xiangpku/GLUE huggingface dataset:
this is a film brimming with detail and nuance and one that speaks volumes about the ability of the human spirit to find solace in events that could easily crush it forever .
the premise is in extremely bad taste , and the film 's supposed insights are so poorly thought-out and substance-free that even a high school senior taking his or her first psychology class could dismiss them .
where last time jokes flowed out of cho 's life story , which provided an engrossing dramatic through line , here the comedian hides behind obviously constructed routines .
it uses an old-time formula , it 's not terribly original and it 's rather messy -- but you just have to love the big , dumb , happy movie my big fat greek wedding .
as ( the characters ) get more depressed , the story gets more tiresome , especially as it continues to mount a conspicuous effort to be profound .
it 's laughing at us .
intended to be a comedy about relationships , this wretched work falls flat in just about every conceivable area .
in his debut as a film director , denzel washington delivers a lean and engaging work .
mr. wedge and mr. saldanha handle the mix of verbal jokes and slapstick well .
an intriguing and entertaining introduction to johnson .
i did n't believe for a moment in these villains or their plot .
what makes the movie a comedy is the way it avoids the more serious emotions involved .
... ambition is in short supply in the cinema , and egoyan tackles his themes and explores his characters ' crises with seriousness and compassion .
my response to the film is best described as lukewarm .
not for everyone , but for those with whom it will connect , it 's a nice departure from standard moviegoing fare .
denzel washington 's efforts are sunk by all the sanctimony .
i wish i could say `` thank god it 's friday '' , but the truth of the matter is i was glad when it was over .
the pleasures of super troopers may be fleeting , but they 'll register strongly with anybody who still retains a soft spot for precollegiate humor .
what jackson has accomplished here is amazing on a technical level .
everything you loved about it in 1982 is still there , for everybody who wants to be a kid again , or show it to their own kids .
it 's getting harder and harder to ignore the fact that hollywood is n't laughing with us , folks .
ethan hawke has always fancied himself the bastard child of the beatnik generation and it 's all over his chelsea walls .
the film is like a series of beginnings and middles that never take off .
a very average science fiction film .
if you 're not into the pokemon franchise , this fourth animated movie in four years wo n't convert you -- or even keep your eyes open .
... watching this film nearly provoked me to take my own life .
foster nails the role , giving a tight , focused performance illuminated by shards of feeling .
they felt like the same movie to me .
it 's just a silly black genre spoof .
kaufman creates an eerie sense of not only being there at the time of these events but the very night matthew was killed .
with the film 's striking ending , one realizes that we have a long way to go before we fully understand all the sexual permutations involved .
still , i 'm not quite sure what the point is ...
it tries too hard , and overreaches the logic of its own world .
we need ( moore 's ) noisy , cocky energy , his passion and class consciousness ; we need his shticks , we need his stones .
for anyone who remembers the '60s or is interested in one man 's response to stroke , ram dass : fierce grace is worth seeking out .
neither funny nor suspenseful nor particularly well-drawn .
ranging from funny to shattering and featuring some of the year 's best acting , personal velocity gathers plenty of dramatic momentum .
a dreary rip-off of goodfellas that serves as a muddled and offensive cautionary tale for hispanic americans .
a 93-minute condensation of a 26-episode tv series , with all of the pitfalls of such you 'd expect .
the movie takes itself too seriously and , as a result , it makes for only intermittent fun .
it 's painful .
flavorful and romantic , you could call this how martha got her groove back -- assuming , that is , she ever had one to begin with .
for a good chunk of its running time , trapped is an effective and claustrophobic thriller .
it 's not horrible , just horribly mediocre .
the kooky yet shadowy vision clooney sustains throughout is daring , inventive and impressive .
this is a happy throwback to the time when cartoons were cinema 's most idiosyncratic form instead of one of its most predictable .
it suggests the wide-ranging effects of media manipulation , from the kind of reporting that is done by the supposedly liberal media ... to the intimate and ultimately tragic heartache of maverick individuals like hatfield and hicks .
but this time there 's some mold on the gold .
