xiangpku/GLUE huggingface dataset:
a startling and fresh examination of how the bike still remains an ambiguous icon in chinese society .
an unsatisfying hybrid of blair witch and typical stalk-and-slash fare , where the most conservative protagonist is always the last one living .
a thoughtful look at a painful incident that made headlines in 1995 .
a real movie , about real people , that gives us a rare glimpse into a culture most of us do n't know .
when your leading ladies are a couple of screen-eating dominatrixes like goldie hawn and susan sarandon at their raunchy best , even hokum goes down easily .
the situations and jokes are as predictable and as lowbrow as the endless pratfalls the boys take in their high heels .
a harmless and mildly amusing family comedy .
fine acting but there is no sense of connecting the dots , just dots .
rambles on in a disjointed , substandard fashion from one poorly executed action sequence to the next .
no , it 's the repetition of said behavior , and so children of the century is more mindless love than mad , more grating and boring than anything else .
if kaufman kept cameron diaz a prisoner in a cage with her ape , in his latest , he 'd have them mate .
( fessenden ) is much more into ambiguity and creating mood than he is for on screen thrills
dark , resonant , inventively detailed and packed with fleet turns of plot and a feast of visual amazement .
lovingly choreographed bloodshed taking place in a pristine movie neverland , basically .
a very funny movie .
suffocated at conception by its munchausen-by-proxy mum .
a vivid cinematic portrait .
but it offers plenty to ponder and chew on as its unusual relationship slowly unfolds .
a provocative movie about loss , anger , greed , jealousy , sickness and love .
by the end , i was looking for something hard with which to bludgeon myself unconscious .
majidi 's poetic love story is a ravishing consciousness-raiser , if a bit draggy at times .
this is the best american movie about troubled teens since 1998 's whatever .
if shayamalan wanted to tell a story about a man who loses his faith , why did n't he just do it , instead of using bad sci-fi as window dressing ?
others may find it migraine-inducing , despite moore 's attempts at whimsy and spoon feeding .
the creaking , rusty ship makes a fine backdrop , but the ghosts ' haunting is routine .
first good , then bothersome .
fails to bring as much to the table .
without heavy-handedness , dong provides perspective with his intelligent grasp of human foibles and contradictions .
a clutchy , indulgent and pretentious travelogue and diatribe against ... well , just stuff .
even with all those rough edges safely sanded down , the american insomnia is still pretty darned good .
a charming , quirky and leisurely paced scottish comedy -- except with an outrageous central gimmick that could have been a reject from monty python 's meaning of life .
bow 's best moments are when he 's getting busy on the basketball court because that 's when he really scores .
the enormous comic potential of an oafish idiot impersonating an aristocrat remains sadly unrealized .
at nearly three hours , the whole of safe conduct is less than the sum of its parts .
just another fish-out-of-water story that barely stays afloat .
an afterschool special without the courage of its convictions .
without september 11 , collateral damage would have been just another bad movie .
like a marathon runner trying to finish a race , you need a constant influx of liquid just to get through it .
zhang yimou delivers warm , genuine characters who lie not through dishonesty , but because they genuinely believe it 's the only way to bring happiness to their loved ones .
well-written , nicely acted and beautifully shot and scored , the film works on several levels , openly questioning social mores while ensnaring the audience with its emotional pull .
for the first two-thirds of this sparklingly inventive and artful , always fast and furious tale , kids will go happily along for the ride .
a classy item by a legend who may have nothing left to prove but still has the chops and drive to show how its done .
if this holiday movie is supposed to be a gift , somebody unwrapped it early , took out all the good stuff , and left behind the crap ( literally ) .
feels less like it 's about teenagers , than it was written by teenagers .
a well-made thriller with a certain level of intelligence and non-reactionary morality .
no movement , no yuks , not much of anything .
most of the action setups are incoherent .
somehow we 're meant to buy that this doting mother would shun her kids , travel to one of the most dangerous parts of the world , don fatigues and become g.i. jane .
good ol' urban legend stuff .
the thriller side of this movie is falling flat , as the stalker does n't do much stalking , and no cop or lawyer grasps the concept of actually investigating the case .
