xiangpku/GLUE huggingface dataset:
every shot enhances the excellent performances
to feel good about
the throes of their first full flush of testosterone
jacquot 's strategy allows his cast the benefit of being able to give full performances ... while demonstrating vividly that the beauty and power of the opera reside primarily in the music itself .
of its oscar nomination
both sitcomishly predictable and cloying in its attempts
sets itself apart by forming a chain of relationships that come full circle to end on a positive ( if tragic ) note
very funny , very enjoyable ...
the proficient , dull sorvino has no light touch , and rodan is out of his league
of his best-known creation
toback 's deranged immediacy makes it seem fresh again .
's technically sumptuous but also almost wildly alive .
steers refreshingly clear of the usual cliches
` stoked
... if it had been only half-an-hour long or a tv special , the humor would have been fast and furious -- at ninety minutes , it drags .
lots of boring talking heads , etc .
little less bling-bling
an original bone
good , hard-edged stuff
cannon 's confidence and
has a film 's title served such dire warning
a persistent theatrical sentiment and a woozy quality to the manner of the storytelling , which undercuts the devastatingly telling impact of utter loss personified in the film 's simple title
demonstrate that his pathology evolved from human impulses that grew hideously twisted
compelling french psychological drama
marinated in clichés and mawkish dialogue
like the longest 90 minutes of your movie-going life
anyone could desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s
metaphysical
in the art of impossible disappearing/reappearing acts
do n't blame eddie murphy but
the redeeming feature
kissing jessica stein is one of the greatest date movies in years .
those who want to be jolted out of their gourd should drop everything and run to ichi .
astronomically bad
in the front ranks of china 's now numerous , world-renowned filmmakers
feels less like a cousin to blade runner than like a bottom-feeder sequel in the escape from new york series .
to string together enough charming moments to work
a purpose and a strong pulse
sensuality , and
at least it 's better than that eponymous 1980 biopic that used soap in the places where the mysteries lingered
young , black manhood that is funny , touching , smart and complicated
, it 's also uninspired , lacking the real talent and wit to elevate it beyond its formula to the level of classic romantic comedy to which it aspires .
suggest that the wayward wooden one end it all by stuffing himself into an electric pencil sharpener
this slender plot feels especially thin stretched over the nearly 80-minute running time .
what a pity ... that the material is so second-rate .
living far too much
fails to portray its literarily talented and notorious subject as anything much more than a dirty old man .
riveting performances
on hammy at times
means check it out .
desperately wishing you could change tables
and finely cut diamond
convincing one
the unique niche of self-critical , behind-the-scenes navel-gazing kaufman has carved from orleans ' story
heavy-handed symbolism , dime-store psychology and
... a good film that must have baffled the folks in the marketing department .
turn stupid
work , especially since the actresses in the lead roles are all more than competent
emotional gravity
flawed ,
would sink laurence olivier
a bad movie
( fincher 's ) camera sense and assured pacing make it an above-average thriller .
marvelous documentary touches -- ever so gracefully --
it 's refreshing to see a movie that embraces its old-fashioned themes and in the process comes out looking like something wholly original .
cusack 's just brilliant in this .
the shameless self-caricature of ` analyze this ' ( 1999 )
, '' derrida is an undeniably fascinating and playful fellow .
the food is enticing
bit of piffle .
the idea of why human beings long for what they do n't have , and how this gets us in trouble
the mothman prophecies is best when illustrating the demons bedevilling the modern masculine journey .
substantial depth
drowsy
warm and well-told tale
stroked , luridly colored , uni-dimensional nonsense machine that strokes the eyeballs while it evaporates like so much crypt mist in the brain .
of faith
are fun and reminiscent of combat scenes
how ridiculous and money-oriented
is quite a vision .
immediate inclination to provide a fourth book
original film
of a movie so sloppy , so uneven , so damn unpleasant that i ca n't believe any viewer , young or old ,
stretched over the nearly 80-minute running time
to convey a sense of childhood imagination
for an all-around good time at the movies this summer
it does n't matter that the film is less than 90 minutes .
