but the most disciplined bad movie watcher.

• Year: 2019
• Released: 07 May 2019
• Country: Ukraine, United States, Netherlands
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt8503162/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_hydra
• Metacritics:
• Available in: 720p, 1080p,
• Language: Ukrainian, Russian, English
• MPA Rating: N/A
• Genre: Documentary, Crime, History
• Runtime: 72 min
• Writer: Ram Devineni, Svitlana Rudiuk, Taras Tkachenko
• Director: Ram Devineni
• Cast: Vladimir Tymoshenko, Dmytro Vovchuk
• Keywords: drug abuse, war on drugs, 1990s, ukraine, security service of ukraine,

4.9/10

The Hydra Storyline

“The Hydra” is a fast-paced suspense thriller and feature documentary about the sudden rise of ecstasy in Europe to epidemic levels after the disintegration of the Soviet Union.

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• Year: 2006
• Released: 29 Jan 2006
• Country: United States
• Adwords: Nominated for 2 Primetime Emmys. 1 win & 3 nominations total
• IMDb: https://www.imdb.com/title/tt0444706/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_water_is_wide
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: TV-PG
• Genre: Drama
• Runtime: 100 min
• Writer: Pat Conroy, Jonathan Estrin
• Director: John Kent Harrison
• Cast: Jeff Hephner, Frank Langella, Julianne Nicholson
• Keywords: gullah,

	7.0/10
	66% – Critics
	false% – Audience

The Water Is Wide Storyline

Jeff Hephner stars as a young Pat Conroy, an idealistic young teacher who, having failed to trade his military academy education for a spot in the 1969 Peace Corps, finds a first teaching position on an isolated Sea Island off Charleston, South Carolina.Yamacraw Island (actually Daufuskie Island, now a wealthy resort location with almost no original inhabitants remaining) is an impoverished, almost all African-American spot on the Atlantic Coast with a two-room schoolhouse housing grades 1-8. The only whites on the island control the store, the library (only opened if someone wants a specific book), the post office, and the ferry to the mainland. The Blacks are subsistence farmers. Now that the local school has been merged into the larger county school district, the superintendent (Frank Langella) is attempting to provide a very unspecified “better education” for the island’s children, although he seems more impressed with Conroy’s school and parental knowledge of the rigidness of the “chain of command.”The young Conroy finds the island school a disaster. His “principal,” Mrs. Brown (Alfre Woodard), uses tough love (beatings and verbal humiliation) to teach her students “manners” but little else. The students in grades 5-8 cannot read or write, do not know which nation they live in, and have no idea of what the ocean which surrounds them is called. They know no mathematics. They do not even have any grasp of their own history.Struggling against Mrs. Brown, Assistant Superintendent Bennington (James Murtaugh), the local whites, and the Superintendent’s chain of command, Conroy brings the students to life, showing them films (which they have never seen), reading them stories, connecting them to maps, and listening to the life stories of the kids. He even manages a field trip off the island, a first for almost every child.In response the children begin to flourish, moving ahead dramatically both academically and personally, and Conroy seems to find a real mission in life.But, 1969 being much like today, the powers that be have no real interest in these poor children receiving an actual education, rather, they much prefer Mrs. Brown’s stability and lessons in compliance. In the end, Conroy is not asked to return to Yamacraw for a second year, and moves on to marriage on the mainland, and other jobs, and eventually, his career as an author.

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Right on target

The Water is Wide is based on Pat Conroy’s book of the same title. It recounts a year he spent teaching African-American children on a remote barrier island off the South Carolina coast in the late 1960s. Mr. Conroy was young, naive, idealistic, and controversial. There are people still living in the South Carolina Lowcountry who regret the outcome of the Civil War and the emancipation of slaves, who will tell you that this work is fictional and unfair to the school superintendent and the black teacher. From my own experience working in Georgia schools during the same period, I know that Conroy’s observations are right on target.

It is interesting to contrast this Hallmark Hall of Fame movie with the earlier Conrack. While Conrack was contemporary reporting, this movie is more historical. Daufauskie Island (called Yamacraw in the book and both films) is fast becoming an exclusive resort community. Several generations of teachers have passed through the school and it has come under public scrutiny.

This film makes a genuine effort to look at the situation of the black teacher trying to satisfy a white administration. Alfre Woodard states that Mrs. Brown is a very unique sort of black woman that existed during that period. She plays the character with more subtlety than Madge Sinclair did. Jeff Hephner does a fine job as the idealist novice teacher in unfamiliar surroundings. He plays Conroy with less anger than Jon Voight did, but is more believable.

Very good story, but narrator annoying. Worth seeing.

