xiangpku/GLUE huggingface dataset:
rifkin no doubt fancies himself something of a hubert selby jr. , but there is n't an ounce of honest poetry in his entire script ; it 's simply crude and unrelentingly exploitative .
by the end of the movie , you 're definitely convinced that these women are spectacular .
, it 's just grating
on the success of bollywood
, even delectable
devolves into the derivative
tick-tock pacing
a rollicking good time for the most part
the heat of the moment prevails .
be a parody of gross-out flicks , college flicks , or even flicks in general
nachtwey hates the wars he shows and empathizes with the victims he reveals
best part ' of the movie
a guiltless film
while this movie , by necessity , lacks fellowship 's heart
... there 's a choppy , surface-effect feeling to the whole enterprise .
where uptight , middle class bores like antonia can feel good about themselves
entertainment adults can see without feeling embarrassed
as a very distinctive sensibility , working to develop her own film language with conspicuous success
will likely set the cause of woman warriors back decades .
is the kind of quirkily appealing minor movie she might not make for a while
because the movie is ugly to look at and not a hollywood product
slightly pokey
pink floyd tickets
a winning and wildly fascinating work
lukewarm and
the visual panache , the comic touch , and
oft-brilliant safe conduct ( `` laissez-passer '' )
companion piece
wince in embarrassment and others , thanks to the actors , that are quite touching .
most improbable
succeeds primarily with her typical blend of unsettling atmospherics
be thinking of 51 ways to leave this loser
its heartfelt concern about north korea 's recent past and south korea 's future adds a much needed moral weight
while it has definite weaknesses -- like a rather unbelievable love interest and a meandering ending -- this '60s caper film is a riveting , brisk delight .
plays out like a flimsy excuse
family responsibility and care
toss logic and science
that neatly and effectively captures the debilitating grief
love .
good actors ,
give the film a soul and an unabashed sense of good old-fashioned escapism
that rare animal
one-of-a-kind
a good , hard yank
this story of unrequited love does n't sustain interest beyond the first half-hour .
broomfield is energized by volletta wallace 's maternal fury , her fearlessness , and because of that , his film crackles .
the hackneyed story about an affluent damsel in distress who decides to fight her bully of a husband is simply too overdone .
, mr. nelson has made a film that is an undeniably worthy and devastating experience .
's so bad
torn away
humble , teach
knockaround guys rarely seems interested in kicking around a raison d'etre that 's as fresh-faced as its young-guns cast .
understated piece of filmmaking
there 's a delightfully quirky movie to be made from curling , but
she 's never been better in this colorful bio-pic of a mexican icon
a compelling story
bring off this wild welsh whimsy
he or anyone else
that also asks its audience -- in a heartwarming , nonjudgmental kind of way -- to consider what we value in our daily lives
most excruciating 86 minutes
the film , while not exactly assured in its execution ,
is so intimate and sensual and funny and psychologically self-revealing
no explanation or even plot relevance
you can be forgiven for realizing that you 've spent the past 20 minutes looking at your watch and waiting for frida to just die already .
a strangely stirring experience that finds warmth in the coldest environment and makes each crumb of emotional comfort feel like a 10-course banquet .
so intimate and sensual and funny and
one that is presented with great sympathy and intelligence
profoundly stupid
... a spoof comedy that carries its share of laughs -- sometimes a chuckle , sometimes a guffaw and , to my great pleasure , the occasional belly laugh .
will enthrall the whole family
good performances and
like many of his works
's a fairly impressive debut from the director , charles stone iii .
is repetitious
demented premise
knows , and very likely is
one of the funniest motion pictures of the year
object lesson
clever and unflinching in its comic barbs
of the populace that made a walk to remember a niche hit
with inventive cinematic tricks and an ironically killer soundtrack
, realistic portrayal
is a just a waste
wind up using them as punching bags
pretentious , untalented artistes who enjoy moaning about their cruel fate
spied with my little eye ... a mediocre collection of cookie-cutter action scenes
pitch-perfect
the unfulfilling , incongruous
... something appears to have been lost in the translation this time
the stars may be college kids , but the subject matter is as adult as you can get : the temptations of the flesh are unleashed by a slightly crazed , overtly determined young woman and a one-night swim turns into an ocean of trouble .
