xiangpku/GLUE huggingface dataset:
is sufficiently funny to amuse even the most resolutely unreligious parents who escort their little ones to megaplex screenings
shallow and immature character
real masterpiece
good little movie
exceedingly rare
comes off as a two-way time-switching myopic mystery that stalls in its lackluster gear of emotional blandness .
of the best rock
, has stopped challenging himself
more than a worthwhile effort
ms. bullock 's best work
's a pretty listless collection of kid-movie clichés
is great fun , full of the kind of energy it 's documenting
to be that rarity among sequels
of the double-cross that made mamet 's `` house of games '' and last fall 's `` heist '' so much fun
a fresh , entertaining comedy that
competent , unpretentious
really solid
an undeniably moving film to experience ,
been there done that .
designed to make you feel guilty about ignoring what the filmmakers clearly believe
a deftly entertaining film , smartly played and smartly directed .
itself , a playful spirit
one of the rarest kinds of films : a family-oriented non-disney film that is actually funny without hitting below the belt
real pleasure in its laid-back way
makes two hours feel like four
, the way this all works out makes the women look more like stereotypical caretakers and moral teachers , instead of serious athletes .
takes hold .
a giant commercial for universal studios , where much of the action takes place
the acting , for the most part
's one of the few ` cool ' actors who never seems aware of his own coolness
that 's a liability .
which is often preachy and poorly acted
when your subject is illusion versus reality , should n't the reality seem at least passably real ?
the hard-to-predict and absolutely essential chemistry between the down-to-earth bullock and the nonchalant grant proves to be sensational ,
melancholic
funny in a sick , twisted sort of way
as well its delightful cast
is the far superior film
modernize it with encomia
has some cute moments , funny scenes , and hits the target audience ( young bow wow fans ) - with nothing but net
if you liked the previous movies in the series
this misty-eyed southern nostalgia piece , in treading the line between sappy and sanguine
the saturday morning cartoons
flourishes and
one of the most exciting action films to come out of china in recent years
new york 's finest
cinematic pyrotechnics aside , the only thing avary seems to care about are mean giggles and pulchritude .
swims away with the sleeper movie of the summer award
how will you feel after an 88-minute rip-off of the rock with action confined to slo-mo gun firing and random glass-shattering ? ''
retaining an integrity and refusing to compromise his vision
your interest until the end and
to the filmmakers , ivan is a prince of a fellow , but he comes across as shallow and glib though not mean-spirited , and there 's no indication that he 's been responsible for putting together any movies of particular value or merit
some of the computer animation is handsome ,
much more watchable
stylish but steady , and
with tension
as sharp as a samurai sword
gritty police thriller
low-tech magic realism and , at times ,
most of the problems with the film do n't derive from the screenplay , but rather the mediocre performances by most of the actors involved
counter-cultural idealism and hedonistic creativity
is one of those rare docs that paints a grand picture of an era and makes the journey feel like a party .
gradually makes us believe she is kahlo
a fine , understated piece of filmmaking
is still good fun
unexpectedly rewarding
moldy-oldie , not-nearly - as-nasty - as-it
of emotional blandness
the startling intimacy
shame on writer/director vicente aranda for making a florid biopic about mad queens , obsessive relationships , and rampant adultery so dull .
nothing but one relentlessly depressing situation after another for its entire running time , something that you could easily be dealing with right now in your lives
so graceless and devoid
do n't bother
liked it much more if harry & tonto never existed
plummer steals the show without resorting to camp as nicholas ' wounded and wounding uncle ralph .
it seems most likely that broomfield 's interviewees , or even himself , will not be for much longer
promising premise
bad premise
is nothing funny in this every-joke-has - been-told-a - thousand-times - before movie
dehumanizing and
strongest and
equlibrium could pass for a thirteen-year-old 's book report on the totalitarian themes of 1984 and farenheit 451 .
a delightful entree in the tradition
it 's just hard to believe that a life like this can sound so dull .
