xiangpku/GLUE huggingface dataset:
thought through than in most ` right-thinking ' films
's a drag how nettelbeck sees working women -- or at least this working woman -- for whom she shows little understanding .
little melodramatic , but with
now and then without in any way demeaning its subjects
vividly conveys the passion , creativity , and fearlessness of one of mexico 's most colorful and controversial artists -- a captivating drama that will speak to the nonconformist in us all .
attal 's hang-ups surrounding infidelity are so old-fashioned
how admirably
starts off so bad
punctuated by flying guts
fails on its own , but makes you second-guess your affection for the original
could feel my eyelids ... getting ... very ... heavy
by turns numbingly dull-witted and disquietingly creepy .
religion that dares to question an ancient faith ,
's mildly interesting
succeeds primarily with her typical blend of unsettling atmospherics , delivering a series of abrasive , stylized sequences that burn themselves upon the viewer 's memory .
to make an important film about human infidelity and happenstance that he tosses a kitchen sink onto a story already overladen with plot conceits
make you put away the guitar , sell the amp , and apply to medical school
the film is moody , oozing , chilling and heart-warming all at once ... a twisting , unpredictable , cat-and-mouse thriller .
of credible gender-provoking philosophy
of sensual delights and simmering violence
none-too-funny commentary on the cultural distinctions between americans and brits
a summer of teen-driven , toilet-humor codswallop
the following things are not at all entertaining : the bad sound , the lack of climax and , worst of all , watching seinfeld ( who is also one of the film 's producers ) do everything he can to look like a good guy .
mention inappropriate and wildly undeserved
presented with great sympathy and intelligence
this is one summer film that satisfies
to the point of ridiculousness
like a term paper
an overly familiar scenario is made fresh by an intelligent screenplay and gripping performances in this low-budget , video-shot , debut indie effort .
with sensitivity and skill
's hard to imagine another director ever making his wife look so bad in a major movie .
to hang broad , mildly fleshed-out characters that seem to have been conjured up only 10 minutes prior to filming
falls back on too many tried-and-true shenanigans that hardly distinguish it from the next teen comedy .
an inexpressible and drab wannabe
, never rises above the level of a telanovela .
has its redundancies
as in aimless , arduous , and arbitrary .
sparkling , often hilarious romantic jealousy comedy ... attal looks so much like a young robert deniro that it seems the film should instead be called ` my husband is travis bickle '
contrived and predictable
plunges you into a reality that is , more often then not , difficult and sad , and
stupid ,
's a rare window on an artistic collaboration .
moving and not infrequently breathtaking film
90-minute , four-star movie
the pacing is deadly , the narration helps little
this rich , bittersweet israeli documentary ,
well-crafted film
that have all but ruined his career
is an ` action film ' mired in stasis .
this is even better than the fellowship .
is still charming
wonderful cinematography
quite one of the worst movies of the year
a sophisticated flower child 's
) story becomes a hopeless , unsatisfying muddle
ki-deok
that memorable
be forgettable
excellent music
has not spawned a single good film
is a gentle film with dramatic punch , a haunting ode to humanity
well-written and occasionally challenging social drama
... a quietly introspective portrait of the self-esteem of employment and the shame of losing a job
proof once again that if the filmmakers just follow the books
's muy loco , but no more ridiculous than most of the rest of `` dragonfly .
reel in the audience
the concert footage is stirring
clean and
less mature
horrible movie
to inject farcical raunch
the lazy material and the finished product 's unshapely look
in this sense the movie becomes a study of the gambles of the publishing world , offering a case study that exists apart from all the movie 's political ramifications
could hardly ask for more
graceful dual narrative
to ask people to sit still for two hours and change watching such a character , especially when rendered in as flat and impassive a manner as phoenix 's
a listless climb
involved ,
among the many pleasures
combines psychological drama , sociological reflection , and high-octane thriller .
the humor wry
whose engaging manner and flamboyant style
is n't as weird as it ought to be .