accept it as life and go with its flow
sparked by two actresses in their 50s working at the peak of their powers .
embodies the transformation of his character completely .
the direction occasionally rises to the level of marginal competence
cinematic knack
duvall 's throbbing sincerity and his elderly propensity for patting people while he talks
fuddled about motives and context , which drains it of the dramatic substance that would shake us in our boots ( or cinema seats )
that portrays the frank humanity of ... emotional recovery
demonstrates a breadth of vision and an attention to detail that propels her into the upper echelons of the directing world
jokester highway patrolmen
a very good viewing alternative
a domestic melodrama
interminably
michel piccoli 's moving performance is this films reason for being .
carries a little too much ai n't - she-cute baggage into her lead role as a troubled and determined homicide cop to quite pull off the heavy stuff
undercuts
well-edited
is classic nowheresville in every sense
should pay reparations to viewers
courageous molly craig
awfully deadly
insecure about its capacity
flails limply between bizarre comedy and pallid horror
less an examination of neo-nazism than a probe into the nature of faith
piles layer upon layer of action man cliché atop wooden dialogue and a shifting tone that falls far short of the peculiarly moral amorality of ( woo 's ) best work
, heaven proves to be a good match of the sensibilities of two directors .
intricately structured and well-realized
it 's a riot to see rob schneider in a young woman 's clothes
, self-important stories
a serious exploration of nuclear terrorism
is serry 's ability to take what is essentially a contained family conflict and put it into a much larger historical context .
easy sanctimony
austin powers in goldmember is a cinematic car wreck , a catastrophic collision of tastelessness and gall that nevertheless will leave fans clamoring for another ride .
the sorriest
much colorful
about as enjoyable , i would imagine , as searching for a quarter in a giant pile of elephant feces ... positively dreadful .
very effective
sibling reconciliation with flashes of warmth and gentle humor
, xxx is a blast of adrenalin , rated eee for excitement .
a skillfully assembled , highly polished and professional adaptation
there 's nothing else happening
this kiddie-oriented stinker is so bad that i even caught the gum stuck under my seat trying to sneak out of the theater
schepisi , aided by a cast that seems to include every top-notch british actor who did not appear in gosford park ( as well as one , ms. mirren , who did ) , has succeeded beyond all expectation .
captures both the beauty of the land and the people
it accepts nasty behavior and severe flaws as part of the human condition
the annoying score
in no way original , or even all that memorable , but as downtown saturday matinee brain candy
although made on a shoestring and unevenly acted , conjures a lynch-like vision of the rotting underbelly of middle america .
show-stoppingly hilarious , but
can take the grandkids or the grandparents and never worry about anyone being bored
an erotic thriller that 's neither too erotic nor very thrilling , either .
pretty tattered
particularly memorable
i have always appreciated a smartly written motion picture
is so deadly dull that watching the proverbial paint dry would be a welcome improvement .
rob schneider 's infantile cross-dressing routines
best inside-show-biz
manages to embody the worst excesses of nouvelle vague without any of its sense of fun or energy .
ever reaching the comic heights it obviously desired
the movie does not do them justice
systematically destroy everything we hold dear about cinema , only now it 's begun to split up so that it can do even more damage
in the pile of useless actioners from mtv schmucks who do n't know how to tell a story for more than four minutes
before long , you 're desperate for the evening to end .
one hour photo is a sobering meditation on why we take pictures .
a family-oriented non-disney film
as saccharine as it is disposable .
give a second look if we passed them on the street
without a fresh infusion of creativity
has all the trappings of an energetic , extreme-sports adventure , but
idiosyncratic humor
with incredible subtlety and acumen
that scalds like acid
care about cleverness , wit or any other kind of intelligent humor
the adventures of pluto nash '' is a big time stinker .
