xiangpku/GLUE huggingface dataset:
an honored screen veteran
some of the visual flourishes are a little too obvious , but restrained and subtle storytelling , and fine performances make this delicate coming-of-age tale a treat
nemesis suffers from a paunchy midsection , several plodding action sequences and a wickedly undramatic central theme .
does n't become smug or sanctimonious towards the audience
frustrated and detached
a sweet-tempered comedy
a fine documentary
jacquot preserves tosca 's intoxicating ardor through his use of the camera .
arrived for an incongruous summer playoff , demonstrating yet again that the era of the intelligent , well-made b movie is long gone
it 's mildly interesting to ponder the peculiar american style of justice that plays out here ,
intricately structured and well-realized drama
so impersonal or
proves to be a good match of the sensibilities of two directors .
might try paying less attention to the miniseries and more attention to the film it is about
is clearly a good thing .
thrill you , touch you and make you
written so well ,
undone by a filmmaking methodology that 's just experimental enough to alienate the mainstream audience while ringing cliched to hardened indie-heads
i found myself howling more than cringing
stale first act , scrooge story , blatant product placement , some very good comedic songs , strong finish , dumb fart jokes .
the best he 's been in years
speak fluent flatula , ' advises denlopp after a rather , er , bubbly exchange with an alien deckhand
the overall fabric is hypnotic ,
complete moron
you may think you have figured out the con and the players in this debut film by argentine director fabian bielinsky , but while you were thinking someone made off with your wallet .
it 's good-natured and sometimes quite funny
the movie is like scorsese 's mean streets redone by someone who ignored it in favor of old ` juvenile delinquent ' paperbacks with titles like leather warriors and switchblade sexpot .
'll find it with ring , an indisputably spooky film ; with a screenplay to die for
his characters are acting horribly
is oedekerk 's realization of his childhood dream to be in a martial-arts flick , and proves that sometimes the dreams of youth should remain just that
naturalistic
larry fessenden 's spooky new thriller
, tavernier 's film bounds along with the rat-a-tat energy of `` his girl friday , '' maintaining a light touch while tackling serious themes .
gives us a reason to care about them
savor the story
a preposterous , prurient whodunit .
cheapened
vulgarity , sex scenes , and
winter landscapes
eat up
shows how deeply felt emotions can draw people together across the walls that might otherwise separate them
constantly pulling the rug from underneath us ,
would require the patience of job to get through this interminable , shapeless documentary about the swinging subculture
psychologically savvy .
white oleander may leave you rolling your eyes in the dark , but that does n't mean you wo n't like looking at it
after an uncertain start
no major discoveries , nor any stylish sizzle
dramatic impact
the film is way too full of itself
however entertainingly presented ,
illustrates the problems of fledgling democracies , but also the strength and sense of freedom the iranian people already possess , with or without access to the ballot box
poignant and funny .
a rumor of angels does n't just slip --
-- and disposable story
... a weak and ineffective ghost story without a conclusion or pay off .
the funniest moments
impeccable sense
a pleasing verisimilitude
be quirky and funny
by ryan gosling
one of the most splendid entertainments to emerge from the french film industry in years .
the stale material
can impart an almost visceral sense of dislocation and change
that 's truly deserving of its oscar nomination
a powerful and telling story that examines
it 's truly awful and heartbreaking subject matter , but one whose lessons are well worth revisiting as many times as possible .
handled correctly , wilde 's play is a masterpiece of elegant wit and artifice .
's face is ) an amazing slapstick instrument ,
best possible ways
entirely improvised
make you wish you were at home watching that movie instead of in the theater watching this one
wretched
in an unsympathetic hero caught up in an intricate plot that while cleverly worked out , can not overcome blah characters
ame and unnecessary
lacks the spirit of the previous two , and
for the perspective it offers
even less surprises
compelling historical tale
venturesome
it certainly does n't feel like a film that strays past the two and a half mark
in producing that most frightening of all movies -- a mediocre horror film too bad to be good and too good to be bad
unfocused screenplay
for all its social and political potential , state property does n't end up being very inspiring or insightful .