this ecologically minded , wildlife friendly film teaches good ethics while entertaining with its unconventionally wacky but loving family
fans of nijinsky will savor every minute of cox 's work .
the powers team has fashioned a comedy with more laughs than many , no question .
clever , brutal and strangely soulful movie .
if you collected all the moments of coherent dialogue , they still would n't add up to the time required to boil a four - minute egg .
somewhat blurred , but kinnear 's performance is razor sharp .
what 's next ?
attal mixes comedy with a serious exploration of ego and jealousy within a seemingly serene marriage .
all these developments and challenges facing santa weigh down the plot so heavily that they drain all the film of its energy and needlessly strain credibility .
the movie will reach far beyond its core demographic .
... too gory to be a comedy and too silly to be an effective horror film .
this is the type of movie best enjoyed by frat boys and college kids while sucking on the bong and downing one alcoholic beverage after another .
it 's an old story , but a lively script , sharp acting and partially animated interludes make just a kiss seem minty fresh .
for the first time in several years , mr. allen has surpassed himself with the magic he 's spun with the hollywood empress of ms. leoni 's ellie .
fans of the animated wildlife adventure show will be in warthog heaven ; others need not necessarily apply .
what it lacks in originality it makes up for in intelligence and b-grade stylishness .
the acting alone is worth the price of admission .
it 's one of the saddest films i have ever seen that still manages to be uplifting but not overly sentimental .
the only thing that could possibly make them less interesting than they already are is for them to get full montied into a scrappy , jovial team .
... a big , baggy , sprawling carnival of a movie , stretching out before us with little rhyme or reason .
there are as many misses as hits , but ultimately , it finds humor in the foibles of human behavior , and it 's a welcome return to the roots of a genre that should depend on surprises .
a grim , flat and boring werewolf movie that refuses to develop an energy level .
it could change america , not only because it is full of necessary discussion points , but because it is so accessible that it makes complex politics understandable to viewers looking for nothing but energetic entertainment .
a sour , nasty offering .
it never fails to engage us .
for all its alleged youthful fire , xxx is no less subservient to bond 's tired formula of guns , girls and gadgets while brandishing a new action hero .
the filmmakers skillfully evoke the sense of menace that nature holds for many urban dwellers .
mr. parker has brilliantly updated his source and grasped its essence , composing a sorrowful and hilarious tone poem about alienated labor , or an absurdist workplace sitcom .
an intelligent , moving and invigorating film .
( but it 's ) worth recommending because of two marvelous performances by michael caine and brendan fraser .
a turgid little history lesson , humourless and dull .
a cumbersome and cliche-ridden movie greased with every emotional device known to man .
succeeds in providing a disquiet world the long-dreaded completion of the police academy series .
as bundy , michael reilly burke ( octopus 2 : river of fear ) has just the right amount of charisma and menace .
adam sandler is to gary cooper what a gnat is to a racehorse .
a tale of horror and revenge that is nearly perfect in its relentless descent to the depths of one man 's tortured soul .
looks awfully like one long tourist spot for a mississippi that may never have existed outside of a scriptwriter 's imagination .
an unabashedly schmaltzy and thoroughly enjoyable true story .
this limp gender-bender-baller from a first-time director and rookie screenwriter steals wholesale from that 1982 's tootsie , forgetting only to retain a single laugh .
this is a terrific character study , a probe into the life of a complex man .
... ( a ) strained comedy that jettisons all opportunities for rock to make his mark by serving up the usual chaotic nonsense .
the picture , scored by a perversely cheerful marcus miller accordion/harmonica/banjo abomination , is a monument to bad in all its florid variety .