Basically, this movie was great. The characters were good, the plot, the message, etc. However, I would seriously advise against using a narrator like that again. Having to hear “and she pursed her lips and smiled” while the character did just that was not adding to the movie. I would see the movie for the really interesting and nice story and try to tune out the narrator. And, a little more about the movie: It is based off a book that I have not read, but after seeing this I may It is about a school teacher who begins to teach at a small school on an island on the East coast, with primarily black children. It is set in the 60s or 70s, and the school isn’t very good. The children don’t really know much about reading and writing, and when he comes they are hard pressed to even name the country they live in. His methods are much different then those being used, and annoy the principal of the not more than 10 children school. It is about Conroy (the teacher) trying to improve the kid’s education and how they look at the world.

Why did they remake it?

This is a remake of the 1974 film “Conrack”, starring John Voight as Pat Conroy. Both films were based on Conroy’s autobiographical novel “The Water Is Wide”. The 1974 film won a special UN award from the British Actors & Film Technicians Association and the screenplay was nominated for an award by the Writers’ Guild of America. The new version, “The Water Is Wide”, shows no improvement over the original.

The story is simple and pleasant. A new, young, white, male teacher gets a job teaching the upper grades in a all-black elementary school on an island off the coast of South Carolina. The principal, who teaches the junior grades, is black. She maintains discipline by beating the children. Pat Conroy does not believe in the effectiveness of corporal punishment; instead, he wins over the class with a combination of openness, honesty, humour and tough love.

If you have not seen Conrack, then I could recommend this film, if you do not mind predictable films. One could probably predict the main developments from what I have already said, so I will say no more.

• Year: 2024
• IMDb: https://www.imdb.com/title/tt31598168/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/curious_caterer_foiled_plans
• Metacritics:
• Available in: 720p, 1080p,
• Language:
• MPA Rating:
• Genre:
• Runtime: min
• Director:
• Cast:
• Keywords:

	7.9/10
	false% – Audience

Curious Caterer: Foiled Plans Storyline

Goldy Berry’s Medieval feast at Hyde Castle gets interrupted by a murder. She teams up with Detective Shultz to solve the mystery before the murderer strikes again.

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Curious Caterer: Foiled Plans Movie Reviews

• Year: 1969
• Released: 30 May 1970
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0067714/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_scavengers
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: R
• Genre: Drama, Western, War
• Runtime: 94 min
• Writer: Bob Cresse
• Director: Lee Frost
• Cast: John Bliss, Maria Lease, Michael Divoka
• Keywords:

	4.8/10
	false% – Audience

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The Scavengers Movie Reviews

Despite its low budget a very interesting film

This is not just another movie about the American Civil War, it’s a special one. True, it’s very low budget and that can sometimes irritate you. But if you cast away that minor irritations, there’s plenty to enjoy. The movie is about the period only months after the Civil War ended. A Southern captain never told his men that the war was over, so they go on with their killing and raping. They go to a place where the Yankees will pass with a gold transport and they wait for a chance to get the gold. They expect 300.000 dollars, but the actual amount is much less, somewhere around 2400 dollars. The captain tortures a soldier and rapes his future wife and her (black) servant till he will tell where the rest of the gold is. (Of course, it isn’t there. They only transported lots of gold during the War and the war is over now.)

The movie came out in the same year as The Wild Bunch and there are a few similarities. Like Peckinpah’s movie there are no real good guys and bad guys. The Southern soldiers don’t know the war is over. When you hear what happened to the captain, you’ll understand his hate for the Yankees and black people. You can’t really say the black servant is protected by her mistress and her soldier. The black people in a nearby town have some part in the story, but their intentions aren’t noble either. Which is true about most wars: it’s difficult to say who are the good guys.

Another similarity between The Scavengers and The Wild Bunch is that the slow motion technique is used in both movies. Though Sam Peckinpah gets most of the credit for this technique, it’s only fair to say that the slow motion scenes are better used in this movie. Especially in one of the rape scenes it’s very effective and quite nauseating.

Which is a nice link to my remark that there’s lot of nudity in the movie, maybe even a bit too much. With a little less naked breasts and a bit more money The Scavengers could have become a classic. Now it’s a very interesting cult movie.

If “The Scavengers” was a “spaghetti western” it would be one of the better ones ….

