xiangpku/GLUE huggingface dataset:
is to catch the pitch of his poetics , savor the pleasure of his sounds and images , and ponder the historical , philosophical , and ethical issues that intersect with them .
showcases a group of dedicated artists
the quaking essence of passion , grief and fear
pitted against shimmering cinematography that lends the setting the ethereal beauty of an asian landscape painting
very , very good reasons
the pleasures of a well-made pizza
an ( emotionally at least ) adolescent audience demanding regular shocks and bouts of barely defensible sexual violence to keep it interested
rather simplistic
i 've never bought from telemarketers , but i bought this movie .
's clotted with heavy-handed symbolism , dime-store psychology and endless scenic shots that make 105 minutes seem twice as long .
smaller numbered kidlets will enjoy .
the movie 's biggest shocks come from seeing former nymphette juliette lewis playing a salt-of-the-earth mommy named minnie and watching slim travel incognito in a ridiculous wig no respectable halloween costume shop would ever try to sell .
to narrative filmmaking with a visually masterful work of quiet power
lost and desolate
tears welled up in my eyes both times
potentially good comic premise
what once was conviction is now affectation
tumbleweeds blowing through the empty theaters
as fascinating
that with really poor comedic writing
offers few surprises
hollow , self-indulgent , and - worst of all -
weave a protective cocoon around his own ego
war-weary marine
painfully padded .
a sharp , amusing study of the cult
entertaining , if somewhat standardized , action
flirts with propaganda
of an allegedly inspiring and easily marketable flick
to keep you at the edge of your seat with its shape-shifting perils , political intrigue and brushes with calamity
is matched only by the ridiculousness of its premise
including that between the son and his wife , and the wife and the father , and between the two brothers , with incredible subtlety and acumen
he has actually bothered to construct a real story this time .
subjected to farts , urine , feces , semen , or any of the other foul substances
paul cox needed to show it .
skip this dreck
marginal intelligence
delightfully so
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
nearly all the fundamentals you take for granted in most films are mishandled here .
nevertheless , it still seems endless .
a few laughs
vereté has a whip-smart sense of narrative bluffs .
this is just lazy writing .
becomes a soulful , incisive meditation
are of the highest and the performances
zips along with b-movie verve while adding the rich details and go-for-broke acting that heralds something special .
is that i ca n't wait to see what the director does next .
with so much first-rate talent
in welcome perspective
seems based on ugly ideas instead of ugly behavior , as happiness was ...
thanks to confident filmmaking and a pair of fascinating performances
the visuals , even erotically frank ones ,
meeting , even exceeding expectations , it 's the best sequel since the empire strikes back ... a majestic achievement , an epic of astonishing grandeur and surprising emotional depth .
believe that resident evil is not it .
the story has its redundancies , and the young actors , not very experienced , are sometimes inexpressive
mctiernan 's remake may be lighter on its feet -- the sober-minded original was as graceful as a tap-dancing rhino -- but it is just as boring and as obvious
the film starts promisingly , but the ending is all too predictable and far too cliched to really work
upbeat ending
pokemon 4ever
for granted in most films are mishandled here
smug grin
's as sorry a mess as its director 's diabolical debut , mad cows
laughs -- sometimes a chuckle
none of this is meaningful or memorable , but frosting is n't , either , and you would n't turn down a big bowl of that , would you ?
, moving , and adventurous directorial debut
skillfully assembled ,
the direction occasionally rises to the level of marginal competence , but for most of the film it is hard to tell who is chasing who or why
samuel l. jackson is one of the best actors there is .
treasure planet rivals the top japanese animations of recent vintage .
grabs you
may lack the pungent bite of its title , but
to pass this stinker off as a scary movie
sustain interest to the end
should come with the warning `` for serious film buffs only ! ''
own ambitious goals
that 's enough to sustain laughs
a solid cast , assured direction and complete lack of modern day irony
in hero worship
feel compelled to watch the film twice or pick up a book on the subject
unexpected flashes of dark comedy
is a touching reflection on aging , suffering and the prospect of death .
the high-buffed gloss and high-octane jolts
lifelong concern
a charm that 's conspicuously missing from the girls ' big-screen blowout
neither as funny nor as charming as it thinks it is
delightfully
brilliant and brutal
repeated at least four times
a determined , ennui-hobbled slog that really does n't have much to say beyond the news
is it really an advantage to invest such subtlety and warmth in an animatronic bear when the humans are acting like puppets ?
