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a generic family comedy unlikely to be appreciated by anyone outside the under-10 set .
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kung pow seems like some futile concoction that was developed hastily after oedekerk and his fellow moviemakers got through crashing a college keg party .
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kurys seems intimidated by both her subject matter and the period trappings of this debut venture into the heritage business .
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the film virtually chokes on its own self-consciousness .
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a manipulative feminist empowerment tale thinly posing as a serious drama about spousal abuse .
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everything in maid in manhattan is exceedingly pleasant , designed not to offend . it goes down easy , leaving virtually no aftertaste .
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a profoundly stupid affair , populating its hackneyed and meanspirited storyline with cardboard characters and performers who value cash above credibility .
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. . . pays tribute to heroes the way julia roberts hands out awards--with phony humility barely camouflaging grotesque narcissism .
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time stands still in more ways that one in clockstoppers , a sci-fi thriller as lazy as it is interminable .
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as a director , eastwood is off his game -- there's no real sense of suspense , and none of the plot 'surprises' are really surprising .
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eccentric enough to stave off doldrums , caruso's self-conscious debut is also eminently forgettable .
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to work , love stories require the full emotional involvement and support of a viewer . that is made almost impossible by events that set the plot in motion .
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although barbershop boasts some of today's hottest and hippest acts from the world of television , music and stand-up comedy , this movie strangely enough has the outdated swagger of a shameless ‘70s blaxploitation shuck-and-jive sitcom .
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a puzzle whose pieces do not fit . some are fascinating and others are not , and in the end , it is almost a good movie .
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would that greengrass had gone a tad less for grit and a lot more for intelligibility .
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the good is very , very good . . . the rest runs from mildly unimpressive to despairingly awful .
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'butterfingered' is the word for the big-fisted direction of jez butterworth , who manages to blast even the smallest sensitivities from the romance with his clamorous approach .
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be forewarned , if you're depressed about anything before watching this film , you may just end up trying to drown yourself in a lake afterwards .
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a terrible adaptation of a play that only ever walked the delicate tightrope between farcical and loathsome . in the wrong hands , i . e . peploe's , it's simply unbearable
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an inexperienced director , mehta has much to learn .
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a limp eddie murphy vehicle that even he seems embarrassed to be part of .
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dramatically lackluster .
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so muddled , repetitive and ragged that it says far less about the horrifying historical reality than about the filmmaker's characteristic style .
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a gushy episode of " m * a * s * h " only this time from an asian perspective .
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" looking for leonard " just seems to kinda sit in neutral , hoping for a stiff wind to blow it uphill or something .
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nothing more than four or five mild chuckles surrounded by 86 minutes of overly-familiar and poorly-constructed comedy .
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definitely in the guilty pleasure b-movie category , reign of fire is so incredibly inane that it is laughingly enjoyable .
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good-looking but relentlessly lowbrow outing plays like clueless does south fork .
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entertaining enough , but nothing new
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. . . one resurrection too many .
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this is a film about the irksome , tiresome nature of complacency that remains utterly satisfied to remain the same throughout . even as the hero of the story rediscovers his passion in life , the mood remains oddly detached .
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demeo is not without talent ; he just needs better material .
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in spite of featuring a script credited to no fewer than five writers , apparently nobody here bothered to check it twice .
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no one involved , save dash , shows the slightest aptitude for acting , and the script , credited to director abdul malik abbott and ernest 'tron' anderson , seems entirely improvised .
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initially gripping , eventually cloying pow drama .
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a timid , soggy near miss .
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works better in the conception than it does in the execution . . . winds up seeming just a little too clever .
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to the vast majority of more casual filmgoers , it will probably be a talky bore .
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observant intelligence constantly vies with pretension -- and sometimes plain wacky implausibility -- throughout maelstrom .
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this version of h . g . wells' time machine was directed by h . g . wells' great-grandson . they should have found orson welles' great-grandson .
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shunji iwai's all about lily chou chou is a beautifully shot , but ultimately flawed film about growing up in japan .
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with more character development this might have been an eerie thriller ; with better payoffs , it could have been a thinking man's monster movie .
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thriller directorial debut for traffic scribe gaghan has all the right parts , but the pieces don't quite fit together .
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. . . would be a total loss if not for two supporting performances taking place at the movie's edges .
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there's not a single jump-in-your-seat moment and believe it or not , jason actually takes a backseat in his own film to special effects .
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goldbacher draws on an elegant visual sense and a talent for easy , seductive pacing . . . but she and writing partner laurence coriat don't manage an equally assured narrative coinage .
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though harris is affecting at times , he cannot overcome the sense that pumpkin is a mere plot pawn for two directors with far less endearing disabilities .
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the documentary is much too conventional -- lots of boring talking heads , etc . -- to do the subject matter justice .
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the movie itself appears to be running on hypertime in reverse as the truly funny bits get further and further apart .