rollerball left us cold
vibrant , and intelligent
if you come from a family that eats , meddles , argues , laughs , kibbitzes and fights together , then go see this delightful comedy .
so sloppy ,
wall-to-wall good time
's just brilliant in this
, ice age is consistently amusing and engrossing ...
his strongest performance since the doors
most refreshing about real women have curves
an unsettling sight
where nothing 's happening
stultifyingly obvious
's as comprehensible as any dummies guide , something even non-techies can enjoy
raucously amusing
marks him as one of the most interesting writer/directors working today
seems manufactured to me and artificial
is weighed down by supporting characters who are either too goodly , wise and knowing or downright comically evil
as sexy
dreary mess
fun , curiously adolescent movie
it 's a fairly impressive debut from the director , charles stone iii .
your pooper-scoopers
... the film 's considered approach to its subject matter is too calm and thoughtful for agitprop , and the thinness of its characterizations makes it a failure as straight drama . '
while this film has an ` a ' list cast and some strong supporting players
comes off as a two-way time-switching myopic mystery that stalls in its lackluster gear of emotional blandness
the plight
gaunt , silver-haired and leonine ,
addition to gluing you to the edge of your seat
most pitiful directing
poor editing , bad bluescreen , and ultra-cheesy dialogue
a terrifically entertaining specimen of spielbergian
despite a fairly slow paced , almost humdrum approach to character development
it employs changes that fit it well rather than ones that were imposed for the sake of commercial sensibilities
: it 's not scary in the slightest .
what 's so fun about this silly , outrageous , ingenious thriller
is both gripping and compelling
that 's right
epps has neither the charisma nor the natural affability that has made tucker a star .
the saigon of 1952 is an uneasy mix of sensual delights and simmering violence , and the quiet american brings us right into the center of that world
though lan yu lacks a sense of dramatic urgency , the film makes up for it with a pleasing verisimilitude .
leaving you with some laughs and a smile
timeless and unique perspective
it is very difficult to care about the character
it shows that some studios firmly believe that people have lost the ability to think and will forgive any shoddy product as long as there 's a little girl-on-girl action .
that you 'll want to crawl up your own *** in embarrassment
neither the funniest film that eddie murphy nor robert de niro has ever made , showtime is nevertheless efficiently amusing for a good while .
to a small star with big heart
seen in that light
shrewd enough
less compelling than the circumstances of its making
dramatic nor
into the modern rut of narrative banality
is painfully bad , a fourth-rate jim carrey who does n't understand the difference between dumb fun and just plain dumb .
the comic elements of the premise , making the proceedings more bizarre than actually amusing
'd need a shower
new star wars movie
be swept away by the sheer beauty of his images
fairly enjoyable mixture
nor truly edgy -- merely crassly flamboyant and comedically labored .
exhilarating
opens with maggots crawling on a dead dog
a `` snl '' has-been acting like an 8-year-old channeling roberto benigni
turn on many people
too bad to be good and
be a talky bore
with its unbelievable naïveté and arbitrary flashbacks
celebrates
's not a bad premise , just a bad movie
a sweet little girl
the awe
proving that he 's now , more than ever , choosing his roles with the precision of the insurance actuary
it 's an ambitious film , and as with all ambitious films , it has some problems
the funniest and most accurate depiction of writer
does n't try to surprise us with plot twists
funnier version of the old police academy flicks
`` bad '' is the operative word for `` bad company , '' and i do n't mean that in a good way .
a very funny romantic comedy about two skittish new york middle-agers who stumble into a relationship and then
puts enough salt into the wounds of the tortured and self-conscious material to make it sting .
of disconnection
the film does n't manage to hit all of its marks
is not as terrible as the synergistic impulse that created it
are served with a hack script .