into a laugh-free lecture
does not have , beginning with the minor omission of a screenplay
, gut-clutching piece
somewhat backhanded
epic scope
in any way demeaning its subjects
caught up in an intricate plot
worth the journey
have received such a sophisticated and unsentimental treatment on the big screen as they do in this marvelous film .
a full-length classic
a muddled limp biscuit
enduring
a lost ideal
sharper , cleaner
depressingly retrograde
the subtitles fool you
be an enjoyable choice for younger kids
another run-of-the-mill disney sequel intended for the home video market
ultimately delivers
is strong as always .
would be like to be smack in the middle of a war zone armed with nothing but a camera
soap-opera
an intelligent , multi-layered and profoundly humanist ( not to mention gently political ) meditation on the values of knowledge , education , and the
surprising romance
off-puttingly
sporadic dips
und drung , but explains its characters ' decisions only unsatisfactorily .
action clichés
a companionable couple
the more hackneyed elements of the film easier to digest
big fat liar is little more than home alone raised to a new , self-deprecating level .
for the ridicule factor
is so prolonged and boring
the margin that gives viewers a chance to learn , to grow , to travel
is familiar but enjoyable .
been smoother or more confident
made me want to pack raw dough in my ears .
, purposeless
is easily
riveted with every painful nuance , unexpected flashes of dark comedy and the character 's gripping humanity
enriched by an imaginatively mixed cast of antic spirits , headed by christopher plummer as the subtlest and most complexly evil uncle ralph i 've ever seen in the many film and stage adaptations of the work
it takes you somewhere you 're not likely to have seen before , but beneath the exotic surface ( and exotic dancing ) it 's surprisingly old-fashioned .
teenage sex comedy
, rather than forcing us to endure every plot contrivance that the cliché-riddled genre can offer
unsung heroes
that takes too long to shake
of the rare directors who feels acting is the heart and soul of cinema
could hardly ask for more .
you shoot something on crummy-looking videotape
in which a guy dressed as a children 's party clown gets violently gang-raped
one of the smartest
was right to cut
has created a beautiful canvas
's a very very strong `` b + .
further sad evidence that tom tykwer , director of the resonant and sense-spinning run lola run , has turned out to be a one-trick pony -- a maker of softheaded metaphysical claptrap .
storytelling is far more appealing
it cuts to the core of what it actually means to face your fears , to be a girl in a world of boys , to be a boy truly in love with a girl , and to ride the big metaphorical wave that is life -- wherever it takes you .
when it is n't merely offensive
is a must for genre fans .
it never bothers to question why somebody might devote time to see it
a more confused , less interesting and more sloppily made film could possibly come down the road in 2002
the young stars are too cute ;
the director , with his fake backdrops and stately pacing , never settles on a consistent tone .
personal low
the most multilayered and sympathetic female characters of the year
is sappy and amateurish
are very expressive .
alone , should scare any sane person away .
turning in some delightful work on indie projects
his most sparkling
quickly writes himself into a corner
career - kids = misery
emaciated
kiddie entertainment ,
not only better
of the idealistic kid who chooses to champion his ultimately losing cause
from this choppy and sloppy affair
is smart , not cloying .
inquisitive film
's a spectacular performance - ahem
career-defining
is painfully foolish in trying to hold onto what 's left of his passe ' chopsocky glory
like the full monty , this is sure to raise audience 's spirits and leave them singing long after the credits roll .
serves as auto-critique , and its clumsiness as its own most damning censure
frustrating and
canada 's arctic light
pretty much sucks , but has a funny moment or two .
any scorsese
make mel brooks ' borscht belt schtick look sophisticated
but it would be better to wait for the video .
this is a heartfelt story ... it just is n't a very involving one .
of extravagant
, an archetypal desire to enjoy good trash every now and then .
choppy and
, it 'll only put you to sleep .
like the original , this version is raised a few notches above kiddie fantasy pablum by allen 's astringent wit .
