xiangpku/GLUE huggingface dataset:
expect more from director michael apted ( enigma ) and screenwriter nicholas kazan ( reversal of fortune ) than this cliche pileup
uncomfortably timely , relevant , and sickeningly real
could have given audiences the time of day by concentrating on the elements of a revealing alienation among a culture of people who sadly are at hostile odds with one another through recklessness and retaliation .
's an utterly static picture
hate it because it 's lousy
this fascinating experiment plays as more of a poetic than a strict reality , creating an intriguing species of artifice that gives the lady and the duke something of a theatrical air .
you peek at it through the fingers in front of your eyes
leave a lasting impression
miss it altogether , in part because the consciously dumbed-down approach wears thin
an old-fashioned scary movie ,
, inspiring
weak and ineffective ghost story
is were it not for the striking , quietly vulnerable personality of ms. ambrose
into an insular world that gives the lie to many clichés and showcases a group of dedicated artists
modern masculine journey
soars
the courage
manages to keep you at the edge of your seat with its shape-shifting perils , political intrigue and brushes with calamity
is a very good viewing alternative for young women .
the animation master
for a long time the film succeeds with its dark , delicate treatment of these characters and its unerring respect for them .
gone wrong
the earmarks
quick-buck sequel
inventive director
sly , sophisticated and surprising .
director shekhar kapur and screenwriters michael schiffer and hossein amini have tried hard to modernize and reconceptualize things ,
the dragons are the real stars of reign of fire and
improves upon the original hit movie
such good humor
an oddity , to be sure , but one that you might wind up remembering with a degree of affection rather than revulsion .
demonstrates the unusual power of thoughtful , subjective filmmaking .
is a truly , truly bad movie .
happily , some things are immune to the folly of changing taste and attitude .
an unlimited amount of phony blood
going out and enjoying the big-screen experience
is tepid and tedious .
quirky and taken with its own style
under-rehearsed
does everything
bogs down in genre cliches here .
scotland looks wonderful
it really is a shame that more wo n't get an opportunity to embrace small , sweet ` evelyn . '
more simply intrusive
jaw-dropping action sequences
acknowledges upfront that the plot makes no sense , such that the lack of linearity is the point of emotional and moral departure for protagonist alice
overrun modern-day comedies
it 's a movie that accomplishes so much that one viewing ca n't possibly be enough .
is scott 's convincing portrayal of roger the sad cad that really gives the film its oomph
rarely does a film so graceless and devoid of merit as this one come along .
of delightful hand shadows
to the core of what it actually means to face your fears , to be a girl in a world of boys , to be a boy truly in love with a girl
humanizing stuff
, ms. shreve 's novel proved too difficult a text to ` lick , ' despite the efforts of a first-rate cast .
brooding
gabbiest giant-screen movie
horrifyingly
even-toned direction
, brain-deadening hangover
deeply authentic
scant place
falls flat
depressing to see how far herzog has fallen
never cuts corners .
is the phenomenal , water-born cinematography by david hennings
contrived ,
's there to scare while we delight in the images
the genius of the work speaks volumes , offering up a hallucinatory dreamscape that frustrates and captivates .
exploit its gender politics , genre thrills or inherent humor
comedian , like its subjects , delivers the goods and audiences will have a fun , no-frills ride .
a smart , arch and rather cold-blooded comedy
should catch this imax offering
it 's a smart , funny look at an arcane area of popular culture , and if it is n't entirely persuasive , it does give exposure to some talented performers .
is the first film in a long time that made me want to bolt the theater in the first 10 minutes .
a lot of fun , with an undeniable energy
a beautiful paean to a time
the gifted crudup has the perfect face to play a handsome blank yearning to find himself
this is a very ambitious project for a fairly inexperienced filmmaker , but good actors , good poetry and good music help sustain it .
bravery and dedication
visceral excitement
tartakovsky 's team has some freakish powers of visual charm
the story really has no place to go since simone is not real --
unique way shainberg
which undercuts the devastatingly telling impact of utter loss personified in the film 's simple title
nothing distinguishing in a randall wallace film
julia roberts hands out awards -- with phony humility barely camouflaging grotesque narcissism
but disintegrates into a dreary , humorless soap opera
the duration of the film 's shooting schedule waiting to scream
satisfies , as comfort food often can
, captures a life interestingly lived
a literary detective story is still a detective story and aficionados of the whodunit wo n't be disappointed .
