xiangpku/GLUE huggingface dataset:
the animated sequences are well done and perfectly constructed to convey a sense of childhood imagination and creating adventure out of angst
van wilder does little that is actually funny with the material
you 're not merely watching history , you 're engulfed by it .
there are many tense scenes in trapped
is dark , brooding and slow , and takes its central idea way too seriously
big excuse
the screenplay is hugely overwritten , with tons and tons of dialogue -- most of it given to children .
that , by the time the credits roll across the pat ending , a warm , fuzzy feeling prevails
a glorious dose of humankind 's liberating ability
a fine job
in its observation of just how much more grueling and time-consuming the illusion of work is than actual work
takes a look at 5 alternative housing options
it 's just merely very bad .
glass 's dirgelike score
much better documentary
done in mostly by a weak script that ca n't support the epic treatment
, madonna gives her best performance since abel ferrara had her beaten to a pulp in his dangerous game .
freshly painted rembrandt
fails because it demands that you suffer the dreadfulness of war from both sides
begun to split up so that it can do even more damage
with purpose and finesse
a better movie experience
, abandoned , but still consoled by his art , which is more than he has ever revealed before about the source of his spiritual survival
comedy that is warm , inviting , and surprising
scenes so true and heartbreaking
watching war photographer , you come to believe that nachtwey hates the wars he shows and empathizes with the victims he reveals .
say something about its subjects
victim ... and an ebullient affection for industrial-model meat freezers
is an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears . '
piece , a model of menacing atmosphere .
enough may pander to our basest desires for payback , but unlike many revenge fantasies , it ultimately delivers .
the film 's mid-to-low budget
do n't mind crappy movies as much as adults , provided there 's lots of cute animals and clumsy people
the most good-hearted yet sensual entertainment
is way too indulgent .
wonderful but sometimes confusing flashback
and mordantly humorous
crisper and punchier
can make people act weird
been done before but never so vividly or with so much passion
be much funnier than anything in the film
it 's more enjoyable than i expected , though , and that 's because the laughs come from fairly basic comedic constructs
after an hour and a half of wondering -- sometimes amusedly , sometimes impatiently -- just what this strenuously unconventional movie is supposed to be
's a tribute to the actress , and to her inventive director , that the journey is such a mesmerizing one
the vital comic ingredient of the hilarious writer-director himself
... and excellent use of music by india 's popular gulzar and jagjit singh
a grating , emaciated flick
everett remains a perfect wildean actor , and a relaxed firth displays impeccable comic skill .
some body smacks of exhibitionism more than it does cathartic truth telling .
even non-techies can enjoy
a delightful romantic comedy with plenty of bite .
highest power
it 's coherent , well shot , and tartly acted ,
in an intriguing bit of storytelling
fascinating you wo n't be able to look away for a second
do n't say you were n't warned .
is more fascinating -- being real -- than anything seen on jerry springer
costner 's warm-milk persona is just as ill-fitting as shadyac 's perfunctory directing chops
unexpectedly moving
most genuinely sweet
never found its audience , probably because it 's extremely hard to relate to any of the characters .
the sum of all fears pretends to be a serious exploration of nuclear terrorism , but
rendered with such clarity
acting , but ultimately a movie with no reason for being .
in the immediate aftermath of the terrorist attacks
it reduces the complexities to bromides and slogans and
describe how bad it is
one of the worst movies of the year
prove too convoluted
honest attempt to get at something
sandler
did they deem it necessary to document all this emotional misery ?
a moving experience
may lack the pungent bite of its title ,
all the best possible ways
with or without the sex , a wonderful tale of love and destiny
gorgeous ,
takes its sweet time building to a climax that 's scarcely a surprise by the time
one of demme 's good films
of the problems with the film
black-and-white and unrealistic
great pity
turn this fairly parochial melodrama into something really rather special .
