xiangpku/GLUE huggingface dataset:
get caught up in the thrill of the company 's astonishing growth
it 's on par with the first one
is moody , oozing , chilling and heart-warming all at once
is an accuracy of observation in the work of the director , frank novak , that keeps the film grounded in an undeniable social realism
is in the right place , his plea for democracy and civic action laudable
above most of its ilk
with spy kids 2 : the island of lost dreams , however , robert rodriguez adorns his family-film plot with an elegance and maturity that even most contemporary adult movies are lacking .
from kevin kline who unfortunately works with a two star script
change watching such a character , especially when rendered in as flat and
i do n't think so .
devotees of star trek ii : the wrath of khan will feel a nagging sense of deja vu , and the grandeur of the best next generation episodes is lacking
is always a joy to watch , even when her material is not first-rate
great to see this turd squashed under a truck , preferably a semi
bile , and irony
a faulty premise ,
haphazardness
the plot grows thin soon ,
beloved-major
by no means a great movie , but it is a refreshingly forthright one .
crossing-over mumbo jumbo
virtually unwatchable
its premise is smart , but
was amused and entertained by the unfolding of bielinsky 's cleverly constructed scenario , and greatly impressed by the skill of the actors involved in the enterprise .
who seem bound and determined to duplicate bela lugosi 's now-cliched vampire accent
light-hearted
heavy with flabby rolls of typical toback machinations .
to show us a good time
pitiful , slapdash disaster .
is one of the year 's best
even witty
a fierce dance
crippled
... the lady and the duke surprisingly manages never to grow boring ... which proves that rohmer still has a sense of his audience .
the most wondrous love story in years , it is a great film .
its story about a young chinese woman , ah na , who has come to new york city to replace past tragedy with the american dream
particularly impressive
in the process comes out looking like something wholly original
submerging
nearly as fresh or enjoyable
miserable and smug
my great pleasure
it all unfolds predictably , and the adventures that happen along the way seem repetitive and designed to fill time , providing no real sense of suspense .
fascinating , dark thriller
more of the same from taiwanese auteur tsai ming-liang , which is good news to anyone who 's fallen under the sweet , melancholy spell of this unique director 's previous films .
down the reality drain
the only way to tolerate this insipid , brutally clueless film might be with a large dose of painkillers .
a historic scandal
that 's steeped in mystery and a ravishing , baroque beauty
cool stuff packed into espn 's ultimate x.
idea ( of middle-aged romance ) is not handled well and , except for the fine star performances
their lamentations are pretty much self-centered
a pretty decent kid-pleasing ,
of classic romantic comedy to which it aspires
, bigelow demonstrates a breadth of vision and an attention to detail that propels her into the upper echelons of the directing world .
is the refreshingly unhibited enthusiasm that the people , in spite of clearly evident poverty and hardship , bring to their music
would n't have taken the protagonists a full hour to determine that in order to kill a zombie you must shoot it in the head
give a pretty good overall picture of the situation in laramie following the murder of matthew shepard
the fine line between cheese and earnestness remarkably well
a documentary fails to live up to -- or offer any new insight into -- its chosen topic
serious movie-goers embarking upon this journey
insistent and repetitive
of survival wrapped in the heart-pounding suspense of a stylish psychological thriller
seems to exist only for its climactic setpiece
more silly than scary
's funny .
its execution and skill
's coherent , well shot , and tartly
you wish you were at home watching that movie instead of in the theater watching this one
's no point in extracting the bare bones of byatt 's plot for purposes of bland hollywood romance
underdeveloped
the jokes are flat
a heartening tale of small victories
suspense , intriguing characters and bizarre bank robberies ,
a gritty police thriller with all the dysfunctional family dynamics one could wish for
with a wonderful ensemble cast of characters that bring the routine day to day struggles of the working class to life
nonetheless appreciates the art and reveals a music scene that transcends culture and race .
do we really need the tiger beat version ?
the disadvantage of also looking cheap
churn out one mediocre movie after another
once folks started hanging out at the barbershop , they never wanted to leave .
