xiangpku/GLUE huggingface dataset:
when a set of pre-shooting guidelines a director came up with for his actors turns out to be cleverer , better written and of considerable more interest than the finished film , that 's a bad sign .
as green-guts monster movies go , it 's a beaut .
still , i thought it could have been more .
it 's a nicely detailed world of pawns , bishops and kings , of wagers in dingy backrooms or pristine forests .
good actress .
evokes a little of the fear that parents have for the possible futures of their children -- and the sometimes bad choices mothers and fathers make in the interests of doing them good .
still , this thing feels flimsy and ephemeral .
renner 's performance as dahmer is unforgettable , deeply absorbing .
marisa tomei is good , but just a kiss is just a mess .
complex , affecting and uniquely almodóvar , the film evokes strong emotions and pushes viewers to question their deepest notions of moral right and wrong .
it 's almost impossible not to be moved by the movie 's depiction of sacrifice and its stirring epilogue in post-soviet russia .
a compendium of solondz 's own worst instincts in under 90 minutes .
presents an astute appraisal of middle american musical torpor and the desperate struggle to escape it .
about as satisfying and predictable as the fare at your local drive through .
dreary , highly annoying ... ` some body ' will appeal to no one .
sharp , lively , funny and ultimately sobering film .
the premise is overshadowed by the uberviolence of the clericks as this becomes just another kung-fu sci-fi movie with silly action sequences .
one of those rare , exhilarating cinematic delights that gets even better in hindsight , as you mull over its every nuance in your mind .
i like frank the pug , though .
instead of kicking off the intrigue and suspense and mystery of the whole thing , hart 's war , like the st. louis rams in the super bowl , waits until after halftime to get started .
if it 's possible for a sequel to outshine the original , then sl2 does just that .
divine secrets of the ya-ya sisterhood may not be exactly divine , but it 's definitely -- defiantly -- ya ya , what with all of those terrific songs and spirited performances .
tsai ming-liang has taken his trademark style and refined it to a crystalline point .
those who would follow haneke on his creepy explorations ... are rewarded by brutal , committed performances from huppert and magimel .
what could have become just another cautionary fable is allowed to play out as a clever , charming tale -- as pleasantly in its own way as its self-dramatizing characters .
( schweiger is ) talented and terribly charismatic , qualities essential to both movie stars and social anarchists .
dialogue-heavy and too cerebral for its own good -- or , at any rate , too cerebral for its racy subject matter .
for all its surface frenzy , high crimes should be charged with loitering -- so much on view , so little to offer .
credibility sinks into a mire of sentiment .
a frantic search for laughs , with a hit-to-miss ratio that does n't exactly favor the audience .
in its ragged , cheap and unassuming way , the movie works .
this is a great subject for a movie , but hollywood has squandered the opportunity , using it as a prop for warmed-over melodrama and the kind of choreographed mayhem that director john woo has built his career on .
a compelling journey ... and `` his best friend remembers '' is up there with the finest of specials .
this film was made to get laughs from the slowest person in the audience -- just pure slapstick with lots of inane , inoffensive screaming and exaggerated facial expressions .
meandering , sub-aquatic mess : it 's so bad it 's good , but only if you slide in on a freebie .
an often-deadly boring , strange reading of a classic whose witty dialogue is treated with a baffling casual approach
watching haneke 's film is , aptly enough , a challenge and a punishment .
an ungainly , comedy-deficient , b-movie rush job ...
considering the harsh locations and demanding stunts , this must have been a difficult shoot , but the movie proves rough going for the audience as well .
there is a kind of attentive concern that hoffman brings to his characters , as if he has been giving them private lessons , and now it is time for their first public recital .
this cuddly sequel to the 1999 hit is a little more visually polished , a little funnier , and a little more madcap .
the story is naturally poignant , but first-time screenwriter paul pender overloads it with sugary bits of business .
the tenderness of the piece is still intact .
a simmering psychological drama in which the bursts of sudden violence are all the more startling for the slow buildup that has preceded them .
it has fun being grown up .