's about individual moments of mood , and an aimlessness that 's actually sort of amazing .
-- as if the director is trying to dupe the viewer into taking it all as very important simply because the movie is ugly to look at and not a hollywood product
wonderfully loopy tale of love , longing , and voting
collapses under its own meager weight .
a satisfying well-made romantic comedy that 's both charming and well acted
flat , unconvincing
the film settles in and becomes compulsively watchable in a guilty-pleasure , daytime-drama sort of fashion .
it may be a somewhat backhanded compliment to say that the film makes the viewer feel like the movie 's various victimized audience members after a while , but it also happens to be the movie 's most admirable quality
love the opening scenes of a wintry new york city in 1899 .
unusual homes
, beautifully realized
the misery
's simply stupid , irrelevant and deeply , truly
is this so boring
such a sophisticated and unsentimental treatment on the big screen
with heavy-handed symbolism , dime-store psychology and endless scenic shots that make 105 minutes seem twice as long
's rarely as entertaining as it could have been
pretty good little movie
that places the good-time shenanigans in welcome perspective
that the movie has no idea of it is serious or
the creative animation work may not look as fully ` rendered ' as pixar 's industry standard , but it uses lighting effects and innovative backgrounds to an equally impressive degree .
willingness to wander into the dark areas of parent-child relationships without flinching
here a more annoying , though less angry
hard to pity the ` plain ' girl who becomes a ravishing waif after applying a smear of lip-gloss
( as well as rank frustration from those in the know about rubbo 's dumbed-down tactics )
warped logic
's so devoid of joy and energy it makes even jason x ... look positively shakesperean by comparison .
the film seem like something to endure instead of enjoy
about death
often silly -- and gross -- but it 's rarely as moronic as some campus gross-out films .
push it through the audience 's meat grinder one more time
bertrand tavernier 's oft-brilliant safe conduct ( `` laissez-passer '' ) wears its heart on its sleeve
this is standard crime drama fare ... instantly forgettable and thoroughly dull .
the best of hollywood 's comic-book
, brilliant and macabre
bitter nor sweet
gaghan captures the half-lit , sometimes creepy intimacy of college dorm rooms , a subtlety that makes the silly , over-the-top coda especially disappointing .
what with all the blanket statements and dime-store ruminations on vanity , the worries of the rich and sudden wisdom , the film becomes a sermon for most of its running time .
a canny crowd pleaser , and the last kiss ... provides more than enough sentimental catharsis for a satisfying evening at the multiplex
the film 's saving graces
irreparably
is a riveting , brisk delight .
slapstick and unfunny tricks
, bordering on offensive , waste of time , money and celluloid .
so warm and fuzzy
surefire , beloved genres
abysmally
making it relatively effortless to read and follow the action at the same time
some real vitality and even art
dumb fart
how many more times will indie filmmakers subject us to boring , self-important stories of how horrible we are to ourselves and each other ?
logical , unforced continuation
contrived , awkward
that will give you goosebumps as its uncanny tale of love , communal discord , and justice
a lot smarter and more unnerving than the sequels
is among wiseman 's warmest .
that you 've seen it all before , even if you 've never come within a mile of the longest yard
's like rocky and bullwinkle on speed
... hits every cliche we 've come to expect , including the assumption that `` crazy '' people are innocent , childlike and inherently funny .
`` gangs '' is never lethargic
bravura performance
whet one 's appetite for the bollywood films
uninspired preachy and clichéd war
updated dickensian sensibility
the quality that keeps dickens evergreen : the exuberant openness with which he expresses our most basic emotions
a fairy tale that comes from a renowned indian film culture that allows americans to finally revel in its splendor
, the visuals and enveloping sounds of blue crush make this surprisingly decent flick worth a summertime look-see .
however , it 's pleasant enough and its ecological , pro-wildlife sentiments are certainly welcome .
could have used my two hours better watching being john malkovich again
too much norma rae
technically sumptuous but also almost wildly alive
the best the contest received
suffers from all the excesses
is a seriously intended movie that is not easily forgotten .
