xiangpku/GLUE huggingface dataset:
uneasy mishmash of styles and genres .
this film 's relationship to actual tension is the same as what christmas-tree flocking in a spray can is to actual snow : a poor -- if durable -- imitation .
by the end of no such thing the audience , like beatrice , has a watchful affection for the monster .
director rob marshall went out gunning to make a great one .
lathan and diggs have considerable personal charm , and their screen rapport makes the old story seem new .
a well-made and often lovely depiction of the mysteries of friendship .
none of this violates the letter of behan 's book , but missing is its spirit , its ribald , full-throated humor .
although it bangs a very cliched drum at times , this crowd-pleaser 's fresh dialogue , energetic music , and good-natured spunk are often infectious .
it is not a mass-market entertainment but an uncompromising attempt by one artist to think about another .
this is junk food cinema at its greasiest .
it 's also heavy-handed and devotes too much time to bigoted views .
it helps that lil bow wow ... tones down his pint-sized gangsta act to play someone who resembles a real kid .
watching the film is like reading a times portrait of grief that keeps shifting focus to the journalist who wrote it .
moore 's performance impresses almost as much as her work with haynes in 1995 's safe .
reinforces the talents of screenwriter charlie kaufman , creator of adaptation and being john malkovich .
now trimmed by about 20 minutes , this lavish three-year-old production has enough grandeur and scale to satisfy as grown-up escapism .
a journey through memory , a celebration of living , and a sobering rumination on fatality , classism , and ignorance .
a remarkable 179-minute meditation on the nature of revolution .
waydowntown is by no means a perfect film , but its boasts a huge charm factor and smacks of originality .
it 's just incredibly dull .
some , like ballistic , arrive stillborn ... looking like the beaten , well-worn video box cover of seven years into the future .
a feel-good picture in the best sense of the term .
mark me down as a non-believer in werewolf films that are not serious and rely on stupidity as a substitute for humor .
good movie .
with spy kids 2 : the island of lost dreams writer/director/producer robert rodriguez has cobbled together a film that feels like a sugar high gone awry .
starts off with a bang , but then fizzles like a wet stick of dynamite at the very end .
the best way to hope for any chance of enjoying this film is by lowering your expectations .
while the mystery surrounding the nature of the boat 's malediction remains intriguing enough to sustain mild interest , the picture refuses to offer much accompanying sustenance in the way of characterization , humor or plain old popcorn fun .
this is a startling film that gives you a fascinating , albeit depressing view of iranian rural life close to the iraqi border .
here 's a british flick gleefully unconcerned with plausibility , yet just as determined to entertain you .
most new movies have a bright sheen .
so few movies explore religion that it 's disappointing to see one reduce it to an idea that fits in a sampler .
nothing more than a mediocre trifle .
a model of what films like this should be like .
gangs of new york is an unapologetic mess , whose only saving grace is that it ends by blowing just about everything up .
doug liman , the director of bourne , directs the traffic well , gets a nice wintry look from his locations , absorbs us with the movie 's spycraft and uses damon 's ability to be focused and sincere .
another big , dumb action movie in the vein of xxx , the transporter is riddled with plot holes big enough for its titular hero to drive his sleek black bmw through .
it becomes gimmicky instead of compelling .
falters when it takes itself too seriously and when it depends too heavily on its otherwise talented cast to clown in situations that are n't funny .
verbinski substitutes atmosphere for action , tedium for thrills .
it is a kickass , dense sci-fi action thriller hybrid that delivers and then some .
a bigger holiday downer than your end-of-year 401 ( k ) statement .
as a belated nod to some neglected all-stars , standing in the shadows of motown is cultural history of the best kind : informative , revealing and richly entertaining .
sensitive , insightful and beautifully rendered film .
no number of fantastic sets , extras , costumes and spectacular locales can disguise the emptiness at the center of the story .
not too far below the gloss you can still feel director denis villeneuve 's beating heart and the fondness he has for his characters .