an amazing and incendiary movie that dives straight into the rough waters of contradiction .
a great ending does n't make up for a weak movie , and crazy as hell does n't even have a great ending .
the episodic film makes valid points about the depersonalization of modern life .
a gimmick in search of a movie : how to get carvey into as many silly costumes and deliver as many silly voices as possible , plot mechanics be damned .
i regret to report that these ops are just not extreme enough .
so stupid , so ill-conceived , so badly drawn , it created whole new levels of ugly .
at about 95 minutes , treasure planet maintains a brisk pace as it races through the familiar story .
intriguing and beautiful film , but those of you who read the book are likely to be disappointed .
the film is often filled with a sense of pure wonderment and excitement not often seen in today 's cinema du sarcasm
this is what imax was made for : strap on a pair of 3-d goggles , shut out the real world , and take a vicarious voyage to the last frontier -- space .
effectively feeds our senses with the chilling sights and sounds from within the camp to create a completely numbing experience .
these people would n't know subtle characterization if it put on a giant furry monster costume and then gave them a lapdance .
while mcfarlane 's animation lifts the film firmly above the level of other coming-of-age films ... it 's also so jarring that it 's hard to get back into the boys ' story .
a candid and often fascinating documentary about a pentecostal church in dallas that assembles an elaborate haunted house each year to scare teenagers into attending services .
warmed-over tarantino by way of wannabe elmore leonard .
the film is an enjoyable family film -- pretty much aimed at any youngster who loves horses .
the hours makes you examine your own life in much the same way its characters do , and the experience is profound .
but that 's just the problem with it - the director has n't added enough of his own ingredients .
home alone goes hollywood , a funny premise until the kids start pulling off stunts not even steven spielberg would know how to do .
based on a david leavitt story , the film shares that writer 's usual blend of observant cleverness , too-facile coincidence and slightly noxious preciousness .
automatically pegs itself for the straight-to-video sci-fi rental shelf .
sits uneasily as a horror picture ... but finds surprising depth in its look at the binds of a small family .
the issue of faith is not explored very deeply
the sequel has turned completely and irrevocably bizarre to the point of utter nonsense .
lacks heart , depth and , most of all , purpose .
moot point .
the film makes a strong case for the importance of the musicians in creating the motown sound .
the film runs on equal parts of innocence and wisdom -- wisdom that comes with experience .
the passions aroused by the discord between old and new cultures are set against the strange , stark beauty of the mideast desert , so lovingly and perceptively filmed that you can almost taste the desiccated air .
pryor lite , with half the demons , half the daring , much less talent , many fewer laughs .
if you liked such movies as notting hill , four weddings and a funeral , bridget jones ' diary or high fidelity , then you wo n't want to miss about a boy .
even legends like alfred hitchcock and john huston occasionally directed trifles ... so it 's no surprise to see a world-class filmmaker like zhang yimou behind the camera for a yarn that 's ultimately rather inconsequential .
it will come as no surprise that the movie is n't scary .
often gruelling and heartbreaking to witness , but seldahl and wollter 's sterling performances raise this far above the level of the usual maudlin disease movie .
even by dumb action-movie standards , ballistic : ecks vs. sever is a dumb action movie .
one hour photo is an intriguing snapshot of one man and his delusions ; it 's just too bad it does n't have more flashes of insight .
john mctiernan 's botched remake may be subtler than norman jewison 's 1975 ultraviolent futuristic corporate-sports saga .
if there 's a way to effectively teach kids about the dangers of drugs , i think it 's in projects like the ( unfortunately r-rated ) paid .
the only thing worse than your substandard , run-of-the-mill hollywood picture is an angst-ridden attempt to be profound .
proof that a thriller can be sleekly shot , expertly cast , paced with crisp professionalism ... and still be a letdown if its twists and turns hold no more surprise than yesterday 's weather report .
a tender and touching drama , based on the true story of a troubled african-american 's quest to come to terms with his origins , reveals the yearning we all have in our hearts for acceptance within the family circle .
