• Winner: Best Short Film, Dixie Film Festival – Atlanta, Georgia

• Listed among “The worst Movies of all Times” by Giesen/Hahn (Giesen, Rolf / Hahn, Ronald M.; Die schlechtesten Filme aller Zeiten ; BVA, Berlin, 2002)

Now, I love Tinto Brass (kind of – I love the way he shoots women inmovies like Cheeky, Miranda, The Voyeur etc) but this is his worst filmby far, even worse than Snack Bar Budapest and Caligula. It isdesperate. It's incoherent, pretentious, stupid, impenetrable andintolerable. Even the music is dire and often hilariouslyinappropriate.

Set and seemingly part-shot in London, it offers not one iota ofEnglish culture. It's very much Italian – lots of noisy jabbering andangry gesticulating. The 'story' follows an idealistic actor who goeson a strange odyssey in which he meets various bizarre types. That'spretty much it.

Some of the weird and ludicrous scenes: an actress is forced todefecate on set or be thrown off, so men cajole her into doing so; halfnaked mental patients sing a song with the staff; men with penises fornoses and women with cooches for mouths dance in a field. And it's allso utterly meaningless!

This being Tinto Brass there is nudity but the ladies are not shot inhis usual loving fashion and there are no lingering vulva shots orupskirt shots. For those interested, here are the sexy scenesavailable: a woman climbs out of a bath slowly (breasts and bush), awoman pulls her skirt up and panties down (bush) to sit on the loo; awoman dances around wearing only hold ups (boobs, fur); a woman climbsout of a taxi in just hold ups (again boobs and fur); a woman dancescompletely naked in a field; a couple dance naked in a field.

You may have to see this to realise how bad it is. The dialogue isbathetic, cod philosophical nonsense, and the director displays zeroskill in keeping a narrative together. The actors are bad andunattractive.

Quite a mess indeed, and not yet available on R2 DVD. It might struggleto get approval from the BBFC (partly because of the unpleasant andmisogynistic toilet scene) but might sneak an 18.

• ‘Dick Sargeant’’s last acting project.

2) "Acting on Impulse" works, as previously mentioned, because nobody istrying to upstage anyone and this film isn't trying to be bigger thenthe VHS box it was bought in. The situation is simple. Someone hasdied, horror star Linda Fiorentino takes a vacation, she arrives at ahotel where C. Thomas Howell is having a sales conference, there areshady characters afoot, death knocks at the door with some steamyrandom scenes, new friends are introduced, old ones are questioned, andfinally there is a infamous shootout which brings all our curiositiesto rest. In one sentence this film could be summarized, but it isn'tthe shortness of the plot that makes this film work, it is thesurroundings. The jokes are dry, but like an afternoon martini itquenches. As current films force recycled humor, this film takes thatsub-par standard and rejuvenates it. There is something fresh about thehumor in this film. Isaac Hayes plays the police detective on the huntfor the supposed murderer, and he couldn't act his way out of a paperbag in this film, but for some strange reason it fits with the overalltones and tenacity of the film. Nobody is trying to push the limitshere, but it feels fresh and original in the same sense. There arescenes that stand out in my mind, but in your average film would bejust boring and cliché. The scene where Howell steals his coworker'sbriefcase has been used so often, but in this film Howell comes acrossas the semi anti-hero. We root for the underdog, which is Howell, andyet we have no reason to. He isn't your typical stand-up main lead, hecheats, smokes, drinks, dances, and even gives the report of alifetime, but that isn't what this film is about. Upon furtherinvestigation, "Acting on Impulse" is a double-take film. It is a filmof trickery and deceit, but in all the ways that make you ask for more.It would compare to going to see "Hostel", but discovering it was aboutromance and not torture. A different take, but perhaps a pleasantsurprise.

"Acting on Impulse" sets up as your typical "who-dun-it" horror,slasher film where the characters are over-the-top and the situationsabsolutely are not feasible. We think we know our characters, but thenwe are uprooted – taken to a new environment, new characters, newsituations and the film we once started with has transformed intosomething completely different. In this case, we went frommurder/mystery to those types of films where the main character is onan unknown journey of self-discovery. For about 45-plus minutes we moveaway from the murder, we are reminded slightly, but for the most partit is all about Howell's life in a dog-eat-dog world. It is aboutHowell, not Fiorentino, which is tough because the two have thisamazing chemistry together. Add in Nancy Allen, the wild card in thegroup, and we have three people that we think we know, but really(because of our constantly changing focus) they are miles apart. Thecharacters are what make this film work. Our discussion today has beenmainly about them because the body that surrounds "Acting on Impulse"is used, dated, cliché, and stuffy – but it works. Director Sam Irvinmust have seen that he didn't have Oscar caliber work in his desk, buta film that was fun, friendly, devilish, and engrossing all the same.This film is one of those rare examples of films that work with whatthey have, without seeming cheap or "independent".