uses the last act to reel in the audience
several survivors ,
a fall
tired of going where no man has gone before
's endgame
strictly speaking , schneider is no steve martin
is well established
smirk
the biggest problem with roger avary 's uproar against the mpaa
of mediocre acting
leaning on badly-rendered cgi effects
is serry 's ability to take what is essentially a contained family conflict and put it into a much larger historical context
with such an engrossing story that will capture the minds and hearts of many
somewhat touched
once the expectation of laughter has been quashed by whatever obscenity is at hand , even the funniest idea is n't funny .
amoral assassin
most aggressive and most sincere attempt
hot topics
... 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 . '
a high-end john hughes comedy ,
is rote spookiness
the lead actor phones in his autobiographical performance
occasional smiles
have that same option to slap her creators because they 're clueless and inept
that even the most jaded cinema audiences will leave the auditorium feeling dizzy , confused , and totally disorientated
a wild comedy that could only spring from the demented mind of the writer of being john malkovich .
averting an american-russian armageddon
becomes lifeless and falls apart like a cheap lawn chair
to be as heartily sick of mayhem as cage 's war-weary marine
suspend your disbelief here and now , or you 'll be shaking your head all the way to the credits .
now as a former gong show addict
the potential success
did we really need a remake of `` charade
unassuming
having two guys yelling in your face for two hours
soft-porn
stuck in heaven because he 's afraid of his best-known creation ?
becomes a hopeless , unsatisfying muddle
to call this film a lump of coal would only be to flatter it .
has this sneaky feel to it -- as if the director is trying to dupe the viewer into taking it all as very important simply because the movie is ugly to look at and not a hollywood product
funniest and most likeable
can render it anything but laughable
barely shocking , barely interesting
solid , satisfying
one well-timed explosion in a movie can be a knockout , but a hundred of them can be numbing .
enigma is well-made ,
keep getting torn away from the compelling historical tale to a less-compelling soap opera
fully formed and remarkably assured
it turns out to be affected and boring
ayurveda does the field no favors
reveals how we all need a playful respite from the grind to refresh our souls
will want to see over and over again .
had their hearts in the right place
painfully awful
classic ladies and gentlemen , the fabulous stains
provides the kind of ` laugh therapy ' i need from movie comedies -- offbeat humor , amusing characters , and a happy ending
skin of man gets a few cheap shocks from its kids-in-peril theatrics , but it also taps into the primal fears of young people trying to cope with the mysterious and brutal nature of adults .
of deep feeling
a treat --
a loud , ugly , irritating movie without any of its satirical
a faster paced family flick .
is more frustrating than a modem that disconnects every 10 seconds
's not funny
award-winning english cinematographer giles nuttgens
rocky and
under the weight of too many story lines
... a sour little movie at its core ; an exploration of the emptiness that underlay the relentless gaiety
considerably less ambitious
much dramatic impact
made no such thing
against his oppressive , right-wing , propriety-obsessed family
thanks to an astonishingly witless script
the direction , by george hickenlooper , has no snap to it , no wiseacre crackle or hard-bitten cynicism .
most moronic screenplays
's the kind of movie that , aside from robert altman , spike lee , the coen brothers and a few others , our moviemakers do n't make often enough .
it 's always disappointing when a documentary fails to live up to -- or offer any new insight into -- its chosen topic .
so many merchandised-to-the-max movies of this type
crush is so warm and fuzzy you might be able to forgive its mean-spirited second half .
loses all bite on the big screen
exceptionally charming
highly uneven and inconsistent ... margarita happy hour kinda resembles the el cheapo margaritas served within .
here his sense of story and his juvenile camera movements smack of a film school undergrad ,
although commentary on nachtwey is provided ... it 's the image that really tells the tale .
enticing and often
joyous documentary
' michael moore gives us the perfect starting point for a national conversation about guns , violence , and fear .
melodrama and
) homage
north or south vietnamese
questions cinema 's capability for recording truth .
no real point
lavish formalism
stiff and schmaltzy and clumsily directed .
most watchable
then his tone retains a genteel , prep-school quality that feels dusty and leatherbound
by the movie 's sophomoric blend of shenanigans and slapstick
exploit the familiar
, it may be because teens are looking for something to make them laugh .
a fantastically vital movie that manages to invest real humor , sensuality , and sympathy into a story about two adolescent boys .
are having so much fun
a matinee price
paul bettany is good at being the ultra-violent gangster wannabe , but the movie is certainly not number 1 .
the movie 's seams may show
who has come to new york city to replace past tragedy with the american dream
revel in its splendor
everybody loves a david and goliath story , and this one is told almost entirely from david 's point of view .
i 'm not sure these words have ever been together in the same sentence : this erotic cannibal movie is boring .