the tug of war that ensues is as much a snapshot of modern china in microcosm as it is a crash course in movie mythology .
a comprehensive and provocative film -- one that pushes the boundaries of biography , and challenges its audience .
few films this year have been as resolute in their emotional nakedness .
this extremely unfunny film clocks in at 80 minutes , but feels twice as long .
you can feel the heat that ignites this gripping tale , and the humor and humanity that root it in feeling .
theirs is a simple and heart-warming story , full of mirth that should charm all but the most cynical .
if this is an example of the type of project that robert redford 's lab is willing to lend its imprimatur to , then perhaps it 's time to rethink independent films .
though the book runs only about 300 pages , it is so densely packed ... that even an ambitious adaptation and elaborate production like mr. schepisi 's seems skimpy and unclear .
like dickens with his passages , mcgrath crafts quite moving scenes throughout his resolutely dramatic variation on the novel .
not so much funny as aggressively sitcom-cute , it 's full of throwaway one-liners , not-quite jokes , and a determined tv amiability that allen personifies .
ultimately the project comes across as clinical , detached , uninvolving , possibly prompting audience members to wonder , ` what 's the point ? '
i weep for the future when a good portion of the respected critical community in this country consider blue crush to be an intelligent film about young women .
a soggy , shapeless mess ... just a dumb excuse for a waterlogged equivalent of a haunted-house movie .
achieves a sort of filmic epiphany that revels in the true potential of the medium .
there 's no denying the physically spectacular qualities of the film ... or the emotional integrity of the performances .
it 's difficult to say whether the tuxedo is more boring or embarrassing -- i 'm prepared to call it a draw .
an endearingly offbeat romantic comedy with a great meet-cute gimmick .
a work of the utmost subtlety and perception , it marks the outstanding feature debut of writer-director eric byler , who understands the power of the implicit and the virtues of simplicity and economy .
too loud , too long and too frantic by half , die another day suggests that the bond franchise has run into a creative wall that 007 can not fly over , tunnel under or barrel through .
this overproduced and generally disappointing effort is n't likely to rouse the rush hour crowd .
the film 's sharp , often mischievous sense of humor will catch some off guard ...
a cockamamie tone poem pitched precipitously between swoony lyricism and violent catastrophe ... the most aggressively nerve-wracking and screamingly neurotic romantic comedy in cinema history .
not a movie but a live-action agitprop cartoon so shameless and coarse , it 's almost funny .
this delicately observed story , deeply felt and masterfully stylized , is a triumph for its maverick director .
oft-described as the antidote to american pie-type sex comedies , it actually has a bundle in common with them , as the film diffuses every opportunity for a breakthrough
the irwins emerge unscathed , but the fictional footage is unconvincing and criminally badly acted .
winds up feeling like lots of other quirky movies that try to score hipness points with young adults .
vile and tacky are the two best adjectives to describe ghost ship .
though mama takes a bit too long to find its rhythm and a third-act plot development is somewhat melodramatic , its ribald humor and touching nostalgia are sure to please anyone in search of a jules and jim for the new millennium .
a depressing confirmation of everything those of us who do n't object to the description `` unelected '' have suspected all along : george w. bush is an incurious , uncharismatic , overgrown frat boy with a mean streak a mile wide .
it is far from the worst , thanks to the topical issues it raises , the performances of stewart and hardy , and that essential feature -- a decent full-on space battle .
a free-for-all of half-baked thoughts , clumsily used visual tricks and self-indulgent actor moments .
propelled not by characters but by caricatures .
never again swings between false sentiment and unfunny madcap comedy and , along the way , expects the audience to invest in the central relationship as some kind of marriage of true minds .
a well acted and well intentioned snoozer .
goyer 's screenplay and direction are thankfully understated , and he has drawn excellent performances from his cast .
aside from being the funniest movie of the year , simone , andrew niccol 's brilliant anti-hollywood satire , has a wickedly eccentric enchantment to it .
eventually , it wins you over .
a boring , wincingly cute and nauseatingly politically correct cartoon guaranteed to drive anyone much over age 4 screaming from the theater .
