xiangpku/GLUE huggingface dataset:
stay clear of reminding yourself that it 's a `` true story '' and you 're likely to have one helluva time at the movies .
he just wants them to be part of the action , the wallpaper of his chosen reality .
jolie 's performance vanishes somewhere between her hair and her lips .
a strong first quarter , slightly less so second quarter , and average second half .
once you get into its rhythm ... the movie becomes a heady experience .
but in imax 3-d , the clichés disappear into the vertiginous perspectives opened up by the photography .
a sweet-natured reconsideration of one of san francisco 's most vital , if least widely recognized , creative fountainheads .
a little too pat for its own good .
even if britney spears is really cute , her movie is really bad .
while benigni ( who stars and co-wrote ) seems to be having a wonderful time , he might be alone in that .
the new guy does have a heart .
led by griffin 's smartly nuanced performance and enthusiasm , the cast has a lot of fun with the material .
this is as powerful a set of evidence as you 'll ever find of why art matters , and how it can resonate far beyond museum walls and through to the most painfully marginal lives .
guided more by intellect than heart , his story flattens instead of sharpens .
about as cutting-edge as pet rock : the movie .
this idea has lost its originality ... and neither star appears very excited at rehashing what was basically a one-joke picture .
a miniscule little bleep on the film radar , but one that many more people should check out
the wwii drama is well plotted , visually striking and filled with enjoyably complex characters who are never what they first appear .
it is a film that will have people walking out halfway through , will encourage others to stand up and applaud , and will , undoubtedly , leave both camps engaged in a ferocious debate for years to come .
cho 's fans are sure to be entertained ; it 's only fair in the interest of full disclosure to say that -- on the basis of this film alone -- i 'm not one of them .
here 's a self-congratulatory 3d imax rah-rah .
this is pretty dicey material .
it will delight newcomers to the story and those who know it from bygone days .
a blessed gift to film geeks and historians .
that rara avis : the intelligent romantic comedy with actual ideas on its mind .
never quite transcends jokester status ... and the punchline does n't live up to barry 's dead-eyed , perfectly chilled delivery .
remember when bond had more glamour than clamor ?
an uneven film dealing with too many problems to be taken seriously .
leave these flowers unpicked -- they 're dead on the vine .
my oh my , is this an invigorating , electric movie .
audiences conditioned to getting weepy over saucer-eyed , downy-cheeked moppets and their empathetic caretakers will probably feel emotionally cheated by the film 's tart , sugar-free wit .
almost every scene in this film is a gem that could stand alone , a perfectly realized observation of mood , behavior and intent .
the story may not be new , but australian director john polson , making his american feature debut , jazzes it up adroitly .
k-19 may not hold a lot of water as a submarine epic , but it holds even less when it turns into an elegiacally soggy saving private ryanovich .
the whole thing plays out with the drowsy heaviness of synchronized swimmer wearing a wool wetsuit .
so lazy and slipshod it confuses the mere flashing of kinky soft-core imagery with naughty fun .
unlike the nauseating fictions peddled by such ` have-yourself-a-happy-little-holocaust ' movies as life is beautiful and jakob the liar , the grey zone is honest enough to deny the possibility of hope in auschwitz .
drags along in a dazed and enervated , drenched-in-the - past numbness .
britney has been delivered to the big screen safe and sound , the way we like our 20-year-old superstar girls to travel on the fame freeway .
this may be the dumbest , sketchiest movie on record about an aspiring writer 's coming-of-age .
steers turns in a snappy screenplay that curls at the edges ; it 's so clever you want to hate it .
it extends the writings of jean genet and john rechy , the films of fassbinder , perhaps even the nocturnal works of goya .
julia is played with exasperating blandness by laura regan .
extremely dumb .
the production values are up there .
perhaps no picture ever made has more literally showed that the road to hell is paved with good intentions .
i complain all the time about seeing the same ideas repeated in films over and over again , but the bourne identity proves that a fresh take is always possible .
a movie that , rather than skip along the seine , more or less slogs its way through soggy paris , tongue uncomfortably in cheek .