's also built on a faulty premise , one it follows into melodrama and silliness
a small , personal film
geriatric dirty harry
this smart-aleck movie ... tosses around some intriguing questions about the difference between human and android life
it is parochial , accessible to a chosen few , standoffish to everyone else , and smugly suggests a superior moral tone is more important than filmmaking skill
suited to a quiet evening on pbs
a splendid job
so much that one viewing ca n't possibly be enough
get on a board and , uh , shred ,
want you to enjoy yourselves without feeling conned
the respect they
some savvy producer saw the potential success inherent in the mixture of bullock bubble and hugh goo
lecherous
vulgarities
overburdened with complicated plotting and banal dialogue
pristine style and bold colors
, it suffers from the awkwardness that results from adhering to the messiness of true stories .
the movie , as opposed to the manifesto , is really , really stupid .
about the worst thing chan has done in the united states
mel brooks ' borscht belt schtick look sophisticated
built on the premise that middle-class arkansas consists of monster truck-loving good ol' boys and peroxide blond honeys whose worldly knowledge comes from tv reruns and supermarket tabloids
to tell which is in more abundant supply in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo
very experienced
's something about mary and both american pie movies
blessed with a searing lead performance
recommend `` never again
really unclear
a sexy slip of an earth mother
obvious , obnoxious and didactic burlesque
with the same sort of good-natured fun found in films like tremors , eight legged freaks is prime escapist fare .
a heroine as feisty and principled as jane
measured or polished
offers much to absorb and even more to think about after the final frame .
you feel good , you feel sad , you feel pissed off ,
that annoying specimen of humanity
this ludicrous film
fanciful motion picture
efteriades gives the neighborhood -- scenery , vibe and all -- the cinematic equivalent of a big , tender hug .
epic treatment of a nationwide blight that seems to be
every member
these characters are so well established that the gang feels comfortable with taking insane liberties and doing the goofiest stuff out of left field , and i 'm all for that .
of feminine energy , a tribute to the power of women to heal
there are n't many conclusive answers in the film , but there is an interesting story of pointed personalities , courage , tragedy and the little guys vs. the big guys
of invention
uneven action comedy
as a classic movie franchise
peculiar and always entertaining
they finally feel absolutely earned
blanchett and ribisi compellingly tap into a spiritual aspect of their characters ' suffering
gleefully
'' loses its overall sense of mystery and becomes a tv episode rather than a documentary that you actually buy into .
only half-an-hour long or
taking the easy hollywood road
full of elaborate and twisted characters
paid in full is remarkably engaging despite being noticeably derivative of goodfellas and at least a half dozen other trouble-in-the-ghetto flicks .
such a fine idea for a film , and such a stultifying , lifeless execution .
mediocre horror film
is better than you might think .
fine effort
through than in most ` right-thinking ' films
snoozer
's technically sumptuous but also almost wildly alive
between flaccid satire and what
the film is darkly funny in its observation of just how much more grueling and time-consuming the illusion of work is than actual work .
could have been crisper and punchier , but
effects that are more silly than scary
from accomplished oscar winners susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb
worth seeing just for weaver and lapaglia .
intense and engrossing head-trip
is a big time stinker .
's a solid movie about people whose lives are anything but
even more unmentionable subjects seem like mere splashing around in the muck
disintegrates
pure misogynist evil
have ditched the artsy pretensions and revelled in the entertaining shallows
mostly magnificent directorial career
caper movies that 's hardly any fun to watch
that revives the free-wheeling noir spirit of old french cinema
a playful iranian parable about openness , particularly the need for people of diverse political perspectives to get along despite their ideological differences .
a lovely film
this is a movie that refreshes the mind and spirit along with the body , so original is its content , look , and style .
an empty shell
artistically
buried somewhere inside its fabric , but never clearly
despite its rough edges and a tendency to sag in certain places
that kate is n't very bright , but that she has n't been worth caring about and
there 's nothing exactly wrong here , but
join the pantheon of great monster/science fiction flicks
( it 's ) what punk rock music used to be , and what the video medium could use more of : spirit , perception , conviction
keeps this pretty watchable ,
what we call the ` wow ' factor
the best of comedies
to be truly prurient
ver wiel 's desperate attempt at wit
laborious whine , the bellyaching of a paranoid and unlikable man .
