xiangpku/GLUE huggingface dataset:
, a cast of competent performers from movies , television and the theater are cast adrift in various new york city locations with no unifying rhythm or visual style .
the leanest and meanest of solondz 's misanthropic comedies
turn bill paxton into an a-list director
the best date movie
disgusting .
derived from a lobotomy , having had all its vital essence scooped out and discarded
is the superficial way it deals with its story
impeccable comic timing ,
sadly --
then you 're at the right film .
its visual delights
ayatollah
at a failure of our justice system
killer website movie
of movie that comes along only occasionally , one so unconventional , gutsy and perfectly
michael moore has perfected the art of highly entertaining , self-aggrandizing , politically motivated documentary-making , and he 's got as potent a topic as ever here
disaster flick
is essentially devoid of interesting characters or even a halfway intriguing plot
solid , spooky entertainment
piece to watch with kids and use to introduce video as art
very shapable but largely unfulfilling
it also has many of the things that made the first one charming .
a gloriously goofy way
every aggrieved father cliché
filled with more holes than clyde barrow 's car .
wo n't join the pantheon of great monster/science fiction flicks that we have come to love
the film ) works
marvelously compelling is present brown as a catalyst for the struggle of black manhood in restrictive and chaotic america ... sketchy but nevertheless gripping portrait of jim brown , a celebrated wonder in the spotlight
sarah 's dedication to finding her husband seems more psychotic than romantic
, it 's too long and unfocused .
own placid way
has become one of our best actors
the good-time shenanigans in welcome perspective
a man in pain
, cliched and clunky
the light-footed enchantment the material needs
go see this unique and entertaining twist on the classic whale 's tale
( toback 's ) fondness for fancy split-screen , stuttering editing and pompous references to wittgenstein and kirkegaard ... blends uneasily with the titillating material
immaturity
dumb , narratively chaotic , visually sloppy
is a divine monument to a single man 's struggle to regain his life , his dignity and his music
privileged moments and memorable performances
shows little understanding
begins haranguing the wife in bad stage dialogue
of pure movie
is brilliant ,
beyond its limit to sustain a laugh
never worry about anyone being bored
a powerful drama with enough sardonic wit to keep it from being maudlin
fairly trite
orwell 's dark , intelligent warning cry
it 's fun , but it 's a real howler
is a big letdown
recycled more times than i 'd care to count
offers copious hints along the way -- myriad signs , if you will -- that beneath the familiar , funny surface is a far bigger , far more meaningful story than one in which little green men come to earth for harvesting purposes .
is about as interesting
nearly terminal case
overlong documentary
a poignant lyricism runs through balzac and the little chinese seamstress that transforms this story about love and culture into a cinematic poem .
little doubt
about as exciting to watch as two last-place basketball teams playing one another on the final day of the season
the fascination comes in the power of the huston performance , which seems so larger than life and yet so fragile , and
's nowhere near as good as the original .
so-five-minutes-ago pop music
unambitious writing
, whatever your orientation .
of comedic bliss
create a film that 's not merely about kicking undead *** , but also about dealing with regret and , ultimately , finding redemption
come by once in a while with flawless amounts of acting , direction , story and pace
impressive hybrid .
... spiced with humor ( ' i speak fluent flatula , ' advises denlopp after a rather , er , bubbly exchange with an alien deckhand )
hide the fact that seagal 's overweight and out of shape
all of the elements are in place for a great film noir , but
you laugh once ( maybe twice )
maggots crawling on a dead dog
fails as a dystopian movie , as a retooling of fahrenheit 451 , and even as a rip-off of the matrix
the artistry of making a film
cho 's timing is priceless .
much interest
more bluster
the world needs more filmmakers with passionate enthusiasms like martin scorsese .
generous and subversive artworks
a boring , pretentious waste of nearly two hours
almost as much as they love themselves
there '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 .
succeeds mainly
evokes a palpable sense of disconnection
it will be , and in that sense is a movie that deserves recommendation
than the bruckheimeresque american action flicks it emulates
it 's so crammed with scenes and vistas and pretty moments that it 's left a few crucial things out , like character development and coherence .