Despite a very low budget, and some marginal acting, “The Scavengers” intriguing script pushes the film into above average territory. There is a gritty feel throughout, brief nudity, at least a bunch of Negro degradation, several Civil War tunes, and a story you haven’t seen before. Keeping his renegade gang of Southern soldiers as uninformed as possible, Jonathan Bliss leads them on a mission to rob a Union payroll wagon. When the robbery takes place, only a fraction of the expected booty is found. Prisoners are tortured and women raped in a misguided attempt to gain information on the missing money. A slow motion shootout decides the outcome, and a very satisfying ending features real scavengers with beaks and wings. Interesting for sure. – MERK

So Very Close To Amazing

A few months after the Civil War, a megalomaniac Rebel captain pushes his remaining troops to keep up the fight…without telling them the war is over. He plans to hijack a Union wagon with 300K in gold. With the war over and the payroll decreased, however, the haul comes out to 3k. The captain steadfastly believes there must be more gold and pursues a campaign of rape and torture to find out where the rest of it is.

Belief and frustration dominate this movie. In many ways, it makes some truly profound statements about the tension between them. There is no more gold and will never be any more gold. And even though the Union captain explains it all logically and concisely to the Confederate captain, the Confederate captain simply refuses to believe it. It’s an existential stalemate brought vividly to life at the end of movie with the Confederate captain trapped under his horse and left to die.

John Bliss’ performance creeps you out. He carries the entire movie with grace and malice. So much so that it brings out how amateurish the other actors are. Even so, the low budget tends to work in favor of the film, bringing a grittiness that more money would have taken away from it.

Where the low budget didn’t work, though, is in the editing. At several points in the film, most noticeably in the rape of the maid, they copy/paste comments made just seconds earlier. It might be an interesting technique but it’s too clumsy to have not been sloppy.

My other main complaint is the “slave as cannibals” speech given by the captain. My eyes literally rolled into the back of my head. A simple, brutal massacre of his family would have been much more effective.

I really enjoyed this film, despite it’s glaring flaws. I’m not a big proponent of remakes, but I’d love to see this remade.

• Year: 1927
• Released: 09 Sep 1927
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0017739/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_cat_and_the_canary
• Metacritics:
• Available in: 720p, 1080p,
• Language: None, English
• MPA Rating: Passed
• Genre: Comedy, Horror, Mystery
• Runtime: 108 min
• Writer: John Willard, Robert F. Hill, Alfred A. Cohn
• Director: Paul Leni
• Cast: Laura La Plante, Creighton Hale, Forrest Stanley
• Keywords: haunted house, based on play or musical, last will and testament, black and white, old dark house, silent film,

7.1/10

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The Cat and the Canary Movie Reviews

Amazing “Old Dark House” film

“The Cat and the Canary” has been considered a masterpiece, and that the film is still known today is a feat in itself. It is easily my favorite silent film. Paul Leni (the director) has a great deal of prowess on films like these, and it has been admitted by others.

First, the sets are realistic, making this film a believable “journey back in time” (it was made over 70 yrs. ago). I am shocked to hear one reviewer say this film as broadly acted and visually stunted. The sets are marvelous, especially the drawing room (it looks very nice to be part of a “haunted house”). The camera work (ex. the skeleton double-exposure, the subtitles occasionally moving like a ghost) is very enjoyable, too.

About the acting, first get this straight: Much of the acting is quite normal. But in the fright scenes (especially by Laura La Plante), the acting has nothing wrong with it. Much of it is very funny (contrary to common belief). Flora Finch (Aunt Susan) is funny as the gossiper, and Creighton Hale as Paul is cute. Why do most of you find the broad acting painful to watch? If you can’t find silent films enjoyable, all I can tell you is, tough luck. Classic films are as a general rule better than the new ones, but even new films can be very good.

Creepy Mystery and Horror Silent Film

The millionaire Cyrus West has spent the last years of his life in his mansion nearby the Hudson River considered insane by his greedy relatives and feeling like a canary in a cage surrounded by cats. When he dies, he stipulates that his lawyer Roger Crosby (Tully Marshall) would read his will that is kept in a safe in the twentieth anniversary of his death. On the scheduled day, Cyrus West’s loyal servant Mammy Pleasant (Martha Mattox) and the lawyer welcome the guests in the creepy mansion that people tells that is inhabited by ghosts: West’s nephews Harry Blythe (Arthur Edmund Carewe), Charles “Charlie” Wilder (Forrest Stanley), the scared Paul Jones (Creighton Hale), Aunt Susan Sillsby (Flora Finch), Cecily Young (Gertrude Astor) and West’s niece Annabelle West (Laura La Plante). When Roger Crosby opens the will, West’s mansion and fortune are left to the most distant relative having the name West, meaning Annabelle. However, she should prove first that she is sane; otherwise, the inheritance would be bequeathed to another heir whose name is in a sealed envelope. Out of the blue, a guard (George Siegmann) comes to the mansion and tells that a dangerous lunatic has fled from an institution. During the night, Roger Crosby disappears and Annabelle receives an envelope from Mammy Pleasant where West tells the location of his precious diamonds. Annabelle finds the jewels and wears a necklace, but while she is sleeping, a hand comes from the wall and steals the diamonds from her neck. With the exception of Paul Jones that loves Annabelle, her relatives believe that she is insane. But when Annabelle finds a hidden chamber in the wall with the body of Roger Crosby, Mammy Pleasant decides to call the police and the identity of the lunatic is disclosed.