an absorbing trip into the minds and motivations of people under stress as well as a keen , unsentimental look at variations on the theme of motherhood .
it 's also the year 's sweetest movie .
jagger the actor is someone you want to see again .
the ill-conceived modern-day ending falls flat where it should deliver a moral punch .
when the plot kicks in , the film loses credibility .
ray liotta and jason patric do some of their best work in their underwritten roles , but do n't be fooled : nobody deserves any prizes here .
for a shoot - 'em - up , ballistic is oddly lifeless .
all i can say is fuhgeddaboutit .
the film might have been more satisfying if it had , in fact , been fleshed out a little more instead of going for easy smiles .
a bold and subversive film that cuts across the grain of what is popular and powerful in this high-tech age , speaking its truths with spellbinding imagery and the entrancing music of philip glass .
although life or something like it is very much in the mold of feel-good movies , the cast and director stephen herek 's polished direction pour delightfully piquant wine from aged bottles .
( anderson ) uses a hit-or-miss aesthetic that hits often enough to keep the film entertaining even if none of it makes a lick of sense .
anyone who can count to five ( the film 's target market ? )
an impressive debut for first-time writer-director mark romanek , especially considering his background is in music video .
sadly , hewitt 's forte is leaning forward while wearing low-cut gowns , not making snappy comebacks .
this version incarnates the prophetic book in a way even its exacting author might admire .
the tug-of-war at the core of beijing bicycle becomes weighed down with agonizing contrivances , overheated pathos and long , wistful gazes .
but in its child-centered , claustrophobic context , it can be just as frightening and disturbing -- even punishing .
some of seagal 's action pictures are guilty pleasures , but this one is so formulaic that it seems to be on auto-pilot .
time changer may not be the most memorable cinema session but its profound self-evaluation message about our fragile existence and the absence of spiritual guidance should at least invade an abundance of mindsets
a triumph of art direction over narrative , but what art direction !
the movie has an avalanche of eye-popping visual effects .
not everything works , but the average is higher than in mary and most other recent comedies .
though ganesh is successful in a midlevel sort of way , there 's nothing so striking or fascinating or metaphorically significant about his career as to rate two hours of our attention .
a sports movie with action that 's exciting on the field and a story you care about off it .
the result is solemn and horrifying , yet strangely detached .
not a cozy or ingratiating work , but it 's challenging , sometimes clever , and always interesting , and those are reasons enough to see it .
for me , this opera is n't a favorite , so it 's a long time before the fat lady sings .
chicago is , in many ways , an admirable achievement .
this is such a dazzlingly self-assured directorial debut that it 's hard to know what to praise first .
excellent acting and direction .
say this for the soundtrack , it drowns out the lousy dialogue .
we get some truly unique character studies and a cross-section of americana that hollywood could n't possibly fictionalize and be believed .
if your senses have n't been dulled by slasher films and gorefests , if you 're a connoisseur of psychological horror , this is your ticket .
( a ) hollywood sheen bedevils the film from the very beginning ... ( but ) lohman 's moist , deeply emotional eyes shine through this bogus veneer ...
a sensual performance from abbass buoys the flimsy story , but her inner journey is largely unexplored and we 're left wondering about this exotic-looking woman whose emotional depths are only hinted at .
when ( de palma 's ) bad , he 's really bad , and femme fatale ranks with the worst he has done .
as are its star , its attitude and its obliviousness .
it is also , at times , curiously moving .
an exciting and involving rock music doc , a smart and satisfying look inside that tumultuous world .
is n't it great ?
think of it as a sort of comfort food for the mind .
a worthy entry into a very difficult genre .
subversive , meditative , clinical and poetic , the piano teacher is a daring work of genius .
flaccid drama and exasperatingly slow journey .
and in truth , cruel as it may sound , he makes arnold schwarzenegger look like spencer tracy .
i 'd give real money to see the perpetrators of chicago torn apart by dingoes .
a stunning piece of visual poetry that will , hopefully , be remembered as one of the most important stories to be told in australia 's film history .