( newton ) wanders through charlie completely unaware she needs to show some presence and star quality .
an exceedingly clever piece of cinema .
a psychological thriller with a smart script and an obsessive-compulsive 's attention to detail .
a great comedy filmmaker knows great comedy need n't always make us laugh .
i do n't think i 've been as entranced and appalled by an asian film since shinya tsukamoto 's iron man .
too close to phantom menace for comfort .
this film looks like it was produced in 1954 , shelved for 48 years , and repackaged for a 2002 audience .
he 's super spy !
the lack of opposing viewpoints soon grows tiresome -- the film feels more like a series of toasts at a testimonial dinner than a documentary .
choose your reaction : a. ) that sure is funny !
not ` terrible filmmaking ' bad , but more like , ' i once had a nightmare like this , and it 's now coming true ' bad .
we never really feel involved with the story , as all of its ideas remain just that : abstract ideas .
a byzantine melodrama that stimulates the higher brain functions as well as the libido .
the film overcomes the regular minefield of coming-of-age cliches with potent doses of honesty and sensitivity .
its mysteries are transparently obvious , and it 's too slowly paced to be a thriller .
like its two predecessors , 1983 's koyaanisqatsi and 1988 's powaqqatsi , the cinematic collage naqoyqatsi could be the most navel-gazing film ever .
the story itself is uninteresting , and the songs are painfully undistinguished : they might be giants ' so to be one of us may be the most tuneless tune ever composed .
a masterful film from a master filmmaker , unique in its deceptive grimness , compelling in its fatalist worldview .
a truly moving experience , and a perfect example of how art -- when done right -- can help heal , clarify , and comfort .
it 's all very cute , though not terribly funny if you 're more than six years old .
just a bloody mess .
schmaltzy and unfunny , adam sandler 's cartoon about hanukkah is numbingly bad , little nicky bad , 10 worst list bad .
offers a breath of the fresh air of true sophistication .
fans of behan 's work and of irish movies in general will be rewarded by borstal boy .
... a poignant and powerful narrative that reveals that reading writing and arithmetic are not the only subjects to learn in life .
i found it slow , drab , and bordering on melodramatic .
the film 's real appeal wo n't be to clooney fans or adventure buffs , but to moviegoers who enjoy thinking about compelling questions with no easy answers .
( wendigo is ) why we go to the cinema : to be fed through the eye , the heart , the mind .
it is risky , intelligent , romantic and rapturous from start to finish .
the whole cast looks to be having so much fun with the slapstick antics and silly street patois , tossing around obscure expressions like bellini and mullinski , that the compact 86 minutes breezes by .
she must have a very strong back .
compelling as it is exotic , fast runner has a plot that rivals shakespeare for intrigue , treachery and murder .
better at putting you to sleep than a sound machine .
this is a raw and disturbing tale that took five years to make , and the trio 's absorbing narrative is a heart-wrenching showcase indeed .
jirí hubac 's script is a gem .
this is n't a `` friday '' worth waiting for .
de niro looks bored , murphy recycles murphy , and you mentally add showtime to the pile of hollywood dreck that represents nothing more than the art of the deal .
the movie quickly drags on becoming boring and predictable .
still pretentious and filled with subtext , but entertaining enough at ` face value ' to recommend to anyone looking for something different .
almost everything else is wan .
just because it really happened to you , honey , does n't mean that it 's interesting to anyone else .
there has been much puzzlement among critics about what the election symbolizes .
an enchanting film that presents an audacious tour of the past and takes within its warm embrace the bounties of cultural artifacts inside st. petersburg 's hermitage museum .
choppy editing and too many repetitive scenes spoil what could have been an important documentary about stand-up comedy .
it 's the kind of pigeonhole-resisting romp that hollywood too rarely provides .
much of the way , though , this is a refreshingly novel ride .
the acting by the over-25s lacks spark , with csokas particularly unconnected .
nair stuffs the film with dancing , henna , ornamentation , and group song , but her narrative clichés and telegraphed episodes smell of old soap opera .
any one episode of the sopranos would send this ill-conceived folly to sleep with the fishes .