“The Cat and the Canary” is a creepy mystery and horror silent film by the German Expressionist director Paul Leni. The plots blends black humor with elements of horror using the atmosphere of the expressionism with shadows and lighting, and the result is a stylish movie where even the inter-titles are funny. The beauty of Laura La Plante is very impressive. My vote is eight.

Title (Brazil): “O Gato e o Canário” (“The Cat and the Canary”)

Influential Silent Film Is Still Amusing

The 1922 play THE CAT AND THE CANARY was so popular that it made the fortune of author John Willard, who lived to see it filmed no fewer than three times before his death in 1942. Even today the story remains a classic of its kind, inspiring a host of films that mix comedy, mystery, and horror–not to mention still more that focus on suspicious doings in old, dark houses. When questioned by author Gavin Lambert, director James Whale very specifically indicated that the 1927 film version, along with the 1928 THE LAST WARNING, influenced his own work in such films as FRANKENSTEIN and THE OLD DARK HOUSE.

Both THE CAT AND THE CANARY and THE LAST WARNING were created for Universal by director Paul Leni. But while THE LAST WARNING is not presently available to the home market, THE CAT AND THE CANARY most certainly is, and even some eighty years later is possible to see what all the fuss was about. In term of cinematography, CAT is a remarkably imaginative film, using a series of over-lapping images, close-ups, and dissolves to astonishing effect. In a visual sense it is easily one of the most stylish films of the silent era.

The plot is a classic of its kind. Like the original Willard play, the film’s story mixes a host of already-clichéd ideas with several then-new ones. Today, of course, it can be a bit difficult to them apart! But even so it remains a fair amount of fun. An eccentric millionaire has been hounded to death by his greedy relatives–and when he dies he leaves behind a will that imposes a twenty year waiting period between his death and delivery of his estate to his heir. But who will the heir be? The candidates assemble to hear the will at midnight… and no sooner is the heir named than strange doings are afoot.

The characters are archetypes: the nice girl (Laura La Plante), the mild-mannered boy (Creighton Hale), the fashion princess (Gertrude Astor), the battle ax matron (Flora Finch), and so on. Perhaps most memorable is the housekeeper (Martha Mattox), an exceedingly dour woman most ironically named Mammy Pleasant! Add in an exasperated lawyer, a creepy doctor, secret passages, hairy hands with needle-like finger nails, stolen diamonds, and as many dashes of comedy as you can get away with, mix well, and you have the inspiration for a seemingly endless list of classic films.

Although they may seem overly broad by modern standards, the cast plays at the level of what was considered comic-realistic in the late silent era, the production values are first rate, and the plot is quirky enough in a silly sort of way to make the whole thing fun. But it is really the direction and the look of the thing that scores; in its best moments, THE CAT AND THE CANARY is plenty good indeed.

The film is available in several DVD releases. You should avoid the Alpha release; although the picture is passable, the score is so dire that it completely undermines the film. Although it clearly needs further restoration, the Image release is superior and offers your choice of scores, both of which work with the film rather than against it. Recommended for silent fans and those interested in the development of the classic horror film!

Gary F. Taylor, aka GFT, Amazon Reviewer

• Year: 2023
• Released: 16 Mar 2023
• Country: United States
• Adwords: 3 nominations
• IMDb: https://www.imdb.com/title/tt21190556/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/you_can_call_me_bill
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: N/A
• Genre: Documentary
• Runtime: 96 min
• Writer: Alexandre O. Philippe
• Director: Alexandre O. Philippe
• Cast: William Shatner
• Keywords:

	7.3/10
	70/100
	94% – Critics
	false% – Audience

You Can Call Me Bill Storyline

An intimate portrait of William Shatner’s personal journey over nine decades on this Earth, You Can Call Me Bill strips away all the masks he has worn to embody countless characters, and reveals the man behind it all.

