xiangpku/GLUE huggingface dataset:
allows the characters to inhabit their world without cleaving to a narrative arc
unexpected blast
great piece to watch with kids and use to introduce video as art
a vivid imagination and
a majestic achievement , an epic of astonishing grandeur and surprising emotional depth
even better than the first one
you 'd grab your kids and run and then probably call the police .
almost all of its accumulated enjoyment with a crucial third act miscalculation
visually engrossing , seldom hammy ,
love it , too
take a rocket scientist to figure out that this is a mormon family movie , and a sappy , preachy one at that
does n't end up having much that is fresh to say about growing up catholic or , really , anything .
a rather unique approach
it 's tremendously moving
hoffman 's quirks and mannerisms , particularly his penchant for tearing up on cue -- things that seem so real in small doses -- become annoying and artificial .
is an encyclopedia of cliches that shoplifts shamelessly from farewell-to-innocence movies like the wanderers and a bronx tale without cribbing any of their intelligence .
best films
completely awful iranian drama ... as much fun as a grouchy ayatollah in a cold mosque .
suspect it might deliver again and again
is a desperate miscalculation
have you talking 'til the end of the year
a sense of action
has taken quite a nosedive from alfred hitchcock 's imaginative flight to shyamalan 's self-important summer fluff .
they fascinate in their recklessness .
's a persistent theatrical sentiment and a woozy quality to the manner of the storytelling , which undercuts the devastatingly telling impact of utter loss personified in the film 's simple title
it interesting as a character study is the fact that the story is told from paul 's perspective
tries so hard to be quirky and funny that the strain is all too evident .
often shocking but ultimately worthwhile exploration of motherhood and desperate mothers
her own screenplay , jumps to the head of the class of women 's films that manage to avoid the ghetto of sentimental chick-flicks by treating female follies with a satirical style
keep it from being a total rehash
uneven but a lot of fun
hitting your head on the theater seat
an example of the kind of lush , all-enveloping movie experience
hypocritical work
lack a strong-minded viewpoint , or a sense of humor
laden with plenty of baggage
with complicated plotting and banal dialogue
plot , characters , drama , emotions , ideas -- all are irrelevant to the experience of seeing the scorpion king .
uninspired
just how much more grueling and time-consuming the illusion of work is than actual work
a pleasant piece
an excellent cast
it 's unlikely to inspire anything more than a visit to mcdonald 's , let alone some savvy street activism
have an original bone in his body
is an unsettling sight , and indicative of his , if you will , out-of-kilter character , who rambles aimlessly through ill-conceived action pieces
feel absolutely earned
gets vivid , convincing performances from a fine cast ,
all of it works smoothly under the direction of spielberg , who does a convincing impersonation here of a director enjoying himself immensely .
by turns touching , raucously amusing , uncomfortable , and , yes , even sexy , never again is a welcome and heartwarming addition to the romantic comedy genre .
sickly
impossible as it may sound , this film 's heart is even more embracing than monty , if only because it accepts nasty behavior and severe flaws as part of the human condition .
probably want to see it twice
by his lack of self-awareness
the fluid motion is astounding on any number of levels -- including the physical demands made on büttner --
, it 's also cold , gray , antiseptic and emotionally desiccated .
that expands into a meditation on the deep deceptions of innocence
's bright
, the emotions seem authentic
close enough in spirit to its freewheeling trash-cinema roots to be a breath of fresh air .
, ' it also rocks .
life-changing chance encounters
female friendship , spiked with raw urban humor
is many things -- stoner midnight flick , sci-fi deconstruction , gay fantasia --
audacious-impossible
the visual panache
in practice it 's something else altogether -- clownish and offensive and nothing at all like real life
a more measured or polished production ever could
appeal to those without much interest in the elizabethans
a stylish thriller .
the movie is a trove of delights .
nicks sustains the level of exaggerated , stylized humor throughout by taking your expectations and twisting them just a bit .
this is a story that zings all the way through with originality , humor and pathos .
