xiangpku/GLUE huggingface dataset:
insufferably naive .
come during that final , beautiful scene
class warfare
nice rhythm
evans ' career
the filmmakers want nothing else than to show us a good time , and in their cheap , b movie way , they succeed
presents a side of contemporary chinese life that many outsiders will be surprised to know exists , and does so with an artistry that also smacks of revelation .
is that rare combination of bad writing , bad direction and bad acting -- the trifecta of badness
's a visual delight and a decent popcorn adventure
reveals that efforts toward closure only open new wounds
a stunning new young talent in one
five screenwriters are credited with the cliché-laden screenplay ;
predecessors
is that it stinks
your first instinct
a thoughtful movie ,
of elizabeth berkley 's flopping dolphin-gasm
have to pay if you want to see it
friendship , love , and the truth
a good music documentary , probably one of the best since the last waltz
best describes this film : honest
fresh , sometimes funny
aggravating and tedious
it 's notably better acted -- and far less crass - than some other recent efforts in the burgeoning genre of films about black urban professionals
've had the misfortune to watch in quite some time
comic sparks
on the subgenre
fast-paced contemporary society
satisfyingly odd and intriguing
a purposefully reductive movie
that it goes nowhere
a disaster of a drama , saved only by its winged assailants .
if kaos had n't blown them all up
scott baio is turning in some delightful work on indie projects .
obnoxious special effects
's been done before but never so vividly or with so much passion
boredom to the point of collapse , turning into a black hole of dullness , from which no interesting concept can escape
a mechanical action-comedy whose seeming purpose is to market the charismatic jackie chan to even younger audiences
a satisfying evening at the multiplex
a low-budget affair
uplifting ,
infuriating about full frontal
to duck the very issues it raises
derrida is all but useless
of why animation is such a perfect medium for children , because of the way it allows the mind to enter and accept another world
subtle and
deserve a passing grade ( even on a curve )
that is where ararat went astray .
has the high-buffed gloss and high-octane jolts you expect of de palma , but what makes it transporting is that it 's also one of the smartest
spinoff of last summer 's bloated effects
completely misses its emotions
that make 105 minutes seem twice as long
does n't have much panache , but with material this rich it does n't need it
of dedicated artists
the richness of characterization that makes his films so memorable
their cheap , b movie way
the film is static
render it anything but laughable
live-wire
conventional but heartwarming tale
be so light-hearted
no worse
listless , witless , and devoid of anything
by orchestrating a finale that is impenetrable and dull
it 's been 13 months and 295 preview screenings since i last walked out on a movie , but
filling nearly every minute ...
wickedly funny , visually engrossing , never boring , this movie
beyond-lame satire
's better than its predecessor
what is otherwise a sumptuous work of b-movie imagination
offers escapism
pretty stupid
it 's just tediously bad , something to be fully forgotten
our special talents can be when put in service of of others
the film is grossly contradictory in conveying its social message , if indeed there is one .
since beauty and the beast
nasty aftertaste but
hugely enjoyable in its own right though not really faithful
overall , it 's a very entertaining , thought-provoking film with a simple message
stare and sniffle , respectively , as ledger attempts , in vain , to prove that movie-star intensity can overcome bad hair design .
bad mixture
cinematic corpse
ends up more of a creaky `` pretty woman '' retread , with the emphasis on self-empowering schmaltz and big-wave surfing that gives pic its title an afterthought
amazingly successful
there 's a reason the studio did n't offer an advance screening .
gives ample opportunity for large-scale action and suspense ,
88 minutes of exaggerated action
do not go gentle into that good theatre . '
and immature character
the most politically audacious films of recent decades
is the only winner
to blast even the smallest sensitivities from the romance with his clamorous approach
is hard to conceive anyone else in their roles .
overcome bad hair design
does n't really go anywhere
the rhapsodic dialogue that jumps off the page , and for the memorable character creations
the glorious chicanery and self-delusion
to rush to the theater for this one
manages to string together enough charming moments to work .
