xiangpku/GLUE huggingface dataset:
a mix of velocity and idiocy , this ruinous remake lacks the brawn -- and the brains -- of the 1970s original .
the film is surprisingly well-directed by brett ratner , who keeps things moving well -- at least until the problematic third act .
ice cube holds the film together with an engaging and warm performance ...
a pleasant ramble through the sort of idoosyncratic terrain that errol morris has often dealt with ... it does possess a loose , lackadaisical charm .
so many documentaries like this presuppose religious bigotry or zealous nuttiness of its antagonists , but family fundamentals displays a rare gift for unflinching impartiality .
bears is bad .
consider the title 's clunk-on-the-head that suggests the overtime someone put in to come up with an irritatingly unimaginative retread concept .
cedar takes a very open-minded approach to this sensitive material , showing impressive control , both visually and in the writing .
a very funny look at how another culture handles the process of courting and marriage .
romanek keeps the film constantly taut ... reflecting the character 's instability with a metaphorical visual style and an unnerving , heartbeat-like score .
let your silly childhood nostalgia slumber unmolested .
as tweedy talks about canning his stockbroker and repairing his pool , you yearn for a few airborne tv sets or nude groupies on the nod to liven things up .
well-shot but badly written tale set in a future ravaged by dragons .
murder and mayhem of this sort quickly becomes monotonous .
this is one of polanski 's best films .
like those to rome , all roads in the banger sisters inevitably lead to a joke about hawn 's breasts , which constantly threaten to upstage the woman sporting them .
the director , steven shainberg , has succeeded by focusing intently on his characters , making them quirky individuals rather than figures of fun .
... an unimaginative , nasty , glibly cynical piece of work .
the movie succumbs to being nothing more than a formulaic chase in the dark .
this formulaic chiller will do little to boost stallone 's career .
its over-reliance on genre conventions , character types and formulaic conflict resolutions crushes all the goodwill it otherwise develops .
some decent actors inflict big damage upon their reputations .
it 's a movie forged in the fires of chick flick hell .
droll caper-comedy remake of `` big deal on madonna street '' that 's a sly , amusing , laugh-filled little gem in which the ultimate `` bellini '' begins to look like a `` real kaputschnik . ''
he 'd create a movie better than this .
it smacks of purely commercial motivation , with no great love for the original .
notorious c.h.o. has oodles of vulgar highlights .
`` collateral damage '' goes by the numbers and reps decent action entertainment -- until the silly showdown ending that forces the viewer to totally suspend disbelief
even the imaginative gore ca n't hide the musty scent of todd farmer 's screenplay , which is a simple retread of the 1979 alien , with a plucky heroine battling a monster loose in a spaceship .
rather quickly , the film falls into a soothing formula of brotherly conflict and reconciliation .
i was perplexed to watch it unfold with an astonishing lack of passion or uniqueness .
... just a big mess of a movie , full of images and events , but no tension or surprise .
as shaky as the plot is , kaufman 's script is still memorable for some great one-liners .
at its best , the good girl is a refreshingly adult take on adultery ...
this is cool , slick stuff , ready to quench the thirst of an audience that misses the summer blockbusters .
there 's not much more to this adaptation of the nick hornby novel than charm -- effortless , pleasurable , featherweight charm .
highlights are the terrific performances by christopher plummer , as the prime villain , and nathan lane as vincent crummles , the eccentric theater company manager .
it 's badly acted , blandly directed , and could have been scripted by someone who just graduated from elementary school .
no , it 's not nearly as good as any of its influences .
scarlet diva has a voyeuristic tug , but all in all it 's a lot less sensational than it wants to be .
just when the movie seems confident enough to handle subtlety , it dives into soapy bathos .
sushi for the connoisseurs of the macabre .
the problem with this film is that it 's forced to make its characters idiots in order to advance the plot .
director nalin pan does n't do much to weigh any arguments one way or the other .
a work of intricate elegance , literary lyricism and profound common sense .
all the characters are stereotypes , and their interaction is numbingly predictable .
the subject of swinging still seems ripe for a documentary -- just not this one .