( gai ) comes closer to any actress i can remember to personifying independence in its purest and , yes , most intimidating form .
daring , mesmerizing and exceedingly hard to forget .
a solidly seaworthy chiller .
a somewhat crudely constructed but gripping , questing look at a person so racked with self-loathing , he becomes an enemy to his own race .
rich in detail , gorgeously shot and beautifully acted , les destinees is , in its quiet , epic way , daring , inventive and refreshingly unusual .
with a story as bizarre and mysterious as this , you do n't want to be worrying about whether the ineffectual broomfield is going to have the courage to knock on that door .
reinforces the often forgotten fact of the world 's remarkably varying human population and mindset , and its capacity to heal using creative , natural and ancient antidotes .
i hate this movie
you might not buy the ideas .
it 's not exactly a gourmet meal but the fare is fair , even coming from the drive-thru .
but the characters tend to be cliches whose lives are never fully explored .
cantet perfectly captures the hotel lobbies , two-lane highways , and roadside cafes that permeate vincent 's days
kwan makes the mix-and - match metaphors intriguing , while lulling us into torpor with his cultivated allergy to action .
... surprisingly inert for a movie in which the main character travels back and forth between epochs .
it 's a decent glimpse into a time period , and an outcast , that is no longer accessible , but it does n't necessarily shed more light on its subject than the popular predecessor .
the overall feel of the film is pretty cheesy , but there 's still a real sense that the star trek tradition has been honored as best it can , given the embarrassing script and weak direction .
despite a story predictable enough to make the sound of music play like a nail-biting thriller , its heart is so much in the right place it is difficult to get really peeved at it .
one of the most haunting , viciously honest coming-of-age films in recent memory .
finds a way to tell a simple story , perhaps the simplest story of all , in a way that seems compelling and even original .
a moody horror/thriller elevated by deft staging and the director 's well-known narrative gamesmanship .
a map of the inner rhythms of love and jealousy and sacrifice drawn with a master 's steady stroke .
the plot is very clever , but boyd weighs it down with too many characters and events , all intertwined and far too complicated to keep track of .
i do n't know precisely what to make of steven soderbergh 's full frontal , though that did n't stop me from enjoying much of it .
city by the sea is the cinematic equivalent of defensive driving : it 's careful , conscientious and makes no major mistakes .
it 's ( ricci 's ) best work yet , this girl-woman who sincerely believes she can thwart the world 's misery with blind good will .
you 'll have more fun setting fire to yourself in the parking lot .
a very stylish but ultimately extremely silly tale ... a slick piece of nonsense but nothing more .
escapism in its purest form .
gets under the skin of a man who has just lost his wife .
an endlessly fascinating , landmark movie that is as bold as anything the cinema has seen in years .
cliches are as thick as the cigarette smoke .
an uneven but intriguing drama that is part homage and part remake of the italian masterpiece .
it 's like a poem .
bartleby is a one-joke movie , and a bad joke at that .
as a witness to several greek-american weddings -- but , happily , a victim of none -- i can testify to the comparative accuracy of ms. vardalos ' memories and insights .
shadyac shoots his film like an m. night shyamalan movie , and he frequently maintains the same snail 's pace ; he just forgot to add any genuine tension .
there 's more scatological action in 8 crazy nights than a proctologist is apt to encounter in an entire career .
schindler 's list it ai n't .
like a tone-deaf singer at a benefit concert , john q. is a bad movie appearing on behalf of a good cause .
serry does a fine job of capturing the climate of the times and , perhaps unwittingly , relating it to what is happening in america in 2002 .
a carefully structured scream of consciousness that is tortured and unsettling -- but unquestionably alive .
de niro and mcdormand give solid performances , but their screen time is sabotaged by the story 's inability to create interest .
a breezy , diverting , conventional , well-acted tale of two men locked in an ongoing game of cat-and-cat .
the movie gets muted and routine .
desperately unfunny when it tries to makes us laugh and desperately unsuspenseful when it tries to make us jump out of our seats .
for its seriousness , high literary aspirations and stunning acting , the film can only be applauded .
one of the greatest romantic comedies of the past decade .
obvious politics and rudimentary animation reduce the chances that the appeal of hey arnold !
lead provocatuers testud and parmentier give superlative performances
watching it is rather like an overlong visit from a large group of your relatives .
murderous maids may well be the most comprehensive of these films and also strike closest to the truth .
