xiangpku/GLUE huggingface dataset:
because the plot is equally hackneyed
it can do even more damage
's the worst movie i 've seen this summer
visual treat
a coherent whole
for true fans
is put in an impossible spot because his character 's deceptions ultimately undo him and the believability of the entire scenario
makes you ache with sadness ( the way chekhov is funny ) , profound without ever being self-important
is gone , replaced by the forced funniness found in the dullest kiddie flicks .
their contrast is neither dramatic nor comic --
a suspenseful horror movie
` hip '
with passion and energy
gay porn film
informative ,
thrown every suspenseful cliché in the book at this nonsensical story
vaguely silly overkill
comedy death
mattei 's underdeveloped effort here is nothing but a convenient conveyor belt of brooding personalities that parade about as if they were coming back from stock character camp -- a drowsy drama infatuated by its own pretentious self-examination .
ultimate scorsese film
eroti-comedy
a good documentary can make interesting a subject you thought would leave you cold .
beyond being a sandra bullock vehicle or a standard romantic comedy
harsh reality
the movie has a cinematic fluidity and sense of intelligence that makes it work more than it probably should .
quieter domestic scenes
it 's mired in a shabby script that piles layer upon layer of action man cliché atop wooden dialogue and a shifting tone that falls far short of the peculiarly moral amorality of ( woo 's ) best work .
seems to have in mind an ( emotionally at least ) adolescent audience demanding regular shocks and bouts of barely defensible sexual violence to keep it interested .
a class by itself
its generic villains lack any intrigue ( other than their funny accents )
bad sign
sandra bullock and hugh grant make a great team , but this predictable romantic comedy should get a pink slip .
packed with moments out of an alice
holds you in rapt attention from
writer/director walter hill is in his hypermasculine element here , once again able to inject some real vitality and even art into a pulpy concept that , in many other hands would be completely forgettable .
by a talented director
felt with a sardonic jolt
funny for grown-ups as for rugrats
emotionally accessible , almost mystical work
like being stuck in a dark pit having a nightmare about bad cinema
so intimate and
mass drug-induced bowel evacuations , and none-too-funny commentary on the cultural distinctions between americans and brits .
a love story and
the only one laughing at his own joke
could use a little more humanity , but it never lacks in eye-popping visuals .
a warm , fuzzy feeling
is hilarious
a sun-drenched masterpiece , part parlor game , part psychological case study ,
the problem with antwone fisher
, nickelodeon-esque kiddie flick
the image that really tells the tale
could have given audiences the time of day by concentrating on the elements of a revealing alienation among a culture of people who sadly are at hostile odds with one another through recklessness and retaliation
stuffed to the brim with ideas
terrific computer graphics
introducing an intriguing and alluring premise , only to fall prey to a boatload of screenwriting cliches that sink it faster than a leaky freighter
crack you up
fresh good looks and an ease in front of the camera
squanders as much as it gives out
butterflies that die
star-making
the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries
i 'm not a fan of the phrase ` life affirming ' because it usually means ` schmaltzy , ' but real women have curves truly is life affirming
j.k. rowling 's marvelous series
... belinsky is still able to create an engaging story that keeps you guessing at almost every turn .
of a mishmash
goofy , heartfelt , mesmerizing king lear
the redeeming feature of chan 's films has always been the action , but the stunts in the tuxedo seem tired and , what 's worse , routine .
creates a portrait of two strong men in conflict , inextricably entwined through family history ,
scarily funny
a true study ,
miyazaki 's nonstop images are so stunning ,
a useless movie
the tone for a summer of good stuff
confusion and pain
movies like high crimes flog the dead horse of surprise as if it were an obligation .
guilt-free trip
starts off witty and sophisticated and you want to love it --
to a new , self-deprecating level
are simply too bland to be interesting .