needless to say , the dramatics that follow are utter hooey .
de oliveira creates an emotionally rich , poetically plump and visually fulsome , but never showy , film whose bittersweet themes are reinforced and brilliantly personified by michel piccoli .
if this movie were a book , it would be a page-turner , you ca n't wait to see what happens next .
watching it is rather like viewing a long soap opera in which only the first episode was any good .
most of crush is a clever and captivating romantic comedy with a welcome pinch of tartness .
there 's nothing provocative about this film save for the ways in which it studiously avoids provoking thought .
what full frontal lacks in thematic coherence it largely makes up for as loosey-goosey , experimental entertainment .
so routine , familiar and predictable , it raises the possibility that it wrote itself as a newly automated final draft computer program .
denis and co-writer michele petin 's impeccable screenplay penetrates with a rawness that that is both unflinching and tantalizing .
a deceivingly simple film , one that grows in power in retrospect .
as it abruptly crosscuts among the five friends , it fails to lend the characters ' individual stories enough dramatic resonance to make us care about them .
if no one singles out any of these performances as award-worthy , it 's only because we would expect nothing less from this bunch .
i hated every minute of it .
even if you ca n't pronounce `` gyro '' correctly , you 'll appreciate much of vardalos ' humor , which transcends ethnic boundaries .
... always remains movingly genuine .
creepy but ultimately unsatisfying thriller .
there is not an ounce of honesty in the entire production .
( broomfield ) uncovers a story powerful enough to leave the screen sizzling with intrigue .
at times , however , dogtown and z-boys lapses into an insider 's lingo and mindset that the uninitiated may find hard to follow , or care about .
what happened with pluto nash ?
there is n't a weak or careless performance amongst them .
edited and shot with a syncopated style mimicking the work of his subjects , pray turns the idea of the documentary on its head , making it rousing , invigorating fun lacking any mtv puffery .
( howard ) so good as leon barlow ... that he hardly seems to be acting .
another great ` what you do n't see ' is much more terrifying than what you do see thriller , coupled with some arresting effects , incandescent tones and stupendous performances
a modest pleasure that accomplishes its goals with ease and confidence .
lanie 's professional success means she must be a failure at life , because she 's driven by ambition and does n't know how to have fun .
it 's frustrating to see these guys -- who are obviously pretty clever -- waste their talent on parodies of things they probably thought were funniest when they were high .
this miserable excuse of a movie runs on empty , believing flatbush machismo will get it through .
you might not want to hang out with samantha , but you 'll probably see a bit of yourself in her unfinished story .
hilarious , touching and wonderfully dyspeptic .
rather , you 'll have to wrestle disbelief to the ground and then apply the chloroform-soaked handkerchief .
this examination of aquatic life off the shores of the baja california peninsula of mexico offers an engrossing way to demonstrate the virtues of the imax format .
the noble tradition of men in drag hits an all-time low in sorority boys , whose makers apparently believe that women 's clothing can cover up any deficiency in acting , writing or direction .
when it comes to entertainment , children deserve better than pokemon 4ever .
the sad thing about knockaround guys is its lame aspiration for grasping the coolness vibes when in fact the film is n't as flippant or slick as it thinks it is .
the stories here suffer from the chosen format .
a graceless , witless attempt at mating some like it hot with the wwii espionage thriller .
without a strong script and energetic acting , dogma films can produce the same sleep-inducing effects as watching your neighbor 's home videos .
its lack of quality earns it a place alongside those other two recent dumas botch-jobs , the man in the iron mask and the musketeer .
stars matthew perry and elizabeth hurley illicit more than a chuckle , and more jokes land than crash , but ultimately serving sara does n't distinguish itself from the herd .
ridiculous .
the vampire thriller blade ii starts off as a wild hoot and then sucks the blood out of its fun -- toward the end , you can feel your veins cringing from the workout .
most impressive , though , is the film 's open-ended finale that refuses to entirely close its characters ' emotional wounds .
succumbs to the same kind of maudlin , sentimental mysticism that mars the touched by an angel school of non-god spiritual-uplift movies .