... the film falls back on the same old formula of teen sex , outrageous pranks and scenes designed to push the envelope of bad taste for laughs .
it further declares its director , zhang yang of shower , as a boldly experimental , contemporary stylist with a bright future .
there 's enough science to make it count as educational , and enough beauty to make it unforgettable .
the talents of the actors helps `` moonlight mile '' rise above its heart-on-its-sleeve writing .
murder by numbers is like a couple of mediocre tv-movie - of-the-week films clumsily stuck together .
glib , satirical documentary that fudges facts , makes facile points and engages in the cinematic equivalent of tabloid journalism .
as an entertainment , the movie keeps you diverted and best of all , it lightens your wallet without leaving a sting .
for a film about two mismatched buddies , crystal and de niro share little screen time and even less chemistry .
a woozy , roisterous , exhausting mess , and the off-beat casting of its two leads turns out to be as ill-starred as you might expect .
is n't quite the equal of woo 's best earlier work , but it 's easily his finest american film ... comes close to recapturing the brilliance of his hong kong films .
pumpkin sits in a patch somewhere between mirthless todd solondzian satire and callow student film .
westfeldt and juergensen exude a chemistry and comfort level that 's both saucy and endearing .
windtalkers is shapelessly gratifying , the kind of movie that invites you to pick apart its faults even as you have to admit that somehow it hit you where you live .
there is not a character in the movie with a shred of plausibility , not an event that is believable , not a confrontation that is not staged , not a moment that is not false .
marries the amateurishness of the blair witch project with the illogic of series 7 : the contenders to create a completely crass and forgettable movie .
if somebody was bored and ... decided to make a dull , pretentious version of jesus ' son , they 'd come up with something like bart freundlich 's world traveler .
( villeneuve ) seems to realize intuitively that even morality is reduced to an option by the ultimate mysteries of life and death .
madonna still ca n't act a lick .
little more than a frothy vanity project .
as written by michael berg and michael j. wilson from a story by wilson , this relentless , all-wise-guys-all-the-time approach tries way too hard and gets tiring in no time at all .
involving at times , but lapses quite casually into the absurd .
a long-winded and stagy session of romantic contrivances that never really gels like the shrewd feminist fairy tale it could have been .
an eccentric little comic/thriller deeply in love with its own quirky personality .
the title 's lameness should clue you in on how bad the movie is .
hugh grant and sandra bullock are two such likeable actors .
( drumline ) is entertaining for what it does , and admirable for what it does n't do .
it 's still worth a look .
an utterly compelling ` who wrote it ' in which the reputation of the most famous author who ever lived comes into question .
a thoughtful , provocative , insistently humanizing film .
ana is a vivid , vibrant individual and the movie 's focus upon her makes it successful and accessible .
credit must be given to harland williams , michael rosenbaum and barry watson , who inject far more good-natured spirit and talent into this project than it deserves
if this is satire , it 's the smug and self-congratulatory kind that lets the audience completely off the hook .
the stupidest , most insulting movie of 2002 's first quarter .
like most sequels , it takes what worked last time , repeats it and adds more characters , more stunts , more stuff in attempt to camouflage its sameness .
the timing in nearly every scene seems a half beat off .
high crimes miscasts nearly every leading character .
must be seen to be believed .
a recipe for cinematic disaster ... part quentin tarantino , part guy ritchie , and part 1960s spy spoof , it 's all bad .
zany , exuberantly irreverent animated space adventure .
though it is by no means his best work , laissez-passer is a distinguished and distinctive effort by a bona-fide master , a fascinating film replete with rewards to be had by all willing to make the effort to reap them .
a love for films shines through each frame and the era is recreated with obvious affection , scored to perfection with some tasty boogaloo beats .
the director 's twitchy sketchbook style and adroit perspective shifts grow wearisome amid leaden pacing and indifferent craftsmanship ( most notably wretched sound design ) .
and forget about any attempt at a plot !
showtime is one of the hapless victims of the arrogant `` if we put together a wry white man and a chatty black man and give them guns , the movie will be funny '' syndrome .
sandra nettelbeck beautifully orchestrates the transformation of the chilly , neurotic , and self-absorbed martha as her heart begins to open .
spousal abuse is a major problem in contemporary society , but the film reduces this domestic tragedy to florid melodrama .