most romantic comedies
ultimately insignificant
not-so-divine
be patient with the lovely hush
remarkably assured
trudge out of the theater feeling
300 hundred years of russian cultural identity and a stunning technical achievement
we are forced to reflect that its visual imagination is breathtaking
washed out
by top-billed star bruce willis
does n't feel like a film that strays past the two and a half mark
the occasional bursts
wise enough
this so-called satire
is really closer to porn than a serious critique of what 's wrong with this increasingly pervasive aspect of gay culture .
rock 's stand-up magic wanes .
bombastic self-glorification
the ease with which it integrates thoughtfulness and pasta-fagioli comedy
its excellent storytelling ,
sinks into an abyss of clichés , depression and bad alternative music
too many conflicts
wretchedly unfunny wannabe
advised to take the warning literally , and log on to something more user-friendly
retard 101
a wild comedy
a comic book with soul
done , but slow
must indeed be good to recite some of this laughable dialogue with a straight face
are consistently delightful .
could n't
raffish charm
that 's unfocused and tediously exasperating
pull his head out of his butt
one hour photo may seem disappointing in its generalities
to hold onto what 's left of his passe ' chopsocky glory
is not a classical dramatic animated feature , nor a hip , contemporary , in-jokey one .
marvelous first 101
interesting movie
a way that 's too loud , too goofy and too short of an attention span
that really does n't have much to say beyond the news
its initial excitement settles into a warmed over pastiche .
so memorable
who does n't understand the difference between dumb fun and just plain dumb
date-night diversion
it would be churlish to begrudge anyone for receiving whatever consolation that can be found in dragonfly , yet it is impossible to find the film anything but appalling , shamelessly manipulative and contrived , and totally lacking in conviction
meyjes ' provocative film might be called an example of the haphazardness of evil .
kids will love its fantasy and adventure , and grownups should appreciate its whimsical humor
it 's as if de palma spent an hour setting a fancy table and then served up kraft macaroni and cheese .
invigorating
, can not overcome blah characters
indie of the year , so far
i suspect this is the kind of production that would have been funnier if the director had released the outtakes theatrically and used the film as a bonus feature on the dvd .
gentle and engrossing
than its sunny disposition
gaining most of its unsettling force from the suggested and the unknown
an energizing
flat-out amusing , sometimes endearing and often fabulous , with a solid cast , noteworthy characters , delicious dialogue and a wide supply
confusing on one level or another , making ararat far more demanding than it needs to be
's the funniest american comedy since graffiti bridge .
heartwarming here relies less on forced air than on petter næss ' delicate , clever direction ... and a wonderful , imaginative script by axel hellstenius .
uses the huge-screen format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them .
is so convincing
meandering sketch inspired by the works of john waters and todd solondz , rather than a fully developed story
the process created a masterful work of art of their own
love the film
though frida is easier to swallow than julie taymor 's preposterous titus , the eye candy here lacks considerable brio .
wanders all over the map thematically and stylistically , and borrows heavily from lynch , jeunet , and von trier while failing to find a spark of its own .
i.e. peploe 's , it 's simply unbearable
aggressive self-glorification and a manipulative whitewash .
mummy and the mummy returns
too overdone
's the perfect star vehicle for grant
in a light-hearted way the romantic problems
an inept , tedious spoof of '70s
over this `` un-bear-able '' project
dramatic and emotional
screen presence
too shallow for an older one
film legacy
, magnificent to behold in its sparkling beauty yet in reality it 's one tough rock .
cool gadgets and creatures
finery
takes every potential laugh and
would do better elsewhere .
reassures us
one of the best war movies ever made
horrible , 99-minute
a very depressing movie
the film is well-crafted and
there 's undeniable enjoyment to be had from films crammed with movie references
terrible , banal dialogue ; convenient , hole-ridden plotting ; superficial characters and
depraved
found writer-director mitch davis 's wall of kitsch hard going .