for benigni it was n't shakespeare whom he wanted to define his career with but pinocchio .
how did it ever get made ?
it would n't be my preferred way of spending 100 minutes or $ 7.00 .
the furious coherence that ( deniro ) brings to this part only underscores the fuzzy sentimentality of the movie itself , which feels , as it plods toward the end , less like a movie than like the filmed reading of a script in need of polishing .
barely goes beyond comic book status .
elling , portrayed with quiet fastidiousness by per christian ellefsen , is a truly singular character , one whose frailties are only slightly magnified versions of the ones that vex nearly everyone .
for all its highfalutin title and corkscrew narrative , the movie turns out to be not much more than a shaggy human tale .
watching trouble every day , at least if you do n't know what 's coming , is like biting into what looks like a juicy , delicious plum on a hot summer day and coming away with your mouth full of rotten pulp and living worms .
a clever blend of fact and fiction .
it delivers some chills and sustained unease , but flounders in its quest for deeper meaning .
could the country bears really be as bad as its trailers ?
there are weird resonances between actor and role here , and they 're not exactly flattering .
not only does the movie fail to make us part of its reality , it fails the most basic relevancy test as well .
and if the hours wins ` best picture ' i just might .
it is so refreshing to see robin williams turn 180 degrees from the string of insultingly innocuous and sappy fiascoes he 's been making for the last several years .
i did n't laugh at the ongoing efforts of cube , and his skinny buddy mike epps , to make like laurel and hardy 'n the hood .
with danilo donati 's witty designs and dante spinotti 's luscious cinematography , this might have made a decent children 's movie -- if only benigni had n't insisted on casting himself in the title role .
thurman and lewis are hilarious throughout .
tender yet lacerating and darkly funny fable .
jacquot 's tosca is a treat .
interacting eyeball-to-eyeball and toe-to-toe , hopkins and norton are a winning combination -- but fiennes steals ` red dragon ' right from under their noses .
the film 's center will not hold .
aspires for the piquant but only really achieves a sort of ridiculous sourness .
unlike his directorial efforts , la femme nikita and the professional , the transporter lacks besson 's perspective as a storyteller .
` abandon all hope , ye who enter here ' ... you should definitely let dante 's gloomy words be your guide .
a very witty take on change , risk and romance , and the film uses humor to make its points about acceptance and growth .
hu and liu offer natural , matter-of-fact performances that glint with sorrow , longing and love .
ford deserves to be remembered at oscar time for crafting this wonderful portrait of a conflicted soldier .
a mawkish , implausible platonic romance that makes chaplin 's city lights seem dispassionate by comparison .
do we really need a 77-minute film to tell us exactly why a romantic relationship between a 15-year-old boy and a 40-year-old woman does n't work ?
instead , we just get messy anger , a movie as personal therapy .
once again , director jackson strikes a rewarding balance between emotion on the human scale and action/effects on the spectacular scale .
flotsam in the sea of moviemaking , not big enough for us to worry about it causing significant harm and not smelly enough to bother despising .
thoughtful , provocative and entertaining .
it 's disappointing when filmmakers throw a few big-name actors and cameos at a hokey script .
an absorbing , slice-of-depression life that touches nerves and rings true .
u.s. audiences may find ( attal and gainsbourg 's ) unfamiliar personas give the film an intimate and quaint reality that is a little closer to human nature than what hollywood typically concocts .
everywhere the camera looks there is something worth seeing .
but if it is indeed a duty of art to reflect life , than leigh has created a masterful piece of artistry right here .
biggie and tupac is so single-mindedly daring , it puts far more polished documentaries to shame .
