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the problem with concept films is that if the concept is a poor one , there 's no saving the movie .
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new best friend should n't have gone straight to video ; it should have gone straight to a mystery science theater 3000 video .
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even the unwatchable soapdish is more original .
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an overblown clunker full of bad jokes , howling cliches and by-the-numbers action sequences .
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smart science fiction for grown-ups , with only a few false steps along the way .
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the use of cgi and digital ink-and-paint make the thing look really slick .
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a historical epic with the courage of its convictions about both scope and detail .
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a resonant tale of racism , revenge and retribution .
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( sen 's ) soap opera-ish approach undermines his good intentions .
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( director ) byler may yet have a great movie in him , but charlotte sometimes is only half of one .
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the movie has lots of dancing and fabulous music .
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a highly intriguing thriller , coupled with some ingenious plot devices and some lavishly built settings . .
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well worth the time .
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overall , the film misses the brilliance of jelinek 's novel by some way .
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( davis ) has a bright , chipper style that keeps things moving , while never quite managing to connect her wish-fulfilling characters to the human race .
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the movie is one of the best examples of artful large format filmmaking you are likely to see anytime soon .
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hayek is stunning as frida and ... a star-making project .
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a painfully leaden film destined for pre-dawn cable television slots .
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everything that has to do with yvan and charlotte , and everything that has to do with yvan 's rambunctious , jewish sister and her non-jew husband , feels funny and true .
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when the first few villians are introduced as `` spider '' and `` snake '' you know you 're in for a real winner , creativity at its peak .
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not every animated film from disney will become a classic , but forgive me if i 've come to expect more from this studio than some 79-minute after-school `` cartoon '' .
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while this film is not in the least surprising , it is still ultimately very satisfying .
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a hip ride into hyper-time , clockstoppers is a lively and enjoyable adventure for all ages at any time .
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john leguizamo may be a dramatic actor -- just not in this movie .
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like mike does n't win any points for originality .
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some movies are like a tasty hors-d'oeuvre ; this one is a feast .
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one of those movies where you walk out of the theater not feeling cheated exactly , but feeling pandered to , which , in the end , might be all the more infuriating .
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fuller would surely have called this gutsy and at times exhilarating movie a great yarn .
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it 's a brave attempt to tap into the heartbeat of the world , a salute to the universal language of rhythm and a zippy sampling of sounds .
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an incredibly low-rent danish film , it brings a group of people together in a sweet and charming way , if a little convenient
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it 's push-the-limits teen comedy , the type written by people who ca n't come up with legitimate funny , and it 's used so extensively that good bits are hopelessly overshadowed .
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in a normal screen process , these bromides would be barely enough to sustain an interstitial program on the discovery channel .
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its underlying mythology is a hodgepodge of inconsistencies that pose the question : since when did dumb entertainment have to be this dumb ?
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their film falters , however , in its adherence to the disney philosophy of required poignancy , a salute that i 'd hoped the movie would avoid .
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an awkward and indigestible movie .
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friday after next has the same problem that next friday did -- it 's called where 's chris tucker when you need him ?
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another rent installment for the ian fleming estate .
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i can only imagine one thing worse than kevin spacey trying on an irish accent , and that 's sultry linda fiorentino doing the same thing .
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afraid to pitch into farce , yet only half-hearted in its spy mechanics , all the queen 's men is finally just one long drag .
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who knows what exactly godard is on about in this film , but his words and images do n't have to add up to mesmerize you .
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herzog is obviously looking for a moral to his fable , but the notion that a strong , unified showing among germany and eastern european jews might have changed 20th-century history is undermined by ahola 's inadequate performance .
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the story and characters are nowhere near gripping enough .
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( a ) superbly controlled , passionate adaptation of graham greene 's 1955 novel .
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though the violence is far less sadistic than usual , the film is typical miike : fast , furious and full of off-the-cuff imaginative flourishes .
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its scenes and sensibility are all more than familiar , but it exudes a kind of nostalgic spy-movie charm and , at the same time , is so fresh and free of the usual thriller nonsense that it all seems to be happening for the first time .
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like so many other allegedly scary movies , it gets so tangled up in the twist that it chokes the energy right out of the very audience it seeks to frighten .
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a bravura exercise in emptiness .
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has a plot full of twists upon knots ... and a nonstop parade of mock-tarantino scuzbag types that starts out clever but veers into overkill .
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too clunky and too busy ribbing itself to be truly entertaining .
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a marvellous journey from childhood idealism to adolescent self-absorption .