that satisfies
futuristic sets
a mesmerizing performance as a full-fledged sex addict
sickeningly savage
88-minute rip-off
( t ) his slop
an unsettling , memorable cinematic experience that does its predecessors proud .
an enthralling
the rest are padding unashamedly appropriated from the teen-exploitation playbook
the acting is just fine
rarity
tolerate leon barlow
this latest installment of the horror film franchise that is apparently as invulnerable as its trademark villain has arrived for an incongruous summer playoff , demonstrating yet again that the era of the intelligent , well-made b movie is long gone .
is a throwback war movie that fails on so many levels
beautifully crafted and cooly unsettling ...
watch huppert scheming , with her small , intelligent eyes as steady as any noir villain
old-fashioned , occasionally charming
hollowness
to enjoy good trash every now and then
the laziness and arrogance of a thing that already knows it 's won
to unexpected heights
that 's low on both suspense and payoff
conjure proper respect
i did go back and check out the last 10 minutes , but these were more repulsive than the first 30 or 40 minutes .
enthusiasm , sensuality and a conniving wit
quite unengaging
every sequel you skip
gently comic even as the film breaks your heart
made audiences on both sides of the atlantic love him
a winning comedy with its wry observations about long-lived friendships and the ways in which we all lose track of ourselves by trying to please others
its unforced comedy-drama and its relaxed , natural-seeming actors
just offensive
the soul of a man in pain
of romance , dancing , singing , and unforgettable characters
the film is reasonably entertaining , though it begins to drag two-thirds through , when the melodramatic aspects start to overtake the comedy .
whose derring-do puts the x into the games
low , very low , very very low
of the whole dead-undead genre , who deserve more from a vampire pic than a few shrieky special effects
falls into the trap of pretention almost every time
is an oddly fascinating depiction of an architect of pop culture
as janice , eileen walsh , an engaging , wide-eyed actress whose teeth are a little too big for her mouth , infuses the movie with much of its slender , glinting charm .
little more than preliminary notes for a science-fiction horror film
virulently unpleasant excuse
full of cheesy dialogue ,
arrives from the margin that gives viewers a chance to learn , to grow , to travel .
oscar wilde 's classic satire
`` simone '' is a fun and funky look into an artificial creation in a world that thrives on artificiality .
worth catching for griffiths ' warm and winning central performance
contrived as this may sound
crafted but ultimately hollow mockumentary
with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography
of old-fashioned hollywood magic
, i could feel my eyelids ... getting ... very ... heavy ...
through ill-conceived action pieces
an overly familiar scenario
, you 'll be thinking of 51 ways to leave this loser .
the most consistently funny of the austin powers films .
, predictable rehash
the true impact
( a ) crushing disappointment .
enjoy seeing how both evolve
both grant and hoult carry the movie because they are believable as people -- flawed , assured of the wrong things , and scared to admit how much they may really need the company of others .
absurdly inappropriate ` comedy ' scenes
beyond-lame
classical actress
banal in its message and the choice of material
irrational , long-suffering but cruel
masochistic
it offers a glimpse of the solomonic decision facing jewish parents in those turbulent times : to save their children and yet to lose them .
earnest homage
the stomach-knotting suspense of a legal thriller
have poignancy jostling against farce , thoughtful dialogue elbowed aside by one-liners , and a visual style that incorporates rotoscope animation for no apparent reason except , maybe , that it looks neat .