the astute direction of cardoso
sentimentality and annoying
winning squareness that would make it the darling of many a kids-and-family-oriented cable channel
go around , with music and laughter
crisp clarity
your ice-t 's from your cool-j 's to realize that as far as these shootings are concerned , something is rotten in the state of california
it begins to drag two-thirds through , when the melodramatic aspects start to overtake the comedy
the direction of spielberg
fascinating , bombshell documentary
does best
can not guess why the cast and crew did n't sign a pact to burn the negative and the script and pretend the whole thing never existed .
hopelessly inane , humorless and under-inspired .
the result is an ` action film ' mired in stasis .
delightfully charming -- and totally american
treads heavily
a superficial way
dumb humor
journalistically dubious ,
better after foster
childlike dimness and
a kids-and-family-oriented cable channel
maryam is a small film , but it offers large rewards .
the familiar topic of office politics
's all surface psychodramatics
not only learning but inventing a remarkable new trick
because it echoes the by now intolerable morbidity of so many recent movies
is unashamedly pro-serbian and makes little attempt to give voice to the other side .
's not particularly well made
directing with a sure and measured hand , ( haneke ) steers clear of the sensational and offers instead an unflinching and objective look at a decidedly perverse pathology .
beautifully read and , finally , deeply humanizing
since freddy got fingered
shallow , noisy and pretentious .
the viewer 's patience
rich promise
anarchist maxim
is long on
two fine actors , morgan freeman and
rarely does such high-profile talent serve such literate material .
the leads are natural and lovely
hampered by its predictable plot and paper-thin supporting characters
once overly old-fashioned in its sudsy plotting
that this should seal the deal
high crimes carries almost no organic intrigue as a government / marine/legal mystery
is so intent on hammering home his message that he forgets to make it entertaining .
an unbalanced mixture
, the movie completely transfixes the audience .
nights feels more like a quickie tv special than a feature film ... it 's not even a tv special you 'd bother watching past the second commercial break
on top of a foundering performance
by the incredibly flexible cast
it is just too bad the film 's story does not live up to its style .
fail to generate any interest in an unsympathetic hero caught up in an intricate plot that while cleverly worked out , can not overcome blah characters
make a nice coffee table book
ends so horrendously confusing
so far-fetched it would be impossible to believe if it were n't true
simple-minded and
alert , if not
is sordid and disgusting
the incessant use
the same way you came -- a few tasty morsels under your belt , but no new friends
it is not the first time that director sara sugarman stoops to having characters drop their pants for laughs and not the last time she fails to provoke them .
nothing about them is attractive .
the performers are so spot on
its appeal will probably limited to lds church members and undemanding armchair tourists .
a film less
a lovely film for the holiday season
the increasingly diverse french director has created a film that one can honestly describe as looking , sounding and simply feeling like no other film in recent history .
urge to grab the old lady at the end of my aisle 's walker and toss it at the screen in frustration
a head-turner -- thoughtfully written
the comedy equivalent
through with originality , humor and pathos
of this unique director 's previous films
some outrageously creative action
a squirm-inducing fish-out-of-water formula that goes nowhere and goes there very , very slowly
pushes all the demographically appropriate comic buttons
combined with stunning animation
become one of our best actors
( carvey 's ) characters are both overplayed and exaggerated , but then again , subtlety has never been his trademark .
every frame of this stylish film that is able to visualize schizophrenia but is still confident enough to step back and look at the sick character with a sane eye
the most beautiful , evocative works i 've seen
unfortunately , kapur modernizes a.e.w. mason 's story to suit the sensibilities of a young american , a decision that plucks `` the four feathers '' bare .
hashiguchi uses the situation to evoke a japan bustling atop an undercurrent of loneliness and isolation .
a nicely understated expression of the grief
the relationship between reluctant
is undone by a filmmaking methodology that 's just experimental enough to alienate the mainstream audience while ringing cliched to hardened indie-heads
much of all about lily chou-chou is mesmerizing
always entertaining , and smartly written
an adoring , wide-smiling reception
is authentic
i would recommend big bad love only to winger fans who have missed her since 1995 's forget paris .