it may be the most oddly honest hollywood document of all
when commercialism has squeezed the life out of whatever idealism american moviemaking ever had
it might be ` easier ' to watch on video at home
a sly female empowerment movie ,
whether it 's the worst movie of 2002 , i ca n't say for sure : memories of rollerball have faded , and i skipped country bears
hits the bullseye
with formalist experimentation in cinematic art
's a very sincere work
searching for a quarter in a giant pile of elephant feces ...
a dualistic battle between good and evil
unembarrassing but unmemorable
are becoming irritating
expects something special but instead gets ( sci-fi ) rehash
comes together as a coherent whole .
languishing
even though many of these guys are less than adorable ( their lamentations are pretty much self-centered ) , there 's something vital about the movie .
leblanc thought , `` hey , the movie about the baseball-playing monkey was worse . ''
forget that they are actually movie folk
's also uninspired , lacking the real talent and wit to elevate it beyond its formula to the level of classic romantic comedy to which it aspires
is amiss in the world .
overcome his personal obstacles and become a good man
twice as powerful
but ticket-buyers with great expectations will wind up as glum as mr. de niro .
intriguing and stylish .
from the movie gods
( sometimes hilarious )
reassuring , retro uplifter .
fresh air now and then
to a satisfying crime drama
laugh-out-loud lines
a wonderful , ghastly film .
sell us on this twisted love story
britney 's cutoffs
has said that warm water under a red bridge is a poem to the enduring strengths of women
struck me as unusually and unimpressively fussy and pretentious .
the cliché-riddled genre
straightforward and old-fashioned
` innovative ' and ` realistic '
really is a pan-american movie , with moments of genuine insight into the urban heart .
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
features terrible , banal dialogue ; convenient , hole-ridden plotting ; superficial characters and a rather dull , unimaginative car chase .
is attractive
is a wonderful thing ; that he has been able to share his story so compellingly with us is a minor miracle
amusements
director rick famuyiwa 's emergence as an articulate , grown-up voice in african-american cinema
seem goofy rather than provocative
the strain of its plot contrivances and its need to reassure
something i would rather live in denial about
it ca n't really be called animation
motivated by something more than franchise possibilities
with the lovely hush
roussillon providing comic relief
the film does a solid job of slowly , steadily building up to the climactic burst of violence .
of the clients
the eye candy here lacks considerable brio .
own fear and paranoia
elling and kjell bjarne become symbolic characters whose actions are supposed to relate something about the naïf 's encounter with the world .
the highest production values
( the film 's ) taste for `` shock humor '' will wear thin on all
a breadth of vision
flawless amounts
lush scenery
romantic thriller
wonderfully creepy mood
the film fearlessly gets under the skin of the people involved ... this makes it not only a detailed historical document , but an engaging and moving portrait of a subculture
a heartland so overwhelmed by its lack of purpose that it seeks excitement in manufactured high drama
-- if predictable --
crack a smile at
emphatic
what 's best about
, cultivation and devotion
there 's back-stabbing , inter-racial desire and , most importantly , singing and dancing .
in the new release of cinema paradiso , the tale has turned from sweet to bittersweet , and when the tears come during that final , beautiful scene , they finally feel absolutely earned .
surprisingly powerful and universal .
, it does a disservice to the audience and to the genre .
who are alternately touching and funny
trying to make head or tail of the story in the hip-hop indie snipes is enough to give you brain strain -- and
spirals downward
you 'll swear that you 've seen it all before , even if you 've never come within a mile of the longest yard .
loves both dance and cinema
i enjoyed barbershop
they do n't fit well together and neither is well told .
silly stuff , all mixed up together like a term paper from a kid who ca n't quite distinguish one sci-fi work from another .
shines like a lonely beacon .
satisfy the boom-bam crowd
pointed personalities , courage , tragedy and the little guys
the young woman 's infirmity and her naive dreams
one of those exceedingly rare films in which the talk alone is enough to keep us involved .
for an unfocused screenplay
chaotic
me no lika da accents so good ,
an uneven mix of dark satire and childhood awakening .
spirit is a visual treat , and it takes chances that are bold by studio standards , but it lacks a strong narrative .
smeary and blurry
some of the computer animation is handsome , and various amusing sidekicks add much-needed levity to the otherwise bleak tale , but overall the film never rises above mediocrity .