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 .
cheapo animation ( like saturday morning tv in the '60s ) , a complex sword-and-sorcery plot and characters who all have big round eyes and japanese names
sexual and romantic
what begins brightly
then just fell apart
despite its dry wit and compassion , the film suffers from a philosophical emptiness and maddeningly sedate pacing .
every top-notch british actor
is awful .
a deft sense of humor about itself , a playful spirit and a game cast
will nevertheless find moving
like `` horrible '' and `` terrible
provide an intense experience
is off-putting
gets bogged down over 140 minutes .
, this nicholas nickleby finds itself in reduced circumstances -- and , also like its hero , it remains brightly optimistic , coming through in the end .
a pack of dogs who are smarter than him
this is a very funny , heartwarming film .
with such provocative material
this film biggest problem ?
with all the dysfunctional family dynamics one could wish for
stylish and
it 's lost the politics and the social observation and become just another situation romance about a couple of saps stuck in an inarticulate screenplay .
measured against practically any like-themed film other than its oscar-sweeping franchise predecessor
are the uneven performances by the cast members , who seem bound and determined to duplicate bela lugosi 's now-cliched vampire accent
it plainly has no business going
a larger-than-life figure ,
is truly gorgeous to behold
devos and cassel have tremendous chemistry --
the most affecting depictions of a love affair
stereotypical caretakers
be surprised at the variety of tones in spielberg 's work
made eddie murphy a movie star and the man has n't aged a day .
yet permits laughter
marked by acute writing and a host of splendid performances .
some serious suspense
waster '
an eerily suspenseful , deeply absorbing piece that works as a treatise on spirituality as well as a solid sci-fi thriller
salton sea surprisingly engrossing
no place for this story to go but down
can open the door to liberation .
are credited with the cliché-laden screenplay
another best of the year selection .
flat ,
exceptional lead performances
positive impression
much of what 's on saturday morning tv especially the pseudo-educational stuff we all ca n't stand
that heralds something special
muddled , simplistic and more than a little pretentious .
dreamy
the animated sequences are well done and perfectly constructed to convey a sense of childhood imagination
the qualities
than losers
comedy that takes an astonishingly condescending attitude toward women
flashy , overlong soap
get the impression that writer and director burr steers knows the territory
's good to see michael caine whipping out the dirty words and punching people in the stomach again .
sweetheart
by no means a slam-dunk and sure to ultimately disappoint the action fans who will be moved to the edge of their seats by the dynamic first act
it still works .
some writer dude , i think his name was , uh , michael zaidan , was supposed to have like written the screenplay or something , but , dude
a well paced and satisfying little drama
begin to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents
, dopey old
because it was so endlessly , grotesquely , inventive
wrenching performances
kids , spirit
the star who helped give a spark to `` chasing amy '' and `` changing lanes '' falls flat as thinking man cia agent jack ryan in this summer 's new action film , `` the sum of all fears
escapes the precious trappings of most romantic comedies , infusing into the story very real
trouble every day is a success in some sense , but it 's hard to like a film so cold and dead
quickly becomes a tiresome cliché
unlike so many other hollywood movies of its ilk
a perceptive , good-natured movie
keep the movie slaloming through its hackneyed elements with enjoyable ease
be completely forgettable
it 's nice to see piscopo again after all these years
low-brow humor , gratuitous violence
the best of a growing strain of daring films
gripping portrait
it 's actually watchable
an ebullient tunisian film about the startling transformation of a tradition-bound widow who is drawn into the exotic world of belly dancing .
a bland animated sequel
his films
a stab at soccer hooliganism , a double-barreled rip-off of quentin tarantino 's climactic shootout -- and
trouble every day is a plodding mess .
to be consumed and forgotten
, the screenplay by billy ray and terry george leaves something to be desired .
its one-sidedness
, thought-provoking film
uneven film
is n't heated properly , so that it ends up
takes off in totally unexpected directions and
tried as a war criminal
is a genre-curling crime story that revives the free-wheeling noir spirit of old french cinema .
can only point the way -- but thank goodness for this signpost
to make such a worthless film
a celebrated wonder in the spotlight
devoid of any of the qualities that made the first film so special .
a technically superb film ,
a waterlogged version of ` fatal attraction ' for the teeny-bopper set ...
