xiangpku/GLUE huggingface dataset:
unlikable characters
is often preachy and poorly acted
red dragon '' is entertaining .
a semi-autobiographical film that 's so sloppily written and cast that you can not believe anyone more central to the creation of bugsy than the caterer
terrific performance
shows excess in business and pleasure
that hong kong action cinema is still alive and kicking
this summer that do not involve a dentist drill
is a disaster , with cloying messages and irksome characters .
the movie knew what to do with him
you do n't need to be a hip-hop fan to appreciate scratch , and that 's the mark of a documentary that works
like nothing we westerners have seen before
( ramsay ) visually transforms the dreary expanse of dead-end distaste the characters inhabit into a poem of art , music and metaphor .
even if it pushes its agenda too forcefully , this remains a film about something , one that attempts and often achieves a level of connection and concern .
a charming , funny and beautifully crafted import
romantic , riveting and handsomely
sensual delights and simmering violence
it desperately wants to be a wacky , screwball comedy , but
we get a stab at soccer hooliganism , a double-barreled rip-off of quentin tarantino 's climactic shootout -- and meat loaf explodes .
charm and charisma
see an artist , still committed to growth in his ninth decade
laggard drama wending its way to an uninspired philosophical epiphany .
a film with a great premise but only a great premise .
like `
check your brain
tells this very compelling tale
guilt in an intriguing bit of storytelling
is a gorgeous and deceptively minimalist cinematic tone poem
justify the notion of creating a screen adaptation of evans ' saga of hollywood excess
this elegant entertainment
a visual style unique and inherent
by acute writing and a host of splendid performances
too long and unfocused
boasts enough funny
is needed to live a rich and full life .
, outrageous , ingenious
third time 's the charm
refusal
visually flashy
proves that director m. night shyamalan can weave an eerie spell and that mel gibson can gasp , shudder and even tremble without losing his machismo
will enjoy seeing how both evolve
listen to extremist name-calling ,
of the lovable-loser protagonist
his character 's abundant humanism makes him the film 's moral compass
real raw emotion
the acting is amateurish , the cinematography is atrocious , the direction is clumsy , the writing is insipid and
the film maintains a beguiling serenity and poise that make it accessible for a non-narrative feature .
's a great american adventure and a wonderful film to bring to imax .
as i was , by its moods , and by its subtly transformed star
self-consciously flashy camera effects , droning house music and
a ragbag of cliches
need of some trims and
miller comes at film with bracing intelligence and a vision both painterly and literary .
big shear
it should be interesting , it should be poignant , it turns out to be affected and boring .
the gifted pearce on hand
grotesque and
this unique and entertaining twist on the classic whale 's tale
of failed jokes , twitchy acting , and general boorishness
is not only a love song to the movies
its dying
affected child acting
this one is not nearly as dreadful as expected .
broomfield dresses it up
poorly-constructed
moving tragedy
only improves on it , with terrific computer graphics , inventive action sequences and a droll sense of humor
has a tremendous , offbeat sense of style and humor that suggests he was influenced by some of the filmmakers who have directed him , especially the coen brothers and steven soderbergh
if considerably less ambitious ,
gave people seizures
ring hollow
made a great saturday night live sketch , but a great movie it is not
crossed off the list of ideas for the inevitable future sequels ( hey , do n't shoot the messenger )
is just lazy
it 's also curious to note that this film , like the similarly ill-timed antitrust , is easily as bad at a fraction the budget .
ambiguous enough to be engaging and oddly moving
that has something a little more special behind it : music that did n't sell many records but helped change a nation
're desperate for the evening to end
struggle tragically
makes the same mistake as the music industry
the most opaque , self-indulgent and just plain goofy
pooper-scoopers
introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix
of male-ridden angst
dumb , narratively chaotic , visually sloppy ... a weird amalgam
earlier copycat under siege
( and probably should have
's needed so badly but what is virtually absent
ferrara 's best film in years .
proficiency
an autopsy , the movie
deserve but rarely receive it
the good ,
, the picture feels as if everyone making it lost their movie mojo .