fun in this cinematic sandbox
a major movie
attempt to bring cohesion to pamela 's emotional roller coaster life
do well to cram earplugs in their ears and put pillowcases over their heads for 87 minutes
that he can cross swords with the best of them and helm a more traditionally plotted popcorn thriller while surrendering little of his intellectual rigor or creative composure
many false scares
stupidity , incoherence and sub-sophomoric sexual banter
who take as many drugs as the film 's characters
i realized that i just did n't care
amélie 's audrey tautou with another fabuleux destin
its laid-back way
its lack of poetic frissons
ever spill from a projector 's lens
no earthly reason other than money why this distinguished actor would stoop so low
half past dead -- or for seagal
art and commerce
an astonishing voice cast ( excepting love hewitt )
from the tv movie-esque , affected child acting to the dullest irish pub scenes ever filmed
is no psychology here , and no real narrative logic -- just a series of carefully choreographed atrocities , which become strangely impersonal and abstract
the talented cast alone will keep you watching , as will the fight scenes .
a biting satire that has no teeth
does n't have anything really interesting to say
the ring moderately absorbing , largely for its elegantly colorful look and sound
every member of the ensemble has something fascinating to do
fans of plympton 's shorts may marginally enjoy the film ,
's a hoot watching the rock chomp on jumbo ants , pull an arrow out of his back , and leap unscathed through raging fire
like the similarly ill-timed antitrust
leaping from one arresting image to another , songs from the second floor has all the enjoyable randomness of a very lively dream and so manages to be compelling , amusing and unsettling at the same time .
superb performance
funny stuff in this movie
to head off in its own direction
the most part a useless movie , even with a great director at the helm
'll still be glued to the screen .
finely crafted ,
until things fall apart
dime-store psychology
do n't add up to much more than trite observations on the human condition
high crimes carries almost no organic intrigue as a government / marine/legal mystery ,
marks an encouraging new direction for la salle
to bolt the theater in the first 10 minutes
adept
covers huge , heavy topics in a bland , surfacey way that does n't offer any insight into why , for instance , good things happen to bad people
a solidly entertaining and moving family drama
an almost palpable sense of intensity
such a horrible movie
incoherent jumble
audiences are advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching , but
a single surprise
biggest husband-and-wife disaster
like a sucker
rob schneider 's infantile cross-dressing routines fill the hot chick , the latest gimmick from this unimaginative comedian .
an intoxicating show
passion , melodrama , sorrow , laugther , and tears cascade over the screen effortlessly
a lack of clarity and audacity that a subject as monstrous and pathetic as dahmer
hardly a film that comes along every day .
and wonderful creatures
it might not be 1970s animation , but everything else about it is straight from the saturday morning cartoons -- a retread story , bad writing , and the same old silliness .
to match the freshness of the actress-producer and writer
a movie with depth
it may scream low budget , but this charmer has a spirit that can not be denied .
best rock
a clash between the artificial structure of the story and the more contemporary , naturalistic tone of the film
below may not mark mr. twohy 's emergence into the mainstream , but his promise remains undiminished .
ends with scenes so true and heartbreaking that tears welled up in my eyes both times
third time 's the charm ... yeah , baby !
you might want to take a reality check before you pay the full ticket price to see `` simone , '' and consider a dvd rental instead .
in this romantic comedy
a real audience-pleaser that will strike a chord with anyone who 's ever
is far-flung , illogical , and plain stupid .
does n't deliver a great story , nor
zellweger 's whiny pouty-lipped poof
a bitter taste
seems to want to be a character study , but apparently ca n't quite decide which character .
of cuban leader fidel castro
has the requisite faux-urban vibe and hotter-two-years-ago rap and r&b names and references
from two fatal ailments -- a dearth of vitality and a story that 's shapeless and uninflected
skins is heartfelt and achingly real .
their culture 's manic mix of millennial brusqueness and undying , traditional politesse
originality ai n't on the menu
's a boring movie about a boring man , made watchable by a bravura performance from a consummate actor incapable of being boring
it was a guilty pleasure
stylistically
purely enjoyable that you might not even notice it 's a fairly straightforward remake of hollywood comedies such as father of the bride .
forewarned , if you 're depressed about anything before watching this film
's a very valuable film ...
clever ideas and visual gags
should be themselves
's harder still to believe that anyone in his right mind would want to see the it .
some robust and scary entertainment
that this is a mormon family movie , and a sappy , preachy one at that
jazzy new revisionist theories
is more likely to induce sleep than fright .
the one of the world 's best actors , daniel auteuil ,
the frustration ,
bad and baffling from the get-go .
complex characters
not be a breakthrough in filmmaking
would n't want to live waydowntown
the film is deadly dull
i 'd watch these two together again in a new york minute .
