xiangpku/GLUE huggingface dataset:
reporting on the number of tumbleweeds blowing through the empty theaters
shocking in its eroticized gore
that those responsible did n't cut their losses -- and ours -- and retitle it the adventures of direct-to-video nash , and send it to its proper home
after being snared in its own tangled plot
the melodramatic aspects start to overtake the comedy
grow impatient
a breathtakingly assured and stylish work
another peek at some of the magic we saw in glitter here in wisegirls
truly awful and
's far too sentimental
weak claims
well-behaved film , which ticks off kahlo 's lifetime milestones with the dutiful precision of a tax accountant
sleaziness
is a movie full of grace
proves unrelentingly grim -- and equally engrossing
slyly exquisite
of a happy ending
, a routine crime thriller remarkable only for its lack of logic and misuse of two fine actors , morgan freeman and ashley judd .
may lack the pungent bite of its title
everyone except the characters in it can see coming a mile away
common through-line
firmly
could n't recommend this film more .
while cherish does n't completely survive its tonal transformation from dark comedy to suspense thriller , it 's got just enough charm and appealing character quirks to forgive that still serious problem .
with us is a minor miracle
for silly summer entertainment
what 's surprising about this traditional thriller , moderately successful but not completely satisfying , is exactly how genteel and unsurprising the execution turns out to be .
offers absolutely nothing i had n't already seen .
flinging their feces at you
truly come to care about the main characters
lackadaisical
an engrossing iranian film about two itinerant teachers and some lost and desolate people
embraces it , energizes it and
is nicely shot
is nicholson 's goofy , heartfelt , mesmerizing king lear .
in the affable maid in manhattan , jennifer lopez 's most aggressive and most sincere attempt to take movies by storm
a profoundly stupid affair
stylized swedish fillm about a modern city where all the religious and civic virtues that hold society in place are in tatters .
widescreen photography
have returned from the beyond to warn you
a compelling story to tell
you forgive every fake , dishonest , entertaining and , ultimately , more perceptive moment in bridget jones 's diary
maguire makes it a comic book with soul
they also demonstrate how desperate the makers of this ` we 're - doing-it-for - the-cash ' sequel were .
, sordid universe
has some unnecessary parts and
fits the bill perfectly
showtime eventually folds under its own thinness .
wildly incompetent but brilliantly named half past dead -- or for seagal
genial and decent
the film brilliantly shines on all the characters , as the direction is intelligently accomplished .
to comparing the evil dead with evil dead ii
a beautiful , entertaining two hours .
barely makes sense , with its unbelievable naïveté and arbitrary flashbacks .
should not be missed
fascinating literary mystery story
its perfect quiet pace
chilling and fascinating as philippe mora 's modern hitler-study
fairy-tale conclusion
one hour photo may seem disappointing in its generalities , but
carries us effortlessly
never wanted to leave .
narrative arc
does give a taste of the burning man ethos , an appealing blend of counter-cultural idealism and hedonistic creativity .
hallelujah for small favors
for the heart as well as the mind
engross
just never gets off the ground .
a must see for all sides of the political spectrum
lacking the slightest bit
waiting for dvd and just skipping straight to her scenes
overlong documentary about ` the lifestyle .
bore that tends to hammer home every one of its points .
ca n't swim represents an engaging and intimate first feature by a talented director to watch
to develop her own film language with conspicuous success
capturing the opera 's drama and lyricism
wander into the dark areas of parent-child relationships
silliness and
's definitely an improvement on the first blade , since it does n't take itself so deadly seriously
on a positive ( if tragic ) note
playing a role of almost bergmanesque intensity ... bisset is both convincing and radiant .
save oleander 's uninspired story
found the movie as divided against itself as the dysfunctional family it portrays
winking social commentary
making dog day afternoon with a cause
fire a torpedo
it 's been 13 months and 295 preview screenings since i last walked out on a movie , but resident evil really earned my indignant , preemptive departure .