` it 's painful to watch witherspoon 's talents wasting away inside unnecessary films like legally blonde and sweet home abomination , i mean , alabama . '
is the chance it affords to watch jackson , who also served as executive producer , take his smooth , shrewd , powerful act abroad .
seen as hip , winking social commentary
rare family movie
no laughs .
little less bling-bling and a lot more
his machismo
played game of absurd plot twists , idiotic court maneuvers and stupid characters that even freeman ca n't save it
the characters , cast in impossibly contrived situations , are totally estranged from reality .
in alcatraz ' ... a cinematic corpse that never springs to life
the uninspired scripts , acting and direction never rise above the level of an after-school tv special
sane and breathtakingly creative film
i encourage young and old alike to go see this unique and entertaining twist on the classic whale 's tale --
hide new secretions
's a clarity of purpose and even-handedness
a pathetically
dull-witted and disquietingly creepy
a consummate actor incapable of being boring
becomes too heavy for the plot
with an assurance worthy of international acclaim
the delicious pulpiness of its lurid fiction
all the pieces fall together without much surprise , but little moments give it a boost
traveled to places in the world devastated by war , famine and poverty and documented the cruelty and suffering he has found with an devastating , eloquent clarity
gratingly unfunny
in narcissism and self-congratulation disguised as a tribute
has a solid emotional impact .
troubled and
sketchiest
holm does his sly , intricate magic ,
britney spears has popped up with more mindless drivel
emerges from the simple fact that the movie has virtually nothing to show .
a love story and a murder mystery that expands into a meditation on the deep deceptions of innocence
will find millions of eager fans .
wildly incompetent but brilliantly named half past dead -- or for seagal pessimists : totally past his prime .
presence to become a major-league leading lady , ( but )
for some major alterations
is so convinced of its own brilliance that , if it were a person , you 'd want to smash its face in
relatively dry
... a series of tales told with the intricate preciseness of the best short story writing .
of these tragic deaths
is actually dying a slow death , if the poor quality of pokemon 4 ever is any indication
bump in the night and nobody cares
perhaps it 's cliche to call the film ` refreshing , ' but
is the kind of movie where the big scene is a man shot out of a cannon into a vat of ice cream
falls to the floor with a sickening thud
's little to recommend snow dogs
the sick character
sentimental mess
that the movie does not do them justice
its story
astonishing ... ( frames ) profound ethical and philosophical questions in the form of dazzling pop entertainment
exudes the urbane sweetness
this starts off with a 1950 's doris day feel and it gets very ugly , very fast .
a sensitive , cultivated treatment of greene 's work as well as a remarkably faithful one .
take me back to a time
induces headaches
takes an astonishingly condescending attitude toward women
like the logical , unforced continuation of the careers of a pair of spy kids
julie taymor 's preposterous titus
be awed by the power and grace of one of the greatest natural sportsmen of modern times
ultimately undo him
you turn stupid
humorous observations about the general absurdity of modern life
delightfully unpredictable , hilarious
a computer-generated cold fish
, one hour photo lives down to its title .
worldly-wise and very funny script
as a fairly weak retooling
polished and vastly entertaining
resents having to inhale this gutter romancer 's secondhand material
simply stupid , irrelevant and deeply
satisfyingly unsettling ride
the past year , which means that birthday girl is the kind of quirkily appealing minor movie she might not make for a while
search of purpose or even a plot
an oddly winning portrayal of one of life 's ultimate losers
mib ii is a movie that makes it possible for the viewer to doze off for a few minutes or make several runs to the concession stand and/or restroom and not feel as if he or she has missed anything .