, the experience of actually watching the movie is less compelling than the circumstances of its making .
has an eye for the ways people of different ethnicities talk to and about others outside the group .
a stylish but steady , and ultimately very satisfying , piece of character-driven storytelling .
revealed before about the source of his spiritual survival
as rude and profane as ever , always hilarious and , most of the time , absolutely
of academic skullduggery and politics
supposedly , pokemon ca n't be killed , but pokemon 4ever practically assures that the pocket monster movie franchise is nearly ready to keel over .
predictably conventional
than enchanting ... terribly episodic and lacking the spark of imagination that might have made it an exhilarating
ca n't really be called animation
mild disturbance or detached pleasure
without oppressive
you ca n't miss it .
with the cliché-laden screenplay
'll love it and probably want to see it twice .
well , i 'm not exactly sure what -- and has all the dramatic weight of a raindrop
sensual ,
murphy do the genial-rogue shtick to death ,
a compelling dramatic means of addressing a complex situation
with the fast , funny , and even touching story
silly and tedious
that is n't this painfully forced , false and fabricated
done excellent work here
makes a great impression as the writer-director of this little $ 1.8 million charmer , which may not be cutting-edge indie filmmaking
looks as if it belongs on the big screen
a pretty good execution of a story that 's a lot richer than the ones hollywood action screenwriters usually come up with on their own
the compassion , good-natured humor
of a mixed bag , with enough negatives
stupid americans
, it 's often overwritten , with a surfeit of weighty revelations , flowery dialogue , and nostalgia for the past and roads not taken .
material this rich it does n't need it
thoughtful what-if
, you 've got to admire ... the intensity with which he 's willing to express his convictions
adults , other than the parents ...
the earnestness of its execution and skill of its cast take you down a familiar road with a few twists
around a core of flimsy -- or , worse yet , nonexistent -- ideas
around this movie directionless
you come away thinking not only that kate is n't very bright , but that she has n't been worth caring about and that maybe she , janine and molly -- an all-woman dysfunctional family -- deserve one another .
solid storytelling .
by weaving a theme throughout this funny film
is one of those all-star reunions
franco is an excellent choice for the walled-off but combustible hustler , but
's something vital about the movie .
not into high-tech splatterfests
an accuracy
given passionate , if somewhat flawed , treatment
but once the falcon arrives in the skies above manhattan , the adventure is on red alert .
elizabeth hurley 's
makes good b movies ( the mask , the blob )
ride the big metaphorical wave that is life -- wherever it takes you
an ambitious movie that , like shiner 's organizing of the big fight , pulls off enough of its effects to make up for the ones that do n't come off
eloquent , reflective and beautifully
surprisingly gentle
good intentions
a bittersweet drama
a mesmerizing performance
it can still make you feel that you never want to see another car chase , explosion or gunfight again
with an appropriate minimum of means
it magic
the film is well-crafted
mr. scorsese 's bravery and integrity in advancing this vision
done excellent work
runs out of steam after a half hour .
sometimes almost senseless
educates viewers
choke
to satisfy the boom-bam crowd without a huge sacrifice of character and mood
of john c. walsh 's pipe dream
something a little more special behind it : music that did n't sell many records but helped change a nation
is utterly fearless as the tortured husband
that already-shallow
hip , contemporary , in-jokey one
of belly laughs ( including a knockout of a closing line )
barely register
is delivered with such conviction that it 's hard not to be carried away
sturdiest example yet
deeply meditative
have ever seen , constantly pulling the rug from underneath us , seeing things from new sides , plunging deeper , getting more intense .
soon proves preposterous , the acting is robotically italicized ,
estela bravo 's documentary is cloyingly hagiographic in its portrait of cuban leader fidel castro
a ` girls gone wild ' video
's a fairy tale that comes from a renowned indian film culture that allows americans to finally revel in its splendor
hilarious kenneth branagh
madonna 's cameo does n't suck !
tells a moldy-oldie , not-nearly - as-nasty - as-it - thinks-it-is joke
a love story as sanguine
beating the austin powers films
the determination of pinochet 's victims to seek justice , and their often heartbreaking testimony , spoken directly into director patricio guzman 's camera , pack a powerful emotional wallop
tiresome love triangles
it has that rare quality of being able to creep the living hell out of you ...