( t ) hose same extremes prevent us from taking its message seriously , and the stepford wives mentality does n't work in a modern context .
there are moments it can be heart-rending in an honest and unaffected ( and gentle ) way .
bubba ho-tep is a wonderful film with a bravura lead performance by bruce campbell that does n't deserve to leave the building until everyone is aware of it .
what 's most striking about this largely celebratory film ... is the sense of isolation that permeates these bastions of individuality in an ikea world .
the two leads are almost good enough to camouflage the dopey plot , but so much naturalistic small talk , delivered in almost muffled exchanges , eventually has a lulling effect .
but fans should have fun meeting a brand-new pokemon called celebi .
this is art paying homage to art .
a pleasurably jacked-up piece of action moviemaking .
like most bond outings in recent years , some of the stunts are so outlandish that they border on being cartoonlike .
god help the poor woman if attal is this insecure in real life : his fictional yvan 's neuroses are aggravating enough to exhaust the patience of even the most understanding spouse .
wasabi is slight fare indeed , with the entire project having the feel of something tossed off quickly ( like one of hubert 's punches ) , but it should go down smoothly enough with popcorn .
the film 's 45-minute running time stops shy of overkill , though viewers may be more exhausted than the athletes onscreen .
a loving little film of considerable appeal .
demme 's loose approach kills the suspense .
`` antwone fisher '' is an earnest , by-the-numbers effort by washington .
he simply presents his point of view that ayurveda works .
you 're better off staying home and watching the x-files .
with youthful high spirits , tautou remains captivating throughout michele 's religious and romantic quests , and she is backed by a likable cast .
but this costly dud is a far cry from either the book or the beloved film .
majidi gets uniformly engaging performances from his largely amateur cast .
stephen earnhart 's homespun documentary mule skinner blues has nothing but love for its posse of trailer park denizens .
haneke challenges us to confront the reality of sexual aberration .
an offbeat , sometimes gross and surprisingly appealing animated film about the true meaning of the holidays .
the plot is so predictable and sentimental that viewers are likely to lose interest before sandrine and her goats walk off into the sunset .
( it 's ) difficult to get beyond the overall blandness of american chai , despite its likable performances and refreshingly naive point of view .
once the audience figure out what 's being said , the filmmaker 's relative passivity will make it tough for them to really care .
watstein handily directs and edits around his screenplay 's sappier elements ... and sustains off the hook 's buildup with remarkable assuredness for a first-timer .
this is n't my favorite in the series , still i enjoyed it enough to recommend .
the movie is as far as you can get from racy , to the point where it almost stops the blood flow to your brain ; it has a dull , costumey feel .
as with too many studio pics , plot mechanics get in the way of what should be the lighter-than-air adventure .
has a shambling charm ... a cheerfully inconsequential diversion .
look , this is a terrific flick replete with dazzling camera-work , dancing and music .
... both hokey and super-cool , and definitely not in a hurry , so sit back , relax and have a few laughs while the little ones get a fuzzy treat . '
what will , most likely , turn out to be the most repellent movie of 2002 .
this is one for the ages .
eastwood is an icon of moviemaking , one of the best actors , directors and producers around , responsible for some excellent work .
from spiritual rebirth to bruising defeat , vincent 's odyssey resonates in a profound way , comparable to the classic films of jean renoir .
the central story lacks punch .
... fifty minutes of tedious adolescent melodramatics followed by thirty-five minutes of inflated nonsense .
though of particular interest to students and enthusiast of international dance and world music , the film is designed to make viewers of all ages , cultural backgrounds and rhythmic ability want to get up and dance .
why come up with something even quasi-original , when you can pillage from shirley jackson , richard matheson ... and puke up something like rose red ?
parker holds true to wilde 's own vision of a pure comedy with absolutely no meaning , and no desire to be anything but a polished , sophisticated entertainment that is in love with its own cleverness .
jason x has cheesy effects and a hoary plot , but its macabre , self-deprecating sense of humor makes up for a lot .
flashy , pretentious and as impenetrable as morvern 's thick , working-class scottish accent .