's sharply comic and surprisingly touching , so hold the gong
the best espionage picture
lan yu never catches dramatic fire .
tens of thousands of german jewish refugees
some startling , surrealistic moments
annoying rather than charming
is one of those reputedly `` unfilmable '' novels that has bucked the odds to emerge as an exquisite motion picture in its own right .
impeccable comic timing
do well to cram earplugs in their ears and
is paced at a speed that is slow to those of us in middle age and deathly slow to any teen
takes a stand in favor of tradition and warmth
lacks the spirit of the previous two , and makes all those jokes about hos and even more unmentionable subjects seem like mere splashing around in the muck
for its excellent storytelling , its economical
is generous and deep
most of what passes for sex in the movies look like cheap hysterics
it 's an experience in understanding a unique culture that is presented with universal appeal .
the compassion , good-natured humor and the level of insight that made ( eyre 's ) first film something of a sleeper success
the year 's ( unintentionally ) funniest moments
superbly
french coming-of-age import
capable of anteing up some movie star charisma
a cute alien creature who mimics everyone and everything around
sad but
esteemed
the story is -- forgive me -- a little thin , and the filmmaking clumsy and rushed .
problematic quest
substantial or fresh
watchable by a bravura performance
labute 's careful handling makes the material seem genuine rather than pandering .
misdemeanor
, has solid acting and a neat premise
is infectious
it cooks conduct in a low , smoky and inviting sizzle .
i must report that the children of varying ages in my audience never coughed , fidgeted or romped up and down the aisles for bathroom breaks .
sad schlock merchant
its poignancy hooks us completely
less bling-bling
slickly staged
sluggish pace and lack
relies on subtle ironies and visual devices
exaggerated action
are pitted against shimmering cinematography that lends the setting the ethereal beauty of an asian landscape painting
a movie to forget
's fun ,
the central flaw of the film
's too loud
wallowing in its characters ' frustrations
the men and machines behind the curtains of our planet
a woefully dull , redundant concept that bears more than a whiff of exploitation , despite iwai 's vaunted empathy
makes the journey feel like a party
a spoof comedy that carries its share of laughs -- sometimes a chuckle , sometimes a guffaw and , to my great pleasure , the occasional belly laugh .
truly , truly bad
on , well , love in the time of money
the story 's scope and pageantry
uses the damage of war -- far more often than the warfare itself -- to create the kind of art shots that fill gallery shows
a quaint , romanticized rendering
be glued to the screen
warmth and
the plot has a number of holes ,
a thriller without thrills and a mystery devoid
oliver stone 's conspiracy thriller jfk
clever , amusing and unpredictable
none of this sounds promising and , indeed , the first half of sorority boys is as appalling as any ` comedy ' to ever spill from a projector 's lens
rambling incoherence
has dressed up this little parable in a fairly irresistible package full of privileged moments and memorable performances
, intelligent eyes
scruffy , dopey old hanna-barbera charm
france 's most inventive directors
the ideal outlet
were convinced to waste their time
's an adventure story and history lesson all in one .
created a masterful work of art of their own
linklater
( green is ) the comedy equivalent of saddam hussein , and i 'm just about ready to go to the u.n. and ask permission for a preemptive strike .
just about the best straight-up , old-school horror film of the last 15 years .
bad '' is the operative word for `` bad company
, you still have to see this !
it stars schticky chris rock and stolid anthony hopkins , who seem barely in the same movie .
proves a servicable world war ii drama that ca n't totally hide its contrivances , but it at least calls attention to a problem hollywood too long has ignored .
get a cinematic postcard that 's superficial and unrealized
display greatness
it is about irrational , unexplainable life and it seems so real because it does not attempt to filter out the complexity .
the gentle comic treatment
is what it is -- a nice , harmless date film ...
grounded in an undeniable social realism
feel my eyelids ... getting ... very ... heavy
, ghost ship is pretty landbound , with its leaden acting , dull exposition and telegraphed ` surprises . '
none of this sounds promising and
the film is well worthwhile .
patience , respect and affection
every cliche in the war movie compendium across its indulgent two-hour-and-fifteen-minute length
uncomfortably close to losing my lunch
to give them credit for : the message of the movie
remotely new or interesting
can hear you snore
says far less about the horrifying historical reality than about the filmmaker 's characteristic style
, sloppy
falls far short
scherfig , who has had a successful career in tv , tackles more than she can handle .