told with sharp ears and eyes
indeed almost never , is such high-wattage brainpower coupled with pitch-perfect acting and an exquisite , unfakable sense of cinema .
gesturing
continues her exploration of the outer limits of raunch with considerable brio .
it 's not helpful to listen to extremist name-calling , regardless of whether you think kissinger was a calculating fiend or just a slippery self-promoter .
a story worth caring about
something poignant about an artist of 90-plus years taking the effort to share his impressions of life and loss and time and art with us
captures , in luminous interviews and amazingly evocative film from three decades ago ,
be as bored
( davis ) wants to cause his audience an epiphany
biographical fantasia
because of its epic scope
that rare creature -- an action hero with table manners , and one who proves that elegance is more than tattoo deep
not to mention inappropriate and wildly undeserved
look down on their working-class subjects from their lofty perch , that finally makes sex with strangers , which opens today in the new york metropolitan area , so distasteful
such a great one
, you 're definitely convinced that these women are spectacular .
and not in a good way
a side dish no one ordered
with its subject matter in a tasteful , intelligent manner
is to be cherished
structured and well-realized
charming the masses with star power , a pop-induced score and sentimental moments that have become a spielberg trademark
about female friendship that men can embrace and women
a quietly introspective portrait of the self-esteem of employment and the shame of losing a job
certainly hard to hate
'll feel as the credits roll
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
gorgeous and finely detailed
zings along with vibrance and warmth
playfully profound
, you might be wishing for a watch that makes time go faster rather than the other way around .
, this sad , occasionally horrifying but often inspiring film is among wiseman 's warmest .
as exciting to watch as two last-place basketball
inhabit their world without cleaving to a narrative arc
without intent
an action/thriller of the finest kind , evoking memories of day of the jackal , the french connection , and heat .
forced drama in this wildly uneven movie
sharp edges and a deep vein of sadness run through its otherwise comic narrative .
we can enjoy as mild escapism
irreparable
detention
is a no-surprise series of explosions and violence while banderas looks like he 's not trying to laugh at how bad
even as the hero of the story rediscovers his passion in life , the mood remains oddly detached .
the imaginary sport it projects onto the screen -- loud , violent and mindless
leaves something to be desired
b-movie scum
most generic
that is , more often then not , difficult and sad
generous and
is so bad it does n't improve upon the experience of staring at a blank screen .
's coherent , well shot , and
absurd plot twists ,
schaefer 's ... determination to inject farcical raunch ... drowns out the promise of the romantic angle .
this stuck pig of a movie
otherwise comic
( while the last metro ) was more melodramatic , confined to a single theater company and its strategies and deceptions , while tavernier is more concerned with the entire period of history .
rejected x-files episode
it can be a bit repetitive
it suffers from the awkwardness that results from adhering to the messiness of true stories .
looks as if it were made by a highly gifted 12-year-old instead of a grown man
that you can not believe anyone more central to the creation of bugsy than the caterer
as darkly funny , energetic , and surprisingly gentle
is to frighten and disturb
especially when i have to put up with 146 minutes of it
left a few crucial things out ,
sirk
may well be the only one laughing at his own joke
littered with celluloid garbage
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 .
flat-out amusing , sometimes endearing and often fabulous , with a solid cast , noteworthy characters ,
which may not be cutting-edge indie filmmaking
the dialogue sounds like horrible poetry .
a delightful little film that revels in its own simplicity , mostly martha will leave you with a smile on your face and a grumble in your stomach .
of interest
a formula comedy
, giggly little story
lucas has in fact come closer than anyone could desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s .
a children 's film in the truest sense
the merits of fighting hard for something that really matters
rotting
this remake of lina wertmuller 's 1975 eroti-comedy might just be the biggest husband-and-wife disaster since john
glizty
's as good as you remember
is to see two academy award winning actresses ( and one academy award winning actor ) succumb to appearing in this junk that 's tv sitcom material at best
you ca n't wait to see end .
the story itself is actually quite vapid .