to maintain both a level of sophisticated intrigue and human-scale characters that suck the audience in
what a reckless squandering
assured , glossy and shot through with brittle desperation
off-beat and fanciful
its exquisite acting , inventive screenplay , mesmerizing music , and
like one long , meandering sketch inspired by the works of john waters and todd solondz , rather than a fully developed story
by the ensemble cast , the flat dialogue by vincent r. nebrida or the gutless direction by laurice guillen
time-consuming
charlotte sometimes is a gem .
is n't nearly surprising or clever enough to sustain a reasonable degree of suspense on its own
so skeeved out that they 'd need a shower
can outgag any of those young whippersnappers making moving pictures today
a little too ponderous to work as shallow entertainment , not remotely incisive enough to qualify as drama , monsoon wedding serves mostly to whet one 's appetite for the bollywood films .
epic treatment of a nationwide blight
fresh-faced
the profoundly devastating events of one year ago and the slow , painful healing process that has followed in their wake
mr. nelson has made a film that is an undeniably worthy and devastating experience .
the film 's desire to be liked sometimes undermines the possibility for an exploration of the thornier aspects of the nature/nurture argument in regards to homosexuality .
worth a recommendation
our best achievements and other times
sandra bullock and hugh grant make a great team ,
everything 's serious , poetic , earnest and -- sadly -- dull .
in private
has a caffeinated , sloppy brilliance , sparkling with ideas you wish had been developed with more care , but
of anti-semitism ever seen on screen
ends with a story that is so far-fetched it would be impossible to believe if it were n't true
makes the banger sisters a fascinating character study with laughs to spare
invigorating about
's mildly entertaining ,
it 's about family
life and love
a twist
with leonine power
quiet , patient and tenacious as mr. lopez himself
gaps in their relationships
we 've seen the hippie-turned-yuppie plot before , but
it 's supposed to be a romantic comedy - it suffers from too much norma rae and not enough pretty woman .
badly edited
run out of clever ideas and visual gags about halfway through
i am baffled by jason x.
to set and shoot a movie at the cannes film festival
a smoother , more focused
is not first-rate
are relegated to the background -- a welcome step forward from the sally jesse raphael atmosphere of films like philadelphia and american beauty .
zealand coming-of-age movie
dramatize life 's messiness from inside out , in all its strange quirks
p.t. anderson understands the grandness of romance and how love is the great equalizer that can calm us of our daily ills and bring out joys in our lives that we never knew were possible
rises above superficiality .
a sort of geriatric dirty harry , which will please eastwood 's loyal fans -- and suits the story , wherein our hero must ride roughshod over incompetent cops to get his man
comes across as a fairly weak retooling .
masterful british actor ian holm
the hearts and minds
conventional -- lots of boring talking heads , etc. -- to do the subject matter justice
deemed important enough to make a film in which someone has to be hired to portray richard dawson
is standard crime drama fare ... instantly forgettable and thoroughly dull .
-- that you should never forget
has little to do with the story , which becomes something about how lame it is to try and evade your responsibilities and that you should never , ever , leave a large dog alone with a toddler
more than ably
and a terrible story
's that painful
is a monumental achievement
a zippy 96 minutes of mediocre special effects , hoary dialogue , fluxing accents , and -- worst of all -- silly-looking morlocks .
comedic writing
humorous and touching .
of logic and misuse of two fine actors , morgan freeman and ashley judd
it 's easy to love robin tunney
i like that smith , he 's not making fun of these people , he 's not laughing at them .
a guilty-pleasure , daytime-drama sort
, the grey zone attempts to be grandiloquent , but ends up merely pretentious -- in a grisly sort of way .
what little atmosphere is generated by the shadowy lighting , macabre sets , and endless rain is offset by the sheer ugliness of everything else .
more graceful way
an uninspired preachy and clichéd war film .
will turn out
it 's the worst movie i 've seen this summer
perfect material
one of the most frantic , virulent and foul-natured christmas season pics ever delivered by a hollywood studio
( seagal 's ) strenuous attempt at a change in expression
gooding is the energetic frontman , and it 's hard to resist his enthusiasm , even if the filmmakers come up with nothing original in the way of slapstick sequences .
