xiangpku/GLUE huggingface dataset:
is , in a word , brilliant as the conflicted daniel
yes , spirited away is a triumph of imagination ,
eminently engrossing film
, i guess a space station in the year 2455 can be crossed off the list of ideas for the inevitable future sequels ( hey , do n't shoot the messenger ) .
animated drivel meant to enhance the self-image of drooling idiots .
it also taps into the primal fears of young people trying to cope with the mysterious and brutal nature of adults
a cutesy romantic tale with a twist .
, crossroads comes up shorter than britney 's cutoffs .
its faults
rollicking good time
the most inventive
a surprisingly sensitive script co-written
it is n't scary .
have a radar for juicy roles
hated myself
, low-budget constraints
passion and energy
its courage , ideas , technical proficiency
is smart and entirely charming in intent and execution
inconsequential road-and-buddy pic .
it 's more enjoyable than i expected , though
disquieting
a distinguished film legacy
of being boring
i usually dread encountering the most
's the very definition of epic adventure .
somber pacing and lack
has a few nice twists in a standard plot and the charisma of hugh grant and sandra bullock
to either effort in three hours of screen time
( the kid 's ) just too bratty for sympathy , and as the film grows to its finale , his little changes ring hollow
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
return to never land may be another shameless attempt by disney to rake in dough from baby boomer families
heartache everyone
a lovably old-school hollywood confection .
compassionately
companionship
honestly address the flaws inherent in how medical aid is made available to american workers
have that kind of impact on me these days
repetitive and designed to fill time , providing no real sense of suspense
's not enough substance
holm does his sly , intricate magic
remains fairly light , always entertaining , and smartly written .
from the classics
more mature than fatal attraction , more complete than indecent proposal
william james once called ` the gift of tears
half of dragonfly is worse : the part where nothing 's happening , or the part where something 's happening
a chafing inner loneliness and desperate grandiosity
a testament to the divine calling of education and a demonstration of the painstaking
glum
almost mystical work
comedy to start a reaction
is a disaster of a story , full of holes and completely lacking in chills
rolling over
the best star trek movie in a long time
as single-minded as john carpenter 's original
it lacks the utter authority of a genre gem
extravagantly redeems it
a scummy ripoff of david cronenberg
original and highly cerebral examination
a gorgeously strange movie , heaven is deeply concerned with morality , but it refuses to spell things out for viewers .
it had a sense of humor
`` the dangerous lives of altar boys '' has flaws ,
picture that at the very least has a spark of life to it -- more than you can say for plenty of movies that flow through the hollywood pipeline without a hitch
is a lumbering load of hokum but
has actually bothered to construct a real story this time .
a heady , biting , be-bop
at this beautifully drawn movie
is too crazy to be interesting
an entertaining , if somewhat standardized , action movie .
suspects that craven endorses they simply because this movie makes his own look much better by comparison
and slack direction
the middle and lurches between not-very-funny comedy , unconvincing dramatics and
aggrieved father cliché
the unique way shainberg goes about telling what at heart is a sweet little girl
full of masters of both
tear your eyes away from the images
i was amused and entertained by the unfolding of bielinsky 's cleverly constructed scenario , and greatly impressed by the skill of the actors involved in the enterprise .
lathan and diggs carry the film with their charisma , and
turns touching , raucously amusing , uncomfortable , and , yes , even sexy
she never lets her character become a caricature -- not even with that radioactive hair
droning house music
than seeing an otherwise good movie marred beyond redemption by a disastrous ending
at the same easy targets as other rowdy raunch-fests -- farts , boobs , unmentionables --
almost wildly alive
psychopathic
hollywood-action cliches
balances real-time rhythms
alive and admirable
even during the climactic hourlong cricket match , boredom never takes hold .
it makes my big fat greek wedding look like an apartheid drama
's peppered with false starts and populated by characters who are nearly impossible to care about
a fascinating documentary
it is supposed to be , but ca n't really call it a work of art
if the director had released the outtakes theatrically and used the film as a bonus feature on the dvd
budding amours
, sum up the strange horror of life in the new millennium
is a movie that starts out like heathers , then becomes bring it on , then becomes unwatchable
overstays its natural running time
happens that tells you there is no sense .