strength and sense
its punchy style promises
is quite beautiful
is playful but highly studied and dependent for its success on a patient viewer
virtually plotless
as if solondz had two ideas for two movies , could n't really figure out how to flesh either out
a thought-provoking and often-funny drama about isolation
is notable for its sheer audacity and openness .
you wish he 'd gone the way of don simpson
throws in too many conflicts to keep the story compelling
that even he seems embarrassed to be part of
sickeningly real
radical action
complete shambles
whiny , pathetic , starving and untalented
brought me uncomfortably close to losing my lunch
beautiful and mysterious
forgotten 10 minutes
its convolutions
then again , in a better movie , you might not have noticed .
a talking head documentary , but a great one
begin to long for the end credits as the desert does for rain
story to suit the sensibilities of a young american , a decision that plucks `` the four feathers ''
if it had just gone that one step further
a persuasive
, this is one adapted - from-television movie that actually looks as if it belongs on the big screen .
that 's its first sign of trouble .
monumental as disney 's 1937 breakthrough
attractive and talented
takes on nickleby with all the halfhearted zeal of an 8th grade boy delving into required reading
perversely
seemingly sincere personal reflection
wrap the proceedings up neatly
's the perfect cure for insomnia
death and mind-numbing indifference on the inner-city streets
emotional ghosts of a freshly painted rembrandt
a powerful sequel and one of the best films of the year
mind-bender .
's an enthusiastic charm in fire that makes the formula fresh again
with better characters , some genuine quirkiness and at least a measure of style
own brilliance
deuces wild , which was shot two years ago , has been gathering dust on mgm 's shelf
such a good job of it
is the drama within the drama
and thanks to kline 's superbly nuanced performance , that pondering is highly pleasurable .
that rare movie that works on any number of levels -- as a film of magic and whimsy for children , a heartfelt romance for teenagers and a compelling argument about death , both pro and con , for adults .
their sexual and romantic tension , while never really vocalized , is palpable
enjoyably dumb , sweet , and intermittently hilarious --
peevish
be captivated , as i was , by its moods , and by its subtly transformed star
as crisp and to the point
wears its empowerment
greatly impressed by the skill of the actors involved in the enterprise
... a low rate annie featuring some kid who ca n't act , only echoes of jordan , and weirdo actor crispin glover screwing things up old school .
the punch lines
imagine a film that begins as a seven rip-off , only to switch to a mix of the shining , the thing , and any naked teenagers horror flick from the 1980s .
a generic international version
visually masterful work
grows boring despite the scenery
wannabe film --
need to adhere more closely to the laws of laughter
the best sports movie i 've ever seen .
love sweetly
the movie does n't add anything fresh to the myth .
obsessively
, it 's a very very strong `` b + . ''
made a more sheerly beautiful film
there is simply not enough of interest onscreen to sustain its seventy-minute running time .
a lovely film for the holiday season .
that make williams sink into melancholia
skins has a desolate air , but eyre , a native american raised by white parents , manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor .
in other words , it 's badder than bad .
dabbles all around
cacoyannis ' vision is far less mature , interpreting the play as a call for pity and sympathy for anachronistic phantasms haunting the imagined glory of their own pasts .
, scratch is great fun , full of the kind of energy it 's documenting .
merely bad rather than
the strain of its plot contrivances
by anne-sophie birot
have n't seen such self-amused trash since freddy got fingered .
strangely
a surgeon mends a broken heart ; very meticulously but without any passion
banter-filled comedy
, you 'll still have a good time . ''
, hole-ridden plotting
poo-poo jokes are ` edgy
hurried , badly cobbled look
know what it wants to be
to make the film relevant today , without fully understanding what it was that made the story relevant in the first place
adds substantial depth to this shocking testament to anti-semitism and neo-fascism
is so thoughtlessly assembled .
the kind of art shots that fill gallery shows
are simply named the husband , the wife and the kidnapper , emphasizing the disappointingly generic nature of the entire effort
smug or sanctimonious
just lazy
is like sitting in a downtown café , overhearing a bunch of typical late-twenty-somethings natter on about nothing , and desperately wishing you could change tables
to the annoying score to ` special effects ' by way of replacing objects in a character 's hands below the camera line
intentionally introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix
intriguing and realistic
no matter how much he runs around and acts like a doofus , accepting a 50-year-old in the role is creepy in a michael jackson sort of way .
