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Jean-Luc Garbo wrote:The analysis of sex and free will in Cabin In The Woods is quite entertaining. I can only imagine what they'd make of Damsels In Distress.

this game is so good so funny gory too with alot of swearing and skimpy outfit i love it she next larry croft only she teenage cheerleader.........................................................

RobertAltman wrote:Leisure Suit Larry Croft?

The movie makes a brief appearance in the 1984 war film Red Dawn. When the protagonists return to their hometown occupied by the Soviet army, they walk by the "Serf" town cinema. The theater marquis says "All Saturday Come, Alexander Nevsky, Admission Free."

The horror of Rebecca slides imperceptibly from beneath the comic weirdness. Maxim de Winter bullies, manipulates and insults Fontaine's character, but she's too naive to notice. In a scene of pseudo-revelation which Olivier cannily acts with overt staginess, de Winter declaims his ex as a lying, cheating, malicious flibbertigibbet who taunted him that she was pregnant with another man's baby. He mumbles insincerely: "I suppose I went mad for a moment – I suppose I must have struck her." She tripped, hit her head and died. A doctor then claims Rebecca was dying of cancer and unable to have children. So … it was OK to kill her accidentally because she was going to die anyway? In the novel it's even more nasty. Hitchcock shoots this sordid tale with light, slick cynicism.

As de Winter's cronies collude to absolve him, a beautiful fire ravages Manderley, representing Rebecca's rage at being so slandered. The house's charred remains are the perfect image of a great woman destroyed by smears, stories and sabotage.

A discerning critic wrote:Boring as Hell. And Shut Up about "required" Film Classics. I've seen more Classics then you'll know. I went to Film School. YAWN. (By the way, nice "pants" about 22 minutes in.)

The music has power and fullness, elegantly supporting additional audio elements. Soundtrack selections also carry good instrumentation and respectful placement. Dialogue is handed a solid frontal position, with richly emotional tones and confrontational sharpness, also processing Stone's use of chaos well, with clusters of voices carrying subtle reactions and lines. Verbal shrillness isn't felt. Surrounds are useful, capturing the community feel with verbal expanse and a nice handle on echo.

MichaelB wrote:You left out the link.

A man stayed-put wrote:The review of the Born on the Fourth of July Blu on Bluray.com is my new favorite thing. The audio section in particular is gold/has to be a pisstake.

The music has power and fullness, elegantly supporting additional audio elements. Soundtrack selections also carry good instrumentation and respectful placement. Dialogue is handed a solid frontal position, with richly emotional tones and confrontational sharpness, also processing Stone's use of chaos well, with clusters of voices carrying subtle reactions and lines. Verbal shrillness isn't felt. Surrounds are useful, capturing the community feel with verbal expanse and a nice handle on echo.

colinr0380 wrote:I simply have to put Bidisha's headslapping, point missing take on Rebecca into this thread. Presumably she is trying to make a case that the first Mrs de Winter is some sort of proto-feminist icon?

The horror of Rebecca slides imperceptibly from beneath the comic weirdness. Maxim de Winter bullies, manipulates and insults Fontaine's character, but she's too naive to notice. In a scene of pseudo-revelation which Olivier cannily acts with overt staginess, de Winter declaims his ex as a lying, cheating, malicious flibbertigibbet who taunted him that she was pregnant with another man's baby. He mumbles insincerely: "I suppose I went mad for a moment – I suppose I must have struck her." She tripped, hit her head and died. A doctor then claims Rebecca was dying of cancer and unable to have children. So … it was OK to kill her accidentally because she was going to die anyway? In the novel it's even more nasty. Hitchcock shoots this sordid tale with light, slick cynicism.

As de Winter's cronies collude to absolve him, a beautiful fire ravages Manderley, representing Rebecca's rage at being so slandered. The house's charred remains are the perfect image of a great woman destroyed by smears, stories and sabotage.

Gary Tooze wrote:We have been telling stories with pictures since the dawn of man and a natural elevation to the fantastical seems only... appropriate. Film is just another graphic extension. Like many 'superhero'-based creations 'Mystery Men' goes to extreme lengths to parody the very genre it evolves from. This process, kind of, breaks down the third wall acceptable to many who refuse to suspend their disbelief.

This movie is HORRIBLE!!! Definitely Spielberg's worst! The story is so stupid. The fact is that shark's rarely eat humans. Overall I would've given it a zero but considering it was made in '75 I give it a one. I wish it could've more like Deep Blue Sea which actually had a plot and a reason for the shark's violent behavior.