... the last time i saw a theater full of people constantly checking their watches was during my sats .
will probably stay in the shadow of its two older , more accessible qatsi siblings .
characters wander into predictably treacherous situations even though they should know better .
i 'm not suggesting that you actually see it , unless you 're the kind of person who has seen every wim wenders film of the '70s .
gloriously goofy ( and gory ) midnight movie stuff .
an inspiring and heart-affecting film about the desperate attempts of vietnamese refugees living in u.s. relocation camps to keep their hopes alive in 1975 .
big fat liar is just futile silliness looking to tap into the kiddie sensibilities .
the movie is full of fine performances , led by josef bierbichler as brecht and monica bleibtreu as helene weigel , his wife .
barney has created a tour de force that is weird , wacky and wonderful .
a frisky and fresh romantic comedy exporing sexual politics and the challenges of friendships between women .
the comic performances are all spot on , especially lee ross 's turn as ken .
the film hinges on its performances , and both leads are up to the task .
accuracy and realism are terrific , but if your film becomes boring , and your dialogue is n't smart , then you need to use more poetic license .
it 's often faintly amusing , but the problems of the characters never become important to us , and the story never takes hold .
the thrill is ( long ) gone .
uncertain in tone ... a garbled exercise in sexual politics , a junior varsity short cuts by way of very bad things .
a hideous , confusing spectacle , one that may well put the nail in the coffin of any future rice adaptations .
there 's a vastness implied in metropolis that is just breathtaking .
a splendid entertainment , young in spirit but accomplished in all aspects with the fullness of spirit and sense of ease that comes only with experience .
the story ... is moldy and obvious .
it 's a worthwhile tutorial in quantum physics and slash-dash
for all its failed connections , divine secrets of the ya-ya sisterhood is nurturing , in a gauzy , dithering way .
george , hire a real director and good writers for the next installment , please .
what was subtle and mystifying in the novella is now broad and farcical .
it 's best to avoid imprisonment with the dull , nerdy folks that inhabit cherish .
woo 's fights have a distinct flair .
he has not learned that storytelling is what the movies are about .
if you liked the 1982 film then , you 'll still like it now .
despite some gulps the film is a fuzzy huggy .
the film is painfully authentic , and the performances of the young players are utterly convincing .
there are just enough twists in the tale to make it far more satisfying than almost any horror film in recent memory .
this is n't just the cliffsnotes version of nicholas nickleby , it 's the cliffsnotes with pages missing .
`` an entire film about researchers quietly reading dusty old letters . ''
an epic of grandeur and scale that 's been decades gone from the popcorn pushing sound stages of hollywood .
there 's a disreputable air about the whole thing , and that 's what makes it irresistible .
it virtually defines a comedy that 's strongly mediocre , with funny bits surfacing every once in a while .
although very much like the first movie based on j.k. rowling 's phenomenal fantasy best sellers , this second go-round possesses a quite pleasing , headlong thrust and a likably delinquent attitude .
theology aside , why put someone who ultimately does n't learn at the center of a kids ' story ?
a savvy exploration of paranoia and insecurity in america 's culture of fear .
benefits from a strong performance from zhao , but it 's dong jie 's face you remember at the end .
elling really is about a couple of crazy guys , and it 's therapeutic to laugh along with them .
much-anticipated and ultimately lackluster movie .
plays as hollow catharsis , with lots of tears but very little in the way of insights .
a film that takes you inside the rhythms of its subject : you experience it as you watch .
... mesmerizing , an eye-opening tour of modern beijing culture in a journey of rebellion , retreat into oblivion and return .
strong setup and ambitious goals fade as the film descends into unsophisticated scare tactics and b-film thuggery .
on the surface , it 's a lovers-on-the-run crime flick , but it has a lot in common with piesiewicz 's and kieslowski 's earlier work , films like the double life of veronique .
the visuals alone make metropolis worth seeing .
flounders due to the general sense that no two people working on the production had exactly the same thing in mind .
you could nap for an hour and not miss a thing .
worth the effort to watch .
one of the best of the year .
i loved it !
occasionally funny , always very colorful and enjoyably overblown in the traditional almodóvar style .