care too much about this love story
pause and think of what we have given up to acquire the fast-paced contemporary society
a visionary marvel
such a mechanical endeavor (
ca n't stand
tiresomely simpleminded
derivative elements into something that is often quite rich and exciting , and always a beauty to behold
ultimately tragic
funny scenes
are attached to the concept of loss
hard-pressed to find a movie with a bigger , fatter heart than barbershop
excellent use of music
every conceivable mistake
his intellectual rigor or
recognizable and true
assures that the pocket monster movie franchise is nearly ready to keel over
the best actor
blab and
marvelous first
jolt you out
one is left with a sour taste in one 's mouth , and little else .
it takes you somewhere
is it a comedy ?
cry for your money back
airs just about every cliche in the war movie compendium across its indulgent two-hour-and-fifteen-minute length
the lightest , most breezy movie steven spielberg
is like a beautiful food entrée that is n't heated properly , so that it ends up a bit cold and relatively flavorless .
kline 's superbly nuanced performance
mr. chabrol 's subtlest works
is nothing but a convenient conveyor belt of brooding personalities that parade about as if they were coming back from stock character camp -- a drowsy drama infatuated by its own pretentious self-examination
unleashes his trademark misogyny -- er , comedy --
not many movies have that kind of impact on me these days .
with too little
a little less bling-bling and a lot more romance
an unholy mess
improvised on a day-to-day basis during production
laughable dialogue
a colorful , vibrant introduction
the most creative , energetic and original
's a sadistic bike flick that would have made vittorio de sica proud
, wilde 's play is a masterpiece of elegant wit and artifice .
befuddled
strangely hollow at its emotional core
, gritty , sometimes funny
to knock back a beer with but they 're simply not funny performers
a film of epic scale with an intimate feeling , a saga of the ups and downs of friendships .
treats his women -- as dumb , credulous , unassuming , subordinate subjects
entertain or
hallmark card sentimentality and
and it marks him as one of the most interesting writer/directors working today .
it made me feel unclean , and i 'm the guy who liked there 's something about mary and both american pie movies .
substitutable
is every bit as fascinating as it is flawed .
a rich and intelligent film
get a sense of good intentions derailed by a failure to seek and strike just the right tone .
tacky nonsense
pass up
to provide the pleasures of a slightly naughty , just-above-average off - broadway play
on theory , sleight-of-hand , and ill-wrought hypothesis
it 's still unusually crafty and intelligent for hollywood horror .
generic villains
of a good cast
parker 's creative interference
actually amusing
shockingly manages to be even worse than its title
convincing intelligence
timeless and unique
a terrible movie , just
the actors try hard but come off too amateurish and awkward .
than julie taymor 's preposterous titus
of our best actors
auschwitz
special qualities
a lovely and beautifully photographed romance .
bang your head
tiresomely
this low-rent -- and even lower-wit -- rip-off
fluidity and sense
best man ''
as animation increasingly emphasizes the computer and the cool , this is a film that takes a stand in favor of tradition and warmth .
the story 's promising premise
sloppy , amusing
this is a must !
who instantly transform themselves into a believable mother/daughter pair
ultimately , the film amounts to being lectured to by tech-geeks , if you 're up for that sort of thing .
so in love with its overinflated mythology that it no longer recognizes the needs of moviegoers for real characters and compelling plots .
feels more like a quickie tv special than a feature film
a really bad imitation
the problematic characters and overly convenient plot twists
` cq may one day be fondly remembered as roman coppola 's brief pretentious period before going on to other films that actually tell a story worth caring about
sensational true-crime
advocacy cinema that carries you along in a torrent of emotion as it explores the awful complications of one terrifying day
sequel-for-the-sake
a long , dull procession of despair , set to cello music culled from a minimalist funeral .
call me a cynic ,
your reward will be a thoughtful , emotional movie experience .
birthday girl '' is an actor 's movie first and foremost .
the film 's hero is a bore
blessed with a searing lead performance by ryan gosling ( murder by numbers ) , the movie is powerful and provocative .