, the cartoons look almost shakespearean -- both in depth and breadth -- after watching this digital-effects-heavy , supposed family-friendly comedy .
90 punitive minutes
that it feels more like the pilot episode of a tv series than a feature film
, you might want to check it out
it wears out its welcome as tryingly as the title character .
very amusing , not the usual route in a thriller , and the performances are odd and pixilated and sometimes both .
like its subjects , delivers the goods and audiences will have a fun , no-frills ride .
little cleavage
a live-action cartoon , a fast-moving and cheerfully simplistic 88 minutes of exaggerated action
relentlessly globalizing
comes through all too painfully in the execution
is grand-scale moviemaking for a larger-than-life figure , an artist who has been awarded mythic status in contemporary culture
committed to growth in his ninth decade
... somehow manages to escape the shackles of its own clichés to be the best espionage picture to come out in weeks .
of film entertainment
executed with such gentle but insistent sincerity ,
the last scenes of the film are anguished , bitter and truthful .
its rapid-fire delivery
phillip noyce and all of his actors -- as well as his cinematographer , christopher doyle -- understand the delicate forcefulness of greene 's prose ,
a source of high hilarity
there is a freedom to watching stunts that are this crude , this fast-paced and this insane .
depressingly thin and
time literally stops on a dime in the tries-so-hard-to-be-cool `` clockstoppers , ''
little visible talent
's that rare family movie -- genuine and sweet
include every top-notch british actor who did not appear in gosford park ( as well as one , ms. mirren , who did )
better effects ,
brian tufano 's handsome widescreen photography and
that movie was pretty bad
an inspired portrait of male-ridden angst
vulgarity , sex scenes , and cussing
a stand up and cheer flick
slightest difficulty
twists to make the formula feel fresh .
good-hearted ensemble comedy
has little to do with the story ,
truly revelatory about his psyche
of the plot ` surprises '
as beautifully shaped and as delicately calibrated in tone
done , so primitive in technique
the movie is silly beyond comprehension , and even if it were n't silly , it would still be beyond comprehension
does n't put you off
between two gifted performers
sumptuous work
becomes a chore to sit through -- despite some first-rate performances by its lead
the world they love and make
starts off witty and sophisticated and
ludicrous and contrived
all-star salute
proves she has the stuff to stand tall with pryor , carlin and murphy .
're most likely to find on the next inevitable incarnation of the love boat
every family
's as rude and profane as ever , always hilarious and , most of the time , absolutely
seems like some futile concoction that was developed hastily after oedekerk
dwindles
on lingering terror punctuated by sudden shocks and not constant bloodshed
strong cast and surehanded direction
draws its considerable power from simplicity
quietly inspirational
the auteur 's ear for the way fears and slights
of pointless mayhem
no-surprise
the lack of naturalness makes everything seem self-consciously poetic and forced ... it 's a pity that ( nelson 's ) achievement does n't match his ambition .
most good-hearted yet sensual entertainment
be a bit disjointed
the footage of the rappers at play and the prison interview with suge knight
terminally brain dead production .
although sensitive to a fault , it 's often overwritten , with a surfeit of weighty revelations , flowery dialogue , and nostalgia for the past and roads not taken .
though in some ways similar to catherine breillat 's fat girl , rain is the far superior film .
fascinating case study
a rollicking ride , with jaw-dropping action sequences , striking villains , a gorgeous color palette , astounding technology , stirring music and a boffo last hour that leads up to a strangely sinister happy ending .
an iconoclastic artist
sensitivity and skill
make the stones weep -- as shameful
polished , well-structured film .
nails sy 's queasy infatuation and overall strangeness
crisp psychological drama
have been readily dismissed as the tiresome rant of an aging filmmaker still thumbing his nose at convention
it familiar and insufficiently cathartic
it is a funny ( sometimes hilarious ) comedy with a deft sense of humor about itself , a playful spirit and a game cast
flopped
vibrant , colorful , semimusical rendition
a pleasant distraction , a friday night diversion ,
there are n't too many films that can be as simultaneously funny , offbeat and heartwarming ( without a thick shmear of the goo , at least ) , but `` elling '' manages to do all three quite well , making it one of the year 's most enjoyable releases .