to affirm love 's power to help people endure almost unimaginable horror
is a touching reflection on aging , suffering and the prospect of death
a bit on the skinny side
to remind us of how very bad a motion picture can truly be
though it goes further than both , anyone who has seen the hunger or cat people will find little new here ,
's best served cold
this well-meaning , beautifully produced film that sacrifices its promise for a high-powered star pedigree
mctiernan 's remake may be lighter on its feet
faced and spindly attempt at playing an ingenue makes her nomination as best actress even more of a an a
yet in its own aloof , unreachable way it 's so fascinating you wo n't be able to look away for a second .
attract and sustain an older crowd
make the film 's conclusion powerful and satisfying
small , human moments
imaginative teacher
it --
a tribute to shyamalan 's gifts , which are such that we 'll keep watching the skies for his next project
destined to win a wide summer audience through word-of-mouth reviews and , not far down the line , to find a place among the studio 's animated classics
is ... very funny as you peek at it through the fingers in front of your eyes .
has arrived for an incongruous summer playoff , demonstrating yet again that the era of the intelligent , well-made b movie is long gone
to keep the film entertaining
characters are both overplayed and exaggerated
the sheer dumbness of the plot ( other than its one good idea ) and the movie 's inescapable air of sleaziness get you down .
are vividly and painfully brought to slovenly life in this self-deprecating , biting and witty feature written by charlie kaufman and his twin brother , donald , and directed by spike jonze
a disservice
a breathtakingly assured and stylish work of spare dialogue and acute expressiveness
cultural and personal self-discovery and
the vampires
an amusing and unexpectedly insightful examination of sexual jealousy , resentment and the fine
despite lagging near the finish line , the movie runs a good race , one that will have you at the edge of your seat for long stretches . '
here his sense of story and his juvenile camera movements smack of a film school undergrad
this three-hour endurance test built around an hour 's worth of actual material
glib but bouncy
harrison ford low
rock solid family fun out of the gates , extremely imaginative through out
the plot is both contrived and cliched
old ` juvenile delinquent ' paperbacks with titles
return to never land is much more p.c. than the original version ( no more racist portraits of indians , for instance ) , but the excitement is missing
i think it was plato who said , ' i think , therefore i know better than to rush to the theater for this one .
may be more genial than ingenious , but it gets the job done
a measure of style
plain crap
when her material is not first-rate
appealing
style and empathy
a pleasant distraction ,
pat storylines , precious circumstances
wide-smiling reception
a good line
he comes across as shallow and glib though not mean-spirited
groggy
the movie does n't generate a lot of energy .
a decent popcorn adventure
makes the same mistake as the music industry it criticizes , becoming so slick and watered-down it almost loses what made you love it
imagine that a more confused , less interesting and more sloppily made film could possibly come down the road in 2002
sorvino is delightful in the central role .
the worst movie of 2002
boisterous energy
with grace and panache
truly come to care about the main characters and whether or not they 'll wind up together
takes a potentially trite and overused concept ( aliens come to earth ) and
takes a fresh and absorbing look
generates plot points with a degree of randomness usually achieved only by lottery drawing .
what hibiscus grandly called his ` angels of light
venturesome , beautifully realized psychological mood piece
is beautiful filmmaking from one of french cinema 's master craftsmen .
of scene-chewing , teeth-gnashing actorliness
with laughs
intriguing and downright intoxicating .
do n't think most of the people who loved the 1989 paradiso will prefer this new version
of a good movie ye who enter here
love and humility
resembles an outline for a '70s exploitation picture
deliver a riveting and surprisingly romantic ride .
no clue about making a movie
gag two or three times
intoxicatingly sexy , violent , self-indulgent and maddening
of spontaneity in its execution and a dearth of real poignancy
that manages to show the gentle and humane side of middle eastern world politics
gangster/crime comedy
precious little substance
a noticeable lack of pace
doing something of a public service -- shedding light on a group of extremely talented musicians who might otherwise go unnoticed and underappreciated by music fans
perception , conviction
be churlish to begrudge anyone for receiving whatever consolation
seen ( a remake ) do anything as stomach-turning as the way adam sandler 's new movie rapes , pillages and incinerates frank capra 's classic
i ca n't say it 's on par with the first one
my own minority report is that it stinks .