this goofy gangster yarn never really elevates itself from being yet another earnestly generic crime-busting comic vehicle -- a well-intentioned remake that shows some spunk and promise but fails to register as anything distinctive or daring
call me a wimp , but i cried , not once , but three times in this animated sweet film .
eight crazy nights is a showcase for sandler 's many talents .
both deeply weird and charmingly dear .
tom green just gives them a bad odor .
despite apparent motives to the contrary , it ends up being , like ( seinfeld 's ) revered tv show , about pretty much nothing .
the year 's happiest surprise , a movie that deals with a real subject in an always surprising way .
as if to prove a female director can make a movie with no soft edges , kathryn bigelow offers no sugar-coating or interludes of lightness .
if i spy were funny ( enough ) or exciting ( enough ) then it would be fairly simple to forgive the financial extortion it 's trying to reap from the moviegoing public .
nothing debases a concept comedy quite like the grinding of bad ideas , and showtime is crammed full of them .
this is simply the most fun you 'll ever have with a documentary !
it 's rather like a lifetime special -- pleasant , sweet and forgettable .
i like the new footage and still love the old stuff .
collateral damage is , despite its alleged provocation post-9 / 11 , an antique , in the end .
it sounds sick and twisted , but the miracle of shainberg 's film is that it truly is romance
while not as aggressively impressive as its american counterpart , `` in the bedroom , '' moretti 's film makes its own , quieter observations
gosling provides an amazing performance that dwarfs everything else in the film .
a great idea becomes a not-great movie .
you 'll be left with the sensation of having just witnessed a great performance and , perhaps , give in to the urge to get on your feet and shake it .
farrell ... thankfully manages to outshine the role and successfully plays the foil to willis 's world-weary colonel .
the film would work much better as a video installation in a museum , where viewers would be free to leave .
the invincible werner herzog is alive and well and living in la
this time kaufman 's imagination has failed him .
... this movie has a glossy coat of action movie excess while remaining heartless at its core .
arnold 's jump from little screen to big will leave frowns on more than a few faces .
the film is all a little lit crit 101 , but it 's extremely well played and often very funny .
... a haunting vision , with images that seem more like disturbing hallucinations .
even when foreign directors ... borrow stuff from hollywood , they invariably shake up the formula and make it more interesting .
though the controversial korean filmmaker 's latest effort is not for all tastes , it offers gorgeous imagery , effective performances , and an increasingly unsettling sense of foreboding .
even die-hard fans of japanese animation ... will find this one a challenge .
the story loses its bite in a last-minute happy ending that 's even less plausible than the rest of the picture .
the reason this picture works better than its predecessors is that myers is no longer simply spoofing the mini-mod-madness of '60s spy movies .
this may not have the dramatic gut-wrenching impact of other holocaust films , but it 's a compelling story , mainly because of the way it 's told by the people who were there .
i would have preferred a transfer down the hall to mr. holland 's class for the music , or to robin williams 's lecture so i could listen to a teacher with humor , passion , and verve .
fairly successful at faking some pretty cool stunts but a complete failure at trying to create some pretty cool characters .
the result is something quite fresh and delightful .
birot is a competent enough filmmaker , but her story has nothing fresh or very exciting about it .
it might be tempting to regard mr. andrew and his collaborators as oddballs , but mr. earnhart 's quizzical , charming movie allows us to see them , finally , as artists .
although it 's a bit smug and repetitive , this documentary engages your brain in a way few current films do .
might have been better off as a documentary , with less of mr. eyre 's uninspired dramatics and more of his sense of observation and outrage .
focuses on joan 's raging hormones and sledgehammers the audience with spanish inquisitions about her `` madness '' so much that i became mad that i wasted 123 minutes and $ 9.50 on this 21st century torture device .
although trying to balance self-referential humor and a normal ol' slasher plot seemed like a decent endeavor , the result does n't fully satisfy either the die-hard jason fans or those who can take a good joke .
as elegantly crafted as it often is , anderson 's movie is essentially a one-trick pony that , hampered by an undeveloped script , ultimately pulls up lame .