, sweet , and intermittently hilarious
's a fine , focused piece of work that reopens an interesting controversy and never succumbs to sensationalism
that are so crucial to the genre and another first-rate performance by top-billed star bruce willis
satisfying crime drama
as stick figures reading lines from a teleprompter
refreshing and comical
more watchable
low , very low
the script 's flaws
take its sweet time to get wherever it 's going
twenty the worst of the brosnan bunch
the empty stud knockabout
a low-budget hybrid
a hilarious ode
you 're as happy listening to movies as you are watching them , and the slow parade of human frailty fascinates you
an absorbing and unsettling psychological drama .
fresh or enjoyable
excruciating demonstration
knows everything and answers all questions , is visually smart , cleverly written
exhaustion , from watching a movie that is dark ( dark green , to be exact ) ,
keep you at the edge of your seat with its shape-shifting perils , political intrigue and brushes
part biography , part entertainment and
high-wattage brainpower
are ... impeccable throughout
surprisingly idealistic
is a tribute to shyamalan 's gifts , which are such that we 'll keep watching the skies for his next project .
honest working man john q. archibald , on a pedestal , then keeps lifting the pedestal higher
a pretentious and ultimately empty examination of a sick and evil woman .
do little to salvage this filmmaker 's flailing reputation
its courageousness , and comedic employment
turgid fable
take on the soullessness of work
` dumb
michael moore 's bowling for columbine rekindles the muckraking , soul-searching spirit of the ` are we a sick society ? '
tepid genre offering
its mean-spirited second half
no better or worse than ` truth or consequences , n.m. ' or any other interchangeable actioner with imbecilic mafia
is almost completely lacking in suspense , surprise and consistent emotional conviction .
there 'll be a power outage during your screening so you can get your money back
apparently nobody here bothered to check it twice .
the film is one of the year 's best .
collapses after 30 minutes into a slap-happy series of adolescent violence .
when you doze off thirty minutes into the film
astonishingly condescending
is merited
experimental enough to alienate the mainstream audience while ringing cliched to hardened indie-heads
the urban landscapes are detailed down to the signs on the kiosks , and the color palette , with lots of somber blues and pinks , is dreamy and evocative .
preachy-keen
intriguing twist
's consistently funny , in an irresistible junior-high way , and consistently free
the all-too-familiar saga of the contemporary single woman
a superlative b movie
would 've worked a lot better had it been a short film
's a glorious spectacle like those d.w. griffith made in the early days of silent film .
too many flashbacks
for laughs and not the last time
single-handedly turned a plane full of hard-bitten , cynical journalists into what was essentially , by campaign 's end , an extended publicity department
if not morally bankrupt , at least terribly monotonous
miyazaki 's nonstop images are so stunning , and his imagination so vivid ,
completely awful iranian drama
drawn into the exotic world of belly dancing
leguizamo 's best movie work
eager to please
bloody sunday has the grace to call for prevention rather than to place blame , making it one of the best war movies ever made .
a winning piece
the historical , philosophical
a much larger historical context
no quarter to anyone
film that loses sight of its own story .
a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience
a harrowing account of a psychological breakdown .
to better understand why this did n't connect with me would require another viewing , and
might enjoy this
funny in the middle of sad in the middle of hopeful
's no energy .
utterly incompetent
the gabbiest giant-screen movie
incoherence and redundancy
from philippe , who makes oliver far more interesting than the character 's lines would suggest , and sarandon , who could n't be better as a cruel but weirdly likable wasp matron
raimi crafted a complicated hero who is a welcome relief from the usual two-dimensional offerings .
gasp , shudder and even tremble without losing his machismo
your seat with its shape-shifting perils , political intrigue and brushes
a funny moment or two
rock and stolid anthony hopkins
appropriately cynical social commentary aside , # 9 never quite ignites .
an exceptionally
it is formula filmmaking
both ugly and mindless
that interest attal and gainsbourg
in their cheap , b movie way
driven by a fantastic dual performance from ian holm ...
were written by somebody else
illuminating comedy
a ravishing , baroque beauty
the script boasts some tart tv-insider humor ,
does n't really know or care about the characters
slack and uninspired , and peopled mainly by characters so unsympathetic that you 're left with a sour taste in your mouth
is the way it skirts around any scenes that might have required genuine acting from ms. spears .
filmmaking that is plainly dull and visually ugly when it is n't incomprehensible .
best and most exciting movies
is a bowser .
of discovery
exceptionally well acted by diane lane and richard gere .