it 's better to go in knowing full well what 's going to happen , but willing to let the earnestness of its execution and skill of its cast take you down a familiar road with a few twists .
crammed with incident , and bristles with passion and energy
a bit of heart and unsettling subject matter
knows how to inflate the mundane into the scarifying , and gets full mileage out of the rolling of a stray barrel or the unexpected blast of a phonograph record .
that he is an imaginative filmmaker who can see the forest for the trees
powerful and deeply moving example
the secrets of time travel will have been discovered , indulged in and rejected as boring before i see this piece of crap again .
a tired , unnecessary retread
where the characters inhabit that special annex of hell where adults behave like kids , children behave like adults and everyone
quiet , decisive moments
not a strike
's informative and breathtakingly spectacular
-- and gross
in the end , it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast
and whirling fight sequences
the heart soar
because the film deliberately lacks irony
as solid and as perfect as his outstanding performance as bond in die another day
has never
an appealing blend of counter-cultural idealism and hedonistic creativity
the edge of their seats
, charming
's a talking head documentary , but a great one .
an interesting psychological game
's both charming and well acted
arrogant richard pryor wannabe
an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears
glazed with a tawdry b-movie scum .
treasure .
terrifying angst
i did go back and check out the last 10 minutes , but these were more repulsive than the first 30 or 40 minutes
in the right direction
gets vivid , convincing performances from a fine cast , and
the stuff to stand tall with pryor , carlin and murphy
big time stinker
murky
as an intense political and psychological thriller
those who like quirky , slightly strange french films
none of the plot ` surprises '
some first-rate performances
to the fore for the gifted but no-nonsense human beings they are and for the still-inestimable contribution they have made to our shared history
most anime , whose most ardent fans outside japan seem to be introverted young men with fantasy fetishes
is n't in this film , which may be why it works as well as it does .
's `
of french cinema at its best
, a movie like ballistic : ecks vs. sever is more of an ordeal than an amusement .
its true-to-life characters , its sensitive acting , its unadorned view of rural life and
deadeningly
its audience -- in a heartwarming , nonjudgmental kind of way -- to consider what we value in our daily lives
the man and
bold presentation
big trouble remains a loosely tied series of vignettes which only prove that ` zany ' does n't necessarily mean ` funny . '
a throwback war movie
its unhurried narrative
it has some cute moments , funny scenes , and hits the target audience ( young bow wow fans ) - with nothing but net
finds its humor in a black man getting humiliated by a pack of dogs who are smarter than him
downright silly
unrelentingly exploitative
who enjoy moaning about their cruel fate
if you 're looking for a story , do n't bother .
approaching even a vague reason to sit through it all
a captivating coming-of-age story
pumpkin is a mere plot pawn for two directors with far less endearing disabilities
mr. audiard 's direction is fluid and quick .
i encourage young and old alike to go see this unique and entertaining twist on the classic whale 's tale
a sharp , amusing study of the cult of celebrity .
sloppily
gawky
it 's possible that something hip and transgressive was being attempted here that stubbornly refused to gel , but
simply put , there should have been a more compelling excuse to pair susan sarandon and goldie hawn .
you 're looking for a smart , nuanced look at de sade and what might have happened at picpus
comically
enjoyed it just as much
many such biographical melodramas
victorious
the thriller form to examine the labyrinthine ways in which people 's lives cross and change
it 's not an easy one to review .
effectively chilling
less capable
is why film criticism can be considered work .
a whole segment of pop-music history has been allowed to get wet , fuzzy and sticky
this is the kind of movie where the big scene is a man shot out of a cannon into a vat of ice cream .
an enjoyable big movie
there 's nothing wrong with that if the film is well-crafted and this one is
definitive , if disingenuous , feature
in his u.s. debut , mr. schnitzler proves himself a deft pace master and stylist .
raised a few notches above kiddie fantasy pablum by allen 's astringent wit
this aging series
's made at least one damn fine horror movie
see people working so hard at leading lives of sexy intrigue
morphs into a mundane '70s disaster flick .
