Theatre:意大利戏剧以drama的形式，虽然有的时候有一些serious的戏，但主要是表演comedy 文章结构清楚，最主要讨论的问题就是因为这个戏的稿子上没有的对话，只有一个plot的outline，演员表演主要靠improvising。
GHOST RIDER (2007)
Sure, it was better than Wicker Man, but this Nicolas Cage-headlined flick — starring Marvel's motorcycle-riding, flame-topped superhero Johnny Blaze, who sold his soul to save his father — was one hot mess, no pun intended.
THE SHADOW (1994)
There once was a time when Alec Baldwin was going to be Hollywood's next great leading man, Penelope Ann Miller was going to be Hollywood's next great leading lady, and Russell Mulcahy (Highlander) was going to be Hollywood's next great action director. Then came The Shadow, an ambitious new take on the old pulp hero that flopped with audiences and critics and effectively dented the movie careers of its headlining talent. It's a shame: the movie is messy with cool retro style and rich ideas — none more so than its darker-than-the-Dark Knight vigilante, a gun-blazing psycho with mystically derived psychic powers — but they fail to gel into a comprehensive (or comprehensible) whole. And the Asian characters, like John Lone's villainous Shiwan Khan, toe the line of racist stereotypes. But its bigger sin is being a shoulda-been, coulda-been missed opportunity for all involved.
BARB WIRE (1996)
If you look closely, you'll see that this Pamela Anderson Lee (yes, this was during ''The T-Bone Years'') disaster has pretty much the same plot as Casablanca: She runs a nightclub in 21st-century totalitarian America, and her old flame needs transport papers (here, fancy new eyeballs to pass retinal scans) to get himself and his new honey out of town. Of course, the plot is, ahem, enhanced to take full advantage of the star's particular, ahem, talents. Which consist of wearing clothes that barely keep those talents in check.
CATWOMAN (2004)
Halle Berry followed up her historic Oscar-winning turn in Monster's Ball with a Razzie-winning role as the agile, pleather-clad heroine in this abomination of a film. Major props to Berry, though, for actually showing up at the Razzies ceremony to accept her award and deliver a rousing speech that included the brutally honest line: ''I want to thank Warner Bros. for casting me in this piece-of-s--t, god-awful movie.'' We agree.
DAREDEVIL (2003)/ELEKTRA (2005)
Daredevil's concept, borrowed from the Marvel comic, was cool — a blind superhero (Ben Affleck) fights crime using his other heightened senses — but the execution brought the film one Gigli away from disaster (see: that bizarre, ill-advised park fight scene). We're still not entirely sure how it spawned the just-as-bad spin-off/sequel, Elektra, whose sole accomplishment was tailoring a super-hot superhero costume for Jennifer Garner.
SHEENA (1984)
My fondness for this movie is directly related to the fact that it's rated PG. See, when I was a downy soft 14-year-old, this movie hit HBO. And HBO back then didn't have too much of a back catalog, so this movie would pop up all the time. Especially when I was home sick from school. Did I mention that Tanya Roberts has a topless bathing scene? (This was back when you could get away with that in a PG movie...thanks for nothing, Steven Spielberg!) And, since PG movies could air during the day, you had a pretty decent shot of being able to flip channels between Transformers and boobs. The rest of the film is mindless pap about Roberts' animal-talking jungle girl saving the wild from crazed mercenaries. But, still...
THE PUNISHER (2004)
Who knew the title for this Thomas Jane-John Travolta film would be so fitting? There's likely no better punishment than sitting through this uninspired, mind-numbing revenge thriller.
STEEL (1997)
Let's pretend we were in the room for the conversation between Shaquille O'Neal's agent and the folks at Warner Bros. that led to this disaster, rivaled only by Kazaam. AGENT: ''Shaq really likes comic books...he's even got that Superman ''S'' tattooed, somewhere. Do you have a comic movie he could star in?'' WARNER: ''Well, it just so happens that DC killed Superman, and replaced him with a bunch of lame-ass poseurs. And one of them is a giant black dude who carries a big hammer and welds himself a suit of armor.'' AGENT: ''Sounds horrible. Where do we sign?''
SWAMP THING (1982)
In the comics, Swamp Thing — a sentient mass of heroic moss and muck who protects the planet from environmental and supernatural threats — is synonymous with sophisticated storytelling. But in the movies, Swamp Thing is synonymous with cheese, one that took a surprisingly cool character and made him as silly as he/it appeared to be. Wes Craven's low-fi 1982 flick was actually once warmly regarded by many fanboys not yet spoiled by the looming future of super-serious, super-produced superhero movies. It has its charms: the moment where Swamp Thing (Dick Durock, uncomfortably trapped inside a green rubber suit one step more advanced than Sigmund and the Sea Monster) regenerated a limb was kinda cool. Still, the movie's most memorable special effect was Adrienne Barbeau's jiggle. If all we did was entice you to Google for her deleted nude scene, may the good Lord forgive us. And because we usually don't get to drop these, we'd like to say, one more time: Dick Durock. Somewhere, some schlubby porn actor is banging his head against the wall (so to speak) and cursing his lack of imagination.
THE LEAGUE OF EXTRAORDINARY GENTLEMEN (2003)
It's certainly an extraordinary premise: taking the entire body of Victorian-era sci-fi and fantasy and crafting an elaborate, continuous mythology. In the comics, created by Alan Moore and Kevin O'Neill, the League was a band of monstrous and morally ambiguous adventurers and misfits — the Invisible Man; Captain Nemo; Dr. Jekyll and Mr. Hyde; Allan Quartermain; and Mina Murray, a.k.a., the lady Dracula bit in Bram Stoker's book — that secretly served the British crown and battled the likes of Professor Moriarty and the Martians from War of the Worlds. But the 2003 film version, starring a cranky Sean Connery, is an underfed, overblown fiasco devoid of the geek joy and inspired imagination of the comics. Bad choices and butchery abound, from faithlessness in the adaptation (like adding Tom Sawyer to the British line-up of heroes as a sop to American audiences or giving Murray vampiric superpowers) to a blink-and-it's-over running time. Then again, maybe that's a blessing.
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