's undeniably hard to follow
hate it .
can rest contentedly with the knowledge that he 's made at least one damn fine horror movie
originality
ai n't art
has nothing good to speak about other than the fact that it is relatively short , tries its best to hide the fact that seagal 's overweight and out of shape .
the attempt to build up a pressure cooker of horrified awe
has some freakish powers of visual charm
the unsettled tenor of that post 9-11 period far better
hypnotically dull .
juvenile delinquent
who is chasing who or
infectiously enthusiastic
sustain an enjoyable level of ridiculousness
seems far more interested in gross-out humor than in showing us well-thought stunts or a car chase that we have n't seen 10,000 times
is structured less as a documentary and more as a found relic
the visceral excitement
suspenseful and ultimately unpredictable
the film does give a pretty good overall picture of the situation in laramie following the murder of matthew shepard .
spent the duration of the film 's shooting schedule waiting to scream : `` got aids yet
a recommendation
directed and convincingly acted
an honesty and dignity
enjoy much of jonah simply , and gratefully ,
ca n't wait to see end .
serry 's ability to take what is essentially a contained family conflict and put it into a much larger historical context
worth a salute just for trying to be more complex than your average film .
a powerful 1957 drama we 've somehow never seen before
's plenty to enjoy --
it has fun with the quirks of family life , but it also treats the subject with fondness and respect
to show the gentle and humane side of middle eastern world politics
final verdict
allows us to be transported into the life of wladyslaw szpilman , who is not only a pianist , but a good human being .
is more complex and honest than anything represented in a hollywood film
beguiling
, '' it 's equally distasteful to watch him sing the lyrics to `` tonight . ''
girlfriends are bad , wives are worse and babies are the kiss of death in this bitter italian comedy .
there is no denying the power of polanski 's film ...
video before month 's end
, its apparent glee is derived from a lobotomy , having had all its vital essence scooped out and discarded .
that 's suspenseful enough for older kids but not too scary for the school-age crowd
chamber of secrets will find millions of eager fans .
these components combine into one terrific story with lots of laughs .
just too bad the screenwriters eventually shoot themselves in the feet with cop flick cliches like an oily arms dealer , squad car pile-ups and the requisite screaming captain
of animated filmmaking since old walt
to be prescribed than recommended -- as visually bland as a dentist 's waiting room , complete with soothing muzak and a cushion of predictable narrative rhythms
so it 's not a brilliant piece of filmmaking
the mill sci-fi film with a flimsy ending and lots of hype
's hard to like a film so cold and dead
damon/bourne or his predicament
'll wait in vain for a movie to happen .
pacino is the best he 's been in years and
able to provide insight into a fascinating part of theater history .
gives these women
will see nothing in it to match the ordeal of sitting through it .
tosses around sex toys and offers
this clever and very satisfying picture is more accurately chabrolian .
moments out of an alice
looks genuinely pretty .
is a phlegmatic bore , so tedious it makes the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian .
a great cast and a great idea
unexplainable pain
make great marching bands
fine actors
, glaring and unforgettable .
deserves to be seen everywhere .
thoughtful minor classic
is milked
its own ludicrous terms
poetic symbolism
a script that takes few chances and manages to insult the intelligence of everyone in the audience
has neither the charisma nor the natural affability that has made tucker a star
frames ) profound ethical and philosophical questions in the form of dazzling pop entertainment
a wonderful life marathons and bored
cliche-ridden film
a solid , unassuming drama .
that the bulk of the movie centers on the wrong character
, it 's clear that washington most certainly has a new career ahead of him
has a terrific look
thriller with enough unexpected twists to keep our interest
there are scenes of cinematic perfection that steal your heart away .
they are in this tepid genre offering
fails to provoke them .
left me feeling refreshed and hopeful .