occasionally funny and consistently odd , and it works reasonably well as a star vehicle for zhao .
the best thing the film does is to show us not only what that mind looks like , but how the creative process itself operates .
the ending is a cop-out .
one groan-inducing familiarity begets another .
it 's a sly wink to the others without becoming a postmodern joke , made creepy by its `` men in a sardine can '' warped logic .
being author wells ' great-grandson , you 'd think filmmaker simon wells would have more reverence for the material .
the values that have held the enterprise crew together through previous adventures and perils do so again-courage , self-sacrifice and patience under pressure .
it is a comedy that 's not very funny and an action movie that is not very thrilling ( and an uneasy alliance , at that ) .
a gentle blend of present day testimonials , surviving footage of burstein and his family performing , historical archives , and telling stills .
... a weak , manipulative , pencil-thin story that is miraculously able to entertain anyway .
while undercover brother is definitely one for the masses , it 's also full of sharp , smart satire .
this self-infatuated goofball is far from the only thing wrong with the clumsy comedy stealing harvard , but he 's the most obvious one .
leaves you with a knot in your stomach , its power is undercut by its own head-banging obviousness .
a simple , sometimes maddeningly slow film that has just enough charm and good acting to make it interesting , but is ultimately pulled under by the pacing and lack of creativity within .
not so much a movie as a picture book for the big screen .
a long slog for anyone but the most committed pokemon fan .
earnest falls short of its ideal predecessor largely due to parker 's ill-advised meddling with the timeless source material .
an excellent romp that boasts both a heart and a mind .
after seeing swept away , i feel sorry for madonna .
there 's something fundamental missing from this story : something or someone to care about .
a compelling , moving film that respects its audience and its source material .
... if you 're in a mind set for goofy comedy , the troopers will entertain with their gross outs , bawdy comedy and head games .
it 's predictable , but it jumps through the expected hoops with style and even some depth .
the character is too forced and overwritten to be funny or believable much of the time , and clayburgh does n't always improve the over-the-top mix .
while not all transitions to adulthood are so fraught , there 's much truth and no small amount of poetry in girls ca n't swim .
nothing denis has made before , like beau travil and nenette et boni , could prepare us for this gory , perverted , sex-soaked riff on the cannibal genre .
credibility levels are low and character development a non-starter .
it 's so full of wrong choices that all you can do is shake your head in disbelief -- and worry about what classic oliver parker intends to mangle next time .
the result is mesmerizing -- filled with menace and squalor .
i kept wishing i was watching a documentary about the wartime navajos and what they accomplished instead of all this specious hollywood hoo-ha .
still , it gets the job done -- a sleepy afternoon rental .
shainberg weaves a carefully balanced scenario that is controlled by neither character , is weirdly sympathetic to both and manages to be tender and darkly comic .
it should be mentioned that the set design and interiors of the haunted vessel are more than effectively creepy and moodily lit .
flaunts its quirky excesses like a new year 's eve drunk sporting a paper party hat .
there 's an audience for it , but it could have been funnier and more innocent .
there is a refreshing absence of cynicism in stuart little 2 -- quite a rarity , even in the family film market .
sluggishly directed by episodic tv veteran joe zwick , it 's a sitcom without the snap-crackle .
it 's so underwritten that you ca n't figure out just where the other characters , including ana 's father and grandfather , come down on the issue of ana 's future .
it 's fairly self-aware in its dumbness .
remarkably accessible and affecting .
a smart , sweet and playful romantic comedy .
as adapted by kevin molony from simon leys ' novel `` the death of napoleon '' and directed by alan taylor , napoleon 's journey is interesting but his parisian rebirth is stillborn
though avary has done his best to make something out of ellis ' nothing novel , in the end , his rules is barely worth following .
topkapi this is not .
no . .
the second chapter of the harry potter series is even more magical than the first and simply the best family film of the year .
it wo n't be long before you 'll spy i spy at a video store near you .
it 's a terrific american sports movie and dennis quaid is its athletic heart .
a potent allegorical love story .