most politically audacious
the château is never quite able to overcome the cultural moat surrounding its ludicrous and contrived plot . '
close to real life
scare any sane person away
practically every facet of inept filmmaking
jell into charm
all add up to a satisfying crime drama .
is its unforced comedy-drama and its relaxed , natural-seeming actors
sulky
get your money back
so freely
, pretentious
of the avant-garde fused with their humor
it 's a beautiful film , full of elaborate and twisted characters - and it 's also pretty funny
an ironically killer soundtrack
never quite makes the grade as tawdry trash .
fascinating film
falls short in building the drama of lilia 's journey .
the dark places of our national psyche
the dry humor
that 's surprisingly short of both adventure and song
inside the wave
who knows everything and answers all questions , is visually smart , cleverly written , and nicely realized
a calm , self-assured portrait
is achingly honest and delightfully cheeky .
inoffensive
as sharp
exactly how genteel and unsurprising the execution turns out to be
of the ` laughing at ' variety than the ` laughing with
the problem is that for the most part , the film is deadly dull .
, miller digs into their very minds to find an unblinking , flawed humanity .
matters play out realistically if not always fairly .
courageousness
despite an impressive roster of stars and direction from kathryn bigelow
foremost cinematic poet
... a rather bland affair .
green ruins every single scene he 's in ,
steven spielberg brings us another masterpiece
done-to-death
it 's an effort to watch this movie , but
features fincher 's characteristically startling visual style and an almost palpable sense of intensity .
nothing about the film -- with the possible exception of elizabeth hurley 's breasts --
taking a hands-off approach when he should have shaped the story to show us why it 's compelling
an infinitely wittier version of the home alone formula .
plutonium
is a distinct rarity , and an event
heartfelt and achingly real
based on theory , sleight-of-hand , and ill-wrought hypothesis
all the small moments and flashbacks do n't add up to much more than trite observations on the human condition .
an earnest try at beachcombing verismo
yakusho , as always , is wonderful as the long-faced sad sack
should appeal to women
poor dana carvey
talky , artificial and opaque ... an interesting technical exercise , but a tedious picture
they need it to sell us on this twisted love story
frantic , virulent and foul-natured
magnificent jackie chan
a remarkably cohesive whole , both visually and thematically
: stallion of the cimarron is a winner .
richly rewarded
deadpan cool , wry humor and
, it must be said that he is an imaginative filmmaker who can see the forest for the trees .
sc2 is an autopilot hollywood concoction lacking in imagination and authentic christmas spirit , yet
two fatal ailments -- a dearth of vitality and a story that 's shapeless and uninflected
of the most repellent things
perfect medium
rare imax movie
ultimately the story compels
thanks largely to williams , all the interesting developments are processed in 60 minutes -- the rest is just an overexposed waste of film .
come closer than anyone could desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s
been part of for the most part wilde 's droll whimsy helps `` being earnest '' overcome its weaknesses and parker 's creative interference
there 's no real sense of suspense
to mediocrity
intoxicating
is , in fact , so interesting
together frustrating
despite some comic sparks , welcome to collinwood never catches fire .
through the mire of this alleged psychological thriller in search of purpose or even a plot
do n't entirely ` get ' godard 's distinctive discourse
the power of love
as emotionally grand
the real star of this movie is the score , as in the songs translate well to film ,
works on no level whatsoever for me .
enormous
the illogic of its characters
goodall did , with a serious minded patience , respect and affection
a little more humanity
as clear and reliable an authority on that
when it is n't incomprehensible
action man cliché atop wooden dialogue
into this somewhat tired premise
hollow , self-indulgent
thrives on its taut performances and creepy atmosphere
mesmerizing one
while the importance of being earnest offers opportunities for occasional smiles and chuckles , it does n't give us a reason to be in the theater beyond wilde 's wit and the actors ' performances .
real women have curves wears its empowerment on its sleeve but even
this too-long , spoofy update of shakespeare 's macbeth does n't sustain a high enough level of invention .
the most purely enjoyable and satisfying evenings at the movies i 've had in a while
( a ) thoughtful , visually graceful work .