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You Can Call Me Bill Movie Reviews

A preemptive eulogy of sorts

William Shatner – he likes to be called Bill – has had an accomplished career. One where he has reinvented himself several times over transforming from Kirk to Hooker to Crane. From author to spokesman to astronaut to …singer (and no, you do not need to imbibe on Romulan ale to enjoy his rocking “Common People” single from 2004). If anyone deserves a curtain call, Bill Shatner gets my vote. The documentary You Can Call Me Bill is a partial answer to such a victory lap. For over 90 minutes, Bill reminisces, waxes poetic, and frets on the future. Sometimes simultaneously. Often in a stream of consciousness. However, if You Can Call Me Bill is designed as a celebration, why does it come across as aimless as your grandfather commiserating about current events over Thanksgiving dinner?

Albeit a grandfather who happens to be Captain Kirk.

You Can Call Me Bill becomes a preemptive eulogy of sorts. For Shatner fans of all sizes, the movie is accessible and entertaining. Yet all of that humor, all of that love of life are only shown in the clips that the world has already enjoyed and celebrated. You Can Call Me Bill instead focuses on the solitary life of a solo man. Sitting in the dark. Waiting for the final curtain to close.

Penetrating View of William Shatner’s Life and Thoughts

I love the original series of Star Trek. It is without question my favorite TV show. I have been to Star Trek conventions and watched the episodes countless times. And yes, not all the episodes are great or even good, but many are truly amazing in both their time and ours. Many very talented people worked on the show, but I think two contributors really set the tone: Gene Roddenberry for his vision, and William Shatner for his commanding presence — he WAS the Captain of the Enterprise.

All this being said, this movie has little to do with Star Trek, and everything to do with an amazing actor who is just entering his 93rd year. Happy birthday Bill! Yes, there are clips from Star Trek and many of his other roles, and yes it’s true that this documentary is not presented in a conventional, linear fashion. But what really springs to life is the thinking and the spirituality of a man who cares deeply for his planet and all the life on it. And what could be truer to Star Trek than that?

Plenty To Satisfy

I saw You Can Call Me Bill, starring William Shatner-Boston Legal_tv, T. J. Hooker_tv.

This is a documentary about the life of William Shatner. It consists of interviews and clips of his appearances in tv shows, movies and even his recent space trip, in his 90’s-he just turned 93. If you are a fan of him and his work, you will find plenty to satisfy you. Clips are shown from Star Trek, T. J. Hooker, Boston Legal, his Twilight Zone episodes, old westerns…..well, just about everything he has been in. It covers his philosophies on life, such as his love of animals-dogs and horses are his favorite-and basically, the whole planet and the eco system. He talks about how he wants to be buried and it’s probably not how you think. The only problem I had was that things are not told in order. He will talk about a show or movie and then jump back to when he was a kid. It’s like that through out the movie.

It’s rated PG-13 for language and drug use and has a running time of 1 hour & 36 minutes.

Like I said, it’s for his fans so if you are one, then it would be a good one to stream.

• Year: 1973
• Released: 29 Dec 1973
• Country: Japan, Iran
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0174699/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/golgo_13
• Metacritics:
• Available in: 720p, 1080p,
• Language: Japanese
• MPA Rating: N/A
• Genre: Action, Crime, Thriller
• Runtime: 104 min
• Writer: Takao Saitô, K. Motomitsu
• Director: Jun’ya Satô
• Cast: Ken Takakura, Mohsen Sohrabi, Jaleh Sam
• Keywords: hong kong, killer,

	6.1/10
	false% – Audience

Golgo 13 Storyline

Golgo 13 is assigned to murder a man named Boss Goa.

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Golgo 13 Movie Reviews

A recently rediscovered gem

Junya Sato’s Golgo 13 is a much more human and melancholy adaptation of the source material, it loses the seemingly superhuman aspects of his anime counterpart. Making gorgeous use of a pre-revolution Iran, a decidedly off-the-wall idea even for the time and one that gives it a unique flavour, sees a perfectly cast Ken Takakura in the title role radiate with an ice-cold countenance matched only by his deadly skills and irresistibility to women. Oozing with menace and masculine suave, Golgo 13 trudges across desert landscapes, a man on a mission, decidedly anti-heroic but brilliantly realised encountering kaleidoscopic villains along the way. Excellently shot and choreographed action, striking editing and a classic slice of Toei-style orchestration for its soundtrack give Junya Sato’s Golgo 13 a decidedly Spaghetti Western tinge. I can’t thank Eureka Entertainment enough for finally giving this movie the attention it so justly deserves.

Looks like an amateur movie.

Ridiculous cheap japanese action movie. The action occurs in Iran, a surrealist Iran since everybody seems to speak japanese fluently, where is the logic ? The main character is not charismatic and hardly talks during the whole movie. Each detail seems ridiculous: the killed people close their eyes when they die, the burned cars are empty while there were full of gangsters during the car chase, etc.