if you 're not a prepubescent girl , you 'll be laughing at britney spears ' movie-starring debut whenever it does n't have you impatiently squinting at your watch .
not sweet enough to liven up its predictable story and will leave even fans of hip-hop sorely disappointed .
blessed with immense physical prowess he may well be , but ahola is simply not an actor .
it 's the kind of movie that ends up festooning u.s. art house screens for no reason other than the fact that it 's in french ( well , mostly ) with english subtitles and is magically ` significant ' because of that .
tailored to entertain !
at the bottom rung of the series ' entries .
as a singular character study , it 's perfect .
gollum 's ` performance ' is incredible !
tim story 's not there yet - but ` barbershop ' shows he 's on his way .
my goodness , queen latifah has a lot to offer and she seemed to have no problem flaunting her natural gifts .
all in all , there 's only one thing to root for : expulsion for everyone .
but hard-to-believe plot twists force the movie off track in its final half hour .
but he loses his focus when he concentrates on any single person .
as teen movies go , `` orange county '' is a refreshing change
shocking only in that it reveals the filmmaker 's bottomless pit of self-absorption .
its gross-out gags and colorful set pieces ... are of course stultifyingly contrived and too stylized by half .
the sum of all fears is almost impossible to follow -- and there 's something cringe-inducing about seeing an american football stadium nuked as pop entertainment .
the master of disaster - it 's a piece of dreck disguised as comedy .
nothing about it fits .
it 's a beautifully accomplished lyrical meditation on a bunch of despondent and vulnerable characters living in the renown chelsea hotel ...
it does n't do the original any particular dishonor , but neither does it exude any charm or personality .
acting , particularly by tambor , almost makes `` never again '' worthwhile , but ( writer/director ) schaeffer should follow his titular advice
daughter from danang is a film that should be seen by all , especially those who are n't aware of , or have forgotten about the unmentioned victims of war .
a deliciously mordant , bitter black comedy .
more a load of enjoyable , conan-esque claptrap than the punishing , special-effects soul assaults the mummy pictures represent .
the only way this supernatural snore-fest could give anyone a case of the frights is if they were put to sleep by the movie and had a nightmare .
the period -- swinging london in the time of the mods and the rockers -- gets the once-over once again in gangster no. 1 , but falls apart long before the end .
it 's a pleasure to see seinfeld griping about the biz with buddies chris rock , garry shandling and colin quinn .
sound the trumpets : for the first time since desperately seeking susan , madonna does n't suck as an actress .
the film has a few cute ideas and several modest chuckles but it is n't exactly kiddie-friendly ... alas , santa is more ho-hum than ho-ho-ho and the snowman ( who never gets to play that flute ) has all the charm of a meltdown .
although based on a real-life person , john , in the movie , is a rather dull person to be stuck with for two hours .
superior genre storytelling , which gets under our skin simply by crossing the nuclear line .
a romantic comedy that operates by the rules of its own self-contained universe .
it 's one of the most honest films ever made about hollywood .
diane lane shines in unfaithful .
a perverse little truffle , dainty psychological terror on the outside with a creamy filling of familial jealousy and unrepentant domestic psychopathy .
narc may not get an ` a ' for originality , but it wears its b-movie heritage like a badge of honor .
scotland , pa. is a strangely drab romp .
the film is exhilarating to watch because sandler , liberated from the constraints of formula , reveals unexpected depths as an actor .
when the painted backdrops in a movie are more alive than its characters , you know you 're in trouble .
the tone is balanced , reflective and reasonable .
in scope , ambition and accomplishment , children of the century ... takes kurys ' career to a whole new level .
the story bogs down in a mess of purposeless violence .
feels like one of those contrived , only-in - hollywood productions where name actors deliver big performances created for the sole purpose of generating oscar talk .