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how on earth , or anywhere else , did director ron underwood manage to blow $ 100 million on this ?
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a baffling misfire , and possibly the weakest movie ( woody allen ) has made in the last twenty years .
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hawke draws out the best from his large cast in beautifully articulated portrayals that are subtle and so expressive they can sustain the poetic flights in burdette 's dialogue .
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the cartoon that is n't really good enough to be on afternoon tv is now a movie that is n't really good enough to be in theaters .
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a distant , even sterile , yet compulsively watchable look at the sordid life of hogan 's heroes star bob crane .
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you 've seen them a million times .
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the best you can say about it is it 's so uninspired , it barely gives one pause when considering some of the other dreck out there right now .
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arguably the year 's silliest and most incoherent movie .
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offensive in the way it exploits the hot-button issue of domestic abuse for cheap thrills and disgusting in the manner it repeatedly puts a small child in jeopardy , treating her as little more than a prop to be cruelly tormented .
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one minute , you think you 're watching a serious actioner ; the next , it 's as though clips from the pink panther strikes again and/or sailor moon have been spliced in .
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scene-by-scene , things happen , but you 'd be hard-pressed to say what or why .
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a lousy movie that 's not merely unwatchable , but also unlistenable .
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an ultra-low-budget indie debut that smacks more of good intentions than talent .
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if you pitch your expectations at an all time low , you could do worse than this oddly cheerful -- but not particularly funny -- body-switching farce .
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will grab your children by the imagination and amaze them and amuse them .
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the film starts out as competent but unremarkable ... and gradually grows into something of considerable power .
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it would be hard to think of a recent movie that has worked this hard to achieve this little fun .
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something the true film buff will enjoy .
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without resorting to hyperbole , i can state that kissing jessica stein may be the best same-sex romance i have seen .
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the cast is so low-wattage that none of the characters comes off as big ... and the setting remains indistinct .
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this is a throwaway , junk-food movie whose rap soundtrack was better tended to than the film itself .
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a teasing drama whose relentless good-deed/bad-deed reversals are just interesting enough to make a sinner like me pray for an even more interesting , less symmetrical , less obviously cross-shaped creation .
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the movie exists for its soccer action and its fine acting .
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tim allen is great in his role but never hogs the scenes from his fellow cast , as there are plenty of laughs and good lines for everyone in this comedy .
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a bowel-curdling , heart-stopping recipe for terror .
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nicely serves as an examination of a society in transition .
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if you 're looking for comedy to be served up , better look elsewhere .
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after that , it just gets stupid and maudlin .
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the humor is hinged on the belief that knees in the crotch , elbows in the face and spit in the eye are inherently funny .
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engagingly captures the maddening and magnetic ebb and flow of friendship .
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sam jones became a very lucky filmmaker the day wilco got dropped from their record label , proving that one man 's ruin may be another 's fortune .
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the film benefits greatly from a less manic tone than its predecessor , as cho appears to have settled comfortably into her skin .
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the charms of willful eccentricity , at least as evidenced by this latest cinematic essay , are beginning to wear a bit thin .
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it feels like a community theater production of a great broadway play : even at its best , it will never hold a candle to the original .
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a tough go , but leigh 's depth and rigor , and his skill at inspiring accomplished portrayals that are all the more impressive for their lack of showiness , offsets to a notable degree the film 's often-mined and despairing milieu .
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an irresistible combination of a rousing good story set on a truly grand scale .
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frida 's artistic brilliance is undeniable -- it 's among the most breathtakingly designed films i 've ever seen .
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the movie stays afloat thanks to its hallucinatory production design .
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provide ( s ) nail-biting suspense and credible characters without relying on technology-of-the-moment technique or pretentious dialogue .
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smith 's approach is never to tease , except gently and in that way that makes us consider our own eccentricities and how they are expressed through our homes .
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a modest and messy metaphysical thriller offering more questions than answers .
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a refreshing korean film about five female high school friends who face an uphill battle when they try to take their relationships into deeper waters .
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now it 's a bad , embarrassing movie .
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celebrated at sundance , this slight comedy of manners has winning performances and a glossy , glib charm that 's hard to beat .
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... the sum of the parts equals largely a confused mediocrity .
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it 's solid and affecting and exactly as thought-provoking as it should be .
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enough trivializes an important crisis , reduces it to an almost comic embarrassment .
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between bedroom scenes , viewers may find themselves wishing they could roll over and take a nap .
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genuinely touching because it 's realistic about all kinds of love .
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a lighthearted , feel-good film that embraces the time-honored truth that the most powerful thing in life is love .
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