's most thoughtful films about art , ethics , and the cost of moral compromise .
stylish cast
sinks further and further into comedy futility .
genuine love story
's that rare family movie -- genuine and sweet without relying on animation or dumb humor
has worked wonders with the material
than this facetious smirk of a movie
knows its classical music
through this interminable , shapeless documentary about the swinging subculture
fairly impressive debut
much credit must be given to the water-camera operating team of don king , sonny miller , and michael stewart .
is more timely now than ever
but it also does the absolute last thing we need hollywood doing to us
dabbles all around , never gaining much momentum .
honest , and enjoyable
intoxicating documentary
dependable concept
a visual treat for all audiences
the cast is spot on
delicate ambiguity
weaves us into a complex web
generating suspense
gentle , endearing 1975 children 's novel
any doubt that peter o'fallon did n't have an original bone in his body
genteel and unsurprising
their own immaturity
is so earnest that it 's hard to resist his pleas to spare wildlife and respect their environs .
for its intelligence and intensity
funny , moving yarn
should be as entertaining as it is
stanley kwan has directed not only one of the best gay love stories ever made
worthless ,
the audience award for documentaries at the sundance film festival
viewers out in the cold and
kinetically-charged spy flick worthy
like mere splashing around
the most enchanting film
the overall vibe is druggy and self-indulgent , like a spring-break orgy for pretentious arts majors .
cliched dialogue and perverse escapism a source of high hilarity
a great movie it is not
, like mike raises some worthwhile themes while delivering a wholesome fantasy for kids .
plaguing the human spirit in a relentlessly globalizing world
the bravery and dedication
the edge of your seat for long stretches
the equivalent of french hip-hop , which also seems to play on a 10-year delay
dopey dialogue and
does turn out to be a bit of a cheat in the end
whose meaning and
follows into melodrama and silliness
overcome blah characters
hard to imagine having more fun watching a documentary ...
fun family fare
the film was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one ( and no one ) .
the lightest , most breezy movie steven spielberg has made in more than a decade .
does n't tell you anything except that the chelsea hotel today is populated by whiny , pathetic , starving and untalented artistes .
playfully profound ... and
it recycles every cliché about gays in what is essentially an extended soap opera .
a tarantino movie with heart
by casting an actress whose face projects that woman 's doubts and yearnings
lasting impression
difficult , endless work
a shock-you-into-laughter intensity
melodramatic movie
has ( its ) moments
that he 's the best brush in the business
, very well told with an appropriate minimum of means .
the premise of `` abandon '' holds promise ,
must have failed
a fake street drama that keeps telling you things instead of showing them
with lots of somber blues and pinks
losin '
loquacious and dreary piece
, invincible shows he 's back in form , with an astoundingly rich film .
crawl up your own *** in embarrassment
dark and unrepentant , this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten .
it 's crap on a leash -- far too polite to scale the lunatic heights of joe dante 's similarly styled gremlins .
on offensive , waste of time , money and celluloid
has many of the things that made the first one charming
to worry about being subjected to farts , urine , feces , semen , or any of the other foul substances
run-of-the-mill singles blender
mistake it for a sketchy work-in-progress that was inexplicably rushed to the megaplexes before its time
like its new england characters , most of whom wander about in thick clouds of denial , the movie eventually gets around to its real emotional business , striking deep chords of sadness .
a clever
awfully entertaining
does not translate well to the screen
perfect family film to take everyone to since there 's no new `` a christmas carol '' out in the theaters this year
psychotic than romantic
also has a good ear for dialogue , and the characters sound like real people .