( an ) hilarious romantic comedy .
its direction , its script , and weaver 's performance as a vaguely discontented woman of substance make for a mildly entertaining 77 minutes , if that 's what you 're in the mood for .
a trashy , exploitative , thoroughly unpleasant experience .
an incendiary , deeply thought-provoking look at one of the most peculiar ( and peculiarly venomous ) bigotries in our increasingly frightening theocracy
the principals in this cast are all fine , but bishop and stevenson are standouts .
unfortunately , the picture failed to capture me .
if this is the resurrection of the halloween franchise , it would have been better off dead .
a mixed bag of a comedy that ca n't really be described as out of this world .
given that both movies expect us to root for convicted violent felons over those assigned to protect us from same , we need every bit of sympathy the cons can muster ; this time , there is n't much .
as the story moves inexorably through its seven day timeframe , the picture becomes increasingly mesmerizing .
even as lame horror flicks go , this is lame .
the two leads chomp considerably more scenery with their acting than fire-breathing monsters barbecue with their breath ...
screenwriters scott abbott and michael petroni have turned rice 's complex akasha into a cartoon monster .
all the necessary exposition prevents the picture from rising above your generic sand 'n' sandal adventure .
funny and , at times , poignant , the film from director george hickenlooper all takes place in pasadena , `` a city where people still read . ''
though everything might be literate and smart , it never took off and always seemed static .
( plays ) in broad outline as pandering middle-age buddy-comedy .
francophiles will snicker knowingly and you 'll want to slap them .
resourceful and ingenious entertainment .
... blade ii is more enjoyable than the original .
but what saves lives on the freeway does not necessarily make for persuasive viewing .
a wonderful character-based comedy .
or some damn thing .
a thoughtful , moving piece that faces difficult issues with honesty and beauty .
unfortunately , heartbreak hospital wants to convey the same kind of haughtiness in its own sketchy material but this territory has already been explored previously with better aplomb and sardonic wit .
works because , for the most part , it avoids the stupid cliches and formulaic potholes that befall its brethren .
flat , but with a revelatory performance by michelle williams .
the movie 's biggest offense is its complete and utter lack of tension .
when a film is created solely because it 's a marketable product , soulless and ugly movies like this are the result .
while the film misfires at every level , the biggest downside is the paucity of laughter in what 's supposed to be a comedy .
the film takes too long getting to the good stuff , then takes too long figuring out what to do next .
this romantic thriller is steeped in the atmosphere of wartime england , and ably captures the speech patterns , moral codes and ideals of the 1940s .
earnest but earthbound ... a slow , soggy , soporific , visually dank crime melodrama/character study that would be more at home on the small screen but for its stellar cast .
the tone shifts abruptly from tense to celebratory to soppy .
can see where this dumbed-down concoction is going .
b. ) that sure is pathetic !
impresses you with its open-endedness and surprises .
a film so tedious that it is impossible to care whether that boast is true or not .
it is inspirational in characterizing how people from such diverse cultures share the same human and spiritual needs .
despite what anyone believes about the goal of its makers , the show ... represents a spectacular piece of theater , and there 's no denying the talent of the creative forces behind it .
helmer devito ... attempts to do too many things in this story about ethics , payola , vice , murder , kids ' tv and revenge .
a dreadful live-action movie .
day is not a great bond movie , but it is a good bond movie , which still makes it much better than your typical bond knock-offs .
even those of a single digit age will be able to recognize that this story is too goofy ... even for disney .
... too dull to enjoy .
a waste of good performances .
rates an ` e ' for effort -- and a ` b ' for boring .
the fight scenes are fun , but it grows tedious .
what could and should have been biting and droll is instead a tepid waste of time and talent .
disturbing and brilliant documentary .
it 's a great deal of sizzle and very little steak .
there is no entry portal in the rules of attraction , and i spent most of the movie feeling depressed by the shallow , selfish , greedy characters .
dawdles and drags when it should pop ; it does n't even have the virtue of enough mindless violence to break up the tedium of all its generational bonding .