the backyard battles you staged with your green plastic army men were more exciting and almost certainly made more sense .
invincible is a wonderful movie .
this pep-talk for faith , hope and charity does little to offend , but if saccharine earnestness were a crime , the film 's producers would be in the clink for life .
japan 's premier stylist of sex and blood hits audiences with what may be his most demented film to date .
it is interesting and fun to see goodall and her chimpanzees on the bigger-than-life screen .
finally , a genre movie that delivers -- in a couple of genres , no less .
a broadly played , lowbrow comedy in which the cast delivers mildly amusing performances and no farm animals were injured by any of the gags .
you 'll be more entertained getting hit by a bus .
if it tried to do anything more , it would fail and perhaps explode , but at this level of manic whimsy , it is just about right .
a sad , superior human comedy played out on the back roads of life .
a shambles of a movie -- visually unattractive , unbearably loud and utterly silly ... its hilarity is completely unintentional .
the makers have forsaken the entertaining elements of the original and , instead , rehash old jokes and leave any life at the doorstep .
for anyone who grew up on disney 's 1950 treasure island , or remembers the 1934 victor fleming classic , this one feels like an impostor .
` enigma ' is a good name for a movie this delibrately obtuse and unapproachable .
star wars is back in a major way .
bullock 's complete lack of focus and ability quickly derails the film
it 's endearing to hear madame d. refer to her husband as ` jackie ' -- and he does make for excellent company , not least as a self-conscious performer .
though a bit of a patchwork in script and production , a glossy , rich green , environment almost makes the picture work .
this is a particularly toxic little bonbon , palatable to only a chosen and very jaundiced few .
the movie feels like it 's going to be great , and it carries on feeling that way for a long time , but takeoff just never happens .
a pro-fat farce that overcomes much of its excessive moral baggage thanks to two appealing lead performances .
an impressive if flawed effort that indicates real talent .
do n't waste your money .
it 's a bittersweet and lyrical mix of elements .
the movie 's quiet affirmation of neighborhood values gives it an honest , lived-in glow .
too stupid to be satire , too obviously hateful to be classified otherwise , frank novak 's irritating slice of lumpen life is as reliably soul-killing as its title is nearly meaningless .
marvelous , merry and , yes , melancholy film .
i tried to read the time on my watch .
but based on cq , i 'll certainly be keeping an eye out for his next project .
i spy is an embarrassment , a monotonous , disjointed jumble of borrowed plot points and situations .
occasionally , in the course of reviewing art-house obscurities and slam-bam action flicks , a jaded critic smacks into something truly new .
her delivery and timing are flawless .
but buying into sham truths and routine `` indie '' filmmaking , freundlich has made just another safe movie .
gee , a second assassin shot kennedy ?
a charming romantic comedy that is by far the lightest dogme film and among the most enjoyable .
every bit as bogus as most disney live action family movies are -- no real plot , no real conflict , no real point .
a whole lot foul , freaky and funny .
could the whole plan here have been to produce something that makes fatal attraction look like a classic by comparison ?
the cast is uniformly excellent and relaxed .
the film is just a big , gorgeous , mind-blowing , breath-taking mess .
reggio 's trippy , ambitious downer can also sometimes come across like nothing more than a glorified nike ad .
the more kevin costner rests on his pretty-boy laurels , the public is , regrettably , going to have tepid films like dragonfly tossed at them .
director benoit jacquot , making his first opera-to-film translation with tosca , conveys the heaving passion of puccini 's famous love-jealousy - murder-suicide fandango with great cinematic innovation .
it 's a film that hinges on its casting , and glover really does n't fit the part .
the film often achieves a mesmerizing poetry .
i love the way that it took chances and really asks you to take these great leaps of faith and pays off .
imagine the james woods character from videodrome making a home movie of audrey rose and showing it to the kid from the sixth sense and you 've imagined the ring .
if we do n't demand a standard of quality for the art that we choose , we deserve the trash that we get .
a generation x artifact , capturing a brief era of insanity in the sports arena that surely can not last .
bad company leaves a bad taste , not only because of its bad-luck timing , but also the staleness of its script .