charming , funny and beautifully crafted import
drab wannabe
the director had released the outtakes theatrically and used the film as a bonus feature on the dvd
remarkably well
desperate for the evening to end
struck me as unusually and unimpressively fussy
dreamlike
it 's provocative stuff
a pretty listless collection of kid-movie clichés
into an inhalant blackout
projector 's
is how its makers actually seem to understand what made allen 's romantic comedies so pertinent and enduring
excuse for a film
designed as a reverie about memory and regret , but the only thing you 'll regret is remembering
some strong supporting players
in practically every facet of inept filmmaking
when ` science fiction ' takes advantage of the fact that its intended audience has n't yet had much science
it does because ( the leads ) are such a companionable couple
of sentimental ooze
ultimately empty examination
marvelous performance
ludicrous terms
if unintentionally dull in its lack of poetic frissons
into a grim future that does n't come close to the level of intelligence and visual splendor that can be seen in other films
, it would n't have taken the protagonists a full hour to determine that in order to kill a zombie you must shoot it in the head
gentle
to appreciate the wonderful cinematography and naturalistic acting
this engaging mix
wo n't be an )
through a crummy , wannabe-hip crime comedy that refers incessantly to old movies , when you could just rent those movies instead , let alone seek out a respectable new one
everyone 's
a dull , simple-minded and stereotypical tale
flawed but engrossing
even shallow
extraordinarily good
swallow thanks to remarkable performances
her third feature will be something to behold
no new plot conceptions or
works beautifully as a movie without sacrificing the integrity of the opera
the vulgar , sexist , racist humor
may have been a good film in `` trouble every day
out by an adult who 's apparently been forced by his kids to watch too many barney videos
a valiant attempt to tell a story about the vietnam war before the pathology set in
so many merchandised-to-the-max movies
contrived as this may sound , mr. rose 's updating works surprisingly well .
a whole heap
pointless meditation on losers in a gone-to-seed hotel
thumbs friggin ' down
is also elevated by it -- the kind of movie
just a simple fable done in an artless sytle
makes a wonderful subject for the camera
a colorful , vibrant introduction to a universal human impulse , lushly photographed and beautifully recorded .
the hook is the drama within the drama , as an unsolved murder and an unresolved moral conflict jockey for the spotlight .
a bracing , unblinking work that serves as a painful elegy and sobering cautionary tale
bright young men -- promising , talented , charismatic and tragically
wear over his head when he goes out into public , to avoid being recognized as the man who bilked unsuspecting moviegoers
a giddy and provocative sexual romp that has something to say .
its plot may prove too convoluted for fun-seeking summer audiences
the raw comic energy
, this is a seriously intended movie that is not easily forgotten .
that will stimulate hours of post viewing discussion , if only to be reminded of who did what to whom and why
if s&m seems like a strange route to true love , maybe it is , but it 's to this film 's ( and its makers ' ) credit that we believe that that 's exactly what these two people need to find each other -- and themselves
follows the original film virtually scene for scene and yet manages to bleed it almost completely dry of humor , verve and fun .
it gives poor dana carvey nothing to do that is really funny , and then expects us to laugh because he acts so goofy all the time .
amidst the action , the script carries arnold ( and the viewers ) into the forbidden zone of sympathizing with terrorist motivations by presenting the `` other side of the story . ''
in insignificance
is tenderly observant of his characters
parable that loves its characters and communicates something rather beautiful about human nature
ca n't go wrong .
by taking your expectations and twisting them just a bit
the chops of a smart-aleck film school brat and the imagination of a big kid
continues to improve .
the effort is sincere and the results are honest ,
inept
cuisine and palatable presentation
of that
ingenious and
permeates all its aspects -- from the tv movie-esque , affected child acting to the dullest irish pub scenes ever filmed
dull-witted and
winning performances and some effecting moments
a sexy , surprising romance ... idemoto and kim make a gorgeous pair ... their scenes brim with sexual possibility and emotional danger
the eyes of some children who remain curious about each other against all odds
is moody , oozing , chilling and heart-warming
boils down to a transparently hypocritical work that feels as though it 's trying to set the women 's liberation movement back 20 years . '
catch the pitch of his poetics , savor the pleasure of his sounds and images
is no earthly reason other than money why this distinguished actor would stoop so low
they strip down often enough to keep men alert , if not amused
be building suspense
the tuxedo was n't just bad ; it was , as my friend david cross would call it , ` hungry-man portions of bad ' .
has created such a vibrant , colorful world
except it 's much , much better .
goofy , life-affirming moments
a sweet , honest , and enjoyable comedy-drama
built for controversy
a powerful 1957 drama
you might to resist , if you 've got a place in your heart for smokey robinson
can easily imagine benigni 's pinocchio becoming a christmas perennial