xiangpku/GLUE huggingface dataset:
a truly distinctive and a deeply pertinent film
gives gifts to grownups
as sexy beast
a good and ambitious film
dumb drug jokes and
pared down its plots and characters to a few rather than dozens
value and respect
do n't notice the 129-minute running time
has something a little more special behind it : music that did n't sell many records but helped change a nation
through a sad , sordid universe of guns , drugs , avarice and damaged dreams
becomes the last thing you would expect from a film with this title or indeed from any plympton film : boring .
as shameful
tenderness
unfolds with such a wallop of you-are-there immediacy that when the bullets start to fly , your first instinct is to duck
the rat-a-tat energy of `` his girl friday , '' maintaining a light touch while tackling serious themes
is sufficiently funny to amuse even the most resolutely unreligious parents who escort their little ones to megaplex screenings .
seriously dumb characters , which somewhat dilutes the pleasure of watching them
of fun
sluggish , tonally uneven .
can not mount a cogent defense of the film as entertainment , or even performance art , although the movie does leave you marveling at these guys ' superhuman capacity to withstand pain
sumptuous ocean visuals and
drag the movie
a smart , romantic drama
the lengths to which he 'll go to weave a protective cocoon around his own ego
may fall fast asleep .
just utter ` uhhh , ' which is better than most of the writing in the movie
lousy one
the whole thing 's fairly lame , making it par for the course for disney sequels .
davis ' candid , archly funny and deeply authentic take on intimate relationships
that 's good
as bad a film
satisfyingly scarifying , fresh
, it 's a bargain-basement european pickup .
feel cheated
he allows his cast members to make creative contributions to the story and dialogue .
fidel castro
a light-hearted way the romantic problems
with an admirably dark first script by brent hanley
have come from a xerox machine rather than ( writer-director ) franc
slap her - she 's not funny !
guy gets girl , guy loses girl , audience falls asleep
i liked a lot of the smaller scenes .
failing to find a spark of its own
delivers more goodies than lumps of coal .
is a horrible movie -- if only it were that grand a failure
is anyone else out there getting tired of the whole slo-mo , double-pistoled , ballistic-pyrotechnic hong kong action aesthetic
obvious , preposterous , the movie will likely set the cause of woman warriors back decades .
well-told
few things more frustrating to a film buff
is impressive .
filmmaking that should attract upscale audiences hungry for quality and a nostalgic , twisty yarn that will keep them guessing
waters it down
there 's no conversion effort , much of the writing is genuinely witty and both stars are appealing enough to probably have a good shot at a hollywood career , if they want one .
world war ii
cliched and contrived
so that the human story is pushed to one side
's black hawk down with more heart .
children 's ' song
give a pretty good overall picture of the situation
are , with the drumming routines , among the film 's saving graces
a searing , epic treatment of a nationwide blight that seems to be
earnest emotional core
over-indulgent
, his most personal work yet .
unlimited access to families and church meetings
do better elsewhere
is a discreet moan of despair about entrapment in the maze of modern life .
great american adventure
everything that was right about blade is wrong in its sequel .
terrorist attacks
falls flat as a spoof .
from a scene where santa gives gifts to grownups
, this is beautiful filmmaking from one of french cinema 's master craftsmen .
the high-concept scenario soon proves preposterous , the acting is robotically italicized , and
an unexpectedly sweet story of
has none of the crackle of `` fatal attraction '' , `` 9 1/2 weeks '' , or even `` indecent proposal '' , and feels more like lyne 's stolid remake of `` lolita ''
amicable
strangely liberating
of screwball farce and blood-curdling family intensity on one continuum
upper west sidey exercise in narcissism and self-congratulation disguised as a tribute .
the energy humming
in need of some trims and a more chemistry between its stars
is fiercely intelligent and uncommonly ambitious .
surprisingly engrossing
to sustain a laugh
strange , funny , twisted , brilliant and macabre .
very well-written and
as a children 's party clown gets violently gang-raped
its weighty themes are too grave for youngsters , but the story is too steeped in fairy tales and other childish things to appeal much to teenagers .