's a masterpiece .
an ambitious film
with a completely predictable plot , you 'll swear that you 've seen it all before , even if you 've never come within a mile of the longest yard .
cherry orchard is badly edited , often awkwardly directed and suffers from the addition of a wholly unnecessary pre-credit sequence designed to give some of the characters a ` back story . '
, around the halfway mark it takes an abrupt turn into glucose sentimentality and laughable contrivance .
an accuracy of observation in the work of the director , frank novak , that keeps the film grounded in an undeniable social realism
there 's a plethora of characters in this picture , and
entirely charming
is equally hackneyed
featuring reams of flatly
the sinister inspiration that fuelled devito 's early work is confused in death to smoochy into something both ugly and mindless .
makes for unexpectedly giddy viewing
manages to accomplish what few sequels can --
live happily ever after
misogyny and unprovoked violence
you drive past -- even if it chiefly inspires you to drive a little faster
wears thin -- then out -- when there 's nothing else happening
the ending is all too predictable and far too cliched to really work
talent and wit to elevate it beyond its formula to the level of classic romantic comedy to which it aspires
flawed and brilliant
to the serbs themselves
tender movements
feels cheated
, wistful new film
both exuberantly romantic and serenely
continues her exploration of the outer limits of raunch with considerable brio
schticky chris rock and stolid anthony hopkins
old world war
court maneuvers
off the element of surprise
follows the formula , but throws in too many conflicts to keep the story compelling
road to perdition does display greatness , and it 's worth seeing .
a distinctly minor effort that will be seen to better advantage on cable , especially considering its barely
it possible for the viewer to doze off for a few minutes or make several runs to the concession stand and/or restroom and not feel as if he or she has missed anything
is terrific , bringing an unforced , rapid-fire delivery to toback 's heidegger - and nietzsche-referencing dialogue .
spotty script
there are great rewards here .
looking for something new and hoping for something entertaining
the grace to call for prevention rather than to place blame , making it one of the best war movies ever made
a stately sense of composition
one of those strained caper movies that 's hardly any fun to watch and begins to vaporize from your memory minutes after it ends .
actually clicks .
it holds up in an era in which computer-generated images are the norm
dreamed up such blatant and sickening product placement
most devastating flaw
feeling to it , but like the 1920 's , the trip there is a great deal of fun .
mixes in as much humor as pathos to take us on his sentimental journey of the heart .
the best didacticism is one carried by a strong sense of humanism , and bertrand tavernier 's oft-brilliant safe conduct ( `` laissez-passer '' ) wears its heart on its sleeve
comes down to whether you can tolerate leon barlow
translation : ` we do n't need to try very hard . '
is the sort of low-grade dreck that usually goes straight to video -- with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography , complete with visible boom mikes .
intellect and
its worst
blithe exchanges
, brisk delight
intelligent , caustic take on a great writer and dubious human being .
easily one of the best and most exciting movies of the year .
` direct-to-video ' release
if it were n't silly
a loose collection of not-so-funny gags , scattered moments of lazy humor
is n't that much different from many a hollywood romance
provides no easy answers , but offers a compelling investigation of faith versus intellect
transform themselves into a believable mother/daughter pair
more depressing than entertaining
takes hold and grips hard .
it slow , predictable and not very amusing
it otherwise drowns in a sea of visual and verbal clichés
magic and whimsy for children , a heartfelt romance for teenagers and a compelling argument about death , both pro and con , for adults
were at home watching that movie instead of in the theater watching this one
see scratch for a lesson in scratching , but , most of all , see it for the passion .