ever a concept came handed down from the movie gods on a silver platter
dudsville
has hugely imaginative and successful casting to its great credit , as well as one terrific score and attitude to spare
in too many conflicts
, the film makes up for it with a pleasing verisimilitude .
willie would have loved it
sitting in a downtown café , overhearing a bunch of typical late-twenty-somethings natter on about nothing , and desperately wishing you could change tables
it 's not just the vampires that are damned in queen of the damned --
my only wish is that celebi could take me back to a time before i saw this movie and i could just skip it
cable channel
it may be because teens are looking for something to make them laugh .
remarkably original
its predictable plot and paper-thin supporting characters
gigantic proportions
crummy
the film boasts at least a few good ideas and features some decent performances ,
stunning new young talent
its keenest pleasures
there is no substitute for on-screen chemistry , and when friel pulls the strings that make williams sink into melancholia , the reaction in williams is as visceral as a gut punch .
to let the earnestness of its execution and skill of its cast take you down a familiar road with a few twists
easily and , in the end , not well enough
much colorful eye candy
for most of the distance the picture provides a satisfyingly unsettling ride into the dark places of our national psyche .
the writing is clever and the cast is appealing .
inventive ,
, revolution # 9 proves to be a compelling
my least favorite emotions ,
washed out despite all of that
, ararat is fiercely intelligent and uncommonly ambitious .
eardrum-dicing gunplay , screeching-metal smashups ,
is an extraordinary film , not least because it is japanese and yet feels universal .
are brazen enough to attempt to pass this stinker off as a scary movie
the sheer dumbness of the plot ( other than its one good idea ) and the movie 's inescapable air of sleaziness
swirling
make for one splendidly cast pair
hollywood-predictable
from venice beach that was a deserved co-winner of the audience award for documentaries at the sundance film festival
here is a divine monument to a single man 's struggle to regain his life , his dignity and his music .
aimless story
vapid vehicle
perfect starting point
that has finally , to some extent , warmed up to him
bounces around with limp wrists
drama , conflict , tears and surprise --
speculation , conspiracy theories or , at best ,
what makes it worth watching is quaid 's performance .
been hyped to be because it plays everything too safe
some glimpses of nature and family warmth
when one hears harry shearer is going to make his debut as a film director , one would hope for the best
one-star
in denial about
thoroughly engrossing and ultimately tragic .
as funny for grown-ups as for rugrats
is so insanely stupid , so awful in so many ways that watching it leaves you giddy
have made a great saturday night live sketch , but a great movie it is not
extraordinary dramatic experience .
loosely connected characters
farts , boobs ,
all-star reunions
those unassuming films that sneaks up on you and stays with you long after you have left the theater
it 's a smartly directed , grown-up film of ideas .
sometimes beautiful adaptation
essentially ruined -- or , rather
miserable throughout as he swaggers through his scenes
headed down the toilet with the ferocity of a frozen burrito after an all-night tequila bender
the film is not entirely successful
the enticing prospect of a lot of nubile young actors in a film about campus depravity
is a film tailor-made for those who when they were in high school would choose the cliff-notes over reading a full-length classic
carrying this wafer-thin movie on his nimble shoulders
paraphrase a line from another dickens ' novel
nearly impossible to care about
saved this film
handsomely produced
pellington gives `` mothman '' an irresistibly uncanny ambience that goes a long way toward keeping the picture compelling
this every-joke-has - been-told-a
will be put to sleep or bewildered by the artsy and often pointless visuals
i imagined a movie ever could be
static set ups , not much camera movement
deceptively simple ,
of this slick and sprightly cgi feature
shreve 's graceful dual narrative gets clunky on the screen , and we keep getting torn away from the compelling historical tale to a less-compelling soap opera .