an intelligent , earnest , intimate film that drops the ball only when it pauses for blunt exposition to make sure you 're getting its metaphysical point .
an amusing , breezily apolitical documentary about life on the campaign trail .
however , it lacks grandeur and that epic quality often associated with stevenson 's tale as well as with earlier disney efforts .
often hilarious , well-shot and , importantly , entertaining , hell house is a fascinating document of an event that has to be seen to be believed .
witty , touching and well paced .
men in black ii has sequel-itis something fierce .
sometimes , nothing satisfies like old-fashioned swashbuckling .
it settles for being merely grim .
good for a few unintentional laughs , `` extreme ops '' was obviously made for the `` xxx '' crowd , people who enjoy mindless action without the benefit of decent acting , writing , and direction .
places a slightly believable love triangle in a difficult-to-swallow setting , and then disappointingly moves the story into the realm of an improbable thriller .
a mostly intelligent , engrossing and psychologically resonant suspenser .
at first , the sight of a blind man directing a film is hilarious , but as the film goes on , the joke wears thin .
as an actor , the rock is aptly named .
plays less like a coming-of-age romance than an infomercial .
with its hints of a greater intelligence lurking somewhere , the ring makes its stupidity more than obvious .
this insightful , oscar-nominated documentary , in which children on both sides of the ever-escalating conflict have their say away from watchful parental eyes , gives peace yet another chance .
all but the most persnickety preteens should enjoy this nonthreatening but thrilling adventure .
i admired this work a lot .
this concoction , so bizarre to the adult mind , is actually a charming triumph where its intended under-12 audience is concerned .
( a ) rare , beautiful film .
the pianist is a fine valedictory work for polanski , made richer by his own experiences , making his other movies somehow richer in the bargain .
if you 're like me , a sucker for a good old fashion romance and someone who shamelessly loves to eat , then mostly martha offers all the perfect ingredients to more than satisfy your appetite .
the screenplay sabotages the movie 's strengths at almost every juncture .
not even the hanson brothers can save it
then lower them a bit more .
the truth is that the truth about charlie gets increasingly tiresome .
there are a few laughs and clever sight gags scattered about , but not enough to make this anything more than another big-budget bust .
a deviant topical comedy which is funny from start to finish .
an elegant , exquisitely modulated psychological thriller .
brilliant ! '
working from elliott 's memoir , rohmer fashions the sort of delicate , articulate character - and - relationship study he 's favored for decades .
a picture that extols the virtues of comradeship and community in a spunky , spirited fashion .
if you think that jennifer lopez has shown poor judgment in planning to marry ben affleck , wait till you see maid in manhattan .
has little on its mind aside from scoring points with drag gags .
apallingly absurd ... the chemistry or lack thereof between newton and wahlberg could turn an imax theater into a 9 '' black and white portable tv .
maybe it 's the star power of the cast or the redundant messages , but something aboul `` full frontal '' seems , well , contrived .
a budget affair that exposes the generally sad existence of the bedouins while providing a precious twinkle of insight into their lives .
it does n't help that the director and cinematographer stephen kazmierski shoot on grungy video , giving the whole thing a dirty , tasteless feel .
this cheery , down-to-earth film is warm with the cozy feeling of relaxing around old friends .
it 's an example of sophisticated , challenging filmmaking that stands , despite its noticeable lack of emotional heft , in welcome contrast to the indulgent dead-end experimentation of the director 's previous full frontal .
merchant effectively translates naipaul 's lively mix of characters from the page to screen .
the angst-ridden , affluent slacker characters are more grating than engaging .
it 's the cinematic equivalent of a good page-turner , and even if it 's nonsense , its claws dig surprisingly deep .
