CommentsXp Best movie ever!

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

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Isbel A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

kai ringler what a powerhouse of a movie,, this one really rocks you to the core, especially if you have kids in high school. A dedicated High School Science Teacher get's brutally assaulted in New York,, 15 months later he moves on to L.A. and decides to give it another try to teach again,, and again he falls into teaching in the ghetto, he doesn't even get to be in a classroom with air conditioning,, he get's a trashy dump bungalow, there he meets a couple of teachers who are on his side,, one he get's involved with romantically and tries to help,, the other turns out to be a gun loving psycho. there are many cliques in this movie, unfortunately most of them are true in today's world. this is one of those movies where i think that you can take away from it that you learned something from it useful,

Spikeopath Teacher Trevor Garfield survives a stabbing by a student, moving from New York to Los Angeles, with a different perspective on life, he resumes teaching as a substitute. But Trevor finds that the same old problems still persist, only now he's going to do things his way......One Eight Seven, directed by Kevin Reynolds {The Count of Monte Cristo} and starring as its lead, Samuel L. Jackson {Pulp Fiction}, is another in a long line of teacher and unruly students based plotters. Trace a line from Blackboard Jungle to The Principal, to Class Of 1984, The Substitute, Dangerous Minds and you get the picture. It's a shame then that as a formula, it's now looking a bit frayed around the edges. Because Reynolds' film does have a couple of things up its sleeve with which to make it a time worthy viewing.Firstly there is Samuel L. Jackson himself. By his own admission, he's someone who will work for food. However he is capable of the odd flash of excellence, regardless the quality of film he is appearing in. He may be adored by the MTV generation for stints in Tarrantino pulpers, but it's with film's like Changing Lanes, and this here Reynolds piece, that he really puts down his marker of ability. As Garfield he is asked to go thru a character makeover during the story, not complex as such, but in a sanity breaking point kind of way. Something that Jackson really gets to grips with and in spite of the bad acting around him {shame shame casting director}. Secondly is the ending itself. No it's not shattering in the pantheon of genre pieces emotionally, but on the intelligence scale it scores rather high. We may have been fed a pre-empt earlier in the piece, but the outcome is no less dramatic for it. Some standard genre stereotyping causes a roll of the eyes, and pet peril and sexy teacher under threat is a touch too tiresome for the older, experienced viewer. But this one deserves a better reputation because it at least tries to offer something different. It doesn't succeed across the board, oh no, but at least it's got enough about it to roll its credits knowing at least it tried to veer away from its genre restraints..and it's got Sammy Jackson on prime form. 7/10

elshikh4 At the end of 1960s the ideal teacher faced his students' disturbance by good understanding and sympathy, then at the 1990s became the only way for the ideal teacher to face his students' savagery is a more wild savagery. So it's not (To Sir With Love) anymore...It's (The Count of Monte Cristo) or (Psycho) ! (187) is the satirical movie in a form of a horror, or it's the case of our nightmare factual life already, or maybe it's one of the most melancholic "what if" movies ever. But anyway its highest point was that concept of (meet violence with violence) whereas the chaos will bring nothing but chaos, the blood which leads to more blood, and the ultimate havoc will be definitely for the both sides (The teacher and the student) as long as the previous side (the system) is absolute free at decision and insanity ! This is the message of this movie, its good premonition, and its discrete antecedence despite its own exaggerations and its too melodramatic ending.Actually (Kevin Reynolds) made solid, turbid, and dismal atmosphere out of this story by using a lot of elements to express such a dreadful experience. For instance you'll find so many red (blood) and blue (grief) all over the screen, or varies between sick yellow and gloomy black with a hot image in a sweat all the time like they're all (teacher and students) in one cell and no one will let the other live, but that desire was importunate to the extent that you may feel – especially with the drastic events and that Russian roulette's end ! – That the movie nearly sunk under it. Although I believe that not all the movies must be dreamy with happy ending but I believe also that the exaggeration of a message can powerfully destroy it, so I think the main problem here is that the well meaning statement became unintentionally overstatement.

Carson Trent There has been quite a number of movies made on this particular subject, some like the Sidney Poitier one, are classics, some like the one with James Belushi is just plain repetitive and there are some that are mocking the above, like the one with Jon Lovitz, for example. I thought I had seen them all, but this one, I believe in the just purpose of making a point that there is an ever growing part of the "civilized" world that society has completely lost grip of, manages to almost transcend the genre. Almost because after a gritty opening this one completely loses it's voice in the roaring noise they call score, which is inappropriate, and cheap stylistic bravado like the slow-mo. The accentuation of ever growing anxiety and build-up of retaliative power of the main character, however, plus the gratification of, admittedly this viewer's, too, desire to see some sort of retribution, on the other hand, proves it made its point.