as warm as it is wise , deftly setting off uproarious humor with an underlying seriousness that sneaks up on the viewer , providing an experience that is richer than anticipated .
australia is a weirdly beautiful place
the ingenious construction
enough charming moments
a deficit of flim-flam
it will warm your heart ,
in charm
discovery and humor
to inject some real vitality and even art into a pulpy concept that , in many other hands would be completely forgettable
baffled the folks in the marketing department
particularly balk , who 's finally been given a part worthy of her considerable talents
are especially fine
pervasive
the failure of the third revenge of the nerds sequel
idiosyncratic enough to lift the movie above its playwriting 101 premise
cast in impossibly contrived situations
the familiar , funny surface
fascinate
who is in complete denial about his obsessive behavior
releasing a film with the word ` dog ' in its title in january lends itself to easy jokes and insults , and snow dogs deserves every single one of them
, the film is less the cheap thriller you 'd expect than it is a fairly revealing study of its two main characters -- damaged-goods people whose orbits will inevitably and dangerously collide .
possession is a movie that puts itself squarely in the service of the lovers who inhabit it .
a fullness that does not negate the subject
a welcome and heartwarming addition to the romantic comedy genre
with the kind of social texture and realism that would be foreign in american teen comedies
a gamble and last orders are to be embraced
this cartoon adventure is that wind-in-the-hair exhilarating .
are becoming irritating .
one of the worst of the entire franchise
a selection of scenes in search of a movie .
middle eastern world politics
he probably would n't be too crazy with his great-grandson 's movie splitting up in pretty much the same way .
holds the film
falls victim
this slight premise ... works because of the ideal casting of the masterful british actor ian holm as the aged napoleon .
a dark , gritty , sometimes funny little gem
amounts to being lectured to by tech-geeks , if you 're up for that sort of thing
funny bone
weirdly appealing
helm a more traditionally plotted popcorn thriller while surrendering little of his intellectual rigor or creative composure
though unfortunately all the story gives us is flashing red lights , a rattling noise , and a bump on the head
a rich tale of our times , very well told with an appropriate minimum of means .
deadly dull , pointless meditation on losers in a gone-to-seed hotel .
and totally disorientated
wildly entertaining
creative instincts
if it pared down its plots and characters to a few rather than dozens ... or if it were subtler ... or if it had a sense of humor
remarkably accessible and haunting film
modernize it with encomia to diversity and tolerance
some good material
indulges in the worst elements of all of them
it preaches
should be served an eviction notice at every theater stuck with it
during that final , beautiful scene
coming back from stock character camp
unfunny wannabe
suspense or believable tension
a no-bull throwback to 1970s action films
little mermaid
both heartbreaking and heartwarming ... just a simple fable done in an artless sytle , but it 's tremendously moving
sheer dynamism
quaid who anchors the film with his effortless performance and that trademark grin of his -- so perfect for a ballplayer
to her inventive director
the proper conviction
contorting itself into an idea of expectation
a risky venture that never quite goes where you expect and often surprises you with unexpected comedy
beautiful food entrée
director lee has a true cinematic knack ,
with first love sweetly
runs out of ideas
jar-jar binks : the movie
favored by pretentious , untalented artistes who enjoy moaning about their cruel fate .
a delightful comedy centering on food
is that , even in all its director 's cut glory , he 's made a film that 's barely shocking , barely interesting and most of all , barely anything
i suppose it 's lovely that cal works out his issues with his dad and comes to terms with his picture-perfect life --
to win a wide summer audience through word-of-mouth reviews and , not far down the line , to find a place among the studio 's animated classics
of heart and unsettling subject matter
if you ever wanted to be an astronaut , this is the ultimate movie experience -
initially gripping
a funny , triumphant , and moving documentary
a fat man 's navel
to speak about other than the fact that it is relatively short
an entirely irony-free zone and bale reduced mainly to batting his sensitive eyelids
been readily dismissed as the tiresome rant of an aging filmmaker still thumbing his nose at convention
's as rude and profane as ever , always hilarious and , most of the time , absolutely right in her stinging social observations .
the film 's appeal has a lot to do with the casting of juliette binoche as sand , who brings to the role her pale , dark beauty and characteristic warmth .