misses its emotions
at meaningful cinema
about morality and the choices we make underneath such a mountain of clichés and borrowed images
succeeds primarily
for instance , good things happen to bad people
smith finds amusing juxtapositions that justify his exercise .
be as tiresome as 9 seconds of jesse helms ' anti- castro
of world cinema 's most wondrously gifted artists
is the kathie lee gifford of film directors ,
consistently amusing but not as outrageous or funny
quirky , slightly strange french films
funny in its observation of just how much more grueling and time-consuming the illusion of work is than actual work
undoubtedly the scariest movie ever made about tattoos .
offers nothing more than a bait-and-switch that is beyond playing fair with the audience .
though impostor deviously adopts the guise of a modern motion picture , it too is a bomb .
please not only the fanatical adherents on either side , but also people who know nothing about the subject
this is a movie that starts out like heathers , then becomes bring it on , then becomes unwatchable .
arliss howard 's ambitious , moving , and adventurous directorial debut , big bad love
below is well below expectations .
a good noir
familiar and predictable , and 4/5ths of it might as well have come from a xerox machine rather than ( writer-director ) franc .
may have to keep on looking .
enough energy and excitement
's the russian word for wow !? '
positively dreadful
of clichés , depression and bad alternative music
of minor shortcomings
tumbleweeds
complete wash
that 's neither completely enlightening ,
a terrible adaptation of a play that only ever walked the delicate tightrope between farcical and loathsome .
spain 's greatest star wattage does n't overcome the tumult of maudlin tragedy .
emerge dazed , confused as to whether you 've seen pornography or documentary
value cash above credibility .
extravagant
a wild-and-woolly , wall-to-wall good time
all leather pants & augmented boobs , hawn is hilarious as she tries to resuscitate the fun-loving libertine lost somewhere inside the conservative , handbag-clutching sarandon .
is undeniably subversive and involving in its bold presentation .
can out-bad-act the other
has enough wit , energy and geniality to please not only the fanatical adherents on either side , but also people who know nothing about the subject and think they 're not interested .
sour little movie
the four feathers comes up short
a magnificent landscape to create a feature film that is wickedly fun to watch
directorial tour de force
with the inherent absurdity of ganesh 's rise
nolan proves that he can cross swords with the best of them and helm a more traditionally plotted popcorn thriller while surrendering little of his intellectual rigor or creative composure .
hooked on the delicious pulpiness of its lurid fiction
is a tired one , with few moments of joy rising above the stale material .
revolution # 9 proves to be a compelling
a timid , soggy near miss
and funky look
it look like a masterpiece
... post-september 11 , `` the sum of all fears '' seems more tacky and reprehensible , manipulating our collective fear without bestowing the subject with the intelligence or sincerity it unequivocally deserves .
where the big scene is a man shot out of a cannon into a vat of ice cream
an )
it 's funny .
well acted by the four primary actors
like blended shades of lipstick , these components combine into one terrific story with lots of laughs .
must indeed be good to recite some of this laughable dialogue with a straight face .
offers winning performances and some effecting moments
what begins brightly gets bogged down over 140 minutes .
this animated adventure
as a pale successor
desperate miscalculation
of this well-meaning , beautifully produced film that sacrifices its promise for a high-powered star pedigree
the audience when i saw this one was chuckling at all the wrong times , and that 's a bad sign when they 're supposed to be having a collective heart attack .
a fantastic dual performance from ian holm
a thoughtful and surprisingly affecting portrait
has you fixating on a far corner of the screen at times because your nerves just ca n't take it any more
makes it worth checking out at theaters
the best of the pierce brosnan james bond
the abyss
a winning piece of work filled with love for the movies of the 1960s .
two hours feel like four
call it magic realism or surrealism , but miss wonton floats beyond reality with a certain degree of wit and dignity .
survive a screening with little harm done ,
it 's not particularly well made , but since i found myself howling more than cringing , i 'd say the film works .
is clever , offbeat and even gritty enough
if you enjoy being rewarded by a script that assumes you are n't very bright
relies on subtle ironies and visual devices to convey point of view .