the story 's so preposterous that i did n't believe it for a second , despite the best efforts of everyone involved .
it 's absolutely spooky how lillard channels the shagster right down to the original casey kasem-furnished voice .
it almost plays like solaris , but with guns and jokes .
an intermittently pleasing but mostly routine effort .
the story is familiar from its many predecessors ; like them , it eventually culminates in the not-exactly - stunning insight that crime does n't pay .
no reason for anyone to invest their hard-earned bucks into a movie which obviously did n't invest much into itself either .
all ends well , sort of , but the frenzied comic moments never click .
leave it to rohmer , now 82 , to find a way to bend current technique to the service of a vision of the past that is faithful to both architectural glories and commanding open spaces of the city as it was more than two centuries ago .
calling this movie brainless would be paying it a compliment : it 's more like entertainment for trolls .
it 's a movie -- and an album -- you wo n't want to miss .
fisher has bared his soul and confronted his own shortcomings here in a way ... that feels very human and very true to life .
never engaging , utterly predictable and completely void of anything remotely interesting or suspenseful .
to the film 's credit , the acting is fresh and unselfconscious , and munch is a marvel of reality versus sappy sentiment .
a compelling portrait of moral emptiness
beyond a handful of mildly amusing lines ... there just is n't much to laugh at .
the unceasing sadism is so graphically excessive , the director just ends up exposing his own obsession .
a thinly veiled excuse for wilson to play his self-deprecating act against murphy 's well-honed prima donna shtick .
lee jeong-hyang tells it so lovingly and films it so beautifully that i could n't help being captivated by it .
a frustrating combination of strained humor and heavy-handed sentimentality .
do n't expect any surprises in this checklist of teamwork cliches ...
ranks among willams ' best screen work .
despite the authenticity of the trappings , the film is overblown in its plotting , hackneyed in its dialogue and anachronistic in its style .
it 's both a necessary political work and a fascinating documentary ...
well-intentioned though it may be , its soap-opera morality tales have the antiseptic , preprogrammed feel of an after-school special .
for caine lovers only .
maybe i found the proceedings a little bit too conventional .
as lo-fi as the special effects are , the folks who cobbled nemesis together indulge the force of humanity over hardware in a way that george lucas has long forgotten .
frenetic but not really funny .
as your relatives swap one mundane story after another , you begin to wonder if they are ever going to depart .
a psychologically rich and suspenseful moral thriller with a stellar performance by al pacino .
at its best early on as it plays the culture clashes between the brothers .
sturdy , entertaining period drama ... both caine and fraser have their moments .
rain is a small treasure , enveloping the viewer in a literal and spiritual torpor that is anything but cathartic .
... hudlin is stuck trying to light a fire with soggy leaves .
an idealistic love story that brings out the latent 15-year-old romantic in everyone .
... in this incarnation its fizz is infectious .
a hysterical yet humorless disquisition on the thin line between sucking face and literally sucking face .
watching beanie and his gang put together his slasher video from spare parts and borrowed materials is as much fun as it must have been for them to make it .
smith 's point is simple and obvious -- people 's homes are extensions of themselves , and particularly eccentric people have particularly eccentric living spaces -- but his subjects are charmers .
a refreshingly authentic coming-of-age tale .
whether seen on a 10-inch television screen or at your local multiplex , the edge-of-your-seat , educational antics of steve irwin are priceless entertainment .
there are touching moments in etoiles , but for the most part this is a dull , dour documentary on what ought to be a joyful or at least fascinating subject .
too lazy to take advantage of its semi-humorous premise .
a wildly funny prison caper .
the story feels more like a serious read , filled with heavy doses of always enticing sayles dialogue .
a cop story that understands the medium amazingly well .
andy garcia enjoys one of his richest roles in years and mick jagger gives his best movie performance since , well , performance .
abandons all pretense of creating historical context and waltzes off into a hectic soap about the ups and downs of the heavy breathing between the two artists .
bad beyond belief and ridiculous beyond description .
the overall effect is so completely inane that one would have to be mighty bored to even think of staying with this for more than , say , ten ... make that three minutes .