Unfairly obscure Japanese/Iranian action gem

This is an early live-action adaption of a manga comic of the same name. I think the best way to think of it is as a Japanese version of James Bond. Except in this case the lead character is a hired professional killer (in fairness Bond was really more this than an actual spy) and, as could probably be expected given its Japanese origins, it’s decidedly more violent. In actual fact, despite a few moments of memorable humour, this is hardly campy fare and is more an example of straight-ahead gritty 70’s action. The lead character Golgo 13 is played brilliantly by Ken Takakura, who looks like a genuine bad ass throughout the picture. This is clearly a character that deserves to be better known. As does the film itself. It remains extremely obscure. Having seen it I find this a strange scenario as this is not a ropey z-grade film or avant-garde oddity but a pretty well made b-movie with lots of action and memorable scenes. Aside from its strengths as a solid action flick, one of its main interest factors nowadays is that fact that it is set in pre-Revolution Iran. Set in and around Tehran the action roves around the streets of the city, the ancient ruins and holy temples. There is even a nightclub with an erotic dancer. It’s a time-capsule scenario where we see a far more liberal culture very different to the one we know today. It makes a really great backdrop for the events in the film – simply something we are not accustomed to seeing any more.

The story has Golgo 13 hired to take out a villain called Goa who has been killing secret agents as well as conducting a terror campaign in which many women have been abducted from the streets. Nothing much is known about Goa but it eventually becomes clear that he has a pet parrot, which results in a genuinely hilarious ending – you really have to see it to believe it. This is a film that it almost goes without saying deserves to be seen by a far wider audience. It remains so far off the radar that it barely even qualifies as a cult item! I say seek it out, it holds up very well compared to the best of the western urban action movies of its day. It’s tough, cool, strange and unique – it is well worth your time checking this one out.

• Year: 1918
• Released: 21 Jan 1918
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0009652/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/stella_maris
• Metacritics:
• Available in: 720p, 1080p,
• Language: None
• MPA Rating: Unrated
• Genre: Drama
• Runtime: 84 min
• Writer: William J. Locke, Frances Marion
• Director: Marshall Neilan
• Cast: Mary Pickford, Ida Waterman, Herbert Standing
• Keywords: love triangle, orphan, silent film, disabled, disability, physical disability,

	6.9/10
	78% – Critics
	false% – Audience

Stella Maris Storyline

Stella Maris is a beautiful, crippled girl, who is cared for by a rich family. They shield her from the harsh realities of the world, so that she has no idea of the cruel things that some people do. Unity Blake is a poor orphan all too familiar with the harsh realities of the real world. These two young women both fall in love with John, love which is complicated by the fact that he is still married to (though separated from) a bad wife.—John Oswalt

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Stella Maris Movie Reviews

“Happiness is within ourselves” – although films like this help!

This is a lovely little film, another Mary Pickford film that has been long available to cherish as an artifact from a long forgotten era beautifully preserved by the Mary Pickford Institute. Most silent fans would perhaps think of Pollyanna, Rebecca or Sparrows as being her best work but I would put this one in there too, not only for her acting but also the production.

She plays Stella Maris – a cripple who has been completely and tenderly shielded from The World by her Uncle and Aunt, so has a few shocks when she’s finally able to walk and process information for herself. She convincingly plays Stella Maris complete with pretty curls glistening in soft focus and dripping elegance. She also convincingly plays orphan girl Unity Blake adopted by the man she loves, the more elderly looking and well-chiselled John Risco (Conway Tearle). The problem was of course that rich Risco had previously married a “commoner” with a drink problem – like many in the original cinema audiences perhaps – one of the peripheral familiar messages here being that when the working class is teetotal they’re likely to be as faithful as dogs to their masters and mistresses. Even to the death. For the plain girl Unity she plastered her hair with Vaseline and walked lopsided as though she had had to carry children for years – so well that her mother visiting the film set was worried that she was turning into Unity, and also had to tell a worried Adolph Zukor that the character died early in the picture. In fact, these are 2 of Mary’s finest performances ever, and in the one film. There’s some nice languid photography, sometimes pretty inventive with great tinting throughout, overall engrossing stuff for 1917, and augmented in the Milestone Films release with a fantastic orchestral music score by Phillip Carli.

The 84 minutes are well plotted (even with a couple of large implausibilities, the largest being just how fast and hard the Law dealt with Mrs Risco for her violence) never drag and are additionally clean and decent – would that it could still be the same for these speedier earthier techno times! If you really like silent melodrama you must see this fine romance.