a cellophane-pop remake
it 's funny , touching , dramatically forceful , and beautifully shot .
pushed to their most virtuous limits , lending the narrative an unusually surreal tone
leaks treacle from every pore .
boasts some tart tv-insider humor
remarkable film
waydowntown may not be an important movie , or even a good one , but it provides a nice change of mindless pace in collision with the hot oscar season currently underway .
capable cast
the run-of-the-mill singles blender
both gripping and compelling
sparked by two actresses in their 50s working at the peak of their powers
them , who have carved their own comfortable niche in the world
on a true and historically significant story
if you like quirky , odd movies and/or the ironic
a well-defined sense
the consciously dumbed-down approach
could be looking at his 12th oscar nomination by proving that he 's now , more than ever , choosing his roles with the precision of the insurance actuary
is a filmmaker of impressive talent
flick that scalds like acid .
's the plot , and a maddeningly insistent and repetitive piano score that made me want to scream .
to portray its literarily talented and notorious subject as anything much more than a dirty old man
with a terrific screenplay and fanciful direction
has a rather unique approach to documentary .
the haphazardness of evil
the film has several strong performances .
whose boozy , languid
a meatier deeper beginning
the plot grows thin soon , and you find yourself praying for a quick resolution
most creative , energetic and original
epic cinema
has n't graduated from junior high school
a film that is an undeniably worthy and devastating experience
a treasure chest of material
an intelligent romantic thriller of a very old-school kind of quality .
try to create characters out of the obvious cliches , but wind up using them as punching bags
for a satisfying evening at the multiplex
it was going to be
reminds you of why animation is such a perfect medium for children , because of the way it allows the mind to enter and accept another world
the bard as black comedy -- willie would have loved it
a damn fine and a truly distinctive and a deeply pertinent film
that hinges on the subgenre 's most enabling victim ... and an ebullient affection for industrial-model meat freezers
yelling in your face for two hours
will undoubtedly enjoy it
walk to remember
moderately successful but
becomes a soulful , incisive meditation on the way we were , and the way we are
, its shortness disappoints
succeeds in entertaining ,
shows off a lot of stamina and vitality
this fast-paced
end up laughing
an unintentionally surreal kid 's picture ... in which actors in bad bear suits enact a sort of inter-species parody of a vh1 behind the music episode
that it makes you forgive every fake , dishonest , entertaining and , ultimately , more perceptive moment in bridget jones 's diary
almost shakespearean -- both in depth and breadth -- after watching this digital-effects-heavy , supposed family-friendly comedy
oversexed , at times overwrought comedy/drama that offers little insight into the experience of being forty , female and single .
makes sex with strangers , which opens today in the new york metropolitan area , so distasteful
eight legged freaks ?
in milking a played-out idea -- a straight guy has to dress up in drag -- that shockingly manages to be even worse than its title
that fumbles away almost all of its accumulated enjoyment with a crucial third act miscalculation
like kubrick before him , may not touch the planet 's skin , but understands the workings of its spirit .
a walk to remember a niche hit
, accepting a 50-year-old in the role is creepy in a michael jackson sort of way .
welcome in her most charmless
the otherwise good-naturedness of mr. deeds , with its embrace of sheer goofiness and cameos of less - than-likely new york celebrities ... certainly raises the film above anything sandler 's been attached to before .
hollywood comedies such as father of the bride
get no satisfaction
it is wise
brings this unknown slice of history affectingly to life
this one feels like a life sentence
a compelling , gut-clutching piece of advocacy cinema that carries you along in a torrent of emotion as it explores the awful complications of one terrifying day
anyone else who may , for whatever reason , be thinking about going to see this movie
good yarn
is not show-stoppingly hilarious , but scathingly witty nonetheless
is an impressive achievement in spite of a river of sadness that pours into every frame
mysterious , sensual , emotionally intense , and
one of the funniest motion pictures of the year , but
none of the happily-ever
the evocative imagery and gentle , lapping rhythms of this film are infectious -- it gets under our skin and draws us in long before the plot kicks into gear