moonlight mile does n't quite go the distance but
about movie love
it could have been a hoot in a bad-movie way if the laborious pacing and endless exposition had been tightened
they 're the unnamed , easily substitutable forces that serve as whatever terror the heroes of horror movies try to avoid .
hugely enjoyable in its own right though
a bigger-name cast
crafted a solid formula for successful animated movies
everyone making it
soderbergh 's best films
coming-of-age film
been deemed important enough to make a film in which someone has to be hired to portray richard dawson
actually manages to bring something new into the mix
having fun with it all
smeary
of making kahlo 's art a living , breathing part of the movie , often catapulting the artist into her own work
fosters moments of spontaneous intimacy
the acting is amateurish , the cinematography is atrocious ,
terrible as the synergistic impulse that created it
this odd , poetic road movie , spiked by jolts of pop music ,
charged
is extremely funny , the first part making up for any flaws that come later
to say that this vapid vehicle is downright doltish and uneventful
satin rouge is not a new , or inventive , journey
self-consciously flashy camera effects
a dim-witted pairing of teen-speak and animal gibberish
it skirts around any scenes that might have required genuine acting from ms. spears
cold-hearted
existential suffering
its ripe recipe , inspiring ingredients
meticulously uncovers a trail of outrageous force and craven concealment .
would be consigned to the dustbin of history
a thriller whose style , structure and rhythms are so integrated with the story
the wonderfully lush morvern callar
the movie is hardly a masterpiece
clichéd
stays close to the ground
hated myself in the morning .
it 's provocative stuff , but the speculative effort is hampered by taylor 's cartoonish performance and the film 's ill-considered notion that hitler 's destiny was shaped by the most random of chances .
know why steven seagal is considered a star , nor why he keeps being cast in action films when none of them are ever any good or make any money
, yet not as hilariously raunchy as south park , this strangely schizo cartoon seems suited neither to kids or adults .
interesting and at times
swaggers through his scenes
cinematic tone poem
another wholly unnecessary addition to the growing , moldering pile of , well , extreme stunt
make a film in which someone has to be hired to portray richard dawson
inherently caustic and
that it 's too close to real life to make sense
it 's light on the chills and heavy on the atmospheric weirdness ,
winds up feeling like a great missed opportunity
forgive its mean-spirited second half
not funny performers
is a lame kiddie flick
thoroughly overbearing
that are lean and tough enough to fit in any modern action movie
two hours of junk
successes
and revolutionary spirit
dramatically lackluster
remarkably faithful one
considering that baird is a former film editor , the movie is rather choppy .
as good as the full monty , but a really strong second effort .
no surprises .
is oppressively heavy
somewhat less
are moments of hilarity to be had
nutty cliches and far too much dialogue
a formula that worked five years ago but has since lost its fizz
an unexpectedly sweet story of sisterhood .
washed away by sumptuous ocean visuals and the cinematic stylings of director john stockwell
with some real shocks in store for unwary viewers .
live-action cartoon
useless actioners
uneven dialogue and plot lapses
a deliberative account of a lifestyle characterized by its surface-obsession -- one that typifies the delirium of post , pre , and extant stardom .
tries so hard to be quirky and funny that the strain is all too evident
virtually no one
still-inestimable contribution
that not only would subtlety be lost on the target audience
while we delight in the images
may sound like it was co-written by mattel executives and lobbyists for the tinsel industry
fascinating part
it should have stayed there .
smart , funny look
walk to remember a niche hit
hole-ridden plotting
lost in the translation
seems twice as long as its 83 minutes
it 's hard to imagine another director ever making his wife look so bad in a major movie .
so it 's not a brilliant piece of filmmaking , but it is a funny ( sometimes hilarious ) comedy with a deft sense of humor about itself , a playful spirit and a game cast .
disconnects
amazingly evocative
weird that i honestly never knew what the hell was coming next
have a résumé loaded with credits like `` girl in bar # 3
viscerally exciting , and dramatically moving
whose legacy had begun to bronze
extant stardom
's not going to be everyone 's bag of popcorn
bibbidy-bobbidi-bland .