truth to tell , if you 've seen more than half-a-dozen horror films , there 's nothing here you have n't seen before .
branagh , in his most forceful non-shakespeare screen performance , grounds even the softest moments in the angry revolt of his wit .
all this turns out to be neither funny nor provocative - only dull .
splashes its drama all over the screen , subjecting its audience and characters to action that feels not only manufactured , but also so false you can see the filmmakers ' puppet strings .
an intelligent fiction about learning through cultural clash .
may be spoofing an easy target -- those old ' 50 's giant creature features -- but ... it acknowledges and celebrates their cheesiness as the reason why people get a kick out of watching them today .
this is the kind of movie that used to be right at home at the saturday matinee , and it still is .
this series should have died long ago , but they keep bringing it back another day as punishment for paying money to see the last james bond movie .
an original gem about an obsession with time .
obstacles are too easily overcome and there is n't much in the way of character development in the script .
suffers from rambling , repetitive dialogue and the visual drabness endemic to digital video .
we are left with a superficial snapshot that , however engaging , is insufficiently enlightening and inviting .
katz uses archival footage , horrifying documents of lynchings , still photographs and charming old reel-to-reel recordings of meeropol entertaining his children to create his song history , but most powerful of all is the song itself
much monkeyfun for all .
there 's suspension of disbelief and then there 's bad screenwriting ... this film packs a wallop of the latter .
all the well-meaningness in the world ca n't erase the fact that the believer feels like a 12-step program for the jewish nazi .
in fessenden 's horror trilogy , this theme has proved important to him and is especially so in the finale .
if you 're not the target demographic ... this movie is one long chick-flick slog .
this is a very fine movie -- go see it .
half of it is composed of snappy patter and pseudo-sophisticated cultural observations , while the remainder ... would be more at home on a daytime television serial .
filmmakers have to dig deep to sink this low .
like the film 's almost anthropologically detailed realization of early - '80s suburbia , it 's significant without being overstated .
i loved looking at this movie .
the cold and dreary weather is a perfect metaphor for the movie itself , which contains few laughs and not much drama .
as hugh grant says repeatedly throughout the movie , ` lovely !
a spunky , original take on a theme that will resonate with singles of many ages .
the plot is straight off the shelf , the performances are television - caliber and the message of providing solace through deception is a little creepy .
this bold and lyrical first feature from raja amari expands the pat notion that middle-aged women just wan na have fun into a rousing treatise of sensual empowerment .
fear dot com is so rambling and disconnected it never builds any suspense .
it 's a hoot and a half , and a great way for the american people to see what a candidate is like when he 's not giving the same 15-cent stump speech .
this film is so slick , superficial and trend-hoppy , that it 's easy to imagine that a new software program spit out the screenplay .
nothing plot-wise is worth e-mailing home about .
the problem is n't that the movie hits so close to home so much as that it hits close to home while engaging in such silliness as that snake-down-the-throat business and the inevitable shot of schwarzenegger outrunning a fireball .
it 's all pretty cynical and condescending , too .
writer/director john mckay ignites some charming chemistry between kate and jed but , when he veers into sodden melodrama , punctuated by violins , it 's disastrous and kate 's jealous female friends become downright despicable .
the people in dogtown and z-boys are so funny , aggressive and alive , you have to watch them because you ca n't wait to see what they do next .
newton draws our attention like a magnet , and acts circles around her better known co-star , mark wahlberg .
i whole-heartedly recommend that everyone see this movie -- for its historical significance alone .
but like most rabbits , it seems to lack substance .
birot 's directorial debut ( she co-wrote the script with christophe honoré ) is n't so much bad as it is bland .
this warm and gentle romantic comedy has enough interesting characters to fill several movies , and its ample charms should win over the most hard-hearted cynics .
in the end , punch-drunk love is one of those films that i wanted to like much more than i actually did .
despite the premise of a good story ... it wastes all its star power on cliched or meaningless roles .
boring we did n't .