while it would be easy to give crush the new title of two weddings and a funeral , it 's a far more thoughtful film than any slice of hugh grant whimsy .
despite a blue-chip cast and a provocative title , writer-director peter mattei 's first feature microwaves dull leftover romantic motifs basted in faux-contemporary gravy .
it 's as close as we 'll ever come to looking through a photographer 's viewfinder as he works .
while surprisingly sincere , this average little story is adorned with some awesome action photography and surfing .
a sophomoric exploration of ` life problems ' most people solved long ago -- or at least got tired of hearing people kvetch about .
but i was n't .
throwing caution to the wind with an invitation to the hedonist in us all , nair has constructed this motion picture in such a way that even the most cynical curmudgeon with find himself or herself smiling at one time or another .
a pleasant enough movie , held together by skilled ensemble actors .
as a randy film about sexy people in gorgeous places being pushed and pulled ( literally and figuratively ) by desire ... ( sex and lucía ) makes for an arousing good time .
the movie has a soft , percolating magic , a deadpan suspense .
an enthralling , playful film that constantly frustrates our desire to know the ` truth ' about this man , while deconstructing the very format of the biography in a manner that derrida would doubtless give his blessing to .
quick : who wants to see a comedy about shoddy airport security ?
maguire is a surprisingly effective peter/spider-man .
what might have been a predictably heartwarming tale is suffused with complexity .
this road movie gives you emotional whiplash , and you 'll be glad you went along for the ride .
scores a few points for doing what it does with a dedicated and good-hearted professionalism .
makes s&m seem very romantic , and maggie gyllenhaal is a delight .
sets up a nice concept for its fiftysomething leading ladies , but fails loudly in execution .
the film is a travesty of the genre and even as spoof takes itself too seriously .
a bit of an unwieldy mess .
mixes likeable personalities , inventive photography and cutting , and wall-to-wall toe-tapping music to paint a picture of a subculture that is at once exhilarating , silly , perverse , hopeful and always fun .
extremely confusing .
it 's neither as romantic nor as thrilling as it should be .
hilarious , acidic brit comedy .
a worthwhile way to spend two hours .
culkin , who 's in virtually every scene , shines as a young man who uses sarcastic lies like a shield .
tuck everlasting achieves a delicate balance of romantic innocence and philosophical depth .
a droll , well-acted , character-driven comedy with unexpected deposits of feeling .
shot perhaps ` artistically ' with handheld cameras and apparently no movie lights by joaquin baca-asay , the low-budget production swings annoyingly between vertigo and opacity .
( director peter ) jackson and his crew have so steeped themselves in the majesty of tolkien 's writing that every frame produces new joys , whether you 're a fan of the books or not .
one scarcely needs the subtitles to enjoy this colorful action farce .
does what a fine documentary does best : it extends a warm invitation into an unfamiliar world , then illuminates it fully and allows the larger implications of the journey to sink in unobtrusively .
offers enough playful fun to entertain the preschool set while embracing a wholesome attitude .
the hours is what movies are supposed to be ...
it 's a good film -- not a classic , but odd , entertaining and authentic .
an impossible romance , but we root for the patronized iranian lad .
as expected , sayles ' smart wordplay and clever plot contrivances are as sharp as ever , though they may be overshadowed by some strong performances .
dark and disturbing , but also surprisingly funny .
happily for mr. chin -- though unhappily for his subjects -- the invisible hand of the marketplace wrote a script that no human screenwriter could have hoped to match .
if it seems like a minor miracle that its septuagenarian star is young enough to be the nonagenarian filmmaker 's son , more incredible still are the clear-eyed boldness and quiet irony with which actor and director take on life 's urgent questions .
the picture is a primer on what happens when lack of know-how mixes with lack of give-a-damn .
chicago is sophisticated , brash , sardonic , completely joyful in its execution .
a fascinating and fun film .
some actors have so much charisma that you 'd be happy to listen to them reading the phone book .
if high crimes were any more generic it would have a universal product code instead of a title .
a chaotic panorama that 's too busy flying a lot of metaphoric flags .