Overall, I have to give credit to the actors again. While many of themhave never seen the glory of the big-budget silver screen, they workedwell together in this small feature that hasn't seen the DVD light yet.This is a fun movie. It was a random feature that I thoroughly enjoyedand actually craved more. I loved the ending, it was provocative, yetdidn't pull that cheesy double-punch that has become the norm for thesesamplings of films. This film seemed real, and in the same sense itdidn't. This is a Hollywood TV movie, actors playing for fun, a plotthat may have plenty of holes, but doesn't mind standing up to the restof the crowd. I would not have any problems showing this film to myfriends, or recommending it as a summer watch. It is this random filmthat caught my attention and hasn't left my mind since the finalcredits. It feels incredibly like a 80s film, and while I will probablybe laughed at in the film community, this little feature is my guiltypleasure. I loved our unknowing trio and the troubles that follow them.Like "Acting on Impulse", I have no shame in claiming this film as agreat unknown independent feature. It was no crowing achievement infilm, but it made do with what it had and gave this film junkie nearlytwo hours of great cinema.

Grade: **** out of *****

3) I found this film very funny, unpredictable and entertaining.The actors playall very Well and Linda Fiorentino was terribly sexy. It hasn’t a verylogic plot, but, who cares? It has also some Cameo (Adam Ant and others Idon’t remember the name)A little pretty film

4) I’ll give credit where credit is due, and say that Linda Fiorentino gives agood performance as a hard-drinking actress who does what she wants. She’sbrash, sassy, hard-edged, and very sexy; she is much better than this filmdeserves.

But that is IT. This dull suspense film is a fragmented mess, attempting atonce to be a stalker thriller, a murder thriller, a tale of loyalty andbetrayal, and a steamy erotic thriller. The film, my friends, isn’tthrilling in the slightest.

For instance, who thought of casting C. Thomas Howell as a desirable leadingman? He is not ugly, but for crying out loud, it looks as thoughFiorentino’s tough-cookie goddess is getting it on with a kindergartenteacher. Howell has neither the authority or screen presence to fill theleading man role.

The script is by far the worst aspect of the film. There is no tension asFiorentino’s character gets eerie phone calls, there is no mysteryconcerning her guilt in the murders that are the focus of the film, there isno sense of liberation as Fiorentino gets wimpy Howell to lose hisinhibitions.

Look for interesting but poorly-done cameos by Adam Ant and Issac Hayes, andone really, really good sex scene between Howell and Fiorentino. Besidesthat, my first impulse would be to put this sorry piece of trash down and gorent something else.

5) Linda is sexy as usual. A decent little movie considering that it is a madefor cable movie. The plot is pedestrian, the dialog is average for thislevel movie and Howell is a little weak, as usual. However, Linda deliverspretty well. Her role is not nearly as strong as the one in The LastSeduction, but she is always fun to watch. All in all, not a bad way tokill93 minutes.

6) Perhaps not my genre but plot was horrible as was acting by Nancy Allen andLinda Farentino. C. Thomas also seemed uncomfortable in role of beingseduced here (while on marijuana? why did this need to be included? thisweakened plot considerably). Also Farentino’s charac. would have been betterhad she had more respect for a relationship. Would does movie try to say?not much.

2) I love this kind of documentary. This is because it's always fun towatch the cast and crew talk about their experiences filming aparticular movie and working with their co-stars as well as the crew ofthat particular movie. In addition, it's also fun to see what happenedbehind the scenes during the filming of a particular movie, such astakes or bloopers. Anytime I watch a DVD or special edition VHS, Ialways look forward to seeing the documentaries afterward, that is, ifthere are any on it. Before I wrap this up, I'd like to say that thiswas a great making-of documentary. In conclusion, I hope you enjoy thismaking-of documentary.

Supported by a solid reflection about cinema and acting (the fourth wall,the hidden cameras, to play or not to play), the story of this film inwhichmost of those famous actors play their own role (not to be mixed up withliving their life in front of the camera – the film is not voyeur) isquitevague, and follows the actors in series of episodes which make the filmquite amusing. As André Dussolier quits the film and leaves JosianeBalaskoto play his part (great actress, she’s hilariously serious especiallywhen,in Dussolier’s role, she bitches about herself), as actors run in eachotheron the street, asking for autographs, as fights and gossip happen, werecognize pastiche of other scenes in which each (or others) haveplayed.

Actually, for whoever does not know the actors (most of them being atleastin their 50s) or does not know French Cinema, this movie has lessinterest,since most of the references will be missed, but it will still offer agoodtrack of reflection on aging, on acting, on public life…

2) Jean-Pierre Marielle, Andre Dussolier and Jacques Villeret are dining in arestaurant where the first is surprised when the waiter does not bring himthe bowl of hot water he had ordered. His friends start to go on about hislack of conviction when makes an order. Jean-Pierre Marielle soon exits,replaced by Claude Rich, whom Andre Dussolier and Jacques Villeretinterrogate about his eternal smile…Bertrand Blier scrutinises the existential disarray of his actors through along succession of crazy sketches, impregnated with cruelty andself-derision. But all this ends up as nothing.