Engaging, if sentimental, Mary Pickford showcase

The early silent film “Stella Maris” provides a double dose of Mary Pickford for her fans as she plays both the title role of Stella Maris and that of another young girl, Unity. Ms. Pickford skillfully differentiates the two characters and is convincing as both young women. Stella Maris is a rich, bedridden young woman who has been shielded from the reality of life by her parents, and Mary Pickford plays her as the quintessential Pickford heroine in lacy frills, long curls, and winsome glances. However, Mary loses herself in the part of Unity, who is an orphan that has been buffeted by events and hardened by life. In this second role, Pickford appears without makeup, with her hair straight and tightly pulled back, and dressed in plain cotton dresses, and she excels in creating a character that is entirely different from her usual screen image. In fact, if the viewer were not told in the inter-titles who was playing the role, she would be nearly unrecognizable. The film cuts between the lives of the two girls until they intersect, and the few shots that show Mary playing a scene with herself are quite effective when the age of the film is considered. Production values throughout are at a high standard for the time as befitting a Mary Pickford vehicle, and the acting for the most part is more naturalistic than many silents of that era, although at least one actress does emote in the grand style. Conway Tearle, however, appears too old and stodgy for modern tastes to be a convincing object of young women’s affections, although 90 years ago he may have been a matinée idol since tastes do change over time. “Stella Maris” is a sentimental tale and seems targeted at a young female audience in a simpler, more naive period. However, film history buffs will enjoy what is an excellent Mary Pickford showcase and a fine example of first-class film-making from the post World War I era.

Nice melodrama with stunning performance by Pickford

Mary Pickford, that gamine of silent movie cinema is showcased in what might have been her best performance. Being nary a fan of her performance, I think this high praise indeed. I believe if there were the Academy Awards in those early days of cinema, she clearly would have worn it. She did win one in 1929 for Coquette which is just terrible, at least from a modern perspective- static camera movements and broadway like staging undermine any goodwill. Like much of today’s actresses who win Oscars eg Charlize Theron and Nicole Kidman, the make up artist deserves high praise. The dsiparity between Unity and Stella is so convincing that when using technology of the time, they are placed in the same shot together, it is startling to wonder how it was acheived. The story is a classic melodrama about a man with a slightly crazy,evil and alcoholic wife who is bewedded to. There is Stella, a cripple whom the horrors of the world is shielded from and there is Unity, an orphan who has experienced the worst of the world and is almost bitten to death by the crazy wife, sending her to jail and making her husband in a case of pity and symphathy, Unity’s guardian. Stella learns to walk after an operation and lives her sheltered enclosure to experience the hubris of life, learning about poverty, murders and other human evils. This shatters her. She and Unity are both in love with the kindly and gentle man. Lest to say for love to survive and conquer all, certain sacrifices are made. This is obviously a first rate production with grand art direction and gorgeous cinematography setting the mood but there are aspects that derail the movie including the inefficient rationalization of Stella’s awakening. It is handled rather patly and not psycologically probing. I also found the the man character rather bland and boring as effused. The director’s symbolism is rather thick especially the use of the cat and a dog to express the disharmony in the world. All in all, a dynamic performance by Pickford as Unity and a fairly rousing Victorian denouemwnt and resolution make it a see. It might help if you knew it was a huge box office smash surprising studio bosses.

• Year: 2005
• Released: 03 Nov 2005
• Country: India
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0451787/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/kyon_ki
• Metacritics:
• Available in: 720p, 1080p,
• Language: Hindi
• MPA Rating: Not Rated
• Genre: Drama, Romance
• Runtime: 160 min
• Writer: Sanjay Chhel
• Director: Priyadarshan
• Cast: Salman Khan, Kareena Kapoor, Rimi Sen
• Keywords: remake, mental institution, doctor, accidental death, mental patient, mental illness,

	5.5/10
	57% – Critics
	false% – Audience

Kyon Ki… Storyline

Dr Khurana a strict dean of a mental hospital runs it along with with his trusted aide Dr Sunil and his daughter Dr Tanvi.One day the hospital receives a patient an Sunil is shocked to see he is none other than Anand,Whose the son of his mentor who helped him get educated and Anand refers him as elder brother.But currently he has forgotten everything.Anand creates lot of mischief in hospital which irks Tanvi.Tanvi then goes to his case file which mentions that he became unstable after the death of his girlfriend Maya.But he is accused for killing her which was an accidental death.Tanvi and Sunil treat Anand and help him get back to normal during the time they fall in love.But Khurana wont permit their relationship.—alex.mjacko@gmail.com

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Kyon Ki… Movie Reviews

Could have been better

First the good points-good acting from Salman Khan,good picturesque cinematography,nice songs …totally unexpected ending. Now the bad…the screenplay doesn’t grab,on screen chemistry between the lead pairs is not very convincing.