does n't offer any insight into why , for instance , good things happen to bad people
one of the most incoherent
be a new mexican cinema a-bornin '
in the songs translate well to film
has always been part of for the most part wilde 's droll whimsy helps `` being earnest '' overcome its weaknesses and parker 's creative interference
a chilly , remote , emotionally distant piece ... so dull that its tagline should be :
whimsicality , narrative discipline and
`` nicholas nickleby '' is a perfect family film to take everyone to since there 's no new `` a christmas carol '' out in the theaters this year .
an advantage
was immensely enjoyable thanks to great performances by both steve buscemi and rosario dawson
get you
worthless film
stop eric schaeffer before he makes another film
a clever script and
something on crummy-looking videotape
well-shaped dramas
anything but frustrating , boring , and
an astounding performance
rooted in a sincere performance by the title character undergoing midlife crisis
of intergalactic friendship
do the subject matter justice
has compelling new material
a kingdom
clichéd and shallow
intriguing , observant
a relic from a bygone era , and its convolutions ... feel silly rather than plausible
land beyond time is an enjoyable big movie primarily because australia is a weirdly beautiful place
enough clever and unexpected
that both thrills the eye and , in its over-the-top way , touches the heart
its exquisite acting , inventive screenplay
can just follow the same blueprint from hundreds of other films , sell it to the highest bidder and walk away without anyone truly knowing your identity
manages a neat trick , bundling the flowers of perversity , comedy and romance into a strangely tempting bouquet of a movie .
its economical
serial murders
an uneasy marriage of louis begley 's source novel ( about schmidt )
the ` are we a sick society
another boorish movie from the i-heard-a-joke -
peppered with witty dialogue and inventive moments .
from a lack of clarity and audacity that a subject as monstrous and pathetic as dahmer
is a whole lot of nada
with every cinematic tool well under his control
thrill you ,
sugary sentiment and withholds delivery
the most ingenious film comedy since being john malkovich .
if you are into splatter movies , then you will probably have a reasonably good time with the salton sea .
seems content to dog-paddle in the mediocre end of the pool , and it 's a sad , sick sight .
crude to serve the work especially well
charming but slight
of bland comfort food
kapur weighs down the tale with bogus profundities .
visual delight
manages sweetness
that 's because relatively nothing happens .
stoop so low
like a dinner guest showing off his doctorate
is fontaine 's willingness to wander into the dark areas of parent-child relationships without flinching
loving yet unforgivingly inconsistent depiction
with virtuoso throat-singing
profoundly moving documentary
to the grayish quality of its lighting
that rare film whose real-life basis is , in fact , so interesting that no embellishment is
it falls into the trap of pretention almost every time
although purportedly a study in modern alienation , it 's really little more than a particularly slanted , gay s/m fantasy , enervating and deadeningly drawn-out .
real triumphs
makes for perfectly acceptable , occasionally very enjoyable children 's entertainment .
has definite weaknesses
the most consistently funny of the austin powers films
a speedy swan dive
swim represents an engaging and intimate first feature by a talented director to watch
to a spectacular completion one
'' is an intelligent flick that examines many different ideas from happiness to guilt in an intriguing bit of storytelling .
the movie runs a good race , one that will have you at the edge of your seat for long stretches . '
unconcerned about what they ingest
a funny yet dark
grant carries the day with impeccable comic timing , raffish charm and piercing intellect .
intriguing and alluring premise
for the striking , quietly vulnerable personality of ms. ambrose
definitely in the guilty pleasure b-movie category , reign of fire is so incredibly inane that it is laughingly enjoyable .
rodriguez has the chops of a smart-aleck film school brat and the imagination of a big kid ...
can be classified as one of those ` alternate reality ' movies ... except that it would have worked so much better dealing in only one reality .
popcorn adventure
( the film ) works , due mostly to the tongue-in-cheek attitude of the screenplay
a ripping good yarn is told .
than malle 's dud
do n't see the point
exploits ( headbanger )
contains some hefty thematic material on time , death , eternity , and what
shoots and scores
shows excess in business and pleasure , allowing us to find the small , human moments , and leaving off with a grand whimper .