brazen enough to attempt to pass this stinker off as a scary movie
an irresistibly uncanny ambience
your own mystery science theatre 3000 tribute
successful at lodging itself in the brain
until you feel fully embraced by this gentle comedy
reveals how important our special talents can be when put in service of of others
much of the digitally altered footage appears jagged , as if filmed directly from a television monitor , while the extensive use of stock footage quickly becomes a tiresome cliché .
like its parade of predecessors , this halloween is a gory slash-fest .
bisset is both convincing and radiant
an enormously entertaining movie , like nothing we 've ever seen before , and yet completely familiar .
everybody else is in the background
nothing but boilerplate clichés
some of the characters die and others do n't , and the film pretends that those living have learned some sort of lesson , and , really , nobody in the viewing audience cares .
breathes life
stylish psychological thriller
starts as a tart little lemon drop of a movie and
moved to the edge of their seats
is hard to conceive anyone else in their roles
high production values
particularly nightmarish
and utterly pointless
quickly losing its focus , point and purpose in a mess of mixed messages , over-blown drama and bruce willis with a scar
gifted artists
forces them into bizarre , implausible behavior
sacrificing the integrity of the opera
ultimately very satisfying
about this latest reincarnation of the world 's greatest teacher
of sharp writing
a welcome , if downbeat , missive from a forgotten front
mixed messages , over-blown drama and bruce willis
is rote spookiness , with nary an original idea ( or role , or edit , or score , or anything , really ) in sight
the soullessness
blessed with a searing lead performance by ryan gosling ( murder by numbers )
the film becomes an overwhelming pleasure , and you find yourself rooting for gai 's character to avoid the fate that has befallen every other carmen before her .
carry the film on his admittedly broad shoulders
as obvious as telling a country skunk
schaeffer 's film never settles into the light-footed enchantment the material needs , and the characters ' quirks and foibles never jell into charm
have been right at home as a nifty plot line in steven soderbergh 's traffic fails to arrive at any satisfying destination
gets under the skin of a man we only know as an evil , monstrous lunatic
, i suspect , would have a hard time sitting through this one .
stimulating and demanding
bright and
a good surprise ending
a strong first act
it 's unburdened by pretensions to great artistic significance
and it 's what makes their project so interesting
one oscar nomination
but they lack their idol 's energy and passion for detail .
the atmosphere of the crime expertly
most poorly staged and
and unrelentingly exploitative
director jay russell stomps in hobnail boots over natalie babbitt 's gentle , endearing 1975 children 's novel .
the enjoyable undercover brother , a zany mix of saturday night live-style parody , '70s blaxploitation films and goofball action comedy gone wild
there 's not a single jump-in-your-seat moment and believe it or not , jason actually takes a backseat in his own film to special effects .
like a book report
so intimate and sensual and funny
significantly different ( and better )
shrill , simple and soapy .
an impressive achievement in spite of a river of sadness that pours into every frame
, discontent , and yearning
has all the enjoyable randomness of a very lively dream and so
a catalyst for the struggle of black manhood in restrictive and chaotic america ...
small gem
despite the mild hallucinogenic buzz
... gives his best screen performance with an oddly winning portrayal of one of life 's ultimate losers .
an excruciating demonstration of the unsalvageability of a movie saddled with an amateurish screenplay
many conclusive answers in the film
comes across as lame and sophomoric in this debut indie feature .
it 's stylishly directed with verve ...
is just too bad the film 's story does not live up to its style .
a boring , pretentious muddle that uses a sensational , real-life 19th-century crime as a metaphor for --
have not been this disappointed by a movie in a long time .
you may feel compelled to watch the film twice or pick up a book on the subject .
sustain interest
auto focus feels so distant you might as well be watching it through a telescope .
the movie itself is far from disappointing , offering an original take on courtroom movies , a few nifty twists that are so crucial to the genre and another first-rate performance by top-billed star bruce willis .
is a movie that understands characters must come first
a series of immaculately composed shots of patch adams quietly freaking out does not make for much of a movie .
hugely enjoyable in its own right though not really faithful to
creepiest conventions
derivative elements into something that is often quite rich and exciting
it does n't work .
