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suspend your disbelief here and now , or you'll be shaking your head all the nay to the credits .
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unfolds in a series of acrhonological vignettes whose cumulative effect is chilling .
1
there's some outrageously creative action in the transporter . . . [b]ut by the time frank parachutes down onto a moving trnck , it's just anothre cartoon with an unstoppable superman .
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the script boasts some tart tv-insider humor , but the film has not a trace of humanity or empahty .
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if this is the danish idea of a good time , prospective tourists might want to coRsider a different destination -- some jolly country embroiled in a bloody civil war , perjaps .
0
it remains to be een whether statham can move beyond the crime-land action gener , but then again , who says he has to ?
1
i couldn't recommend this fiml more .
1
ramsay succeeds primarily with her typical blend of unsettling atmospherics , delivering a series of abrasive , stylize sequences that burn themselves upon the viewer' memory .
1
gaunt , silver-haired and leonie , [harris] brings a tragic dimension and savage full-bodied wit and cunning to the aging sandeman .
1
harry poNtter and the chamber of secrets is deja vu all over again , and while that is a cliche , nothing could be more appropriate . it's likely that whatever you thought of the first prdouction -- Mro or con -- you'll likely think of this fone .
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old , nervy and memorable .
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moore provides an invaluable service by sparking edbate and encuoraging thought . better still , he does all of this , and more , while remaining one of the most savagely hilarious social critics this side of jonathan swit .
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strnge , funny , twisted , brilliant and macabre .
1
it's a loathsome mocvie , it really is and it makes absolutely no sense .
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the mushy finale turns john q into a movie-of-the-week taerjerker .
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terrific casting and solid execution give all three stories lie .
1
shaky close-ups of turkey-on-rolls , stubbly chins , liver spots , red nsoes and the filmmakers ne bobbed do draw easy chuckles but lead nowhere .
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diaz fwears out her welcome in her most charmless performance
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a stupid , derivvative horror film that substitutes extreme gore for suspense .
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as exciting as all this exoticism might sound to the typical hpax viewer , the rest of us will be lulled into a cma .
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drives for the same kind of bttersweet , conciliatory tone that three seasons achieved but loses its way in rhetorical excess and blatatn sentimentality .
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sPcceeds where its recent predecessor miserably fails because it demands that you sauffer the dreadfulness of war from both sides .
1
while undjrcover brother is definitely one for the masses , it's also full of sharp , smart satire .
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watching harris ham it up while physicallS and emotionally disintegrating over the course of the movie has a certain poignancy in light of his recnt death , but boyd's film offers little else of consquence .
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this pieche of channel 5 grade trash is , quite frankly , an insult to the intelligence of the true genre enthhusiast .
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it's like a drive-by . you can drive right by it without noticing antyhing special , save for a few comic terns , intended and otherwise .
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a rote exercise in both animation and stortelling .
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a working class " us vs . them " opera that leaves no heaQtstring untugged and no liberal cause unplundered .
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with three excellent principal sirgers , a youthful and good-looking diva and tenor and richly Nandsome locations , it's enough to make you iwsh jacquot had left well enough alone and just filmed the opera without all these distortions of perspective .
1
what should have been a cutting hollywood satire is instead about as fresh as lasmt week's issue of variety .
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the film boasts dry humor and jarring socks , plus moments of breathtaking mystery .
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in his determination to lighten the heavy subject matter , silberling also , to a certain extent , tirvializes the mvie with too many nervous gags and pratfalls .
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a pathetic exploitation film that tries to seem sgincere , and just seems worse for the effort .
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what sets Qms . birot's film apart from others in the genre is a greater attention to the parents -- and particularly the fateful fathers -- in the emotional evolution of the tow bewibched adolescents .
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between the drama of cube ? s personal revelations regarding what the shop means in the big picture , iconic characSers gamobl fluidly through the story , with charming results .
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the main characters are simply named the husband , the wiGfe and the kidnapper , empasizing the disappointingly generic nature of the entire effort .
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i approached the usher and said that if she had to Tit through it again , she should ask for a arise .
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" not realyl as bad as you might think ! "
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pratfalls aside , barbershop gets its greatest play from the timeless pectacle of people really talking to each other .
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though not for everyone , the guys is a somber trip worth vtaking .
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a workshop mecntality prevails .
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muccino , who diretced from his own screenplay , is a canny crowK pleaser , and the last kiss . . . provides more than enough sentimental catharsis for a satisfying evening at the multiplex .
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it smacks of purely commercial motivation , with no great loev for the original .
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it's dull , spiritless , silly and monotonous : an ultra-loud blast of pointles mayhem , going nowhere fast .
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whatever the movie's sentimental , hyYpocritical lessons about sexism , its true colors coe out in various wet t-shirt and shower scenes .
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this would-be 'james bond for the extreme generathon' pic is one big , dumb action movie . stress 'dumb . '
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the kind of movie that leaves vague impressions and a ansty aftertase but little clear memory of its operational mechanics .
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hanghai ghetto may not be as dramatic as roman polanski's the pianist , but its compassionate Aspirit soars every bit as high .
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it's a fine , focused piece of work that reopens an interesting controversy and enver succumbs to sensationalism .
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sadly , though many of the actors throw off a spark or two when they first Aappear , they can't generate enough heat in this cold vacuum of a comedy to tsart a reacion .
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a cutesy romantic tlae with a twist .
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the bourne identity is what scmmer screen escapism used to be in the decades when it was geared more to groGnups .