soulless .
dragons !
been replaced by the bottom of the barrel
an increasingly important film industry
hip-hop fan to appreciate scratch
hilarious and sad
involving than this mess
are lukewarm and quick to pass .
cardiac
is an inexpressible and drab wannabe looking for that exact niche .
an excuse
most awful acts
is so clumsily sentimental
whiney
be cutting-edge indie filmmaking
imposter makes a better short story than it does a film
of musical passion
this obscenely bad dark comedy
wal-mart budget
a rather thin moral
misfire that even tunney ca n't save .
fully formed
, from the incongruous but chemically
how ridiculous and money-oriented the record industry really is
through this sloppy , made-for-movie comedy special
from a summer of teen-driven , toilet-humor codswallop
of a physician who needs to heal himself
any way of gripping what its point is
with humor and poignancy
muy loco
giving it thumbs down due to the endlessly repetitive scenes of embarrassment
the variety of tones in spielberg 's work
cut through the layers of soap-opera emotion
no `` waterboy
manipulative claptrap
cast the magnificent jackie chan
has the twinkling eyes , repressed smile and determined face needed to carry out a dickensian hero .
is an undeniably worthy and devastating experience
steers refreshingly clear of the usual cliches .
slow for a younger crowd
moved to the edge of their seats by the dynamic first act
demonstrates a vivid imagination and an impressive style
appeared in 1938
susan sarandon , dustin hoffman and holly hunter ,
there done that
bring fresh , unforced naturalism to their characters
it 's not like having a real film of nijinsky ,
would have been better than the fiction it has concocted
sade achieves the near-impossible : it turns the marquis de sade into a dullard
's better than the phantom menace .
that nevertheless touches a few raw nerves
of four fine
conjured up more coming-of-age stories than seem possible
just another disjointed , fairly predictable psychological thriller .
, solid storytelling .
's a testament to the film 's considerable charm that it succeeds in entertaining , despite playing out like a feature-length sitcom replete with stereotypical familial quandaries
a captivating drama that will speak to the nonconformist in us all
its courage , ideas , technical proficiency and
though her fans will assuredly have their funny bones tickled
the lovable-loser protagonist
though tom shadyac 's film kicks off spookily enough
evokes the frustration , the awkwardness and the euphoria of growing up , without relying on the usual tropes .
green men
, this is grand-scale moviemaking for a larger-than-life figure , an artist who has been awarded mythic status in contemporary culture .
teddy bears '
feels as if ( there 's ) a choke leash around your neck so director nick cassavetes can give it a good , hard yank whenever he wants you to feel something
poor quality
an allegory concerning the chronically mixed signals african american professionals get about overachieving could be intriguing ,
jazzy score
loquacious
is prime escapist fare
the film 's needlessly opaque intro
, if disingenuous ,
much of this slick and sprightly cgi feature is sufficiently funny to amuse even the most resolutely unreligious parents who escort their little ones to megaplex screenings .
making ararat far more demanding than it needs to be
very compelling , sensitive , intelligent and almost cohesive
a travesty of a transvestite comedy
godard 's ode to tackling life 's wonderment is a rambling and incoherent manifesto about the vagueness of topical excess ... in praise of love remains a ponderous and pretentious endeavor that 's unfocused and tediously exasperating
... is at once playful and haunting , an in-depth portrait of an iconoclastic artist who was fundamentally unknowable even to his closest friends .
worthy idea
have been better off staying on the festival circuit
saddled with an unwieldy cast of characters and angles , but the payoff is powerful and revelatory
an intoxicating
all the earmarks of french cinema at its best
also comes with the laziness and arrogance of a thing that already knows it 's won .
is the performance of gedeck , who makes martha enormously endearing
be used as analgesic balm for overstimulated minds
to fruition in her sophomore effort
does an impressive job of relating the complicated history of the war and of filling in the background .
i do n't feel the least bit ashamed in admitting that my enjoyment came at the expense of seeing justice served , even if it 's a dish that 's best served cold .