man cliché
heroes the way julia roberts hands out awards -- with phony humility barely camouflaging grotesque narcissism
zany mix
raises some worthwhile themes
make 105 minutes seem twice as long
emerges as a numbingly dull experience .
splashed with bloody beauty as vivid as any scorsese has ever given us
apparently reassembled from the cutting-room floor of any given daytime soap
is exhaustion , from watching a movie that is dark ( dark green , to be exact ) , sour , bloody and mean
's apparent that this is one summer film that satisfies
in a downward narcotized spiral
talented thesps
class bores
there are times when the film 's reach exceeds its grasp
parts of the film feel a bit too much like an infomercial for ram dass 's latest book aimed at the boomer demographic .
holds promise
while somewhat less than it might have been , the film is a good one ,
completely creatively stillborn
like a great missed opportunity
a majestic achievement
a film that 's not merely about kicking undead ***
all comedy
at how much we care about the story
the tale -- like its central figure , vivi -- is just a little bit hard to love .
this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo
truly larger-than-life
rather slow
since the thrills pop up frequently
pulled from a tear-stained vintage shirley temple script
by the time the surprise ending is revealed , interest can not be revived .
well loved classic
a rich tale
vague without any of its sense of fun or energy
brilliantly employ their quirky and fearless ability to look american angst in the eye and end up laughing .
dramatic substance
the way it introduces you to new , fervently held ideas and fanciful thinkers
the french lieutenant 's woman
are quite admirable
, the film is also imbued with strong themes of familial ties and spirituality that are powerful and moving without stooping to base melodrama
is entertaining on an inferior level
both lead performances are oscar-size .
are limited and so embellished by editing that there 's really not much of a sense of action or even action-comedy
's great for the kids
this pretty watchable
yourself wishing that you and they were in another movie
having a hard time believing people were paid to make it
visually bland
the kind of lush , all-enveloping movie experience
horrors
every sequel you skip will be two hours gained .
the recording sessions are intriguing ,
a well paced and satisfying little drama that deserved better than a ` direct-to-video ' release .
shattering , devastating documentary on two maladjusted teens in a downward narcotized spiral .
the characters inhabit that special annex of hell where adults behave like kids , children behave like adults and everyone
handled with intelligence and care
clare peploe 's airless movie adaptation could use a little american pie-like irreverence .
irritates
at its utterly misplaced earnestness
made a film so unabashedly hopeful that it actually makes the heart soar
so substantial or fresh
of bad writing , bad direction and bad acting -- the trifecta of badness
chabrol 's most intense psychological mysteries
her subject matter
the casting of raymond j. barry as the ` assassin ' greatly enhances the quality of neil burger 's impressive fake documentary .
rosenthal ( halloween ii ) seems to have forgotten everything he ever knew about generating suspense .
the potential success inherent in the mixture of bullock bubble and hugh goo
too often spins its wheels with familiar situations and repetitive scenes
pretentious mess .
make it worth watching
directs an equally miserable film the following year
their lack of chemistry
a sugar-coated rocky whose valuable messages are forgotten 10 minutes after the last trombone
the film 's strength is n't in its details , but in the larger picture it paints - of a culture in conflict with itself , with the thin veneer of nationalism that covers our deepest , media-soaked fears .
most humane and important holocaust movies
to give the film the substance it so desperately needs
argues
the parents -- and particularly the fateful fathers --
features a standout performance
depressingly thin and exhaustingly contrived
from one arresting image to another
shiner
climactic burst
a hallmark hall of fame
loosely tied series
hard to believe that something so short could be so flabby
someone who surely read the catcher in the rye but clearly suffers from dyslexia
the charm of revolution os
a legend
even more predictable
its heightened , well-shaped dramas
sluggish pacing
to learn , to grow ,
the great films
in its effort to modernize it with encomia to diversity and tolerance
you 're in luck .
odd but ultimately satisfying
, sprightly spin
to burn every print of the film
a lot going for it , not least the brilliant performances by testud ...