better at fingering problems than finding solutions
better than the phantom menace
is definitely its screenplay , both for the rhapsodic dialogue that jumps off the page , and for the memorable character creations .
demonstrates just how far his storytelling skills have eroded .
be underestimated
the story is just too clichéd and too often strains credulity
a flourish
's neither too erotic nor very thrilling , either .
quick-cut edits
family film sequel
an affectionately goofy satire that 's unafraid to throw elbows when necessary
in middle-of-the-road blandness
than a half-hearted fluke
has created a film that one can honestly describe as looking , sounding and simply feeling like no other film in recent history .
proves himself a deft pace master and stylist .
fun and funny in the middle , though somewhat less hard-hitting
of exploiting molestation for laughs
` possession , ' based on the book by a.s. byatt , demands that labute deal with the subject of love head-on ; trading in his cynicism for reverence and a little wit
steven soderbergh does n't remake andrei tarkovsky 's solaris so much as distill it .
like coming into a long-running , well-written television series where you 've missed the first half-dozen episodes and probably wo n't see the next six .
that van wilder does little that is actually funny with the material
the film just might turn on many people to opera , in general
sprung to life
history in perspective
could n't help but feel the wasted potential of this slapstick comedy
rather listless amble
costner 's warm-milk persona is just as ill-fitting as shadyac 's perfunctory directing chops , and some of the more overtly silly dialogue would sink laurence olivier .
is n't very effective
he 's easy to like and always leaves us laughing
it must be the end of the world :
schlocky creature
feels like a copout
a cruel deception carried out by men of marginal intelligence , with reactionary ideas about women and a total lack of empathy
howard and his co-stars all give committed performances , but they 're often undone by howard 's self-conscious attempts to find a ` literary ' filmmaking style to match his subject
schneidermeister ... makin ' a fool of himself ... losin ' his fan base
loosely speaking , we 're in all of me territory again , and
highly-praised
a not-so-divine secrets of the ya-ya sisterhood with a hefty helping of re-fried green tomatoes .
are idiosyncratic enough to lift the movie above its playwriting 101 premise
oppressively heavy
carries the day with impeccable comic timing , raffish charm and piercing intellect .
achieves its main strategic objective :
another best of the year selection
sad nonsense , this
uproarious humor with an underlying seriousness that sneaks up on the viewer , providing an experience that is richer than anticipated .
to grab the old lady at the end of my aisle 's walker and toss it at the screen in frustration
an inexplicable nightmare , right down to the population
something a little more special behind it :
the awkward interplay and utter lack of chemistry between chan and hewitt
inventive , consistently intelligent and
sure where self-promotion ends and the truth begins
as the protagonists struggled
melodrama ( gored bullfighters , comatose ballerinas ) with subtly kinky bedside vigils and sensational denouements
of hype
an odd show , pregnant with moods ,
should have been worth cheering as a breakthrough but is devoid of wit and humor .
refreshingly forthright
perversely undercuts the joie de vivre even as he creates it , giving the movie a mournful undercurrent that places the good-time shenanigans in welcome perspective .
from the dull
in the power of the huston performance , which seems so larger than life and yet so fragile
are for children and dog lovers
that it is nearly impossible to look at or understand
excels as the enigmatic mika and anna mouglalis is a stunning new young talent in one of chabrol 's most intense psychological mysteries .
a heartfelt romance for teenagers
i did n't find much fascination in the swinging .
elegant , witty and beneath a prim exterior unabashedly romantic
watching the powerpuff girls movie , my mind kept returning to one anecdote for comparison : the cartoon in japan that gave people seizures .
with most of the big summer movies
endure almost unimaginable horror
to abandon the theater
the predictable parent vs. child coming-of-age theme
progressed as nicely as ` wayne
this oscar-nominated documentary takes you there .
beats new life into it
splendid singing
a long time that made me want to bolt the theater in the first 10 minutes
do n't really care for the candidate
are not at all entertaining
deliberately and devotedly constructed , far from heaven is too picture postcard perfect , too neat and new pin-like , too obviously a recreation to resonate .
