ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Leofwine_draca The 1970s is a decade chock-full of interesting and long-forgotten American and Canadian movies, many of them made for television, some not. THE LITTLE GIRL WHO LIVES DOWN THE LANE is such a film, an astonishing tour-de-force for a youthful Jodie Foster, cementing her shocking role in TAXI DRIVER. She plays a weird and friendless 13-year-old who lives alone in a house; there's some mystery surrounding the fate of her parents which comes to light as the story goes on. This is set in a single room for the most part and feels like it was adapted from a play, although it's actually taken from a novel. It's a psychological thriller which remains thoroughly interesting thanks to strong writing and interesting, unique characters. Martin Sheen plays a completely sleazy character and there are a few shocking moments here and there, but for the most part this is slow-paced and almost surreal at times. It's certainly a film that leaves an impression and is ripe for re-discovery by modern viewers.

adamshl Jodie Foster, at age fourteen, gives a remarkably compelling performance in this cult oddity. It is Foster who keeps us riveted to the screen, as she is surrounded by a fine array of ensemble players, including Martin Sheen and the incomparable Alexis Smith.The first part seems more creditable than the latter as characters are introduced and the story line unfolds in a spooky manner. There are a few loose ends in the script's second half that are effectively covered up, and the quickie production is good-looking throughout.In reading Foster's biography, I was amazed she began acting at age three and chalked off nearly fifty film and TV appearances before attending college. In addition to her acting credits she directed the unusual Little Man Tate, one of my favorites.Little Girl Who Lives Down the Lame is an effectively off-beat yarn that holds our interest throughout--particularly at October Goblin Time.

TheBlueHairedLawyer 13-year-old Rynn Jacobs is a girl very smart for her age, but lives totally alone, aside from her beloved hamster, in a little house in a small Ontario/Quebec town. She has to endure the harassment of the landlady and her pedophile son living nearby. Her only means of avoiding the foster care system, cops and school is to kill. The soundtrack was my favorite part of the movie, it just somehow fit, creepy when it was supposed to be and at times almost whimsical, even romantic. Rynn meets Mario, a high school part-time children's entertainer (Mario the Magician). He can't be in sports like his brothers because of a condition with his leg that makes him walk with a limp. When he finds out about Rynn's murders he still remains best friends with her, even her lover, 'till the end. I actually read the book before viewing the film, the film follows the plot very closely. The Canadian small-town atmosphere was a great choice for the film, with the dark and dreary clouds and rain and charming houses. Martian Sheen pulled off the very convincing and disturbing role of Frank Hallet, the adult son of the landlady who is secretly a child molester. Rynn Jacobs' part and Mario's part were both done extremely well, and the cop, too. It's an excellent film, if you ever get to see it you'll love it.

stormwings The first 'JodieFosterFilm' and the last I saw, and it was no surprise to hear that voice, so very different as heard in "Taxi Driver", so near to Erica Bain or Meredith Black.The person - the vehicle or the source of the human dignity? Or both? Or none of this? Two young humans playing with this fundamental issue, well guided by a modest director or producer. This girl always slips out of her person and even when she is forced to get back into it she shows that this is not the way to live a human life. A whole movie to see what was signified in Taxi Driver, when she sprinkled white sugar on her jelly toast.Tallulah, Iris, Rynn - played in one year or a little more. Oh yes, it's a difference if you're watching or if you're playing. And it's a difference if you're only playing or if you're able to become more and more aware about your feelings and thoughts as yourself and as in the role you're playing at he same time.It seems to me that the whole crew leaves the room for the two young actors, who get into it and use it very careful. Like they did a hundred times before...