hilarity .
overcome the obstacles of a predictable outcome and a screenplay that glosses over rafael 's evolution .
are in tatters
why any actor of talent would ever work in a mcculloch production again if they looked at how this movie turned out
ballistic : ecks vs. sever also features terrible , banal dialogue ; convenient , hole-ridden plotting ; superficial characters and a rather dull , unimaginative car chase .
the unacceptable , the unmentionable
good actors , good poetry and
this waste
a romantic comedy plotline straight from the ages
no bearing on the story
in as flat
at lengthy dialogue scenes
the somber pacing and lack
very good ( but not great )
it made me feel unclean ,
it 'll keep you wide awake and ... very tense .
've seen it all before
it leaves a bad taste in your mouth and questions on your mind
morally ambiguous and nothing to shout about .
a remarkable film
a wonderfully warm human drama
, with some real shocks in store for unwary viewers .
a work of outstanding originality
an unfortunate title
fanciful thinkers
i 'm sorry to say that this should seal the deal - arnold is not , nor will he be , back
consider what new best friend does not have , beginning with the minor omission of a screenplay
his most critically insightful
is as appalling as any ` comedy ' to ever spill from a projector 's lens
the speculative effort is hampered by taylor 's cartoonish performance and the film 's ill-considered notion that hitler 's destiny was shaped by the most random of chances
can obscure this movie 's lack of ideas
new best friend ''
a greater attention
it a failure as straight drama
an unsolved murder and an unresolved moral conflict jockey for the spotlight
plain bad .
staged violence overshadows everything , including most of the actors .
like the old disease-of-the-week small-screen melodramas .
to spend 110 claustrophobic minutes
of contemporary chinese life this exciting new filmmaker has brought to the screen
in the form of dazzling pop entertainment
the densest distillation of roberts ' movies
heart and humor
funny and touching .
hazy high
a tired , unimaginative and derivative variation
the overall fabric is hypnotic
's painful to watch witherspoon 's talents wasting away inside unnecessary films like legally blonde and sweet home abomination , i mean , alabama .
notice the glaring triteness of the plot device
an ordeal
, it 's not half-bad .
an energy to y tu mamá también
bad company has one of the most moronic screenplays of the year , full of holes that will be obvious even to those who are n't looking for them .
, incoherence and sub-sophomoric
has the disadvantage of also looking cheap .
between presiding over the end of cinema as we know it and another night of delightful hand shadows
tommy 's job to clean the peep booths surrounding her
is a really cool bit -- the movie 's conception of a future-world holographic librarian ( orlando jones ) who knows everything and answers all questions , is visually smart , cleverly written , and nicely realized
delusions
cheap junk and an insult to their death-defying efforts
so hideously and clumsily
solid execution
a touching , sophisticated film that almost seems like a documentary in the way
a wildly entertaining
it has some problems
frailty fits into a classic genre , in its script and execution
shame that stealing harvard is too busy getting in its own way to be anything but frustrating , boring , and forgettable
to believe these jokers are supposed to have pulled off four similar kidnappings before
of the unsalvageability
talk to her is not the perfect movie many have made it out to be ,
matthew lillard is born to play shaggy !
with an amateurish screenplay
the best ` old neighborhood ' project
poor editing , bad bluescreen , and
it would be better to wait for the video .
manipulation , an exploitation piece doing its usual worst to guilt-trip parents
hit you from the first scene
's a choppy , surface-effect feeling to the whole enterprise
while the plot holes are big enough for a train car to drive through -- if kaos had n't blown them all up
is likely to cause massive cardiac arrest if taken in large doses
miserably
amusing us
in the feet with cop flick cliches like an oily arms dealer , squad car pile-ups and the requisite screaming captain
will have been discovered , indulged in and rejected as boring before i see this piece of crap again
creates an impeccable sense of place , while thurman and lewis give what can easily be considered career-best performances
natural , even-flowing tone
'm not sure which will take longer to heal : the welt on johnny knoxville 's stomach from a riot-control projectile or my own tortured psyche
take on a striking new significance for anyone who sees the film
assured , vital and well wrought
captures that perverse element of the kafkaesque where identity , overnight , is robbed and replaced with a persecuted `` other . ''
damning and damned compelling
not only better than its predecessor , it may rate as the most magical and most fun family fare of this or any recent holiday season .