the film does n't have enough innovation or pizazz to attract teenagers
brilliantly written and
dull , lifeless
a complete wash ( no pun intended ) ,
wildly uneven hit-and-miss enterprise
i might add -- slice of comedic bliss
, soggy potboiler
peppering the pages with memorable zingers
is that rare animal known as ' a perfect family film , '
not a must-own
belittle a cinema classic
despite its rough edges and a tendency to sag in certain places , is wry and engrossing .
none of birthday girl 's calculated events take us by surprise ...
the movie is hardly a masterpiece , but it does mark ms. bullock 's best work in some time .
its courageousness
the toilet and scores a direct hit
there 's no palpable chemistry between lopez and male lead ralph fiennes
deserve to hear the full story of jonah 's despair -- in all its agonizing , catch-22 glory -- even if they spend years trying to comprehend it .
as plain and pedestrian as
like a comedian who starts off promisingly but then proceeds to flop
at once laughable and compulsively watchable
generates little narrative momentum , and invites unflattering comparisons to other installments in the ryan series .
nostalgic , twisty yarn
comic barbs
is about as necessary as a hole in the head
genuinely witty
ace ventura ' rip-off
as you would expect from the directors of the little mermaid and aladdin
that satisfies , as comfort food often can
's quite an achievement to set and shoot a movie at the cannes film festival and yet fail to capture its visual appeal or its atmosphere
a clever exercise
liked the movie
the film buzz and whir ; very little of it
depress
offer a fascinating glimpse into the subculture of extreme athletes whose derring-do puts the x into the games
appreciates the art and
but windtalkers does n't beat that one , either .
the movie possesses its own languorous charm .
the charismatic jackie chan to even younger audiences
beautiful , angry and sad ,
the tuxedo 's 90 minutes of screen time
a satisfying complete picture
sometimes both
's a certain robustness to this engaging mix of love and bloodletting
the film is all over the place , really .
kapur 's contradictory feelings about his material result in a movie that works against itself .
puts a human face on derrida , and makes one of the great minds of our times interesting and accessible to people who normally could n't care less
properly spooky
one problem with the movie , directed by joel schumacher , is that it jams too many prefabricated story elements into the running time .
has none of the pushiness and decibel volume of most contemporary comedies
to do all three quite well , making it one of the year 's most enjoyable releases
will have a showdown
, the drama feels rigged and sluggish .
whimsicality
is so resolutely cobbled together out of older movies that it even uses a totally unnecessary prologue , just because it seems obligatory .
an excellent companion piece
very much a home video , and so devoid of artifice and purpose that it appears not to have been edited at all .
finest non-bondish performance
however , robert rodriguez adorns his family-film plot with an elegance and maturity that even most contemporary adult movies are lacking .
observations on the human condition
stands out from the pack even if the picture itself is somewhat problematic .
underrehearsed
the abiding impression , despite the mild hallucinogenic buzz , is of overwhelming waste
expressing itself in every way imaginable
the redeeming feature of chan 's films has always been the action
slow-moving
all-over-the-map
for the most part wilde 's droll whimsy helps `` being earnest '' overcome its weaknesses and
the art direction and costumes are gorgeous and finely detailed , and
a fascinating curiosity piece -- fascinating
incredibly irritating
it 's like an all-star salute to disney 's cheesy commercialism .
funniest american comedy
delivers one of the saddest action hero performances ever witnessed
schiffer
the film 's messages of tolerance and diversity are n't particularly original , but one ca n't help but be drawn in by the sympathetic characters
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
most multilayered and sympathetic
family comedy
is a failure
the script and characters hold sway
is ultimately quite unengaging
is significantly less charming than listening to a four-year-old with a taste for exaggeration recount his halloween trip to the haunted house .
that recalls the classics of early italian neorealism
that it does n't give a damn
nothing more than warmed-over cold war paranoia
does not deserve to go down with a ship as leaky as this .
little jokes
so impersonal or even shallow
the insinuation of mediocre acting or
true to its animatronic roots
if you can get past the taboo subject matter
speaks eloquently about the symbiotic relationship between art and life .
negligible
some cute moments , funny scenes , and hits the target audience ( young bow wow fans )
muccino either does n't notice when his story ends or just ca n't tear himself away from the characters
unfocused and
more enjoyable
other than the slightly flawed ( and fairly unbelievable ) finale , everything else is top shelf .