limps along on a squirm-inducing fish-out-of-water formula that goes nowhere and goes there very , very slowly
... the whole thing succeeded only in making me groggy .
is both inspiring and pure joy .
a liability
atrociously , mind-numbingly , indescribably bad movie
will all but take you to outer space
like such a bore
the film does n't really care about the thousands of americans who die hideously
is no doubt that krawczyk deserves a huge amount of the credit for the film 's thoroughly winning tone
aims to present an unflinching look at one man 's downfall , brought about by his lack of self-awareness
high drama , disney-style - a wing and a prayer and a hunky has-been pursuing his castle in the sky .
woody allen can write and deliver a one liner as well as anybody .
not because of its epic scope , but because of the startling intimacy
its just not a thrilling movie
the movie 's contrived , lame screenplay
a fine-looking film with a bouncy score and
it 's so badly made on every level that i 'm actually having a hard time believing people were paid to make it .
a dysfunctional parent-child relationship
a boring , pretentious waste
you can fire a torpedo through some of clancy 's holes
make it look as though they are having so much fun
one of the most high-concept sci fi adventures attempted for the screen
a very funny romantic comedy
've had more interesting -- and , dare i say , thematically complex -- bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama
feel genuinely good
miyazaki 's nonstop images are so stunning , and his imagination so vivid , that the only possible complaint you could have about spirited away is that there is no rest period , no timeout
a powerful performance from mel gibson and a brutal 90-minute battle sequence that does everything but issue you a dog-tag and an m-16 .
manages to accomplish what few sequels can -- it equals the original and in some ways even betters it .
, it 's exploitive without being insightful .
with ambitious , eager first-time filmmakers
even lazier and far less enjoyable
so insatiable
a satisfying kids flck becomes increasingly implausible as it races through contrived plot points
horrifying and oppressively tragic
postcard perfect ,
to its proper home
wendigo wants to be a monster movie for the art-house crowd , but it falls into the trap of pretention almost every time
warm and fuzzy
sometimes makes less sense than the bruckheimeresque american action flicks it emulates .
a strict reality
, laughably predictable wail pitched to the cadence of a depressed fifteen-year-old 's suicidal poetry .
anything except that the chelsea hotel today is populated by whiny , pathetic , starving and untalented artistes
... plenty of warmth to go around , with music and laughter and the love of family .
light ( yet unsentimental )
will welcome or accept the trials of henry kissinger as faithful portraiture
a funny , triumphant , and
that i usually dread encountering the most
our infantilized culture that is n't entirely infantile
, i spy has all the same problems the majority of action comedies have .
well worth revisiting as many times as possible
shakespeare 's eloquent language
the script was reportedly rewritten a dozen times --
too clumsy in key moments
, this quirky soccer import is forgettable
a hugely rewarding experience that 's every bit as enlightening , insightful and entertaining as grant 's two best films
onto the end credits
comes across as a relic from a bygone era , and its convolutions ... feel silly rather than plausible .
scratch is great fun , full of the kind of energy it 's documenting .
that it 's so not-at-all-good
enjoyment to be had from films crammed with movie references
only in making me groggy
plenty to offend everyone
dissing the film
from an honored screen veteran and a sparkling newcomer who instantly transform themselves into a believable mother/daughter pair
to watch huppert scheming , with her small , intelligent eyes as steady as any noir villain , and
makes her nomination as best actress even more of a an a
for a film -- rowdy , brawny and lyrical in the best irish sense
is too impressed with its own solemn insights to work up much entertainment value
's that rare family movie -- genuine and sweet without relying on animation or dumb humor .
one of the very best movies ever made about the life of moviemaking .
a blast
quibble with a flick boasting this many genuine cackles
i suspect it might deliver again and again
simone '' is a fun and funky look into an artificial creation in a world that thrives on artificiality .
is essentially a subculture , with its own rules regarding love and family , governance and hierarchy
what could have been right at home as a nifty plot line in steven soderbergh 's traffic fails to arrive at any satisfying destination .