at least a few good ideas and features some decent performances
a seven rip-off
documentary-like credibility
it 's a ripper of a yarn and i for one enjoyed the thrill of the chill
of stupidity , incoherence and sub-sophomoric sexual banter
the filmmakers ' paws , sad to say
every moment crackles with tension ,
a classical dramatic animated feature ,
bowling you over
... a true delight .
a fair bit of vampire fun
old-fashioned but emotionally stirring
the whole mess boils down to a transparently hypocritical work that feels as though it 's trying to set the women 's liberation movement back 20 years . '
is n't that stealing harvard is a horrible movie -- if only it were that grand a failure
of the most politically audacious films of recent decades
splashed with bloody beauty as vivid
lacking any real emotional impact
many ways the perfect festival film : a calm , self-assured portrait of small town regret , love , duty and friendship that appeals to the storytelling instincts of a slightly more literate filmgoing audience
it 's an ambitious film , and
seeing something purer than the real thing
have been allowed to use the word `` new '' in its title , because there 's not an original character , siuation or joke in the entire movie
masterpiece ' and ` triumph '
itself is small and shriveled
of a masterpiece -- and a challenging one
defies classification
a fairly enjoyable mixture of longest yard ... and the 1999 guy ritchie
not counting a few gross-out comedies i 've been trying to forget
the , yes , snail-like pacing and lack of thematic resonance
a movie you observe , rather than one you enter into .
contains a few big laughs but many more that graze the funny bone
story which fails to rise above its disgusting source material .
nasty aftertaste
powerful and telling
melodramatic mountain
human moments
entertaining documentary
marvelous documentary touches -- ever so gracefully -- on the entire history of the yiddish theater , both in america and israel
like stereotypical caretakers and moral teachers ,
is always welcome .
on the surface a silly comedy
remains a loosely tied series of vignettes which only prove that ` zany ' does n't necessarily mean ` funny . '
classical dramatic animated feature
clamoring for another ride
far too much
made all the more poignant by the incessant use of cell phones
a difficult time shaking its blair witch project real-time roots
a very well-meaning movie , and
remaining one of the most savagely hilarious social critics this side of jonathan swift
moving and weighty depiction
, the film works as well as it does because of the performances .
's all-powerful , a voice for a pop-cyber culture that feeds on her bjorkness .
overall the halloween series has lost its edge
the movie rising above similar fare
premise , mopes through a dreary tract of virtually plotless meanderings and
offers a persuasive
most likeable
the story compels
a tremendous piece of work .
ca n't act
the slapstick is labored , and the bigger setpieces flat .
on its fairly ludicrous plot
be most effective if used as a tool to rally anti-catholic protestors
and narrative grace
is entertainment opportunism at its most glaring .
'm not sure which half of dragonfly is worse : the part where nothing 's happening , or the part where something 's happening
more fun watching a documentary
sly , sophisticated and surprising
ratliff 's two previous titles , plutonium circus and purgatory county show his penchant for wry , contentious configurations , and this film is part of that delicate canon .
cassavetes thinks he 's making dog day afternoon with a cause , but all he 's done is to reduce everything he touches to a shrill , didactic cartoon .
feels more like a rejected x-files episode than a credible account of a puzzling real-life happening .
wanderers and a bronx tale
stench
is gone , replaced by the forced funniness found in the dullest kiddie flicks
that 's just too boring and obvious
cheerfully
i 've yet to find an actual vietnam war combat movie actually produced by either the north or south vietnamese , but at least now we 've got something pretty damn close
a mimetic approximation of better films like contempt and 8 1/2 .
is almost in a class with that of wilde himself
the film would have been more enjoyable had the balance shifted in favor of water-bound action over the land-based ` drama , ' but the emphasis on the latter leaves blue crush waterlogged
overwrought you 'd swear he just stepped out of a buñuel retrospective
the richness
a silly hack-and-slash flick
has the screen presence to become a major-league leading lady , ( but )
some of the most poorly staged and lit action in memory
never having seen the first two films in the series , i ca n't compare friday after next to them , but nothing would change the fact that what we have here is a load of clams left in the broiling sun for a good three days
should jolt you out of your seat a couple of times , give you a few laughs , and leave you feeling like it was worth your seven bucks , even though it does turn out to be a bit of a cheat in the end
the audience when i saw this one was chuckling at all the wrong times , and
this time , the hype is quieter , and
the script assumes that not only would subtlety be lost on the target audience , but that it 's also too stupid to realize that they 've already seen this exact same movie a hundred times
decent draft
the film has an infectious enthusiasm and we 're touched by the film 's conviction that all life centered on that place , that time and that sport .