promisingly but disintegrates into a dreary , humorless soap opera .
offbeat humor , amusing characters , and a happy ending
in a grisly sort of way
nothing going for it other than its exploitive array of obligatory cheap
more frustrating
lacks both a purpose and a strong pulse
there are laughs aplenty , and
lifted from terry gilliam 's subconscious , pressed through kafka 's meat grinder and into buñuel 's casings
of sleaziness
this too-long , spoofy update
shoddy male hip hop fantasy
, cynical
like puppies with broken legs
that should attract upscale audiences hungry for quality and a nostalgic , twisty yarn that will keep them guessing
knock back a beer with but they 're simply not funny performers
excited about on this dvd
just is n't as weird as it ought to be .
should have a stirring time at this beautifully drawn movie
as the remarkable ensemble cast brings them to life
many of the things that made the first one charming
as if by cattle prod
beautiful paean
entertaining and , ultimately , more perceptive
all about the benjamins evokes the bottom tier of blaxploitation flicks from the 1970s .
begins like a docu-drama but builds its multi-character story with a flourish .
dickens ' wonderfully sprawling soap opera , the better
dreadfulness
it 's not very interesting .
the film is , arguably , the most accomplished work to date from hong kong 's versatile stanley kwan .
a treatise on spirituality as well as a solid sci-fi thriller
it does n't take a rocket scientist to figure out that this is a mormon family movie , and a sappy , preachy one at that .
an all-around good time at the movies
humor in i spy is so anemic .
the by now intolerable morbidity
touched by the film 's conviction
a spoof comedy
it would fit chan like a $ 99 bargain-basement special .
seem tired and ,
one of the saddest action hero performances ever witnessed
pointed , often tender , examination
touching reflection
a smartly directed , grown-up film
help overcome the problematic script .
show-stoppingly hilarious , but scathingly witty
this fascinating portrait of a modern lothario
put together a bold biographical fantasia
slow and ponderous , but rohmer 's drama builds to an intense indoor drama about compassion , sacrifice , and christian love in the face of political corruption .
as underwater ghost stories go , below casts its spooky net out into the atlantic ocean and spits it back , grizzled and charred , somewhere northwest of the bermuda triangle .
drowned me
a movie character more unattractive or odorous ( than leon )
haneke 's script ( from elfriede jelinek 's novel ) is contrived , unmotivated , and psychologically unpersuasive , with an inconclusive ending .
though the film is well-intentioned , one could rent the original and get the same love story and parable .
, scoob and shag do n't eat enough during the film . '
a screwed-up man
rumblings
an incredibly thoughtful , deeply meditative picture
sharp comedy , old-fashioned monster movie atmospherics , and genuine heart
lightweight filmmaking
and satirical touches
is depressing , ruthlessly pained and depraved , the movie equivalent of staring into an open wound .
a bracing truth that 's refreshing after the phoniness of female-bonding pictures like divine secrets of the ya-ya sisterhood
hackneyed concepts
a heartbreakingly thoughtful minor classic , the work of a genuine and singular artist .
remarkably fuddled about motives and context , which drains it of the dramatic substance that would shake us in our boots ( or cinema seats )
a powerful sequel and one of the best films of the year .
as well-written as sexy beast , not as gloriously flippant as lock , stock and two smoking barrels , but stylish and moody and
wickedly undramatic
a legendary professor
is magnetic as graham
has a bracing truth that 's refreshing after the phoniness of female-bonding pictures like divine secrets of the ya-ya sisterhood .
deserves a place of honor next to nanook as a landmark in film history .
to watch too many barney videos
be able to look away for a second
heartfelt performances
a legacy
an evil , monstrous lunatic
smoky and inviting
the wisdom and humor
saw the potential success inherent in the mixture of bullock bubble and hugh goo
excruciatingly tedious
beyond redemption
the intoxicating fumes and emotional ghosts of a freshly painted rembrandt
sleep-inducing
coen brothers
never rises above mediocrity
no doubt intended the film to affirm love 's power to help people endure almost unimaginable horror
well , it probably wo n't have you swinging from the trees hooting it 's praises , but it 's definitely worth taking a look .
a wonderful tale of love and destiny
the fourth `` pokemon '' is a diverting -- if predictable -- adventure suitable for a matinee , with a message that cautions children about disturbing the world 's delicate ecological balance .