, it comes to life in the performances .
nothing short of a minor miracle in unfaithful
is a wonderful thing ; that he has been able to share his story so compellingly with us is a minor miracle .
a very ambitious project for a fairly inexperienced filmmaker
to heroes the way julia roberts hands out awards -- with phony humility barely camouflaging grotesque narcissism
close enough in spirit to its freewheeling trash-cinema roots to be a breath of fresh air
actress-producer and writer
spectacularly ugly-looking broad
which also is n't embarrassed to make you reach for the tissues
enjoying the big-screen experience
a damn fine
unwatchable
of its spirit
rendered with such clarity that it 's as if it all happened only yesterday
very compelling , sensitive , intelligent and
is basically just a curiosity
juliette binoche 's sand is vivacious
make green dragon seem more like medicine than entertainment
) becomes more specimen than character
self-important summer fluff
monotonous
, it collapses like an overcooked soufflé .
transcend
the insanity
is elevated by michael caine 's performance as a weary journalist in a changing world
a confusing melange of tones and styles , one moment a romantic trifle
a subtlety that makes the silly , over-the-top coda especially disappointing
game of absurd plot twists , idiotic court maneuvers and stupid characters
will leave you wanting more , not to mention leaving you with some laughs and a smile on your face
professional film
in showing us well-thought stunts or a car chase that we have n't seen 10,000 times
is ) looking down at your watch and realizing serving sara is n't even halfway through .
a chronicle not only of one man 's quest to be president , but of how that man single-handedly turned a plane full of hard-bitten , cynical journalists into what was essentially , by campaign 's end , an extended publicity department .
's too much forced drama in this wildly uneven movie , about a young man 's battle with his inescapable past and uncertain future in a very shapable but largely unfulfilling present .
baaaaaaaaad
needed a little less bling-bling and a lot more romance
is visually ravishing , penetrating , impenetrable .
love the robust middle of this picture .
funeral
blatant derivativeness
full of deep feeling
holds the screen like a true star .
thirteen conversations about one thing lays out a narrative puzzle that interweaves individual stories , and , like a mobius strip , elliptically loops back to where it began .
worth a look as a curiosity
than a mall movie designed to kill time
is that rare drama that offers a thoughtful and rewarding glimpse into the sort of heartache everyone has felt , or will feel someday
is whether these ambitions , laudable in themselves , justify a theatrical simulation of the death camp of auschwitz ii-birkenau
grinning
the most ordinary and obvious fashion
with too little excitement and zero compelling storyline
just another disjointed , fairly predictable psychological thriller
to sustain laughs
drown yourself in a lake afterwards
provocative and
does n't pummel us with phony imagery or music
makes me feel weird / thinking about all the bad things in the world / like puppies with broken legs / and butterflies that die / and movies starring pop queens
the first tunisian film i have ever seen , and it 's also probably the most good-hearted yet sensual entertainment i 'm likely to see all year
ugly ideas instead of ugly behavior
`` bad '' is the operative word for `` bad company ,
'm giving it thumbs down due to the endlessly repetitive scenes of embarrassment .
more smarts , but just as endearing and easy to watch
full of nuance and character dimension
admire the film 's stately nature
is atrocious
do n't have the slightest difficulty accepting him in the role .
best short
let you bask in your own cleverness as you figure it out
shot on digital video , whose tiny camera enables shafer to navigate spaces both large ... and small ... with considerable aplomb
placing their parents
gives the story some soul
the shameless self-caricature
every individual will see the movie through the prism of his or her own beliefs and prejudices , but the one thing most will take away is the sense that peace is possible .
in formal settings with motionless characters
as both a revealing look at the collaborative process and a timely , tongue-in-cheek profile of the corporate circus that is the recording industry in the current climate of mergers and downsizing
bogs down in insignificance
nothing but one relentlessly depressing situation after another for its entire running time
though her fans will assuredly have their funny bones tickled , others will find their humor-seeking dollars best spent elsewhere .
a passionately inquisitive film determined to uncover the truth and hopefully inspire action .
hipness
while ringing cliched to hardened indie-heads
delivers a perfect performance that captures the innocence and budding demons within a wallflower
is completely lacking in charm and charisma ,
... a rich and intelligent film that uses its pulpy core conceit to probe questions of attraction and interdependence and how the heart accomodates practical needs .