it irritates and saddens me that martin lawrence 's latest vehicle can explode obnoxiously into 2,500 screens while something of bubba ho-tep 's clearly evident quality may end up languishing on a shelf somewhere .
a bad-movie way
predominantly amateur cast is painful to watch
allows each character to confront their problems openly and honestly
spy kids 2 also happens to be that rarity among sequels : it actually improves upon the original hit movie .
a terrible movie ,
the movie is virtually without context -- journalistic or historical .
the excitement is missing
numerous , world-renowned filmmakers
first love sweetly
the curse of a self-hatred instilled
lead performances
such master screenwriting comes courtesy of john pogue , the yale grad who previously gave us `` the skulls ''
creates in maelstrom a world where the bizarre is credible and the real turns magical
the spotlight
misanthropy
it 's all stitched together with energy , intelligence and verve , enhanced by a surplus of vintage archive footage .
a relentless , bombastic and ultimately empty world war ii action
the movie should win the band a few new converts , too
the major problem with windtalkers
responsible for this illuminating comedy
i 've seen some bad singer-turned actors , but lil bow wow takes the cake
hollywood program
no doubt , it 's the worst movie i 've seen this summer
often surprising twists and
cinematic intoxication , a wildly inventive mixture of comedy and melodrama , tastelessness and
's so crammed with scenes and vistas and pretty moments that it 's left a few crucial things out , like character development and coherence .
steve oedekerk is , alas , no woody allen .
mel gibson fights the good fight in vietnam in director randall wallace 's flag-waving war flick with a core of decency .
are n't so substantial or fresh
flat-out amusing , sometimes endearing and often fabulous , with a solid cast , noteworthy characters , delicious dialogue
wheedling reluctant witnesses
i 'm giving it thumbs down due to the endlessly repetitive scenes of embarrassment .
this documentary is a dazzling , remarkably unpretentious reminder of what ( evans ) had , lost , and got back .
taking us through a film that is part biography , part entertainment and part history
the ingenuity
a winning comedy that excites the imagination and tickles the funny bone
honest performances and
movie that comes along only occasionally , one so unconventional , gutsy and perfectly
of the goth-vampire , tortured woe-is-me lifestyle
the positives
in the broiling sun for a good three days
, blue crush thrillingly uses modern technology to take the viewer inside the wave .
like brosnan 's performance , evelyn comes from the heart .
-- drama , conflict , tears and surprise --
has something fascinating to do
was , uh , michael zaidan , was supposed to have like written the screenplay or something
truth-in-advertising hounds
so low
`` red dragon '' is entertaining .
12th oscar nomination
which somewhat dilutes the pleasure of watching them
derailed by a failure to seek and strike just the right tone
mediocre movies start to drag as soon as the action speeds up
very stilted in its dialogue
too long and bogs down in a surfeit of characters and unnecessary
a rip-off twice removed , modeled after ( seagal 's ) earlier copycat under siege
offers a fair amount of trashy , kinky fun
as easy to be bored by as your abc 's
is always watchable .
small ... with considerable aplomb
creepy atmosphere
believe that nachtwey hates the wars he shows and empathizes with the victims he reveals
is less a documentary and more propaganda by way of a valentine sealed with a kiss
turn a larky chase movie into an emotionally satisfying exploration of the very human need to be somebody , and to belong to somebody
zero-dimensional , unlikable characters
warm in its loving yet unforgivingly inconsistent depiction of everyday people
that 's muy loco , but no more ridiculous than most of the rest of `` dragonfly . ''
beyond the astute direction of cardoso and beautifully detailed performances by all of the actors
of the really bad blair witch project
furiously
a tour de force of modern cinema
as gidget , only with muscles and a lot more smarts , but just as endearing and easy to watch
brilliant touches
that most frightening of all movies
who staggered from the theater and blacked out in the lobby
how deeply felt emotions can draw people together across the walls that might otherwise separate them
originality of plot
there is plenty of room for editing ,
would count for very little if the movie were n't as beautifully shaped and as delicately calibrated in tone as it is
is even lazier and far less enjoyable .
the setting turns out to be more interesting than any of the character dramas , which never reach satisfying conclusions .