romantic crime comedy
is a movie you can trust
there are flaws , but also stretches of impact and moments of awe
no-surprise series
, it remains brightly optimistic , coming through in the end
the suckers
of substance about a teacher
is as often imaginative as it is gory
parker and co-writer catherine di napoli are faithful to melville 's plotline , they and a fully engaged supporting cast
the thrill
a lower i.q. than when i had entered
ranges from bad
presents this utterly ridiculous shaggy dog story as one of the most creative , energetic and original comedies to hit the screen in years
a beyond-lame satire ,
a good race
than either of those films
boorish
it certainly wo n't win any awards in the plot department but it sets out with no pretensions and delivers big time .
committed performances
a hard time
before quickly losing its focus , point and purpose in a mess of mixed messages , over-blown drama and bruce willis with a scar
to camouflage how bad his movie is
offbeat sensibilities for the earnest emotional core to emerge with any degree of accessibility
that rare quality of being able to creep the living hell out of you
top-notch creative team
it 's difficult to imagine that a more confused , less interesting and more sloppily made film could possibly come down the road in 2002 .
while certainly more naturalistic than its australian counterpart , amari 's film falls short in building the drama of lilia 's journey .
the script ?
fails to satisfactorily exploit its gender politics , genre thrills or inherent humor .
is an interesting movie !
examines the intimate , unguarded moments of folks who live in unusual homes -- which pop up in nearly every corner of the country
was when green threw medical equipment at a window ; not because it was particularly funny , but because i had a serious urge to grab the old lady at the end of my aisle 's walker and toss it at the screen in frustration .
it 's not a great monster movie .
, sketchy characters and immature provocations can fully succeed at cheapening it .
the big summer movies
creates a stunning , taxi driver-esque portrayal of a man teetering on the edge of sanity .
touching melodrama
wry observations
in amazement over the fact
an exquisite , unfakable sense of cinema
a bunch of strung-together tv episodes
through dahmer 's two hours
gives ample opportunity
's never as solid
surefire casting
( less a movie than )
throwing up his hands in surrender
that would have been better off staying on the festival circuit
although estela bravo 's documentary is cloyingly hagiographic in its portrait of cuban leader fidel castro , it 's still a guilty pleasure to watch .
... a confusing drudgery .
is supremely unfunny and unentertaining
it also shows how deeply felt emotions can draw people together across the walls that might otherwise separate them .
the whole enterprise
as simple and innocent a movie as you can imagine .
takes big bloody chomps
like this film
draws us in
's already been too many of these films ...
derivative horror film
it 's a wise and powerful tale of race and culture forcefully told , with superb performances throughout .
the best and most mature comedy
individual moments of mood , and an aimlessness that 's actually sort of amazing
remains prominent ,
is an amicable endeavor
one resurrection too many .
of weird performances and direction
great film noir
do n't care to understand
is instead about as fresh as last week 's issue of variety .
of a movie that defies classification and is as thought-provoking as it
clotted
an amazing slapstick
seems more tacky and reprehensible ,
comic possibilities
daily struggles and simple pleasures usurp the preaching message so that , by the time the credits roll across the pat ending , a warm , fuzzy feeling prevails .
a black hole of dullness
still leaves shockwaves
the belly laughs of lowbrow comedy
the dramatic scenes are frequently unintentionally funny , and
uses grant 's own twist of acidity
hits and generally sustains a higher plateau with bullock 's memorable first interrogation of gosling
yourself praying for a quick resolution
is appealing .
a happy , heady jumble of thought and storytelling ,
things interesting
of lo mein and general tso 's chicken barely give a thought to the folks who prepare and deliver it
a well-executed spy-thriller .
children 's entertainment , superhero comics ,
more emotional
the film 's hero is a bore and his innocence soon becomes a questionable kind of inexcusable dumb innocence .
a formula comedy redeemed by its stars
broomfield 's style of journalism is hardly journalism at all , and even those with an avid interest in the subject will grow impatient .
the movie suffers from two fatal ailments -- a dearth of vitality and a story that 's shapeless and uninflected .
a fascinating glimpse of urban life and
can still be smarter than any 50 other filmmakers still at work .