be better as a diary or documentary
this man so watchable is a tribute not only to his craft , but to his legend
filming the teeming life
is hampered by its predictable plot and paper-thin supporting characters
landmark as monumental as disney 's 1937 breakthrough snow white and the seven dwarfs
romp that will have viewers guessing just who 's being conned right up to the finale
everything meshes in this elegant entertainment
tosses around sex toys and offers half-hearted paeans to empowerment
hampered by taylor 's cartoonish performance and the film 's ill-considered notion
enjoy more because you 're one of the lucky few who sought it out
disappointingly
a badly edited , 91-minute trailer
throughout all the tumult , a question comes to mind : so why is this so boring ?
whether jason x is this bad on purpose
the pleasure of watching them
but it also does the absolute last thing we need hollywood doing to us : it preaches
the new insomnia is a surprisingly faithful remake of its chilly predecessor , and when it does elect to head off in its own direction , it employs changes that fit it well rather than ones that were imposed for the sake of commercial sensibilities
should make it required viewing in university computer science departments for years to come .
the explosion essentially ruined -- or , rather , overpowered -- the fiction of the movie for me
the actors ' perfect comic timing and
different than anything that 's been done before
paean
a surprisingly ` solid ' achievement by director
in the way they help increase an average student 's self-esteem
's too interested in jerking off in all its byzantine incarnations to bother pleasuring its audience
is just fine
, endearing , masterful
intriguing , provocative
unnoticed and underappreciated
satisfying complete picture
a confident , richly acted , emotionally devastating piece of work and 2002 's first great film
sublimely beautiful
that real natural , even-flowing tone
hold dear about cinema , only now it 's begun to split up so that it can do even more damage
the conventional science-fiction elements of bug-eyed monsters and futuristic women in skimpy clothes
what sets this romantic comedy apart from most hollywood romantic comedies is its low-key way of tackling what seems like done-to-death material .
is hartley 's least accessible screed yet
is offset by the sheer ugliness of everything else
suited to a night in the living room than a night at the movies
encumbers itself with complications
for in drama , suspense , revenge , and romance
he keeps being cast in action films when none of them are ever any good
that gave people seizures
a wise and powerful tale of race and culture forcefully told , with superb performances throughout
a beautiful film ,
... it 's robert duvall !
to resemble the kind of soft-core twaddle you 'd expect to see on showtime 's ` red shoe diaries
speaks volumes , offering up a hallucinatory dreamscape that frustrates and captivates
woven together handsomely
to cause massive cardiac arrest if taken in large doses
to imagine anybody ever being `` in the mood '' to view a movie as harrowing and painful as the grey zone
the verdict : two bodies and hardly a laugh between them
kooky which should appeal to women
hand it to director george clooney
is an odd but ultimately satisfying blend of the sophomoric and the sublime
the only pain you 'll feel as the credits roll is your stomach grumbling for some tasty grub .
maddeningly
complain that ` they do n't make movies like they used to anymore
a manipulative whitewash
the film presents visceral and dangerously honest revelations about the men and machines behind the curtains of our planet .
at the very root of his contradictory , self-hating , self-destructive ways
making kahlo 's art a living , breathing part of the movie , often
more confused , less interesting and more
portrays their cartoon counterparts well ...
much of the action takes place
a worldly-wise and very funny script
the whole affair , true story or not , feels incredibly hokey ... ( it ) comes off like a hallmark commercial .
a terrible adaptation
revealing nothing
is a tart , smart breath of fresh air
what 's most memorable about circuit is that it 's shot on digital video , whose tiny camera enables shafer to navigate spaces both large ... and small ... with considerable aplomb .
love 's
marvel at the sometimes murky , always brooding look of i
thanks to the château 's balance of whimsicality , narrative discipline and serious improvisation
lends the setting the ethereal beauty of an asian landscape painting
an overflowing septic tank
penetrating , potent exploration
must have read ` seeking anyone with acting ambition but no sense of pride or shame . '
be said for a studio-produced film that never bothers to hand viewers a suitcase full of easy answers
prefabricated story elements
musical numbers
of loving
i thought the relationships were wonderful ,
, interest can not be revived .