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this is not a jackie chan movie . it's just a movie that happens to have jackie chan in it . and that makes all the difference .
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far too clever by half , howard's film is really a series of strung-together moments , with all the spaces in between filled with fantasies , daydreams , memories and one fantastic visual trope after another .
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the problem with movies about angels is they have a tendency to slip into hokum . a rumor of angels doesn't just slip -- it avalanches into forced fuzziness .
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no big whoop , nothing new to see , zero thrills , too many flashbacks and a choppy ending make for a bad film .
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i don't think this movie loves women at all .
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shankman . . . and screenwriter karen janszen bungle their way through the narrative as if it were a series of bible parables and not an actual story .
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a negligible british comedy .
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fails to convince the audience that these brats will ever be anything more than losers .
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stay away . far away .
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slack and uninspired , and peopled mainly by characters so unsympathetic that you're left with a sour taste in your mouth .
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skip this turd and pick your nose instead because you're sure to get more out of the latter experience .
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what can one say about a balding 50-year-old actor playing an innocent boy carved from a log ?
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trailer trash cinema so uncool the only thing missing is the " gadzooks ! "
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her film is like a beautiful food entrée that isn't heated properly , so that it ends up a bit cold and relatively flavorless .
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like the world of his film , hartley created a monster but didn't know how to handle it .
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no new plot conceptions or environmental changes , just different bodies for sharp objects to rip through .
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needs more impressionistic cinematography and exhilarating point-of-view shots and fewer slow-motion 'grandeur' shots and quick-cut edits that often detract from the athleticism .
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in the end , there isn't much to it .
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a waste of fearless purity in the acting craft .
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the film is ultimately about as inspiring as a hallmark card .
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anyone not into high-tech splatterfests is advised to take the warning literally , and log on to something more user-friendly .
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disreputable doings and exquisite trappings are dampened by a lackluster script and substandard performances .
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you could easily mistake it for a sketchy work-in-progress that was inexplicably rushed to the megaplexes before its time .
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directors harry gantz and joe gantz have chosen a fascinating subject matter , but the couples exposing themselves aren't all that interesting .
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yet another entry in the sentimental oh-those-wacky-brits genre that was ushered in by the full monty and is still straining to produce another smash hit .
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for those for whom the name woody allen was once a guarantee of something fresh , sometimes funny , and usually genuinely worthwhile , hollywood ending is a depressing experience
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femme fatale offers nothing more than a bait-and-switch that is beyond playing fair with the audience . are we dealing with dreams , visions or being told what actually happened as if it were the third ending of clue ?
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it could have been something special , but two things drag it down to mediocrity -- director clare peploe's misunderstanding of marivaux's rhythms , and mira sorvino's limitations as a classical actress .
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fluffy neo-noir hiding behind cutesy film references .
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imagine susan sontag falling in love with howard stern .
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like being trapped inside a huge video game , where exciting , inane images keep popping past your head and the same illogical things keep happening over and over again .
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should have been worth cheering as a breakthrough but is devoid of wit and humor .
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the best thing about the movie is its personable , amusing cast .
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these guys seem great to knock back a beer with but they're simply not funny performers .
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everything was as superficial as the forced new jersey lowbrow accent uma had .
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o ótimo esforço do diretor acaba sendo frustrado pelo roteiro , que , depois de levar um bom tempo para colocar a trama em andamento , perde-se de vez a partir do instante em que os estranhos acontecimentos são explicados .
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director david fincher and writer david koepp can't sustain it .
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finally coming down off of miramax's deep shelves after a couple of aborted attempts , waking up in reno makes a strong case for letting sleeping dogs lie .
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a movie that feels like the pilot episode of a new teen-targeted action tv series .
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one of the most highly-praised disappointments i've had the misfortune to watch in quite some time .
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the animation and backdrops are lush and inventive , yet return to neverland never manages to take us to that elusive , lovely place where we suspend our disbelief .
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director shekhar kapur and screenwriters michael schiffer and hossein amini have tried hard to modernize and reconceptualize things , but the barriers finally prove to be too great .
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strong filmmaking requires a clear sense of purpose , and in that oh-so-important category , the four feathers comes up short .
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the thought of watching this film with an audience full of teenagers fixating on its body humour and reinforcement of stereotypes ( of which they'll get plenty ) fills me with revulsion .
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devolves into the derivative , leaning on badly-rendered cgi effects .
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anyone who gets chills from movies with giant plot holes will find plenty to shake and shiver about in 'the ring . '
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a grand fart coming from a director beginning to resemble someone's crazy french grandfather .
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the script is a disaster , with cloying messages and irksome characters .
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both overstuffed and undernourished . . . the film can't be called a solid success , although there's plenty of evidence here to indicate clooney might have better luck next time .
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plods along , minus the twisted humor and eye-popping visuals that have made miike . . . a cult hero .
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hollywood has taken quite a nosedive from alfred hitchcock's imaginative flight to shyamalan's self-important summer fluff .
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