brilliantly played
got it right the first time
seagal , who looks more like danny aiello these days , mumbles his way through the movie .
miyazaki 's nonstop images are so stunning , and his imagination so vivid
shrieky special effects
high crimes carries almost no organic intrigue as a government / marine/legal mystery , and that 's because the movie serves up all of that stuff , nearly subliminally , as the old-hat province of male intrigue
the modern rut
are bad
that wastes the talents of its attractive young leads
scathingly witty
bitchy
so distant you might as well be watching it through a telescope
ca n't see why any actor of talent would ever work in a mcculloch production again if they looked at how this movie turned out
pretention
the film , and at times , elevate it to a superior crime movie
a predictable outcome and
film history
taking your expectations and twisting them just a bit
, uncertain film
, emotionally honest
mending a child 's pain for his dead mother via communication with an old woman straight out of eudora welty
retread story
avoids most of the pitfalls you 'd expect in such a potentially sudsy set-up
be mesmerised
dumb , narratively chaotic ,
a delightful stimulus for the optic nerves , so much that it 's forgivable that the plot feels like every other tale of a totalitarian tomorrow .
at once overly old-fashioned in its sudsy plotting and heavy-handed in its effort to modernize it with encomia to diversity and tolerance .
through a dreary tract of virtually plotless meanderings
sure , it 's contrived and predictable , but its performances are so well tuned that the film comes off winningly , even though it 's never as solid as you want it to be
yet it 's not quite the genre-busting film it 's been hyped to be because it plays everything too safe .
high camp and yet another sexual taboo into a really funny movie
unfolds as sand 's masculine persona , with its love of life and beauty , takes form
are tantamount to insulting the intelligence of anyone who has n't been living under a rock ( since sept. 11 )
of women torn apart by a legacy of abuse
a small gem from belgium
a worthwhile documentary
wholly unnecessary pre-credit sequence
on sophisticated , discerning taste
right tone
... unspeakably , unbearably dull , featuring reams of flatly delivered dialogue and a heroine who comes across as both shallow and dim-witted .
most excruciating
to newcastle , the first half of gangster no. 1 drips with style and , at times , blood
the increasingly diverse french director
boredom to the point of collapse
this stuck pig
combines sharp comedy , old-fashioned monster movie atmospherics , and genuine heart to create a film that 's not merely about kicking undead *** , but also about dealing with regret and , ultimately , finding redemption .
a humorless
provides the drama that gives added clout to this doc
no one can hear you snore
sucks , but
that transforms this story about love and culture into a cinematic poem
the script carries arnold ( and the viewers ) into the forbidden zone of sympathizing with terrorist motivations by presenting the `` other side of the story . ''
he 's just a sad aristocrat in tattered finery
spiritless , silly and monotonous
a superb performance
main asset
just two
beautifully shot , delicately scored and powered by a set of heartfelt performances
a long , unfunny one
with the surface histrionics failing to compensate for the paper-thin characterizations and facile situations
far the worst movie of the year
low-budget
powerfully drawn toward the light -- the light of the exit sign
yes , spirited away is a triumph of imagination , but it 's also a failure of storytelling .
good performances keep it from being a total rehash .
spielberg 's first real masterpiece , it deserved all the hearts it won -- and wins still , 20 years later .
's rare to see a movie that takes such a speedy swan dive from `` promising '' to `` interesting '' to `` familiar '' before landing squarely on `` stupid ''
than to employ hollywood kids and people who owe
in ( the characters ' ) misery
about schmidt is nicholson 's goofy , heartfelt , mesmerizing king lear .
( seagal 's ) strenuous attempt at a change in expression could very well clinch him this year 's razzie .
shines bright on this frozen tundra soap opera that breathes extraordinary life into the private existence of the inuit people