've seen the hippie-turned-yuppie plot before
patchy combination of soap opera , low-tech magic realism and , at times , ploddingly sociological commentary .
hackneyed and meanspirited
makes a meal of it
the film does n't have enough innovation or pizazz to attract teenagers , and
mckay seems embarrassed by his own invention and tries to rush through the intermediary passages , apparently hoping that the audience will not notice the glaring triteness of the plot device he has put in service .
the unacceptable
violent , vulgar and forgettably entertaining .
shockingly bad
run of the mill
is n't a very
most amazing super-sized dosage
is cruel , misanthropic stuff with only weak claims to surrealism and black comedy .
4ever has the same sledgehammer appeal as pokemon videos ,
laugh-a-minute crowd pleaser
the opulent lushness
( allen ) manages to breathe life into this somewhat tired premise .
the writing and direction to the soggy performances
good film
a simplistic narrative and
plodding , peevish and gimmicky .
finely written
a canny crowd pleaser ,
real and amusing
a dependable concept
straight from the saturday morning cartoons
thoughtful dialogue elbowed aside by one-liners , and a visual style that incorporates rotoscope animation for no apparent reason except
dying a slow death
some good material in their story about a retail clerk wanting more out of life
lack contrast , are murky and are frequently too dark to be decipherable .
under the skin of a man we only know as an evil , monstrous lunatic
transporting is that it 's also one of the smartest
reminiscent of gong li and a vivid personality
to convince almost everyone that it was put on the screen , just for them
downright intoxicating
with ` bowling for columbine , ' michael moore gives us the perfect starting point for a national conversation about guns , violence , and fear .
especially the pseudo-educational stuff we all ca n't stand
vaporize from your memory minutes
's the inimitable diaz , holding it all together .
decrepit
two guys yelling in your face for two hours
bloody beauty as vivid
cold , sterile and lacking any color or warmth
is not handled well
long and eventful
, after only three films , director/co-writer jacques audiard , though little known in this country , belongs in the very top rank of french filmmakers
suffocating
has considerable charm
for its extraordinary intelligence and originality
good-bad that makes eight legged freaks a perfectly entertaining summer diversion
the milieu is wholly unconvincing ... and the histrionics reach a truly annoying pitch
kids will love its fantasy and adventure
( or role , or edit , or score , or anything , really
, to my great pleasure ,
one of the most entertaining bonds in years
in a standard plot
the moral shrapnel and mental shellshock will linger long after this film has ended .
been written so well , that even a simple `` goddammit
b movies
to address his own world war ii experience in his signature style
from others in its genre in that it is does not rely on dumb gags , anatomical humor , or character cliches
draws on an elegant visual sense and a talent
be one of those movies barely registering a blip on the radar screen of 2002
for pretentious arts majors
see a movie with its heart
reek of a script
bottom tier
delivers a powerful commentary on how governments lie , no matter who runs them
an admirable reconstruction of terrible events
's a tribute to the actress , and to her inventive director
as john ritter 's glory days
fights a good fight
is god
floating narrative
stand in future years as an eloquent memorial to the world trade center tragedy
a screenplay that forces them into bizarre , implausible behavior
of this dog of a movie
too bad kramer could n't make a guest appearance to liven things up .
plays like a bad blend of an overripe episode of tv 's dawson 's creek and a recycled and dumbed-down version of love story .
yet depressing film
does pack some serious suspense .
descends into such message-mongering moralism
gripping humanity
fall fast asleep
virtually no aftertaste
inane and unimaginative
's no surprise that as a director washington demands and receives excellent performances ,
self-absorbed
's a feel-good movie about which you can actually feel good
intolerable company
talky , artificial and opaque
for one splendidly cast pair
underneath such a mountain of clichés and borrowed images
falsehoods pile up , undermining the movie 's reality and stifling its creator 's comic voice .
convincing as this bland blank of a man with unimaginable demons
are ... impeccable throughout .