the biggest problem
gags to break the tedium
's a terrible movie in every regard
a cheap , ludicrous attempt
wit to keep parents away from the concession stand
is a filmmaker with a bright future ahead of him
with major pleasures from portuguese master manoel de oliviera
bound to show up at theaters for it
working from a surprisingly sensitive script co-written by gianni romoli ... ozpetek avoids most of the pitfalls you 'd expect in such a potentially sudsy set-up
should have been made for the tube
told a nice little story in the process
disarmingly straightforward and strikingly devious
kwan is a master of shadow , quietude , and room noise , and
it a comic book with soul
a calm , self-assured portrait of small town regret , love , duty and friendship that appeals to the storytelling instincts of a slightly more literate filmgoing audience
not-so-bright mother and daughter
circuit is the awkwardly paced soap opera-ish story .
multi-layered
certainly wo n't win any awards in the plot department
, should scare any sane person away .
, creativity , and fearlessness
oh , james !
trashy teen-sleaze equivalent
that try too hard to be mythic
worst of all --
comes off winningly , even though it 's never as solid as you want it to be
feature-length running time
emotions can draw people together across the walls that might otherwise separate them
keep grown-ups from squirming in their seats
the exploitative
a distinct rarity
a graceful , moving tribute to the courage of new york 's finest and a nicely understated expression of the grief
tsai ming-liang 's witty , wistful new film
is too steeped in fairy tales and other childish things to appeal much to teenagers
a great director at the helm
lingering terror punctuated by sudden shocks and not constant bloodshed
string together enough charming moments
so many red herrings
kept much of the plot but jettisoned the stuff that would make this a moving experience for people who have n't read the book
incredibly inane
the jokes are sophomoric , stereotypes are sprinkled everywhere and
sappy as big daddy
one of the smarter offerings the horror genre has produced in recent memory , even if it 's far tamer than advertised .
you love the music
's a satisfying summer blockbuster and worth a look
who 's being conned right up to the finale
unabashed sweetness
sordid and disgusting
his movie veers like a drunken driver through heavy traffic
to have gone into recruiting the right bands for the playlist and the costuming of the stars than into the script , which has a handful of smart jokes and not much else
psychologically
chen films the resolutely downbeat smokers only with every indulgent , indie trick in the book
he 's got as potent a topic as ever here
little more than a particularly slanted , gay s/m fantasy
would seem to be surefire casting
an impenetrable and insufferable ball of pseudo-philosophic twaddle .
but unfortunately also
of emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears
funny situations and honest observations
outstanding performance
cliché-laden screenplay
this is the kind of subject matter that could so easily have been fumbled by a lesser filmmaker
be white-knuckled and unable to look away
for deft punctuation
a vehicle to showcase the canadian 's inane ramblings
's so muddled and derivative that few will bother thinking it all through
of period drama and flat-out farce that should please history fans
a compelling pre-wwii drama
the dispassionate gantz brothers
's always these rehashes to feed to the younger generations
too campy to work as straight drama
going on to other films that actually tell a story worth caring about
's so crammed with scenes and vistas and pretty moments
is n't much fun .
bring off this kind of whimsy
, but miss wonton floats beyond reality with a certain degree of wit and dignity .
prescribed than recommended -- as visually bland as a dentist 's waiting room , complete with soothing muzak and a cushion of predictable narrative rhythms
its splendor
to construct a story with even a trace of dramatic interest
a boring , pretentious muddle that uses a sensational , real-life 19th-century crime as a metaphor for -- well , i 'm not exactly sure what -- and has all the dramatic weight of a raindrop
each of these stories has the potential for touched by an angel simplicity and sappiness , but thirteen conversations about one thing , for all its generosity and optimism , never resorts to easy feel-good sentiments .
an uplifting ,
am to feel-good , follow-your-dream hollywood fantasies
an enjoyable feel-good family comedy
strikes a tone that 's alternately melancholic , hopeful and strangely funny
an uneasy mix of sensual delights and simmering violence
this time , the old mib label stands for milder is n't better .
as they poorly rejigger fatal attraction into a high school setting
, not the usual route in a thriller , and the performances are odd and pixilated and sometimes both .
a been-there
sort of amazing