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200 | told in scattered fashion |
201 | takes chances that are bold by studio standards |
202 | believe it or not , jason actually takes a backseat in his own film to special effects |
203 | only thing to fear about `` fear dot com '' |
204 | whole mess |
205 | manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor |
206 | working from a surprisingly sensitive script co-written by gianni romoli ... ozpetek avoids most of the pitfalls you 'd expect in such a potentially sudsy set-up . |
207 | a r茅sum茅 loaded with credits like `` girl in bar # 3 |
208 | enjoy the ride |
209 | very little to add beyond the dark visions already relayed by superb recent predecessors |
210 | the , yes , snail-like pacing |
211 | an extremely unpleasant film . |
212 | if it is n't entirely persuasive , it does give exposure to some talented performers |
213 | the whole affair , true story or not , feels incredibly hokey ... |
214 | are all things we 've seen before |
215 | poignant and leavened |
216 | breathless anticipation |
217 | significantly better |
218 | as predictable as the tides |
219 | bewilderingly brilliant and entertaining |
220 | it 's smooth and professional |
221 | , unassuming , subordinate |
222 | the horror |
223 | a technically superb film |
224 | the positive change in tone here seems to have recharged him . |
225 | pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators |
226 | a dim |
227 | , vicious and absurd |
228 | because he acts so goofy all the time |
229 | to a kinetic life so teeming that even cranky adults may rediscover the quivering kid inside |
230 | 's at once laughable and compulsively watchable , |
231 | merit its 103-minute length |
232 | the value and respect for the term epic cinema |
233 | as a dentist 's waiting room |
234 | showing honest emotions |
235 | amazingly lame . |
236 | confessions may not be a straightforward bio |
237 | seems a disappointingly thin slice of lower-class london life ; despite the title ... amounts to surprisingly little |
238 | the story is bogus and |
239 | this comic gem is as delightful as it is derivative . |
240 | to spare wildlife |
241 | ugly as the shabby digital photography |
242 | understand the difference between dumb fun and just plain dumb |
243 | traditionally structured |
244 | frida is n't that much different from many a hollywood romance . |
245 | does point the way for adventurous indian filmmakers toward a crossover into nonethnic markets . |
246 | are worth the price of admission ... if `` gory mayhem '' is your idea of a good time |
247 | was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one ( and no one ) |
248 | carnage and |
249 | degraded , handheld blair witch video-cam footage |
250 | second fiddle |
251 | about the folly of superficiality that is itself |
252 | serves as auto-critique , and its clumsiness as its own most damning censure . |
253 | tedious norwegian offering which somehow snagged an oscar nomination . |
254 | , esther kahn is unusual but unfortunately also irritating . |
255 | a stylish exercise |
256 | halfway through this picture i was beginning to hate it |
257 | a setup so easy it borders on facile |
258 | a thoroughly awful movie |
259 | takes hold and grips hard |
260 | look smeary and blurry , to the point of distraction |
261 | the picture 's fascinating byways |
262 | guns , cheatfully filmed martial arts , disintegrating bloodsucker computer effects and jagged camera moves |
263 | breezy , distracted rhythms |
264 | than this mess |
265 | evanescent , seamless and sumptuous stream |
266 | slick and manufactured to claim street credibility . |
267 | take care is nicely performed by a quintet of actresses , |
268 | valuable messages |
269 | in no small part thanks to lau |
270 | two guys who desperately want to be quentin tarantino when they grow up |
271 | no new plot conceptions |
272 | essentially a collection of bits -- |
273 | does n't bode well for the rest of it |
274 | elevated by it -- the kind of movie |
275 | usual worst |
276 | hugh grant , who has a good line in charm |
277 | arrive early and stay late |
278 | is a pan-american movie , with moments of genuine insight into the urban heart . |
279 | i could have used my two hours better watching being john malkovich again . |
280 | shot in artful , watery tones of blue , green and brown |
281 | an unorthodox little film noir organized crime story that includes one of the strangest |
282 | considerable aplomb |
283 | acted by diane lane and richard gere . |
284 | scant |
285 | an admittedly middling film |
286 | too ludicrous |
287 | the rock 's fighting skills are more in line with steven seagal |
288 | rich and full |
289 | warm water under a red bridge is a celebration of feminine energy , a tribute to the power of women to heal . |
290 | that uses a sensational , real-life 19th-century crime as a metaphor for |
291 | , home movie will leave you wanting more , not to mention leaving you with some laughs and a smile on your face . |
292 | , the film retains ambiguities that make it well worth watching . |
293 | ultra-cheesy dialogue |
294 | added depth and resonance |
295 | the sensational |
296 | huge-screen format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them |
297 | handsome but unfulfilling suspense drama |
298 | 's not very good either . |
299 | in her most charmless |