is about quiet , decisive moments between members of the cultural elite as they determine how to proceed as the world implodes .
enough to sit through crap like this
a little scattered
ignored it in favor of old ` juvenile delinquent ' paperbacks with titles
made fresh by an intelligent screenplay and gripping performances
it 's a ripper of a yarn
the soundtrack alone is worth the price of admission .
in-depth portrait
entertaining and suggestive
the demons of his own fear and paranoia
at the very least
intermittently powerful study
you 'll enjoy the hot chick .
racist portraits
creating an intriguing species of artifice
by the sea would slip under the waves .
i thought the relationships were wonderful , the comedy was funny , and the love ` real '
has really done his subject justice .
if there was ever a movie where the upbeat ending feels like a copout
misses a major opportunity to be truly revelatory about his psyche .
not since ghostbusters has a film used manhattan 's architecture in such a gloriously goofy way .
to a t.
cloaks a familiar anti-feminist equation ( career - kids = misery ) in tiresome romantic-comedy duds .
male hip hop fantasy
becomes a questionable kind of inexcusable dumb innocence
bible stores of the potential for sanctimoniousness , making them meaningful for both kids and church-wary adults
a great yarn
soderbergh 's best films , `` erin brockovich , '' `` out of sight '' and `` ocean 's eleven , ''
's surprisingly bland despite the heavy doses of weird performances and direction
sweetness and vulnerability
the muckraking , soul-searching spirit
, it 's badder than bad .
offers a trenchant critique of capitalism
well-paced and ultimately
stellar performance
best disney movie
flows forwards and back , weaving themes among three strands which allow us to view events as if through a prism
cardboard characters and performers
will have fun with
this crude , this fast-paced and this insane
will eat up like so much gelati
especially give credit to affleck .
the movie contains no wit , only labored gags .
been this disappointed by a movie in a long time
inevitable and
the cleverest ,
an interesting bit of speculation
feel better already .
its leaden acting
teen-sleaze equivalent
from being a complete waste of time
is like a year late for tapping into our reality tv obsession , and even tardier for exploiting the novelty of the `` webcast . ''
as the direction is intelligently accomplished
but no . .
's a pretty woman
's low on both suspense and payoff
franco is an excellent choice for the walled-off but combustible hustler ,
good actors have a radar for juicy roles -- there 's a plethora of characters in this picture , and not one of them is flat
fumbles away
, overlong soap
a tremendous , offbeat sense of style and humor
miller eloquently captures the moment when a woman 's life , out of a deep-seated , emotional need , is about to turn onto a different path .
to swallow thanks to remarkable performances by ferrera and ontiveros
seems as deflated as he does
dumb gags
a spooky yarn of demonic doings on the high seas that works better the less the brain is engaged
several strong performances
a lot of problems
congrats disney
the film has an odd purity that does n't bring you into the characters so much as it has you study them .
is the awkwardly paced soap opera-ish story
, it 's kinda dumb .
reminds us that , in any language , the huge stuff in life can usually be traced back to the little things
in a slap-happy mood
a sly female empowerment movie
half the excitement of balto
updating white 's dry wit to a new age
the movie spends more time with schneider than with newcomer mcadams , even though her performance is more interesting ( and funnier ) than his .
rehashes several old themes and is capped with pointless extremes
take the warning literally
particular new yorkers deeply touched by an unprecedented tragedy
energy and geniality to please not only the fanatical adherents on either side , but also people who know nothing about the subject and think they 're not interested .
on no level whatsoever for me
consistently funny
equally engrossing
looks and feels tired
a reasonable degree of suspense
turns a potentially interesting idea into an excruciating film
a brief amount
a heaven
to create a film that 's not merely about kicking undead *** , but also about dealing with regret and , ultimately , finding redemption
is like a beautiful food entrée that is n't heated properly , so that it ends up a bit cold and relatively flavorless
quiet , introspective and entertaining
a bang-up job of pleasing the crowds
seems content to dog-paddle in the mediocre end of the pool ,
told just proficiently enough to trounce its overly comfortable trappings .