The pacing of the film could have been better and as it is a serious kind of subject …it doesn’t give much hope for future serious Priyadarshan films a la Viraasat.Especially considering the Box office success of all his comedies.

The film is worth a look if you are looking for a non stereotypical role from lover boy Salman.

For: Kareena & Romania; Against: Melodrama & Poor chemistry

Plot Outline: Anand (Salman) is admitted to an asylum where Dr. Tanvi (Kareena), her father (Om Puri) & Dr. Sunil (Jackie Shroff) are psychiatrists. Tanvi learns of Anand’s tragic past of his lover Maya’s (Rimi Sen) death and the murder charge on him. Whilst helping his recovery, the two fall in love against the wishes of her father. The Official Website calls it “A passionate love story, twisted by fate at its imaginative best”.

Comment: The story traces its lineage to Hollywood’s ‘One Flew Over the Cuckoo’s Nest’ which Priyadarshan has portrayed in ‘Thalavattam’ (Malayalam) and ‘Kyon Ki’. Although some called it a comedy, I would call it a tragedy. Jokes involving the mentally challenged are history. The melodramatic climax actually leaves the viewer nauseating. Character development is poor with lead pair’s love and chemistry hardly noticeable.

Salman is bearable and Kareena though plump looks adorable in sarees. Om Purie, Jackie Shroff and Rimi are passable. Sunil Shetty’s cameo was avoidable. Of the songs, ‘Kyon ki itna pyar’ and ‘Dil Keh Raha Hai’ are worthy. Priyadarshan could rather stick to comedies like Hungama or Garam Masala for better BO success.

Rating: 4/10

Kyunki it doesn’t involve the viewer totally

So, this one from Mr. Priyadarshan is not going to make you laugh. The film shot well in the verdurous landscape of The Nilgiris, revolves around a sanatorium run by a gruff ex-army doctor Khurana (Om Puri), who along with his daughter Tanvi (Kareena Kapoor)manage the place. Anand (Salman Khan)is the new patient that has been admitted in this sanatorium. He is in this condition because of the shock when he realized that he had accidentally caused his fiancée’s death by the way of a prank. It also turns that a doctor in the sanatorium, Sunil (Jackie Shroff) is an old acquaintance of this new patient. The movie revolves around how Anand, with the efforts of docs Tanvi and Sunil is brought back to his state of normalcy or sanity. But, there is a slight twist towards the end which somehow ands up salvaging the otherwise humdrum script.

The movie moves pretty sluggishly in the first half. The sequences where Anand is brought to the sanatorium and his subsequent mischiefs, the association with the other inmates, could have been tightly edited and packed, but unfortunately, they aren’t. Similarly, Anand’s track with his love Maya (Rimi Sen) isn’t developed strongly so as to involve the average viewer totally. It is only when the viewer begins to feel that the movie is going to come to a predictable end that there is some redemption of sorts by the film maker.

Salman Khan’s performance is unexceptional. There isn’t a major difference in his performance when he is playing an ‘insane’ person and when he is ‘normal’. Kareena Kapoor is good in her role. Om Puri plays the brusque dad cum sanatorium boss very well. Jackie Shroff is very good in his part. Even after all these years he proves that he can deliver the goods with ease. Rimi Sen is only in a brief role but she looked good in it. Sunil Shetty is in a minuscule role. The others like Atul Parchure, Arun Bakshi, Asrani, Manoj Joshi, Nagesh Bhosle, Javed Khan have supported the main cast well.

• Year: 2023
• Released: 01 Nov 2023
• Country: France, Switzerland
• Adwords: 4 wins & 1 nomination
• IMDb: https://www.imdb.com/title/tt26699529/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/marguerites_theorem
• Metacritics:
• Available in: 720p, 1080p,
• Language: English, French
• MPA Rating: N/A
• Genre: Drama
• Runtime: 112 min
• Writer: Anna Novion, Mathieu Robin, Marie-Stéphane Imbert
• Director: Anna Novion
• Cast: Ella Rumpf, Jean-Pierre Darroussin, Clotilde Courau
• Keywords: mathematics, female protagonist, teacher student relationship, phd thesis,

	6.9/10
	false% – Audience

Marguerite’s Theorem Storyline

A brilliant mathematics student at France’s top university the Ecole Normale Supérieure. On the day of her thesis presentation, a mistake shakes up all the certainty in her planned-out life, she decides to quit everything and start afresh.

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Marguerite’s Theorem Movie Reviews

• Year: 2024
• IMDb: https://www.imdb.com/title/tt32063728/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/sayen_la_cazadora
• Metacritics:
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5.2/10

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