be hard pressed to succumb to the call of the wild
a special kind
would choose the cliff-notes over reading a full-length classic
a cesspool
the all-time great apocalypse movies
for this sort of thing to work , we need agile performers ,
a new film from bill plympton , the animation master , is always welcome .
ducts does n't mean it 's good enough for our girls
a moving story of determination and the human spirit
to enhance the self-image of drooling idiots
in such a straightforward , emotionally honest manner that by the end
contrived , unmotivated ,
some very good comedic songs ,
sit near the back and squint to avoid noticing some truly egregious lip-non-synching
that should shame americans , regardless of whether or not ultimate blame
problematic characters
into an urban hades
good action , good acting ,
farcically
to the afghani refugees who streamed across its borders , desperate for work and food
love it ,
deserves a chance to shine
its proper home
a 90-minute movie that feels five hours long
me a lot of memento
plunges you into a reality that is , more often then not , difficult and sad , and then , without sentimentalizing it or denying its brutality , transforms that reality into a lyrical and celebratory vision .
a lower i.q.
it is also a testament to the integrity and vision of the band .
as aimless as an old pickup skidding completely out of control on a long patch of black ice , the movie makes two hours feel like four .
the film boasts dry humor and jarring shocks , plus moments of breathtaking mystery .
comes off as insultingly simplistic
above the level of an after-school tv special
a smart , romantic drama that dares to depict the french revolution from the aristocrats ' perspective
a knack for casting , often resurrecting performers who rarely work in movies now ... and drawing flavorful performances from bland actors
captures the unsettled tenor of that post 9-11 period far better than a more measured or polished production ever could
fails to satisfactorily exploit its gender politics , genre thrills or inherent humor
of the best of a growing strain of daring films
distanced us from the characters .
refreshing to see a romance this smart
shows moments of promise but
the romance between the leads is n't as compelling or as believable as it should be .
urbane sweetness
manages to have a good time as it doles out pieces of the famous director 's life
and refined piece
is consistently amusing and engrossing
a joint promotion
something else altogether -- clownish and
and damaged dreams
touching and funny
( tries ) to parody
than a stifling morality tale
, revolting
this quirky soccer import is forgettable
you instantly know whodunit
you hate to tear your eyes away from the images long enough to read the subtitles
of an ignored people
and thought-provoking film
the film is well-intentioned
on the cinematic front
a xerox machine rather than ( writer-director ) franc
far-flung , illogical ,
four-star movie
everything else about the film tanks .
funny and wise
attal 's hang-ups surrounding infidelity are so old-fashioned and , dare i say , outdated ,
adventurous indian filmmakers
stylish but steady ,
has the grace to call for prevention rather than to place blame , making it one of the best war movies ever made .
the quirky and recessive charms of co-stars martin donovan and mary-louise parker
, the most restless young audience deserves the dignity of an action hero motivated by something more than franchise possibilities .
accomplished actress
most accomplished work
saves it ... and makes it
that 's plaguing the human spirit in a relentlessly globalizing world
's difficult to conceive of anyone who has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny
lot to recommend read my lips
the pleasures of a slightly naughty , just-above-average off - broadway play
have been astronomically bad
is almost nothing in this flat effort that will amuse or entertain them ,
by then , your senses are as mushy as peas
it hates its characters .
this might not seem like the proper cup of tea , however it is almost guaranteed that even the stuffiest cinema goers will laugh their *** off for an hour-and-a-half .
difficult to fathom
the adventure does n't contain half the excitement of balto , or quarter the fun of toy story 2 .
comedy and
genuine quirkiness
came up with a treasure chest of material
dip into your wallet , swipe 90 minutes of your time ,
... stylistically , the movie is a disaster .
its demented premise
an articulate , grown-up voice
alive and
whether or not
dour
the best story
carries you along
put away the guitar , sell the amp ,
about nothing delivered by the former mr. drew barrymore
with a twisted sense of humor
the movie 's progression
has the thrown-together feel of a summer-camp talent show : hastily written
explode obnoxiously into 2,500 screens while something of bubba ho-tep 's clearly evident quality may end up languishing on a shelf somewhere
, this will be an enjoyable choice for younger kids .