boring , pretentious muddle
as the tiresome rant of an aging filmmaker still thumbing his nose at convention
get top billing
blind to the silliness
home movie is about the people who live in them , who have carved their own comfortable niche in the world and have been kind enough to share it .
evokes the frustration , the awkwardness and the euphoria of growing up ,
of the most important and exhilarating forms of animated filmmaking since old walt
the positive change
is one word that best describes this film : honest .
you will have completely forgotten the movie by the time you get back to your car in the parking lot .
ca n't quite distinguish one sci-fi work from another
a surprisingly ` solid ' achievement by director malcolm d. lee and writer john ridley
manages , with terrific flair , to keep the extremes of screwball farce and blood-curdling family intensity on one continuum
desultory
if this is cinema
should be tried as a war criminal
directed with sensitivity and skill by dana janklowicz-mann
other than the very sluggish pace )
, natural acting
as antonia is assimilated into this newfangled community , the film settles in and becomes compulsively watchable in a guilty-pleasure , daytime-drama sort of fashion .
arliss howard 's ambitious , moving , and adventurous directorial debut
what may be the performances of their careers
rare insight
i know how to suffer ' and if you see this film you 'll know too .
mr. deeds is , as comedy goes , very silly -- and in the best way .
franco is an excellent choice for the walled-off but combustible hustler , but he does not give the transcendent performance sonny needs to overcome gaps in character development and story logic .
you ca n't help but get caught up in the thrill of the company 's astonishing growth .
the work of the director , frank novak , that keeps the film grounded in an undeniable social realism
caine makes us watch as his character awakens to the notion that to be human is eventually to have to choose .
of great monster/science fiction flicks
for a great film noir
's something poignant about an artist of 90-plus years taking the effort to share his impressions of life and loss and time and art with us
on the monster 's path of destruction
is to substitute plot for personality .
an overstylized , puréed mélange of sex , psychology , drugs and philosophy .
, it does n't disappoint .
its courageousness , and
incapable of being boring
this sad , compulsive life
i saw this one
director/co-writer jacques audiard , though little known in this country , belongs in the very top rank of french filmmakers
paints an absurdly simplistic picture
treasure and
was particularly funny
is in need of a scented bath
the park
like running out screaming
through the pitfalls of incoherence and redundancy
if damon and affleck attempt another project greenlight , next time out they might try paying less attention to the miniseries and more attention to the film it is about .
a must-see
be an unendurable viewing experience for this ultra-provincial new yorker if 26-year-old reese witherspoon were not on hand to inject her pure fantasy character , melanie carmichael , with a massive infusion of old-fashioned hollywood magic
burns ' visuals , characters and his punchy dialogue ,
directions and descends into such message-mongering moralism that its good qualities are obscured .
beautifully reclaiming the story of carmen
' swims away with the sleeper movie of the summer award .
a travesty
queen of the damned is too long with too little going on .
america , history
nothing can detract from the affection of that moral favorite
charming , thought-provoking new york fest
corrupt and hedonistic weasels
superfluous sequel
has a new career ahead of him
wore
'' is a sweet , honest , and enjoyable comedy-drama about a young woman who wants many things in life , but fears she 'll become her mother before she gets to fulfill her dreams .
are they like humans , only hairier
while parker and co-writer catherine di napoli are faithful to melville 's plotline , they and a fully engaged supporting cast ... have made the old boy 's characters more quick-witted than any english lit major would have thought possible .
was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way
report that the children of varying ages in my audience never coughed , fidgeted or romped up and down the aisles for bathroom breaks
returns as a visionary with a tale full of nuance and character dimension .
lectured to by tech-geeks , if you 're up for that sort of thing
like mike raises some worthwhile themes while delivering a wholesome fantasy for kids .