seems contrived and secondhand
could have looked into my future and saw how bad this movie was
seriously intended
builds to a crescendo that encompasses many more paths than we started with
's petty thievery like this that puts flimsy flicks like this behind bars
proficient , dull
it is a kind , unapologetic , sweetheart of a movie , and mandy moore leaves a positive impression
there 's an excellent 90-minute film here ;
absolute delight
from a renowned indian film culture that allows americans to finally revel in its splendor
wondrously creative
serves as a rather thin moral to such a knowing fable
picture that illustrates an american tragedy
is nothing more than an hour-and-a-half-long commercial for britney 's latest album
the complex , politically charged tapestry
richly
its parade of almost perpetually wasted characters
if religious films are n't your bailiwick , stay away .
's a case of two actors who do everything humanly possible to create characters who are sweet and believable , and are defeated by a screenplay that forces them into bizarre , implausible behavior
's a mindless action flick with a twist -- far better suited to video-viewing than the multiplex
of its provocative conclusion
gives a portrayal as solid and as perfect as his outstanding performance as bond in die another day .
an intensely lived time , filled with nervous energy , moral ambiguity and great uncertainties
has at least one more story to tell : his own
although frailty fits into a classic genre , in its script and execution it is a remarkably original work .
's the sweet cinderella story that `` pretty woman '' wanted to be .
by the sketchiest of captions
its classical music
be required viewing for civics classes and would-be public servants alike
a modem that disconnects every 10 seconds
change a nation
, flashy , overlong soap opera .
to truly capture the terrifying angst of the modern working man without turning the film into a cheap thriller , a dumb comedy or a sappy
' is banal in its message and the choice of material to convey it .
almost completely dry of humor , verve and fun
who ignored it in favor of old ` juvenile delinquent ' paperbacks with titles like leather warriors and switchblade sexpot
that held my interest precisely because it did n't try to
several cliched movie structures
where the thematic ironies are too obvious and the sexual politics too smug
makes the film seem like something to endure instead of enjoy
frustrating patchwork
's good , hard-edged stuff , violent and a bit exploitative but also nicely done , morally alert and street-smart .
remember back when thrillers actually thrilled ?
a vivid , spicy footnote to history , and
were n't as beautifully shaped and as delicately calibrated in tone as it is
made it dull , lifeless , and irritating
this '60s caper film is a riveting , brisk delight .
picked me up , swung me around , and dropped me back in my seat with more emotional force than any other recent film .
that can be as simultaneously funny , offbeat and heartwarming ( without a thick shmear of the goo , at least )
directed without the expected flair or imagination
tsai has a well-deserved reputation as one of the cinema world 's great visual stylists , and in this film , every shot enhances the excellent performances
cuba gooding jr. valiantly mugs his way through snow dogs , but even his boisterous energy fails to spark this leaden comedy .
draws you in
fatal script error
is a genre-curling crime story that revives the free-wheeling noir spirit of old french cinema
a skillful filmmaker can impart a message without bludgeoning the audience over the head
scummy ripoff
bring a heart and reality that buoy the film , and at times , elevate it to a superior crime movie .
comes off as a touching , transcendent love story
`` snl '' has-been
spiked by jolts of pop music
much baked cardboard
which , as you watch them clumsily mugging their way through snow dogs , seems inconceivable
successfully blended satire , high camp and yet another sexual taboo into a really funny movie .
heartfelt and
perfect for a ballplayer
consistently sensitive and
grace that still leaves shockwaves
it 's leaden and predictable , and laughs are lacking
in treading the line between sappy and sanguine
hollywood road
a spirit
a bright future
gedeck , who makes martha enormously endearing
it is spooky and subtly in love with myth
beautiful to watch
maelstrom is strange and compelling ,
for a thirteen-year-old 's book report
admittedly manipulative
one hollywood cliche
, rain is the far superior film .
be punishable by chainsaw
the film with a creepy and dead-on performance
sometimes inexpressive
the cast ... keeps this pretty watchable , and casting mick jagger as director of the escort service was inspired .
a mess as its director 's diabolical debut , mad cows