making me groggy
filled with alexandre desplat 's haunting and sublime music , the movie completely transfixes the audience .
totally unexpected directions
lucy 's a dull girl , that 's all .
danis
successful animated movies
much of the writing is genuinely witty
feels comfortable with taking insane liberties and doing the goofiest stuff out of left field
valiantly keep punching up the mix .
its superstar
no doubt the filmmaker is having fun with it all
no conversion effort
is recognizably plympton
to be wholesome and subversive at the same time .
makes sure the salton sea works the way a good noir should , keeping it tight and nasty
of quality
is one big , dumb action movie
the sequel
williams creates a stunning , taxi driver-esque portrayal of a man teetering on the edge of sanity .
ultimately comes off as a pale successor .
by that old familiar feeling of ` let 's get this thing over with '
, this strangely schizo cartoon seems suited neither to kids or adults .
flatulence
an intriguing look
many went to see the attraction for the sole reason that it was hot outside and there was air conditioning inside , and i do n't think that a.c. will help this movie one bit
demonstrates a vivid imagination and an impressive style that result in some terrific setpieces
's the cute frissons of discovery and humor between chaplin and kidman that keep this nicely wound clock not just ticking , but humming .
deserve better .
a clutch of lively songs for deft punctuation
one 's imagination will lead when given the opportunity
worth telling
naipaul , a juicy writer
the new insomnia is a surprisingly faithful remake of its chilly predecessor
hard-hitting documentary .
dumb and cheesy
for the most part , it works beautifully as a movie without sacrificing the integrity of the opera .
a welcome , if downbeat , missive
, this one is a sweet and modest and ultimately winning story .
weirdly beautiful
an uncluttered , resonant gem that relays its universal points without lectures or confrontations .
, clarity and emotional
`` crazy ''
melodrama and tiresome love triangles
fessenden 's narrative is just as much about the ownership and redefinition of myth as it is about a domestic unit finding their way to joy .
overall tomfoolery like this is a matter of taste .
visceral and
rotten in almost every single facet of production that you 'll want to crawl up your own *** in embarrassment
its cutesy reliance
ill-considered , unholy hokum .
daydreams , memories and one fantastic visual trope
its lyrical variations on the game of love
that movie nothing more than a tepid exercise in
endeavors
gently swaying back and forth as it cradles its characters , veiling tension beneath otherwise tender movements
is funny , not actually exploiting it yourself
is a new treasure of the hermitage .
is shrewd enough to activate girlish tear ducts does n't mean it 's good enough for our girls .
boisterous , heartfelt comedy .
in this remarkable and memorable film
proves tiresome ,
transcends its agenda to deliver awe-inspiring , at times sublime , visuals and offer a fascinating glimpse into the subculture of extreme athletes whose derring-do puts the x into the games
equal amounts of beautiful movement and inside information .
most brilliant
been fumbled by a lesser filmmaker
has to recite bland police procedural details , fiennes wanders around in an attempt to seem weird and distanced
christian bale 's charisma make up for a derivative plot
juiced
more problematic aspects
say it 's on par with the first one
acceptable ,
remarkably alluring film
the bourne identity should n't be half as entertaining as it is ,
an equally great robin williams performance
and often-funny drama
of deft and subtle poetry
should make it required viewing in university computer science departments for years to come
ca n't compare friday after next to them
that does everything but issue you a dog-tag and an m-16
the story that emerges has elements of romance , tragedy and even silent-movie comedy .
it explores the awful complications of one terrifying day
meandering and pointless french coming-of-age import from writer-director anne-sophie birot
has the dubious distinction of being a really bad imitation of the really bad blair witch project .
because the film deliberately lacks irony , it has a genuine dramatic impact ;
add up to more than body count
carries much of the film with a creepy and dead-on performance .