children may not understand everything that happens -- i 'm not sure even miyazaki himself does -- but they will almost certainly be fascinated , and undoubtedly delighted .
a captivating cross-cultural comedy of manners .
director brian levant , who never strays far from his sitcom roots , skates blithely from one implausible situation to another , pausing only to tie up loose ends with more bows than you 'll find on a french poodle .
the movie has very little to offer besides unintentional laughs .
the smug , oily demeanor that donovan adopts throughout the stupidly named pipe dream is just repulsive .
absorbing and disturbing -- perhaps more disturbing than originally intended -- but a little clarity would have gone a long way .
sorry , charlie
the lack of pace kills it , although , in a movie about cancer , this might be apt .
while super troopers is above academy standards , its quintet of writers could still use some more schooling .
cute , funny , heartwarming digitally animated feature film with plenty of slapstick humor for the kids , lots of in-jokes for the adults and heart enough for everyone .
with a cast that includes some of the top actors working in independent film , lovely & amazing involves us because it is so incisive , so bleakly amusing about how we go about our lives .
a film of precious increments artfully camouflaged as everyday activities .
feel bad for king , who 's honestly trying , and schwartzman , who 's shot himself in the foot .
this clever caper movie has twists worthy of david mamet and is enormous fun for thinking audiences .
a dream cast of solid female talent who build a seamless ensemble .
quite funny for the type of movie it is ...
despite its flaws , secretary stays in your head and makes you question your own firmly held positions .
before long , the film starts playing like general hospital crossed with a saturday night live spoof of dog day afternoon .
münch 's genuine insight makes the film 's occasional overindulgence forgivable .
this is one of the most visually stunning and thematically moving epics in recent memory , and in spite of numerous minor flaws , scorsese 's best in more than a decade .
undercover brother does n't go far enough .
maudlin and melodramatic we expected .
everytime you think undercover brother has run out of steam , it finds a new way to surprise and amuse .
lacking gravitas , macdowell is a placeholder for grief , and ergo this sloppy drama is an empty vessel .
this time out , ( sade ) is an unsettlingly familiar figure -- in turns loyal and deceitful , responsible and reckless , idealistically selfless and coldly self-interested .
too timid to bring a sense of closure to an ugly chapter of the twentieth century .
a triumph , relentless and beautiful in its downbeat darkness .
the experience of watching blobby old-school cgi animation in this superlarge format is just surreal enough to be diverting .
the impact of the armenian genocide is diluted by too much stage business in the modern day .
the film delivers not just the full assault of reno 's immense wit and insight , but a time travel back to what it felt like during those unforgettably uncertain days .
do not , under any circumstances , consider taking a child younger than middle school age to this wallow in crude humor .
human nature talks the talk , but it fails to walk the silly walk that distinguishes the merely quirky from the surreal .
you have to pay attention to follow all the stories , but they 're each interesting .
what 's at stake in this film is nothing more than an obsolete , if irritating , notion of class .
anchored by a terrific performance by abbass , satin rouge shows that the idea of women 's self-actualization knows few continental divides .
awkward but sincere and , ultimately , it wins you over .
though howard demonstrates a great eye as a director , this southern gothic drama is sadly a tough sit , with an undeveloped narrative and enough flashbacks and heavy-handed metaphors to choke a horse -- or at least slow him down to a canter .
a worthy tribute to a great humanitarian and her vibrant ` co-stars . '
a minor picture with a major identity crisis -- it 's sort of true and it 's sort of bogus and it 's ho-hum all the way through .
just like hearst 's enormous yacht , it 's slow and unwieldy and takes a long time to reach its destination .
lauren ambrose comes alive under the attention from two strangers in town - with honest performances and realistic interaction between the characters , this is a coming-of-age story with a twist .
the ring just left me cold and wet like i was out in the seattle drizzle without rainwear .
sucking all the ` classic ' out of robert louis stevenson 's treasure island and filling the void with sci-fi video game graphics and disney-fied adolescent angst ...
an experience so engrossing it is like being buried in a new environment .
it 's never a good sign when a film 's star spends the entirety of the film in a coma .