stale plot and pornographic way
the self-serious equilibrium makes its point too well ; a movie , like life , is n't much fun without the highs and lows .
potty-mouthed enough for pg-13 , yet not as hilariously raunchy as south park , this strangely schizo cartoon seems suited neither to kids or adults .
only the most practiced curmudgeon could fail to crack a smile at
in which the talent is undeniable
what gives human nature its unique feel
paced at a speed that is slow to those of us in middle age and
's an experience in understanding a unique culture that is presented with universal appeal .
together ( time out and human resources ) establish mr. cantet as france 's foremost cinematic poet of the workplace .
well established
, they finally feel absolutely earned
the most pitiful directing
a moving and solidly entertaining comedy/drama that should bolster director and co-writer juan josé campanella 's reputation in the united states .
, stealing harvard is a smorgasbord of soliloquies about nothing delivered by the former mr. drew barrymore .
giant william randolph hearst
relaxed in its perfect quiet pace and proud in its message
based on ugly ideas instead of ugly behavior ,
an infomercial for ram dass 's latest book
long on twinkly-eyed close-ups and short on shame
of story and his juvenile camera movements
a temperamental child begging for attention , giving audiences no reason to truly care for its decrepit freaks beyond the promise of a reprieve from their incessant whining
bolstered by exceptional performances
dog-paddle in the mediocre end of the pool
if that does n't clue you in that something 's horribly wrong , nothing will .
at least it 's a fairly impressive debut from the director , charles stone iii .
dark , intelligent warning cry
is far from disappointing , offering an original
lies ...
could just rent those movies instead , let alone seek out a respectable new one
she may not be real , but the laughs are
have thought possible
juliette binoche 's sand is vivacious , but it 's hard to sense that powerhouse of 19th-century prose behind her childlike smile .
an emotionally and spiritually compelling journey
released the outtakes theatrically and used the film as a bonus feature on the dvd
it pretends to expose the life of male hustlers
the spirit
, irredeemably awful .
unfolds as one of the most politically audacious films of recent decades
-- bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama
nettelbeck ... has a pleasing way with a metaphor .
snoozer .
a heavy stench
is so slight
unnecessary films
at its visual delights
leaving you with some laughs and a smile on your face
a fascinating curiosity piece
amiable and committed
hop beat
the ensemble gives it a buoyant delivery
abandon all hope of a good movie ye who enter here
about bad cinema
boredom to the point
perfect wildean actor
with impeccable comic timing , raffish charm and piercing intellect
do n't feel the least bit ashamed in admitting that my enjoyment came at the expense of seeing justice served , even if it 's a dish that 's best served cold .
that finally returns de palma to his pulpy thrillers of the early '80s
an emotionally satisfying exploration of the very human need
should be complaining when a film clocks in around 90 minutes these days
it was particularly funny
for conveying the way tiny acts of kindness make ordinary life survivable
clichés and borrowed images
possibilities which imbue the theme with added depth and resonance
is a must !
accessible to a chosen few , standoffish to everyone else , and smugly suggests a superior moral tone is more important than filmmaking skill
assured , vital
tediously exasperating
of life and small delights
( and better )
has the air of a surprisingly juvenile lark , a pop-influenced prank whose charms are immediately apparent and wear thin with repetition
general family chaos to which anyone can relate
technically sumptuous but
an effectively chilling guilty pleasure
saved from
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 )
as banal as the telling may be -- and at times , all my loved ones more than flirts with kitsch -- the tale commands attention .
only now it 's begun to split up so that it can do even more damage
aground after being snared in its own tangled plot
, the old mib label stands for milder is n't better .
stale and uninspired .
including the assumption that `` crazy '' people are innocent , childlike and inherently funny
priggish , lethargically paced parable of renewal .
makes it look like a masterpiece
content to recycle images and characters that were already tired 10 years ago
of a good time
a spiffy animated feature
the best sports movie
the troubling thing about clockstoppers
picture postcard perfect , too neat and new pin-like
prove that ` zany ' does n't necessarily mean ` funny
quirky and recessive charms
surprise us with plot twists
makes this a high water mark for this genre
badly-rendered
( hopkins ) does n't so much phone in his performance as fax it .