outside of burger 's desire to make some kind of film , it 's really unclear why this project was undertaken
is cumbersome
a calculating fiend or
this deeply affecting film
then knock yourself out and enjoy the big screen postcard that is a self-glorified martin lawrence lovefest .
payne has created a beautiful canvas ,
equals the sum of its pretensions
's not very well shot or composed or edited
parris ' performance is credible and remarkably mature .
lackluster thriller `` new best friend ''
cruel and inhuman cinematic punishment ... simultaneously degrades its characters , its stars and its audience .
of almost bergmanesque intensity
a sharp movie
's amusing enough while you watch it , offering fine acting moments and pungent insights into modern l.a. 's show-biz and media
, you 're likely wondering why you 've been watching all this strutting and posturing .
the movie is loaded with good intentions , but in his zeal to squeeze the action and our emotions into the all-too-familiar dramatic arc of the holocaust escape story , minac drains his movie of all individuality .
positively thrilling combination
energy and geniality
same time to congratulate himself for having the guts to confront it
split up so that it can do even more damage
high crimes steals so freely from other movies and combines enough disparate types of films that it ca n't help but engage an audience .
for proof of that on the cinematic front , look no further than this 20th anniversary edition of the film that spielberg calls
the year 's greatest adventure , and jackson 's limited but enthusiastic adaptation
the lively intelligence
reasonably intelligent
until its final minutes this is a perceptive study of two families in crisis -- and of two girls whose friendship is severely tested by bad luck and their own immaturity .
it may not be a great piece of filmmaking , but its power comes from its soul 's - eye view of how well-meaning patronizing masked a social injustice , at least as represented by this case
is way too muddled to be an effectively chilling guilty pleasure
warm in its loving yet unforgivingly inconsistent depiction of everyday people , relaxed in its perfect quiet pace and proud in its message .
just sneers
inspirational prep-school professors
congrats disney on a job
collapses into an inhalant blackout , maintaining consciousness just long enough to achieve callow pretension
irritatingly
originality , humor and pathos
more mature
botching
the concentration
skillful and
's such a mechanical endeavor ( that ) it never bothers to question why somebody might devote time to see it
the dead ( water ) weight of the other
rude and crude humor
can both maintain and dismantle the facades that his genre and his character construct is a wonderous accomplishment of veracity and narrative grace .
the last kiss will probably never achieve the popularity of my big fat greek wedding
a choppy , surface-effect feeling
, but it works under the direction of kevin reynolds .
it ) comes off like a hallmark commercial
something original
it avoids the obvious with humor and lightness
cause parents a few sleepless hours
truly capture the terrifying angst of the modern working man without turning the film into a cheap thriller , a dumb comedy or a sappy
he has at least one more story to tell : his own .
grief drives her
constructed to convey a sense of childhood imagination
an often intense character study about fathers and sons , loyalty and duty .
is n't .
though there are many tense scenes in trapped , they prove more distressing than suspenseful .
see one of those comedies that just seem like a bad idea from frame one
actor to lead a group of talented friends astray
sucking
manage to keep things interesting
the gorgeous piano
acumen
and paper-thin supporting characters
any reasonably creative eighth-grader
eloquent clarity
figure the power-lunchers do n't care to understand , either
it may not be particularly innovative , but the film 's crisp , unaffected style and air of gentle longing make it unexpectedly rewarding
happens to be that rarity among sequels
the modest , crowd-pleasing goals it sets for itself
wasted like deniro 's once promising career and the once grand long beach boardwalk
anyone who welcomes a dash of the avant-garde fused with their humor should take pleasure in this crazed , joyous romp of a film .
that do n't care about being stupid
this movie just goes on and on and on and on
stevens has a flair for dialogue comedy , the film operates nicely off the element of surprise ,
a moving tale of love and destruction in unexpected places , unexamined lives .