is an action movie with an action icon who 's been all but decommissioned
to stop watching
softheaded metaphysical claptrap
who paid to see it
less than fresh
a triumph , a film that hews out a world and carries us effortlessly from darkness to light
you 'll find it with ring , an indisputably spooky film ; with a screenplay to die for
rarely , a movie is more than a movie .
we 've liked klein 's other work but rollerball left us cold
to see a movie that embraces its old-fashioned themes and in the process comes out looking like something wholly original
the performers are so spot on , it is hard to conceive anyone else in their roles .
offend viewers not amused by the sick sense of humor .
an incredibly irritating comedy about thoroughly vacuous people
a seriocomic debut of extravagant promise by georgian-israeli director dover kosashvili .
an overly sillified plot and
becomes long and tedious
are never more than sketches ... which leaves any true emotional connection or identification frustratingly out of reach .
intermittently wise
some writer dude , i think his name was , uh , michael zaidan , was supposed to have like written the screenplay or something , but , dude ,
writer and director otar iosseliani 's pleasant tale
is simply a well-made and satisfying thriller .
is carried less by wow factors than by its funny , moving yarn that holds up well after two decades .
a hilarious ode to middle america
the funniest jokes of any movie
the problem with wendigo , for all its effective moments , is n't really one of resources .
i found it weirdly appealing
do justice
is extremely funny
inconsequential road-and-buddy pic
that is fully formed and remarkably assured
, you discover that the answer is as conventional as can be .
peels layers
nighttime manhattan , a loquacious videologue of the modern male and the lengths to which he 'll go to weave a protective cocoon around his own ego
are very , very good reasons for certain movies to be sealed in a jar and left on a remote shelf indefinitely
strong filmmaking requires a clear sense of purpose , and in that oh-so-important category , the four feathers comes up short .
in tired stereotypes
so perfect for a ballplayer
when the fire burns out , we 've only come face-to-face with a couple dragons and that 's where the film ultimately fails
this film has an ` a ' list cast and some strong supporting players
flawed humanity
ame and unnecessary .
watch robert deniro belt out `` when you 're a jet
is n't just
the long and eventful spiritual journey of the guru who helped
a great writer
messy , uncouth , incomprehensible , vicious and absurd
though an important political documentary , this does not really make the case the kissinger should be tried as a war criminal .
the chaotic horror
the directing and story are disjointed , flaws that have to be laid squarely on taylor 's doorstep .
full of cheesy dialogue , but great trashy fun that finally returns de palma to his pulpy thrillers of the early '80s
record the lives of women torn apart by a legacy of abuse
by humanity 's greatest shame
plays like a glossy melodrama that occasionally verges on camp .
incredibly flexible cast
is a smart movie that knows its classical music , knows its freud and knows its sade .
tanks .
romething 's really wrong with this ricture !
really strong second effort
you want to bang your head on the seat in front of you , at its cluelessness , at its idiocy , at its utterly misplaced earnestness
of french cinema 's master craftsmen
i would have liked it much more if harry & tonto never existed
grinds itself
all the way to the credits
a winning comedy with its wry observations
the most screwy thing here is how so many talented people were convinced to waste their time
awarded mythic status
tambor and clayburgh make an appealing couple -- he 's understated and sardonic , she 's appealingly manic and energetic .
, very good
fun with it all
, thoughtful , unapologetically raw
this film always keeping the balance between the fantastic and the believable
much has been written about those years when the psychedelic '60s grooved over into the gay '70s , but words do n't really do the era justice .
has performed a difficult task indeed
consider what new best friend does not have , beginning with the minor omission of a screenplay .
repetitious
a freedom
as a treatise on spirituality as well as a solid sci-fi thriller
with lingering questions about what the film is really getting at
jacobi , the most fluent of actors ,
powerful and reasonably fulfilling
is driven by appealing leads
a halfwit plot
all too familiar ...