an imaginative comedy/thriller .
audiences can be expected to suspend their disbelief only so far -- and that does not include the 5 o'clock shadow on the tall wooden kid as he skips off to school .
this version 's no classic like its predecessor , but its pleasures are still plentiful .
outrageousness is all plympton seemed to be going for this time .
bullock does a good job here of working against her natural likability .
it 's as flat as an open can of pop left sitting in the sun .
in the second half of the film , frei 's control loosens in direct proportion to the amount of screen time he gives nachtwey for self-analysis .
s personal revelations regarding what the shop means in the big picture , iconic characters gambol fluidly through the story , with charming results .
the bourne identity is what summer screen escapism used to be in the decades when it was geared more to grownups .
thirty years ago , it would have been groundbreaking .
run , do n't walk , to see this barbed and bracing comedy on the big screen .
it 's really yet another anemic and formulaic lethal weapon-derived buddy-cop movie , trying to pass off its lack of imagination as hip knowingness .
opens at a funeral , ends on the protagonist 's death bed and does n't get much livelier in the three hours in between .
nolan bravely treads where few american films dare to delve -- into the world of ambivalence and ambiguity ...
no more .
one of the greatest family-oriented , fantasy-adventure movies ever .
the acting is stiff , the story lacks all trace of wit , the sets look like they were borrowed from gilligan 's island -- and the cgi scooby might well be the worst special-effects creation of the year .
the filmmakers juggle and juxtapose three story lines but fail to come up with one cogent point , unless it 's that life stinks , especially for sensitive married women who really love other women .
it 's a minor comedy that tries to balance sweetness with coarseness , while it paints a sad picture of the singles scene .
the makers of divine secrets of the ya-ya sisterhood should offer a free ticket ( second prize , of course , two free tickets ) to anyone who can locate a genuinely honest moment in their movie .
moderately involving despite bargain-basement photography and hackneyed romance .
static , repetitive , muddy and blurry , hey arnold !
it 's a refreshing change from the self-interest and paranoia that shape most american representations of castro .
what parents will suspect is that they 're watching a 76-minute commercial .
an enjoyable film for the family , amusing and cute for both adults and kids .
a film made with as little wit , interest , and professionalism as artistically possible for a slummy hollywood caper flick .
moore 's complex and important film is also , believe it or not , immensely entertaining , a david and goliath story that 's still very much playing itself out .
she lists ingredients , but never mixes and stirs .
what really surprises about wisegirls is its low-key quality and genuine tenderness .
too bad the former murphy brown does n't pop reese back .
you can practically smell the patchouli oil .
shamelessly sappy and , worse , runs away from its own provocative theme .
it dares to be a little different , and that shading is what makes it worthwhile .
a slick , skillful little horror film .
would seem to have a lock on the title of ugliest movie of the year .
about nowhere kids who appropriated turfs as they found them and become self-made celebrity athletes -- a low-down version of the american dream .
hey , who else needs a shower ?
never mind whether you buy the stuff about barris being a cia hit man .
expect to be reminded of other , better films , especially seven , which director william malone slavishly copies .
nearly surreal , dabbling in french , this is no simple movie , and you 'll be taking a risk if you choose to see it .
the fact that the rookie is a nearly impeccable cinematic experience -- and a wonderful all-ages triumph besides -- is a miracle akin to the story the film portrays .
what you would end up with if you took orwell , bradbury , kafka , george lucas and the wachowski brothers and threw them into a blender .
windtalkers celebrates the human spirit and packs an emotional wallop .
smith profiles five extraordinary american homes , and because the owners seem fully aware of the uses and abuses of fame , it 's a pleasure to enjoy their eccentricities .
proves that a movie about goodness is not the same thing as a good movie .
imagine a really bad community theater production of west side story without the songs .
guillen rarely gets beneath the surface of things .
despite the long running time , the pace never feels slack -- there 's no scene that screams `` bathroom break ! ''
pray 's film works well and will appeal even to those who are n't too familiar with turntablism .
the best movie of its kind since ` brazil . '