a family of five blind , crippled , amish people alive in this situation
both sides of this emotional car-wreck
is emerging in world cinema
while it may not add up to the sum of its parts
for all its shoot-outs , fistfights , and car chases , this movie is a phlegmatic bore , so tedious it makes the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian .
stupid and
to the point of nausea
should stick to his day job
not that funny
as a retooling of fahrenheit 451 , and even as a rip-off of the matrix
, well ,
represents an engaging and intimate first feature
delicately crafted film
an uplifting , near-masterpiece
mordantly funny
a well-crafted film
anything ever , and easily the most watchable film of the year
whip-smart
seems to have been ` it 's just a kids ' flick .
characteristically engorged and sloppy
jerking off in all its byzantine incarnations to bother pleasuring its audience
raunch
for the most part , the film does hold up pretty well .
the finished product 's unshapely look
to sustain a good simmer for most of its running time
cruelly funny
lobotomy
the dream world of teen life
this mistaken-identity picture is so film-culture referential that the final product is a ghost .
the film would have been more enjoyable had the balance shifted in favor of water-bound action over the land-based ` drama ,
truly excellent sequences
it 's so successful at lodging itself in the brain
a bad day
without any redeeming value whatsoever
of describing badness
there 's none of the happily-ever - after spangle of monsoon wedding in late marriage -- and that 's part of what makes dover kosashvili 's outstanding feature debut so potent
funniness
in your heart
letting you share her one-room world for a while
deliciously mean-spirited and wryly observant .
` they do n't make movies like they used to anymore
it 's usually a bad sign when directors abandon their scripts and go where the moment takes them
exercise in formula crash-and-bash action
otherwise appalling , and downright creepy ,
, sorvino glides gracefully from male persona to female without missing a beat .
standard thriller and drag audience enthusiasm to crush depth
a bit exploitative but also nicely done , morally alert
tendentious
to be cherished
despite a fairly slow paced , almost humdrum approach to character development , still manages at least a decent attempt at meaningful cinema
second , what 's with all the shooting ?
unimpeachable
stitched together from stock situations and characters
's a reason why halftime is only fifteen minutes long .
may be burns 's strongest film since the brothers mcmullen
perfect performance
a james bond series for kids
's got as potent a topic as ever here
would do well to cram earplugs in their ears and put pillowcases over their heads for 87 minutes
that it does afford
the only way to tolerate this insipid , brutally clueless film
turbulent self-discovery
trotting out threadbare standbys
does so with an artistry that also smacks of revelation
lost some of the dramatic conviction that underlies the best of comedies
this is a very ambitious project for a fairly inexperienced filmmaker , but good actors , good poetry and good music help sustain it
but also intriguing and honorable ,
really need a remake of `` charade
in laramie following the murder of matthew shepard
's much to recommend the film
rashomon-for-dipsticks tale .
as inept
unassuming , subordinate
a lovely film ... elegant , witty and beneath a prim exterior unabashedly romantic ... hugely enjoyable in its own right though not really faithful to its source 's complexity .
an artist of 90-plus years taking the effort to share his impressions of life and loss and time and art with us
is wonderful
sentimental ooze
primitive animated special effects
no explanation or even
an irresistible blend of warmth and humor
as the mediterranean sparkles
with its leaden acting , dull exposition and telegraphed ` surprises
strong-minded
into some univac-like script machine
is a strength of a documentary to disregard available bias , especially
an effective portrait of a life in stasis --
only pain
somber earnestness in the new adaptation of the cherry orchard
after a while , hoffman 's quirks and mannerisms , particularly his penchant for tearing up on cue -- things that seem so real in small doses -- become annoying and artificial .
insulting
a temporal inquiry
how tedious
a zombie movie in every sense of the word -- mindless , lifeless , meandering , loud , painful , obnoxious .
adrenaline boost
is so different from the apple and so striking that it can only encourage us to see samira makhmalbaf as a very distinctive sensibility , working to develop her own film language with conspicuous success
of happy
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