in self-consciously flashy camera effects , droning house music and flat , flat dialogue
a mess from start to finish
a teenybopper ed wood film , replete with the pubescent scandalous innuendo and the high-strung but flaccid drama
hide a weak script
, dogtown and z-boys has a compelling story to tell .
abject
the director taking a hands-off approach when he should have shaped the story to show us why it 's compelling
decisive
adobo
they grow up and you can wait till then
some movies were made for the big screen , some for the small screen
the topic of relationships in such a straightforward , emotionally honest manner that by the end
approach to the workplace romantic comedy .
settle for
are portrayed with almost supernatural powers to humble , teach and ultimately redeem their mentally `` superior '' friends , family ...
sits there like a side dish no one ordered .
breathe out of every frame
as a remake , it 's a pale imitation .
expect and often surprises you with unexpected comedy
has a cinematic fluidity and sense of intelligence that makes it work more than it probably should
breezy movie
the first hour is tedious though ford and neeson capably hold our interest , but its just not a thrilling movie .
things really get weird , though not particularly scary : the movie is all portent and no content
terrifically entertaining
charms are immediately apparent
a coming-of-age movie that hollywood would n't have the guts to make .
because of its heightened , well-shaped dramas
looks genuinely pretty
elegantly appointed
's a piece of handiwork that shows its indie tatters and self-conscious seams in places , but has some quietly moving moments and an intelligent subtlety
fascinating they may be as history
winning and wildly fascinating work
's ... worth the extra effort to see an artist , still committed to growth in his ninth decade , change while remaining true to his principles with a film whose very subject is , quite pointedly , about the peril of such efforts .
a long patch of black ice
odd and weird
this oscar-nominated documentary
too burdened by the actor
give the movie points for
that only ever walked the delicate tightrope between farcical and loathsome
see clockstoppers if you have nothing better to do with 94 minutes .
of an artist , one whose view of america , history and the awkwardness of human life is generous and deep
thumbs up to paxton for not falling into the hollywood trap and making a vanity project with nothing new to offer
bloated
its characters , about whose fate it is hard to care
an elegantly balanced movie -- every member of the ensemble has something fascinating to do --
to the endlessly repetitive scenes of embarrassment
turn on many people to opera
ararat is fiercely intelligent and uncommonly ambitious .
substandard
the characters are so generic and
director hoffman , with great help from kevin kline ,
eventually resents having to inhale this gutter romancer 's secondhand material
a tremendous , offbeat sense
with taking insane liberties and doing the goofiest stuff out of left field
the first fatal attraction was vile enough .
to be dismissed
ridiculous action sequences
in a bad-movie way
written by somebody else
loses its overall sense of mystery
mostly told through on-camera interviews with several survivors , whose riveting memories are rendered with such clarity that it 's as if it all happened only yesterday
of the better video-game-based flicks ,
real shame
often incisive satire and unabashed sweetness
its filmmakers run out of clever ideas and visual gags about halfway through
attal 's hang-ups surrounding infidelity are so old-fashioned and , dare i say ,
low-brow
is phenomenal , especially the women .
whimsical humor
that makes the banger sisters a fascinating character study with laughs to spare
positive change
obsessive
hilariously raunchy as south park
lacks the wit necessary to fully exploit the comic elements of the premise , making the proceedings more bizarre than actually amusing
new energy
is far-flung , illogical , and plain stupid
would be rendered tedious by avary 's failure to construct a story with even a trace of dramatic interest .
has a difficult time shaking its blair witch project real-time roots
, kapur gives us episodic choppiness , undermining the story 's emotional thrust .
even when there are lulls , the emotions seem authentic , and the picture is so lovely toward the end
oftentimes funny ,
i do n't know what she 's doing in here
the qualities that made the first film so special
that 's just experimental enough to alienate the mainstream audience while ringing cliched to hardened indie-heads
do a load of good
drumline is its energy
is dicaprio 's best performance in anything ever , and easily the most watchable film of the year .
well-paced
he has something significant to say
brian tufano 's handsome widescreen photography
horribly depressing and
ultimately this is a frustrating patchwork : an uneasy marriage of louis begley 's source novel ( about schmidt ) and an old payne screenplay .