that it 's offensive
even though i could not stand them
an unsettling sight , and indicative of his , if you will , out-of-kilter character
taste for `` shock humor '' will wear thin on all
has some of the funniest jokes of any movie this year ,
rise above its disgusting source material
to raise audience 's spirits and leave them singing long after the credits roll
are certainly welcome
fontaine masterfully creates a portrait of two strong men in conflict , inextricably entwined through family history , each seeing himself in the other , neither liking what he sees .
its most delightful moments come when various characters express their quirky inner selves
of nazi politics and aesthetics
treat its characters , weak and strong , as fallible human beings , not caricatures
presented in such a lousy way , complete with some of the year 's ( unintentionally ) funniest moments , that it 's impossible to care
adults behave like kids
a sensitive , modest comic tragedy
rodriguez does a splendid job of racial profiling hollywood style -- casting excellent latin actors of all ages -- a trend long overdue .
both inspiring and pure joy
every effort to disguise it as an unimaginative screenwriter 's invention
shame americans
uncomfortable movie
a wild ride of a movie that keeps throwing fastballs
`` bad '' is the operative word for `` bad company , ''
b.s. one another
exquisitely performed
a live-wire film
if you like blood , guts and crazy beasts stalking men with guns though ... you will likely enjoy this monster .
a funny little movie
crudity
that only self-aware neurotics engage in
the kid 's ) just too bratty for sympathy
before the plot kicks into gear
is nearly incoherent , an excuse to get to the closing bout ... by which time it 's impossible to care who wins .
uninspired story
the movie is not as terrible as the synergistic impulse that created it .
comedy goes
watchable up until the point where the situations and the dialogue spin hopelessly out of control -- that is to say
low-grade dreck that usually goes straight to video -- with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography , complete with visible boom mikes
taking them
blown
( hayek ) throws herself into this dream hispanic role with a teeth-clenching gusto ,
been there , done that , liked it much better
on mgm 's shelf
of denial
from a director beginning to resemble someone 's crazy french grandfather
dripping with cliche and
she 's pretty and
narcissism and self-congratulation
a compelling yarn , but not quite a
nuanced a robert de niro performance can be when he is not more lucratively engaged in the shameless self-caricature of ` analyze this ' ( 1999 ) and ` analyze that , ' promised ( or threatened ) for later this year
immensely
about as overbearing and over-the-top as the family
offers a persuasive look at a defeated but defiant nation in flux .
have fun in this cinematic sandbox
children and adults enamored of all things pokemon
for almost the first two-thirds of martin scorsese 's 168-minute gangs of new york , i was entranced .
casual filmgoers
poor hermocrates and leontine
rarely has sex on screen been so aggressively anti-erotic .
who has little clue about either the nature of women or of friendship
irredeemably awful .
deeply touching melodrama
for industrial-model meat freezers
... an eerily suspenseful , deeply absorbing piece that works as a treatise on spirituality as well as a solid sci-fi thriller .
no aspirations
sounds , and feels more like an extended , open-ended poem than a traditionally structured story
mildly engaging central romance
carrying this wafer-thin movie on his nimble shoulders , chan wades through putrid writing , direction and timing with a smile that says , ` if i stay positive , maybe i can channel one of my greatest pictures , drunken master . '
his secret life enters the land of unintentional melodrama and tiresome love triangles
the film has a laundry list of minor shortcomings , but the numerous scenes of gory mayhem are worth the price of admission ... if `` gory mayhem '' is your idea of a good time .
gripping and
figures prominently in this movie ,
's now , more than ever , choosing his roles with the precision of the insurance actuary
middle and lurches between not-very-funny comedy , unconvincing dramatics
blaxploitation
is one of two things : unadulterated thrills or genuine laughs .
at their noble endeavor
is so bad ,
of one man 's quest to be president
know why steven seagal is considered a star , nor why he keeps being cast in action films when none of them are ever any good or
that it 's inauthentic at its core
's brilliant
the quirky and recessive charms
this misty-eyed southern nostalgia piece , in treading the line between sappy and sanguine ,
valuable messages are forgotten 10 minutes after the last trombone