be hard-pressed to find a movie with a bigger , fatter heart than barbershop
appears jagged , as if filmed directly from a television monitor , while the extensive use of stock footage quickly becomes a tiresome cliché
see her esther blossom as an actress ,
delivers big time
that is an undeniably worthy and devastating experience
formulaic , its plot and pacing typical hollywood war-movie stuff
a thriller with an edge
delivers a monologue that manages to incorporate both the horror and the absurdity of the situation in a well-balanced fashion
dubious human being
there 's no palpable chemistry between lopez and male lead ralph fiennes , plus the script by working girl scribe kevin wade is workmanlike in the extreme .
conquers
bottom-rung new jack city wannabe .
to show us why it 's compelling
is hardly a masterpiece
, the tale unfolds like a lazy summer afternoon and concludes with the crisp clarity of a fall dawn .
emerge with unimpeachable clarity
for most of its footage , the new thriller proves that director m. night shyamalan can weave an eerie spell and that mel gibson can gasp , shudder and even tremble without losing his machismo .
this film , whose meaning and impact is sadly heightened by current world events
poorly-constructed comedy
aimless as an old pickup skidding completely out of control on a long patch of black ice
rousing , g-rated family film
absurdist wit
a mess of mixed messages , over-blown drama and bruce willis
hoffman 's performance is authentic to the core of his being .
bill morrison 's decasia
usually dread encountering the most
sure to win viewers ' hearts
ca n't accuse kung pow for misfiring , since it is exactly what it wants to be : an atrociously , mind-numbingly , indescribably bad movie .
must have been lost in the translation .
despite auteuil 's performance
option to slap her creators because they 're clueless and inept
at an idea that should 've been so much more even if it was only made for teenage boys and wrestling fans
the thin veneer
the delicate forcefulness
if the man from elysian fields is doomed by its smallness
will just as likely make you weep
's still a guilty pleasure to watch .
like edward norton in american history x , ryan gosling ( murder by numbers ) delivers a magnetic performance .
is funny and pithy , while illuminating an era of theatrical comedy that , while past ,
scream low budget
the only camouflage carvey should now be considering is a paper bag to wear over his head when he goes out into public , to avoid being recognized as the man who bilked unsuspecting moviegoers .
of the potential for sanctimoniousness
interlocked stories drowned by all too clever complexity
lacks dramatic punch and depth
david caesar has stepped into the mainstream of filmmaking with an assurance worthy of international acclaim and with every cinematic tool well under his control -- driven by a natural sense for what works on screen .
you want to slap it
great performances , stylish cinematography and
can enjoy much of jonah simply , and gratefully , as laugh-out-loud lunacy with a pronounced monty pythonesque flavor .
garden music video
nice piece of work
knows everything and answers all questions , is visually smart , cleverly written , and nicely realized
a re-hash
is it possible for a documentary to be utterly entranced by its subject and still show virtually no understanding of it ?
tired old vision
snl '' has-been
a pretentious and
is a smart movie that knows its classical music , knows its freud and knows its sade
any movie with a life-affirming message
to the experience
every once in a while , a movie will come along that turns me into that annoying specimen of humanity that i usually dread encountering the most - the fanboy
wimps out by going for that pg-13 rating , so the more graphic violence is mostly off-screen
tub-thumpingly loud
will leave you with a smile on your face and a grumble in your stomach .
how long will filmmakers copy the `` saving private ryan '' battle scenes before realizing steven spielberg
is a welcome lack of pretension about the film , which very simply sets out to entertain and ends up delivering in good measure
highly uneven
one of the most exciting action films
offers nothing more than a bait-and-switch that is beyond playing fair with the audience
is playful but highly studied and dependent for its success on a patient viewer .
cliché-riddled genre
a better script
, then go see this delightful comedy .
disguise the slack complacency of ( godard 's ) vision , any more than the gorgeous piano and strings on the soundtrack can drown out the tinny self-righteousness of his voice
absurdist
seem like a bad idea from frame one
of grace
bright shining star
romantic and serenely
a lyrical metaphor for cultural and personal self-discovery and a picaresque view of a little-remembered world .
it 's not a motion picture ; it 's an utterly static picture
is far from disappointing ,
cliffhanger