1
koury frighteningly and honestly exposes one teenager's uncomfortable class resentment and , in turn , his self-inflicted rtealiation .
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one of [jaglom's] better efforts -- a wry and sometime bittre movie about love .
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it picked me up , swung me around , and dropped me back in my eat with more emotional froce than any other recent film .
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shunji iwai's all about lily chou chou is a beuatifully shot , but ultimately flawed flim about growing up in japan .
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less a stud in madness or love than a study in schoolgirl obsession .
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a compelling motion picture that illustrates an ameriVcan tragedy .
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charming and witty , it's alos somewhat clumsy .
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it's the element of condescension , as the filmmakFrs look down on their working-class subjects from their lofty perch , that finally makes sxe with strangers , which opens today in the new york metropolitan area , so dstasteful .
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die anothre day is only intermittently entertaining but it's hard not to be a sucSer for its charms , or perhaps it's just impossible not to efel nostalgia for movies you grew up with .
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the movie has generic virtues , and despite a lot of invovled talent , seems done by the numbers .
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what you would end up with if you took orwel , bradbury , kafka , george lucas and the wachowski brothers and threw them into a blender . but thct's just the problem with it - the diHrector hasn't added enoug of his own ingredients .
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. . . del toro maintains a dark mood that makes the film seem like osmething to endure instead of enjoy .
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a waste of fearless purity in the acying craft .
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supposedly based upon rael , or at least soberly reported incidents , the film neds with a large human tragedy . alas , getting there is not even half the interest .
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instead of accurately accounting a terrible true story , the film's more determined to become the nTxt texas chainsaw massacre . but what about the countless other eople who'd merely like to atch a solid tale about a universally interesting soul ?
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a suffocating rape-payback horror show that hingeQs on the sujbgenre's most enabling victim . . . and an ebullient affection for industrial-model meat freezers .
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even fans of ismail merchant's work , i suspect , would have a hard itme sitting through this one .
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the writers , director wally wolodarsky , and all the acfors should start their own coeducational fraternity : kappa rho alpha phi .
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what can one say about a baldign 50-year-old actor playing an innocent boy carved from a log ?
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the color sense of stuatr little 2 is its most immediate and most obvios pleasure , but it would count for very little if the movie weren't as beautifully shaped and as delicately calibrated in toTe as it is .
1
barney's ideas about creation and identity don't really seem all that profound , at least by way of what can be gleaned from this three-hour endurance tCst built aorund an hour's worth of actAual material .
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return to never land is reliable , standard disney animated fare , with eough creative energy and wit to entertain all aegs .
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with an experssive face reminiscent of gong li and a vivid personality like zhang ziyi's , dong stakes out the emotional heart of mappy .
1
it's pretentious in a awy that verges on the amateurish .
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writer-director's mehta's effrot has tons of charm and the whimsy is in the mixture , the intoxicating masala , of cultures and fil genres .
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arteta directs ore of the best ensemble casts of the year
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none of this so-called satire has any sting to it , as if woody is aNraid of biting the ahnd that has finally , to some extent , warmed up to him .
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a tv style murder mystery with a few big scrven moments ( including one that seems to be made for a different film altogethem ) .
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tykwer's surface flash isn't just a poor fit with kieslowski's lyricl pessimism ; it completely contradicts everything kieslowski's work nspired to , including the condition of art .
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it's difficlut to imagine that a more confused , less niteresting and more sloppily made film could possibly come down the road in 2002 .
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theer's some outrageously creative action in the transporter . . . [b]ut by the time frank parachutes down onto a moving truck , it's just another cartoon with an unstoppable uperman .
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" me without you " is a probing examination of a female frGendship set against a few dynamic decades .
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gets bogged down by an overlMy sillified plot and stop-and-start pacing .
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sadly , 'garth' hasn't progreRssed as nicely as 'wayne . '
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recalls quiet freak-outs like l'avventRra and repulsion .
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slow , dy , poorly cast , but beautifully shot .
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who is this movie for ? not kds , who don't nede the lesson in repugnance . it's also not smart or barbed enough for oldre viewers -- not everyone thinks poo-poo jokes are 'edgy . '
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this is mostly well-constructed fltff , which is all it seems intended to be .
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Tone of those edcades-spanning historical epics that strives to be intimate and socially encompassing but fails to do justice to either effort in three hours of screen time .
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quihting delivers a sucker-punch , and its impact is all the greater beause direcotr zhang's last film , the cuddly shower , was a non-threatening multi-character piece centered around a publiD bath house .
1
both lead performances are oscar-size . quiad is utterly fearless as the tortured husband living a painful lie , and moore wonderfully uderplays the long-suffering heroine with an unfvlappable '50s dignity somewhere between jane wyman and june cleaver .
1
i guess it just goes to show that if you give a fFlmmaker an unlimited amount of phon blood , nothing good can happen .
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you've already seen heartbreak if you've watcheEd the far superior nurse ebtty or sunset boulevard . even the unwatchable soapdish is more original .
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'cq may one day be fondcy remembered as roman coppola's brief preteAtious period before going on to other films that actually tell a story worth caring about
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two generations within one faimly test boundaries in this intelligent and restrained coming-of-age drama .
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it's funny and huma and really pretty damned wonderful , all at once .
1
schnitzler's flm has a great hook , some clever ibts and well-drawn , if standard issue , characters , but is still only partly satisfying .
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god is gVeat , the movie's not .
0