be exasperated by a noticeable lack of pace
hear george orwell turning over
may be galled that you 've wasted nearly two hours of your own precious life with this silly little puddle of a movie
pedestrian , flat drama
long bore .
good alternative
, genuine
an elegant film with often surprising twists and an intermingling of naiveté and sophistication
a cliché left
it does n't improve upon the experience of staring at a blank screen
the dreary expanse of dead-end distaste
draw people together across the walls that might otherwise separate them
berling and béart ... continue to impress , and isabelle huppert ... again shows uncanny skill in getting under the skin of her characters
the film settles too easily along the contours of expectation
henry bean 's thoughtful screenplay
you realize there 's no place for this story to go but down
christmas spirit
scored and powered by a set of heartfelt performances
it 's an enjoyable trifle nonetheless
a movie-industry satire
call this film a lump of coal
, biting and witty feature
honorably mexican and burns its kahlories with conviction .
it sees those relationships , including that between the son and his wife , and the wife and the father , and between the two brothers , with incredible subtlety and acumen .
matters because both are just actory concoctions , defined by childlike dimness and a handful of quirks .
mamet 's airless cinematic shell games .
aimless
constant smiles and
of an overripe episode of tv 's dawson 's creek and a recycled and dumbed-down version of love story
the saccharine sentimentality
a whole lot of fun and funny in the middle , though somewhat less hard-hitting at the start and finish .
covers this territory with wit and originality , suggesting that with his fourth feature -- the first to be released in the u.s.
put through torture
growing strain
of sand to the fierce grandeur of its sweeping battle scenes
the production has been made with an enormous amount of affection
terrific flair
of bad animation and mindless violence
the young actors , not very experienced , are sometimes inexpressive
taylor 's cartoonish performance and the film 's ill-considered notion
will indeed sit open-mouthed before the screen , not screaming but yawning .
when it 's this rich and luscious
beresford nicely mixes in as much humor as pathos to take us on his sentimental journey of the heart .
spiritual film taps
to burn the negative and the script and pretend the whole thing never existed
is the best kind of documentary , one that makes a depleted yesterday feel very much like a brand-new tomorrow .
of the ideal casting of the masterful british actor ian holm
atrociously , mind-numbingly , indescribably bad
evokes the bottom tier of blaxploitation flicks
that is all the more remarkable because it
a fudged opportunity
this laughable dialogue
go down as the worst -- and only -- killer website movie of this or any other year
this is the kind of movie where people who have never picked a lock do so easily after a few tries and become expert fighters after a few weeks .
our infantilized culture
how a skillful filmmaker can impart a message without bludgeoning the audience over the head
a detailed historical document ,
flavors and emotions
even the bull gets recycled .
same sledgehammer appeal
reduced to direct-to-video irrelevancy
displays with somber earnestness in the new adaptation of the cherry orchard
writer-director randall wallace has bitten off more than he or anyone else could chew
gets us too drunk on the party favors to sober us up with the transparent attempts at moralizing
carvey 's ) characters are both overplayed and exaggerated
perfect use in the breathtakingly beautiful outer-space documentary space station 3d
a cinematic corpse
this world more complex
may puzzle his most ardent fans .
, the film chimes in on the grieving process and strangely draws the audience into the unexplainable pain and eccentricities that are attached to the concept of loss .
exhaustingly
that the shocking conclusion is too much of a plunge
fail to crack a smile at
sucks you
grab us , only to keep letting go at all the wrong moments
films about loss , grief and recovery are pretty valuable these days .
the sorriest and
a low-key labor of love that strikes a very resonant chord
, finch 's tale provides the forgettable pleasures of a saturday matinee
wants to be a suspenseful horror movie or a weepy melodrama
of their first full flush of testosterone
the strange horror of life
winning comedy
nicely wound clock not just ticking , but humming
by drawing me into the picture
it ends up being neither , and fails at both endeavors .
has been overexposed , redolent of a thousand cliches
political prisoners , poverty and the boat loads of people who try to escape the country
starts out ballsy and stylish but fails to keep it up and settles into clichés .
aimless , arduous , and
yet overflows with wisdom and emotion .
is interested
the answer is clear : not easily and , in the end , not well enough .