... a cute and sometimes side-splittingly funny blend of legally blonde and drop dead gorgeous , starring piper perabo in what could be her breakthrough role .
made by jackasses for jackasses .
emerges as something rare , an issue movie that 's so honest and keenly observed that it does n't feel like one .
a recent favorite at sundance , this white-trash satire will inspire the affection of even those unlucky people who never owned a cassette of def leppard 's pyromania .
an involving true story of a chinese actor who takes up drugs and winds up in an institution -- acted mostly by the actual people involved .
the movie bounces all over the map .
it has the courage to wonder about big questions with sincerity and devotion .
watching scarlet diva , one is poised for titillation , raw insight or both .
apparently kissing leads to suicide attempts and tragic deaths .
only an epic documentary could get it all down , and spike lee 's jim brown : all american at long last gives its subject a movie worthy of his talents .
do n't let your festive spirit go this far .
if melville is creatively a great whale , this film is canned tuna .
the whole damn thing is ripe for the jerry springer crowd .
occasionally melodramatic , it 's also extremely effective .
director kapur is a filmmaker with a real flair for epic landscapes and adventure , and this is a better film than his earlier english-language movie , the overpraised elizabeth .
when it 's all wet , blue crush is highly enjoyable .
... ( like ) channel surfing between the discovery channel and a late-night made-for-cable action movie .
the problem with concept films is that if the concept is a poor one , there 's no saving the movie .
new best friend should n't have gone straight to video ; it should have gone straight to a mystery science theater 3000 video .
even the unwatchable soapdish is more original .
an overblown clunker full of bad jokes , howling cliches and by-the-numbers action sequences .
smart science fiction for grown-ups , with only a few false steps along the way .
the use of cgi and digital ink-and-paint make the thing look really slick .
a historical epic with the courage of its convictions about both scope and detail .
a resonant tale of racism , revenge and retribution .
( sen 's ) soap opera-ish approach undermines his good intentions .
( director ) byler may yet have a great movie in him , but charlotte sometimes is only half of one .
the movie has lots of dancing and fabulous music .
a highly intriguing thriller , coupled with some ingenious plot devices and some lavishly built settings . .
well worth the time .
overall , the film misses the brilliance of jelinek 's novel by some way .
( davis ) has a bright , chipper style that keeps things moving , while never quite managing to connect her wish-fulfilling characters to the human race .
the movie is one of the best examples of artful large format filmmaking you are likely to see anytime soon .
hayek is stunning as frida and ... a star-making project .
a painfully leaden film destined for pre-dawn cable television slots .
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 .
when the first few villians are introduced as `` spider '' and `` snake '' you know you 're in for a real winner , creativity at its peak .
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 '' .
while this film is not in the least surprising , it is still ultimately very satisfying .
a hip ride into hyper-time , clockstoppers is a lively and enjoyable adventure for all ages at any time .
john leguizamo may be a dramatic actor -- just not in this movie .
like mike does n't win any points for originality .
some movies are like a tasty hors-d'oeuvre ; this one is a feast .
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 .
fuller would surely have called this gutsy and at times exhilarating movie a great yarn .
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 .
an incredibly low-rent danish film , it brings a group of people together in a sweet and charming way , if a little convenient
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 .
in a normal screen process , these bromides would be barely enough to sustain an interstitial program on the discovery channel .
its underlying mythology is a hodgepodge of inconsistencies that pose the question : since when did dumb entertainment have to be this dumb ?
their film falters , however , in its adherence to the disney philosophy of required poignancy , a salute that i 'd hoped the movie would avoid .
an awkward and indigestible movie .
friday after next has the same problem that next friday did -- it 's called where 's chris tucker when you need him ?
another rent installment for the ian fleming estate .
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 .
afraid to pitch into farce , yet only half-hearted in its spy mechanics , all the queen 's men is finally just one long drag .
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 .
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 .
the story and characters are nowhere near gripping enough .
( a ) superbly controlled , passionate adaptation of graham greene 's 1955 novel .
though the violence is far less sadistic than usual , the film is typical miike : fast , furious and full of off-the-cuff imaginative flourishes .