3) There’s some very clever humour in this film, which is both a parody ofanda tribute to actors. However, after a while it just seems an exercise instyle (notwithstanding great gags such as Balasko continuing the part ofDussolier, and very good acting by all involved) and I was wondering whyBlier made this film. All is revealed in the ending, when Blier, directingClaude Brasseur, gets a phone call from his dad (Bernard Blier) – fromheaven, and gets the chance to say how much he misses him. An effectiveemotional capper and obviously heartfelt. But there isn’t reallysufficientdramatic tension or emotional involvement to keep the rest of the filminteresting throughout it’s entire running time. Some really nice scenesandsequences, however, and anyone who likes these ‘mosntres sacrés’ of theFrench cinema should get a fair amount of enjoyment out of thisfilm.

4) … Hawk Heaven for lovers of French cinema and by extension FrenchScreen actors/actresses. At its worst it’s an indulgence, actorsgetting to bitch about other actors, question the validity of acting asa profession at all, etc whilst at its best it’s a gloriouscelebration/send-up of some of the finest actors currently working.From a simple premise – Jean-Pierre Marielle’s request for water beingignored in a restaurant – Blier spins off in all directions and allowsthe cream of French cinema to strut their stuff before the camera eventhrowing in nods to those no longer around (Jean Gabin, Lino Ventura)including the Director’s father, Bernard, one of the great stalwarts ofFrench cinema, from whom he fields a celestial phone call at the end ofthe film. Discursive and prolix, yes, guilty as charged but alsosomething of a guilty pleasure.

5) This is the kind of film to see relaxed and without any expectations. Itisjust like a recorded play of theater, although not linear, but with acommonmessage along the way.It is a curious, enjoyable experiment not like any other movie I haveseen.

6) i am very disappointed with this movie becausei like these french actors and i liked "Buffet Froid" from this Director(bertrand blier) but the script of "Les Acteurs" is VERYPOOR.why these actors they agreed to play this poor scenario.

WARNING: If you hate sad or depressing films, you would do best toavoid this short film. Personally, I enjoyed it and recommend you seeit. Just understand that although at first it looks and sounds like acomedy, it certainly is not.

A lady does a stand-up bit at a comedy club. It consists of her talkingabout how she hates her ex-husband and how the crowd should not pityher for begin divorced. Her routine is reasonably funny but also quiteacerbic and cruel. Later, when she returns home, you learn the sadtruth…and fortunately, the truth wasn't easy to guess.

Cleverly written, well acted and definitely improved a lot by a veryevocative musical score, this one is worth seeing and shows a lot ofpromise for those involved.

2) Beautiful and poignant, this is a short that evokes the power of thegreat short stories of O Henry. If you get a chance to view it, beprepared for a stab into the heart of the truth of love and the needfor all of us to laugh at the essence of our very existence. The lead,Rosy, is performed with incision followed by the evocation ofloneliness, and closes with beauty and sweetness. As someone who haspracticed the craft of stand up long ago, this reviewer can attest thatDebra Jo Rupp's creation of the tough female comic is true but truer isthe fact that so many people with quick wit holding a microphone oftenbelies the sadness or anger or grief within. Not a short to be missed!

3) What a wonderful slice of a life that is made lively and believable byDebra Jo Rupp! This is a short film that took my breath away, and onethat I recommend highly to everyone with a conscience, strongcompassion, and a real life. Debra Jo Rupp plays the lead character,Rosy Marconi, with such a real sense of her character that you wouldthink we were watching her life through her window without herknowledge, and that her name has been changed to Rosy Marconi in a vainattempt to protect her privacy. The title of this film has a trueresonance and depth of meaning that makes this story all the morepowerful. The music is wonderfully subtle and adds to the strength ofthe story.

I would love to own this short film on DVD.

4) Just saw this film in Sedona International Film Festival. It proves agreat idea can be communicated effectively and efficiently if deftcreativity is involved. This is a perfect film to screen for filmclasses (particularly beginning ones) to demonstrate the power ofcinema when vision is complete and sure. Don’t know where it isavailable, but see it! – - – - OK they want me to say more, which isjust the point of this film, you don’t NEED to say a lot to get whatneeds to be said, said. In fact one of the points of the film is thatwhat we say is not always what we mean and/or that we all become actorsin the theatre of surviving life in order not to become victims of ourfated existences. It is much like the fact that our brains are moreactive when we are asleep than awake so is our awake life only anexercise to let our brains rest? We need to eat, drink, rid ourselvesof waste to get ready to work as our bodies tire and we enter reposeand begin the real purpose of our existence.

• The youngest cast member was 18 months and the oldest 91 years old.