Exoticalot People are voting emotionally.

MusicChat It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Caryl It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

Joe Rewind the tape and slap it on. This is pure nostalgia-fest for those of us of a generation. I'm sure if IMDb was around back then, we'd all have been writing up reviews slamming their films and chutzpah at throwing at us much of the dross they did.Yet, many of us actually loved a lot of their old fare. The action movies at a certain age were superb fun and ridiculously good. They might have been low budget put together with the script last in line, but they still were entertaining. It kind of was the last true B-Movie era.In the UK, video was king for a number of years, and nobody exploited that market better than Cannon. I lapped up many of their films. It's wonderful to see in this documentary all the old names and how lovingly they look back, in humour as much as all else. Its terrific.Okay, the films were practically all garbage, and I've probably grown up to be too much of a film snob now to sit back and enjoy going through their movies again. However, I will be revisiting some of their old fare in one way or another, and this film reminded me of what a wonderfully silly time the video days in their heyday truly were.Thanks Cannon, from a guy who owes you a great deal.

calvinnme ...Answer: The Cannon Group! Started in Israel by Manahem Golan and his cousin, Yoram Globus, in the 1970s, with Golan being the more flamboyant creative force and Globus being more of the practical money man, they churned out schlock movies for about 14 years, about ten of those being in the United States for a global market. They were all about rushed scripts including Manahem making up scripts as he filmed, getting one or maybe two big names that maybe had seen better days to draw in audiences, lots of violence, bad special effects, and lots of sex and nudity. I always wondered where those trashy movies that Showtime would show late at night thirty years ago came from, and this documentary answered that question for me. The documentary moves at a rapid pace, with some of the stars that were in the films that have a good sense of humor about the whole thing such as Catherine Mary Stewart (The Apple) and Diane Franklin (The Last American Virgin) telling their stories.Actually the documentary is a bit of a morality tale about the excesses of the 80's which pretty much overlays the time that the Cannon Group was based in the United States. Cannon Group was doing okay, even if they were making bad movies, until Michael Milken came along (remember, the guy who went to jail for what looks quaint compared to what the banksters did to tank the entire American economy 20 years later?) and managed to raise 300 million dollars for them. Accustomed to making films for just a few million dollars, sometimes less than a million, Cannon Group suddenly went on a spend and expand fest that ultimately brought them to bankruptcy. In the end they were filming and owned theater chains all over the world, and the colossal size of their failures brought them down almost exactly as the 90s began, after the cousins fought and split up and made competing films about the same dance - The Lambada - that opened the same day at the same theater in Los Angeles in 1990. Both films flopped.Just the shear number of stories is astounding - how the cousins heading Cannon Group wound up making the Alan Quartermain movies with an actress they didn't even want because they confused Sharon Stone with "Romancing the Stone" - they actually wanted Kathleen Turner, how MGM, desperate for some product actually distributed Cannon's films for two years and, in the end, would rather sell out to Ted Turner than keep putting out such tripe, Bo Derek on the hilarious dialogue of "Bolero", and a pretty good director, Franco Zeffirelli, saying that he didn't know how to top himself after he made "Otello" for Cannon and how Manahem Golan was the only producer he'd ever met who truly understood the entire process of filmmaking and had absolutely nothing but praise for Cannon Group!There have been many small film companies come and go, many from the Depression era in which everybody involved is dead, and their stories are probably are not nearly as interesting as this one. Watch this for the weirdness of it all and - if you are old enough - the nostalgia. One thing you can say about Cannon and the cousins that headed it - they had a willingness to take a risk that is entirely missing from filmmakers and especially their backers today. In fact, if character Max Bialystock from Mel Brooks' "The Producers" had been involved in film rather than the theater, and had been on the level and not an embezzler, he would have BEEN the colorful Manahem Golan, in my humble opinion. Highly recommended if you are interested in more recent film history.

kamikaze-4 For the life of me, I can't name at least a dozen Cannon films (Golan/Globus years) I ever liked. I don't think I can even name at least six. Oh well, here is my list of Cannon Films I ever liked. In no particular order, Barfly, Runaway Train, 10 to Midnight, and yes, even Masters of the Universe. Okay, that's four. Hopefully by the end of this review I might come up with a total of five titles. I waited for Electric Boogaloo: The Untold Story of Cannon films with baited breath. I especially liked the fact the makers of Not Quite Hollywood, and Machete Maidens Unleashed were responsible for this documentary. I loved those two documentaries. I finally got my copy of Electric Boogaloo: The Untold Story of Cannon Films in the mail. I sat and watched the title, and was I impressed? Did I have fun remembering the long gone days of the eighties? Uh, No! There wasn't anything interesting about the documentary that was worth putting on film. I already knew about the excesses of the megalomaniacs Menacham Golan and Yoram Globus, and how they would (un)intentionally destroy a film. To watch a group of actors, writers, and directors trash the Cannon Films may have seemed like entertainment, but it became boring after awhile, My favorite was Martine Beswicke trying to convince anybody she didn't know what she was signing onto when she made Happy Hooker Goes Hollywood. I nearly busted a gut laughing when the Cannon cousins thought Michael Dudikoff had screen presence. A stick of wood has more screen presence than Mr. Dudikoff. What I remembered most of the Cannon films is, during the eighties, they would release two-three sometimes five movies a the same time, and almost everyone of them bombed. You would have thought after a few megaton bombs, they would have learned. If anything, this documentary might be considered a cautionary tale for new film distributors that quantity does not mean quality. Oh wait a minute! I came up with a fifth title from the Cannon Library I liked- The Texas Chainsaw Massacre 2. There! Now I got five titles.

davideo-2 STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning Israeli friends Menahem Golan and Yoren Globus came to America with a passion to make movies, drawing their motivation from cherished childhood memories of trips to the theatres and seeing the great American films on show. The only trouble was, they'd had no formal training in the art of filmmaking, and as such had no idea what they were doing. The result was a succession of ultra low budget, 'cheesy' (as they say!) shlockfests during the 1980s that made names out of stars such as Michael Winner, Chuck Norris, Michael Dudikoff, Dolph Lundgren and Jean Claude Van Damme. But their overkill and reckless desire to make more and more films, without even writing scripts or getting the funds necessary to make them, saw their film studio, Cannon, take a massive crash into extinction at the end of the decade.I must be one of the curious cult that found an interest in the Cannon franchise growing up, and appreciated the cultural impact they left on the 80s, in their own, distinctive little way. It seems they made quite an array of different pictures, only a few of which I was really interested in, mainly the action films of Norris, of whom they made quite a big star, but that's not to say films such as Death Wish 2 and King Solomon's Mines escaped my notice with their awfulness. There was a knack for making terribly lit films with would be massive special effects that highlighted the ultra low budget, which even more so many years on, gives them even more of an unintentional comedy feel.The film presents a quick fire succession of talking heads, recounting their involvement with the company, without providing much in the way of any background researched information and allowing the story to develop any true sense of a solid base. That's not to say the talking heads don't give us enough of an account of these two bull headed men coming from their homeland to dominate Hollywood, just not in the most effective way. Depth may not cross the mind of some aficianados such as myself, happy to lull back and relive the nostalgia these wonderfully awful films invoke, and as such you may still have a good time.It certainly is a nice trip down memory lane, and highlights just how seriously cheap and cheerful some of your favourites were. ***