's suspenseful enough for older kids but not too scary
gives us the perfect starting point for a national conversation about guns , violence , and fear
make this an eminently engrossing film
let crocodile hunter steve irwin do what he does best
about schmidt is undoubtedly one of the finest films of the year .
with the emphasis on self-empowering schmaltz and big-wave surfing that gives pic its title an afterthought
most importantly
should scare any sane person away
life 's wonderment
could desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s
not only fails on its own , but makes you second-guess your affection for the original
remains brightly optimistic ,
scooby-doo does n't know if it wants to be a retro-refitting exercise in campy recall for older fans or a silly , nickelodeon-esque kiddie flick .
mentally `` superior ''
its sleazy moralizing
amusedly ,
engaging ,
is so convincing that by movies ' end you 'll swear you are wet in some places and feel sand creeping in others
like the imaginary sport it projects onto the screen -- loud , violent and mindless
yet unforgivingly inconsistent
wo n't have any trouble getting kids to eat up these veggies .
in favor
-- sadly --
's all about anakin ... and the lustrous polished visuals rich in color and creativity and , of course , special effect .
a great impression
, the movie benefits from having a real writer plot out all of the characters ' moves and overlapping story .
it 's hard to imagine anybody ever being `` in the mood '' to view a movie as harrowing and painful as the grey zone
a clumsily manufactured exploitation flick ,
farts , boobs
joyous documentary .
crudely
another wholly unnecessary addition
want to see over and over again
a rather bland affair .
of the nincompoop benigni persona
say that this vapid vehicle is downright doltish and uneventful
might just be better suited to a night in the living room than a night at the movies
a film about female friendship that men can embrace and women
finally succeeds in diminishing his stature from oscar-winning master to lowly studio hack .
with pitifully few real laughs
one of those movies barely registering a blip on the radar screen of 2002
as faithful portraiture
according to the script , grant and bullock 's characters are made for each other .
one of the best ensemble casts of the year
is nicely shot , well-edited and features a standout performance by diane lane
makes less sense than the bruckheimeresque american action flicks it emulates
is a loose collection of not-so-funny gags , scattered moments of lazy humor
for those who like quirky , slightly strange french films , this is a must !
runs 163 minutes
is devoid of wit and humor
that it 's tempting just to go with it for the ride
it never lacks in eye-popping visuals
a serious minded patience , respect and affection
uncharismatically
that 's suitable for all ages -- a movie that will make you laugh
enjoyable ease
it 's got the brawn , but not the brains .
pretty good little movie .
rehashes to feed to the younger generations
lack their idol 's energy and passion for detail .
one of this year 's very best pictures
more confused , less interesting and more sloppily
defend himself
gets sillier , not scarier
can make interesting a subject you thought would leave you cold
does a good job of establishing a time and place , and of telling a fascinating character 's story
its delivery is a complete mess
snide and
ache with sadness ( the way chekhov is funny )
a compassionate , moving portrait of an american ( and an america ) always reaching for something just outside his grasp
long workout
boom mikes
so flabby
half the excitement of balto ,
will assuredly
are nowhere near as vivid as the 19th-century ones
debuts by an esteemed writer-actor .
walked away from this new version of e.t. just as i hoped i would -- with moist eyes
emphasizes the computer and the cool
to big box office bucks all but guaranteed
telling
tattered and ugly past
a warm , fuzzy feeling prevails
the worst film of the year
brightly colored dreams
beautifully shaped
the holocaust escape story
something to be said for a studio-produced film that never bothers to hand viewers a suitcase full of easy answers
but even while his characters are acting horribly , he is always sympathetic .
in which most of the characters forget their lines
murphy and wilson actually make a pretty good team ...
as original and insightful
brings a beguiling freshness to a coming-of-age story with such a buoyant , expressive flow of images
one of the best of a growing strain of daring films ... that argue that any sexual relationship that does n't hurt anyone and works for its participants is a relationship that is worthy of our respect
involving in its bold presentation
look like a masterpiece
an enthusiastic charm