I like the storyline of this show,it attract me so much

hyped garbage

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

I had long heard about this movie and was intrigued, but I never thought I'd have an opportunity to see it. But I did, on screen and with an audience, outdoors in Prague in the late 1990s (twin billed with Todd Browning's "Freaks," believe it or not.)I'm not sure the Czechs in the audience "got" it (they liked "Freaks," though), but I thought it was moving. I had expected it to be John Waters-ish. Not so. The Barbie gimmick really works.I just wonder what thought process went through Todd Haynes' mind to think this up. "A movie about Karen Carpenter. Using Barbie Dolls. Hmmm." The man's an artist. I've known ever since seeing "Safe."

...but really should be in the Top 10.I first heard about this movie when that Entertainment Weekly issue came out in 2003, and I finally saw it last week. For a fraction of the price of say, something like REPO MAN (ranked #9), Todd Haynes has created a 43 minute film way more powerful than "campy", and it holds up much better than REPO MAN, which I also recently watched again.I always had a soft spot for the "vanilla" sounds of The Carpenters, even though you'd never know it by my music collection. I even bought that early 90's Carpenters' tribute album which came out on the late, lamented A&M records label. Top of the World, We've Only Just Begun, and of course, Yesterday Once More always take me back to the carefree times of my youth.Even though this is really a "bootleg movie", as Haynes never got any licensing rights for the music, it's really worth a view if you have any interest in Karen's story or the Carpenters' music. I'm actually surprised that there was a time this was shown on the art-house circuit, before Richard Carpenter legally shut it down. I just don't think something like that could ever happen in 2008. It's a lot harder to have a so called cult movie these days, as anything unique and "underground buzzworthy" (a term I just made up) in a blog-infested world wouldn't stay under the radar for 3 years before somebody who was infringed on would take action.

As a die-hard Carpenters fan, people find it hard to believe that I like this film. At first, the "campy-ness" seems an insult to Karen's memory. But the more I watched it, the more I came to realize that this film was, and is, very sympathetic to Karen and her struggles. Not only did the poor soul fight for recognition in her family, but she had to fight for her own life. Unfortunately, the latter battle was lost.But Karen's legacy is bigger than anything her family could have imagined. On February 4, 2008, we will commemorate the twenty-fifth anniversary of her death. Since then, many young girls have been save from self-starvation. How many? Hundreds, perhaps thousands. We'll never know. But somewhere, when a parent hears Karen's voice, they say a prayer of thanks to the woman whose death may have saved their own daughter's life.I think Todd Haynes created a chilling and all-too-accurate portrait of a young woman at odds with her family and herself. He "directed" the dolls very realistically, and the dream-like quality of the film evokes the confusion of the beautiful, tortured soul that was Karen Carpenter.

Thanks to its legal status, "Superstar" is a true piece of underground cinema, and one of the best of its kind. Here in the era of "South Park" the idea of a drama about the Karen Carpenter tragedy acted out by Ken and Barbie sounds like a crass joke, and yet Haynes treats the material with extraordinary assurance. The dolls evoke not only the cultural issue of female body-image but a not-entirely vanished society -- Nixon's "Silent Majority," with its suffocating aesthetic and tight-lipped insecurity -- and the strange sound the Carpenters constituted within it: wholesome, sweetly naive songs delivered in Karen's deft, sultry/ melancholy voice. It was an odd enough voice to be coming from the real Carpenter, and here, juxtaposed with the wide-eyed, increasingly skeletal "Karen" doll, the effect is spooky and shockingly poignant. To what degree the treatment is fair to the Carpenter family is unclear, but as a film it makes an interesting companion piece to Haynes' extraordinary "Safe" and stands on its own as a superb pop-art elegy and a genuine outlaw triumph.