... an inviting piece of film .
it 's a humble effort , but spiced with wry humor and genuine pathos , especially between morgan and redgrave .
it turns out to be a cut above the norm , thanks to some clever writing and sprightly acting .
exquisitely acted and masterfully if preciously interwoven ... ( the film ) addresses in a fascinating , intelligent manner the intermingling of race , politics and local commerce .
harsh , effective documentary on life in the israeli-occupied palestinian territories .
it 's hard not to feel you 've just watched a feature-length video game with some really heavy back story .
a long-winded , predictable scenario .
a one-trick pony whose few t&a bits still ca n't save itself from being unoriginal , unfunny and unrecommendable .
from the big giant titles of the opening credits to elmer bernstein 's perfectly melodic score , haynes gets just about everything right .
taken individually or collectively , the stories never add up to as much as they promise .
huppert gives erika a persona that is so intriguing that you find yourself staring hypnotically at her , trying to understand her and wondering if she 'll crack .
this one 's weaker than most .
most of the supporting characters in eastwood films are weak , as are most of the subplots .
everyone connected to this movie seems to be part of an insider clique , which tends to breed formulaic films rather than fresh ones .
enough similarities to gymkata and howie long 's firestorm that my fingernails instinctively crawled towards my long-suffering eyeballs .
compelling revenge thriller , though somewhat weakened by a miscast leading lady .
a very bad sign .
in adobo , ethnicity is not just the spice , but at the heart of more universal concerns .
the reason we keep seeing the same movie with roughly the same people every year is because so many of us keep going and then , out of embarrassment or stupidity , not warning anyone .
the sort of movie that gives tastelessness a bad rap .
punish the vehicle to adore the star .
instead of accurately accounting a terrible true story , the film 's more determined to become the next texas chainsaw massacre .
steve irwin 's method is ernest hemmingway at accelerated speed and volume .
far from perfect , but its heart is in the right place ... innocent and well-meaning .
much of what is meant to be ` inspirational ' and ` uplifting ' is simply distasteful to audiences not already sharing ( the movie 's ) mindset .
as weber and weissman demonstrate with such insight and celebratory verve , the cockettes were n't as much about gender , sexual preference or political agitprop as they were simply a triumph of the indomitable human will to rebel , connect and create .
there are a few stabs at absurdist comedy ... but mostly the humor is of the sweet , gentle and occasionally cloying kind that has become an iranian specialty .
so young , so smart , such talent , such a wise *** .
soul is what 's lacking in every character in this movie and , subsequently , the movie itself .
it helps that the central performers are experienced actors , and that they know their roles so well .
energetic and boldly provocative .
trivial where it should be profound , and hyper-cliched where it should be sincere .
had anyone here done anything remotely intelligent , we all could have stopped watching long ago .
having never been a huge fan of dickens ' 800-page novel , it surprised me how much pleasure i had watching mcgrath 's version .
go see it and enjoy .
the film has just enough of everything -- re-enactments , archival footage , talking-head interviews -- and the music is simply sublime .
a didactic and dull documentary glorifying software anarchy .
... too slow , too boring , and occasionally annoying .
message movie or an action-packed submarine spectacular ?
together , tok and o orchestrate a buoyant , darkly funny dance of death .
is this progress ?
pretty darn good , despite its smarty-pants aura .
this is a film well worth seeing , talking and singing heads and all .
dolgin and franco fashion a fascinating portrait of a vietnamese-born youngster who eagerly and easily assimilated as an all-american girl with a brand new name in southern tennessee .
it 's a glorious groove that leaves you wanting more .
an enchanting spectacular for potter fans anxious to ride the hogwarts express toward a new year of magic and mischief .
the film seems a dead weight .
( i ) f you 've been to more than one indie flick in your life , chances are you 've already seen this kind of thing .
an overstuffed compendium of teen-catholic-movie dogma .
the movie makes absolutely no sense .
when it 's on dry land , though , this surfer-girl melodrama starts gasping like a beached grouper .
her film is unrelentingly claustrophobic and unpleasant .
the scope of the silberstein family is large and we grow attached to their lives , full of strength , warmth and vitality . .
guaranteed to move anyone who ever shook , rattled , or rolled .
those who managed to avoid the deconstructionist theorizing of french philosopher jacques derrida in college can now take an 85-minute brush-up course with the documentary derrida .
whatever eyre 's failings as a dramatist , he deserves credit for bringing audiences into this hard and bitter place .