just ca n't take it any more
the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian
can not sustain the buoyant energy level of the film 's city beginnings into its country conclusion '
self-destructiveness
noteworthy characters
to reflect that its visual imagination is breathtaking
a fascinating little thriller that would have been perfect for an old `` twilight zone '' episode
absolutely , inescapably gorgeous , skyscraper-trapeze motion of the amazing spider-man
fans of plympton 's shorts may marginally enjoy the film , but
a part of us that can not help be entertained by the sight of someone getting away with something
that spends a bit too much time on its fairly ludicrous plot
canny , meditative
the picture begins to resemble the shapeless , grasping actors ' workshop that it is .
but first , you have to give the audience a reason to want to put for that effort
a movie that will make you laugh
interesting characters
as the movie dragged on , i thought i heard a mysterious voice , and felt myself powerfully drawn toward the light -- the light of the exit sign .
overwhelm what is left of the scruffy , dopey old hanna-barbera charm .
the movie 's captivating details
once overly old-fashioned in its sudsy
in conveying its social message
director charles stone iii applies more detail to the film 's music than to the story line
, you 'll find yourself remembering this refreshing visit to a sunshine state .
you are wet in some places
hell-jaunt
allows a gawky actor like spall -- who could too easily become comic relief in any other film --
conceptually brilliant ... plays like a living-room war of the worlds , gaining most of its unsettling force from the suggested and the unknown .
we believe in them
remains prominent , as do the girls ' amusing personalities
'' lacks in depth
achieves its main strategic objective
delicately performed
plays out like a flimsy excuse to give blade fans another look at wesley snipes ' iconic hero doing battle with dozens of bad guys -- at once .
want to get made-up and go see this movie with my sisters
insanely funny
has appeal beyond being a sandra bullock vehicle or a standard romantic comedy .
a much more successful translation than its most famous previous film adaptation
the lines work
nelson 's intentions are good , but the end result does no justice to the story itself
quite able
's not only dull
a crowd-pleaser
nary a glimmer of self-knowledge
-- even more damning --
far more stylish
full frontal , which opens today nationwide , could almost be classified as a movie-industry satire , but it lacks the generous inclusiveness that is the genre 's definitive , if disingenuous , feature .
shines
a psychic journey deep into the very fabric of iranian ...
that tries too hard to be emotional
what a reckless squandering of four fine
rollicking dark humor
the actors are simply too good , and the story too intriguing ,
and neither do cliches , no matter how ` inside ' they are .
the movie is the equivalent of french hip-hop , which also seems to play on a 10-year delay .
truly wonderful tale
some cute moments
pack raw dough in my ears
an unusual but pleasantly haunting debut behind the camera
heard a mysterious voice , and felt myself powerfully drawn toward the light -- the light of the exit sign
it looks good , sonny , but you missed the point . '
just goes on and on and on and on
the playful paranoia of the film 's past
shot two years ago
saddled with an unwieldy cast of characters and angles , but the payoff is powerful and revelatory .
shines through every frame
there 's much to recommend the film .
a minor film with major pleasures from portuguese master manoel de oliviera
in rhetoric and cliché
changing lanes is an anomaly for a hollywood movie ; it 's a well-written and occasionally challenging social drama that actually has something interesting to say .
celebrates the group 's playful spark of nonconformity , glancing vividly back at what hibiscus grandly called his ` angels of light .
a cinematic fluidity and sense of intelligence
there was ever a movie where the upbeat ending feels like a copout
takes such a speedy swan dive
you watch them clumsily mugging their way through snow dogs
said the film was better than saving private ryan .
most pleasurable expressions of pure movie love to come from an american director in years .
perfectly describes pauline & paulette
make the attraction a movie
an inexpressible and drab wannabe looking for that exact niche
there 's a lot of tooth in roger dodger .
can report that it is instead a cheap cliché
settles into a most traditional , reserved kind of filmmaking
tootsie
absorbing characters
putrid it is not worth the price of the match that should be used to burn every print of the film
change the fact that what we have here is a load of clams left in the broiling sun for a good three days
ends up falling short as a whole
like the excruciating end of days , collateral damage presents schwarzenegger as a tragic figure , but sympathy really belongs with any viewer forced to watch him try out so many complicated facial expressions .
would have a good time here .
doze off for a few minutes or
to life in the performances