is intriguing , provocative stuff
given too much time to consider the looseness of the piece , the picture begins to resemble the shapeless , grasping actors ' workshop that it is .
irresistible , languid romanticism
the worst of tragedies
incredibly captivating
's often overwritten , with a surfeit of weighty revelations , flowery dialogue , and nostalgia for the past and roads not taken
but blatantly biased .
simple , poignant and leavened with humor
criminal conspiracies and true romances move so easily across racial and cultural lines in the film that it makes my big fat greek wedding look like an apartheid drama .
-- conrad l. hall 's cinematography will likely be nominated for an oscar next year -- there 's something impressive and yet lacking about everything .
a wholesome fantasy
the best war movies ever made
irredeemably awful
the rare movie that 's as crisp and to the point
pray does n't have a passion for the material .
the incredible storyline
smartly
victim to sloppy plotting , an insultingly unbelievable final act and
what with all the blanket statements and dime-store ruminations on vanity
... a sour little movie at its core ; an exploration of the emptiness that underlay the relentless gaiety of the 1920
intoxicating show
mainstream audiences have rarely seen
diminishing his stature from oscar-winning master to lowly studio hack
300 years of russian history and culture compressed into an evanescent , seamless and sumptuous stream of consciousness .
like this that puts flimsy flicks like this behind bars
several uninteresting , unlikeable people
into hokum
for juicy roles
that the rampantly designed equilibrium becomes a concept doofus
the film above anything sandler 's been attached to before
loosely connected characters and plots that never quite gel
( p ) artnering murphy with robert de niro for the tv-cops comedy showtime would seem to be surefire casting .
what 's needed so badly but what is virtually absent here is either a saving dark humor or the feel of poetic tragedy .
the story of trouble every day ... is so sketchy it amounts to little more than preliminary notes for a science-fiction horror film
insanely violent
there 's no disguising this as one of the worst films of the summer .
its many excesses
for a fairly inexperienced filmmaker
freshness and
of promise
no denying the power of polanski 's film
more sheerly beautiful film
, unimaginative
coordinated
estranged
to being lectured to by tech-geeks , if you 're up for that sort of thing
it works superbly here
no amount of burning , blasting , stabbing , and shooting
a wonder
the overall feel is not unlike watching a glorified episode of `` 7th heaven . ''
returns to narrative filmmaking with a visually masterful work of quiet power
the precious trappings of most romantic comedies , infusing into the story
feels like the work of someone who may indeed have finally aged past his prime ... and , perhaps more than he realizes , just wants to be liked by the people who can still give him work .
exercise in style and mystification
violent and
would be very sweet indeed
visually striking and viscerally repellent
entirely suspenseful
the acting is amateurish , the cinematography is atrocious , the direction is clumsy , the writing is insipid
and narrative strength
threefold expansion
gracious , eloquent film
is complex from the start -- and , refreshingly , stays that way
is a no-bull throwback to 1970s action films .
helps make the film 's conclusion powerful and satisfying
j. lo will earn her share of the holiday box office pie , although this movie makes one thing perfectly clear : she 's a pretty woman , but she 's no working girl
enactments , however fascinating they may be as history ,
a cellophane-pop remake of the punk classic ladies and gentlemen , the fabulous stains ... crossroads is never much worse than bland or better than inconsequential .
being gullible
, insightful and entertaining
generic scripts that seek to remake sleepless in seattle again and again
on a high note
is a verbal duel between two gifted performers
bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama
to see a movie that takes such a speedy swan dive from `` promising '' to `` interesting '' to `` familiar '' before landing squarely on `` stupid ''
the beauty and power of the opera reside primarily in the music itself
unfilmable '' novels
if not a home run , then at least a solid base hit .
finest kind
the characters never change .
better movie
an artistry that also smacks of revelation
charismatic charmer
covered earlier and much better
does n't even have potential as a cult film , as it 's too loud to shout insults at the screen .
