Matcollis This Movie Can Only Be Described With One Word.

Solidrariol Am I Missing Something?

Ella-May O'Brien Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

hasosch "Brainwaves" is an excellent horror movie. Its story, dramaturgy, cinematography and acting - and thus the main branches of the requirements of film theory - are not only satisfactorily, but very well fulfilled. However, Ulli Lommel - to whom we owe, amongst many other movies, also the brilliant "Tenderness of the Wolves" (1973) with the unforgettable Kurti Raab in the main role - is unfortunately subject to what I call the "Ed Wood Effect". This effect contains in blindly giving very low votes to a film director who once had the misfortune to become known as a B-picture maker.In Ulli Lommel's special case this Ed-Wood-Effect is the more astonishing as the B-pictures that he produced after "Bogeyman" (1979) are not worse than this movie which was a success around the world, although or because it was filmed in the style for which nowadays people like to criticize Lommel, i.e. the use of video cameras and the "journalistic" cinematography which imitates the eye movement of a visitor who would be by chance witness of the crime that is filmed. If Rosa Von Praunheim takes a video camera and walks around on the streets or in bars filming just what he sees, the voting of these products are in the average higher - probably because Von Praunheim's topic is the gay-scene, and who would dare making respect-less comments against such a controversial topics without risking to get criticized not for his real critique but for his alleged attitude against a minority? As one can see, the Ed Wood effect implies that one measures with different measuring systems. To cite only one example: The "Underworld" movies are as silly as Lommel's younger horror flicks - and not a iota better, although they are produced with a guessed amount of ten times as much money as Lommel's productions. Perhaps one would achieve a juster judgment, if Ulli Lommel would release his older German movies - especially the wonderful "Adolf and Marlene" with Kurt Raab, Margit Cartensen, Rainer Werner Fassbinder and others - on DVD. But it also could be that even these movies would fall immediately under the spell of the Ed Wood Effect.

CPF And a self-admitted one to boot. At one point the doctor's assistant refers to himself as Igor.Working with the increasingly plausible idea that computers could be used to replace or reconstruct brain functions, this movie doesn't spend enough time exploring the premise. Most of the screen time is split between girlfriend-in-a-coma domestic strife and chasing down the brain donor's killer. It attempts to be a sci-fi/drama/thriller but fails to deliver on any of the three.As a Frankenstein remake this one is missing everything that made the original good. Nobody calls the doctor insane or even threatens to kick him out of the hospital. The transformation scene consists of a coma victim opening one eye and the amazing computer that makes it happen isn't even shown. When the experiment works there is no praise, and when it starts going wrong there is little reaction.Any suspense over who the killer might be is shattered by progressively showing him in the same room with all of the possible suspects. Finding the killer is as easy as opening one file and interviewing one person.San Francisco as a setting is both overplayed and underused. The opening sequence hammers home the point that this is happening in SF, a cable car plays a significant role, the leads live in a hilltop Victorian, Pier 39 makes an appearance, and the final showdown happens at Golden Gate Park. More specifically along ten feet of cliff side at the park - just enough to keep the bridge in the picture at all times. Once the obvious scenery bases are rounded no other attempt is made to explore the city.The acting is the only saving grace here. Keir Dullea shows a good range and pulls off a couple of genuinely emotional scenes. Suzanna Love portrays recovery from a coma well. Tony Curtis only gets a handful of lines and twice as many evil guy stares with most of the Frankenscience explained away by his assistant. The little blond kid hits his cues fairly well also.I also gave it one extra star for the scene where the husband drives south from the bridge, it cuts to a U-turn in an unrelated parking lot, and then he's instantly back on the bridge driving north. It takes a whole lot of something - bravery, ignorance, deadlines - to try and slip that one by the viewer during the one single car chase.

FieCrier A woman is electrocuted in her bathtub by a man with a tattoo on his wrist. Surprisingly, there's some full frontal nudity in this scene.Later, a woman living in San Francisco, California is in a car accident and her brain is injured. An experimental procedure corrects her brain waves so that she is able to walk and talk again. However, she now has some memories that don't belong to her, including being electrocuted in a bathtub. Her husband is supportive and tries to help find out what is going on.Doesn't feel too much like a 1980s movie, apart from an old Space Invaders video game, and a Rubik's Cube.

brandonsites1981 Woman (Suzanna Love) involved in a terrible accident nearly dies, but an experimental surgery saves her life. She is given brain waves from a recently deceased woman who was murdered, but as Love starts to feel better she feels sudden urges to find the woman's killer and to bring him to justice. Handsome looking, glossy thriller is well directed and well cast right down the line, but predictable and unmemorable.Rated R; Violence and Brief Nudity. Later edited to PG.