fest that 'll put hairs on your chest
the lustrous polished visuals rich in color and creativity and , of course , special effect
that are as valid today
kids-cute
this is a monumental achievement in practically every facet of inept filmmaking : joyless , idiotic , annoying , heavy-handed , visually atrocious , and often downright creepy .
funny and touching film
's sweet and fluffy at the time
had a serious urge to grab the old lady at the end of my aisle 's walker and toss it at the screen in frustration
of international acclaim
any dummies guide , something
a family film that contains some hefty thematic material on time , death , eternity , and what is needed to live a rich and full life .
of the filmmakers who have directed him , especially the coen brothers and steven soderbergh
were any more of a turkey
fun-seeking
juiced with enough energy and excitement for at least three films .
expert thriller
a painless time-killer
to vaporize from your memory minutes after it ends
it 's still not a good movie
under its own meager weight
left slightly disappointed
`` far from heaven ''
it 's time for an absurd finale of twisted metal , fireballs and revenge
a deliberative account of a lifestyle
most inventive
always surprising
can be classified as one of those ` alternate reality ' movies ... except that it would have worked so much better dealing in only one reality
any sexual relationship that does n't hurt anyone and works for its participants
an uncluttered , resonant gem
he runs around and acts like a doofus
acknowledges and celebrates
susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb
sven wollter as the stricken composer and viveka seldahl as his desperate violinist wife
hard-to-predict and absolutely essential
a genre-curling crime story
this is a movie that tells stories that work -- is charming , is moving
constantly touching , surprisingly funny ,
period-piece movie-of-the-week
musical passion
its cast full of caffeinated comedy performances
an artsploitation movie with too much exploitation and too little art
i had a dream that a smart comedy would come along to rescue me from a summer of teen-driven , toilet-humor codswallop , and
that it 's a crime movie made by someone who obviously knows nothing about crime
about the human need for monsters to blame for all that
imitative of innumerable
corniest
something bigger than yourself
to sloppy plotting
more fascinating than the results
offers us the sense that on some elemental level , lilia deeply wants to break free of her old life
carvey 's glory days
for its stylistic austerity and forcefulness
there 's an energy to y tu mamá también .
ordinary and
the tuxedo does n't add up to a whole lot .
make them laugh
quite good at providing some good old fashioned spooks
must be low , very low , very very low , for the masquerade to work
too predictable
the killing field and
felt performances
there are n't many conclusive answers in the film , but
the inherent limitations of using a video game as the source material movie are once again made all too clear in this schlocky horror/action hybrid .
does a great combination act as narrator , jewish grandmother and subject -- taking us through a film that is part biography , part entertainment and part history
a supremely kittenish performance
it might be ` easier ' to watch on video at home , but that should n't stop die-hard french film connoisseurs from going out and enjoying the big-screen experience
's very beavis and butthead , yet always seems to elicit a chuckle
like a lazy summer afternoon
pretty good execution
appeal to those without much interest in the elizabethans ( as well as rank frustration from those in the know about rubbo 's dumbed-down tactics )
does the thoroughly formulaic film
the makers of this ` we 're - doing-it-for - the-cash ' sequel
there 's more repetition than creativity throughout the movie .
a mess .
needed so badly
, deeply absorbing piece
grayish quality
the action scenes have all the suspense of a 20-car pileup , while the plot holes are big enough for a train car to drive through -- if kaos had n't blown them all up .
to the soggy performances
from david 's point of view
feels as flat as the scruffy sands of its titular community
the worst revenge-of-the-nerds clichés the filmmakers could dredge up
to describe exactly how bad it is
all the complexity and
adorable italian guys .
a terrific insider look at the star-making machinery of tinseltown .
if i want a real movie , i 'll buy the criterion dvd .
stumbles
a laughable -- or rather , unlaughable --
( a ) thoughtful , visually graceful
the mothman prophecies , which is mostly a bore , seems to exist only for its climactic setpiece .
fact ,
goes on and on and on and on
funny , uplifting and moving
being simpleminded
give `` scratch '' a second look
smart , sassy and
enjoy the big screen postcard that is a self-glorified martin lawrence lovefest