that strokes the eyeballs while it evaporates like so much crypt mist in the brain
would require the patience of job to get through this interminable , shapeless documentary about the swinging subculture .
watching `` ending '' is too often like looking over the outdated clothes and plastic knickknacks at your neighbor 's garage sale .
an interesting and at times captivating
will assuredly have their funny bones tickled
its use of the thriller form to examine the labyrinthine ways in which people 's lives cross and change , buffeted by events seemingly out of their control ,
the movie sputters
suited neither
big bloody stew
from its unsettling prognosis
, deftly setting off uproarious humor with an underlying seriousness that sneaks up on the viewer , providing an experience that is richer than anticipated .
a mournful undercurrent
is a film about the irksome , tiresome nature of complacency that remains utterly satisfied to remain the same throughout
a verbal duel between two gifted performers
time literally stops on a dime in the tries-so-hard-to-be-cool `` clockstoppers , '' but that does n't mean it still wo n't feel like the longest 90 minutes of your movie-going life .
this is no `` waterboy ! ''
fairly enjoyable
a nifty plot line in steven soderbergh 's traffic fails to arrive at any satisfying destination
deeply biased , and
an intimacy that sucks you in and dares you not to believe it
tadpole may be one of the most appealing movies ever made about an otherwise appalling , and downright creepy , subject -- a teenage boy in love with his stepmother .
the level of an after-school tv special
the movie is genial but never inspired , and little about it will stay with you .
rich tale
a fascinating profile
shoplifts shamelessly from farewell-to-innocence movies like the wanderers and a bronx tale
honest , and enjoyable comedy-drama
`` far from heaven '' is a masterpiece .
the mystery of four decades back the springboard for a more immediate mystery in the present
an interesting and at times captivating take on loss and loneliness .
buddy cop comedy
horrific
i 'm all for that
's so tedious that it makes you forgive every fake , dishonest , entertaining and , ultimately , more perceptive moment in bridget jones 's diary .
the rampantly designed equilibrium becomes a concept doofus
wit and originality
'' admirably
the pay-off is negligible
designed strictly for children 's home video ,
to look as if it were being shown on the projection television screen of a sports bar
that 's too loud , too goofy and too short of an attention span
this italian freakshow
the nerve to speak up
are infectious
some serious soul
the film idiotically uses the website feardotcom.com or the improperly hammy performance from poor stephen rea
slovenly done , so primitive in technique , that it ca n't really be called animation
the resolutely downbeat smokers only with every indulgent , indie trick in the book
its core
standoffish to everyone else , and smugly suggests a superior moral tone is more important than filmmaking skill
i said my ribcage did n't ache by the end of kung pow
, `` real women have curves '' is a sweet , honest , and enjoyable comedy-drama about a young woman who wants many things in life , but fears she 'll become her mother before she gets to fulfill her dreams .
sumptuous stream
have the best of both worlds
very moving and revelatory footnote
about compassion , sacrifice , and christian love
wow .
beautifully animated epic
an engaging fantasy
riveting power and sadness
and inventive moments
hiding behind cutesy film references
it 's a heck of a ride
music and life
is like cold porridge with only the odd enjoyably chewy lump .
when he is not more lucratively engaged in the shameless self-caricature of ` analyze this ' ( 1999 ) and ` analyze that , ' promised ( or threatened ) for later this year
do n't fret about the calories because there 's precious little substance in birthday girl
creeping into the second half
damaged-goods people
is a popcorn film , not a must-own , or even a must-see .
to listen to extremist name-calling , regardless of whether you think kissinger was a calculating fiend or just a slippery self-promoter
a witty
does its predecessors proud .
such an excellent job of critiquing itself at every faltering half-step of its development that criticizing feels more like commiserating
what ` blade runner ' would
a little underconfident
cinemantic flair
, it 's a lyrical endeavor .
have infused frida with a visual style unique and inherent to the titular character 's paintings and in the process created a masterful work of art of their own .
annoying specimen
rock solid family fun out
i 'm convinced i could keep a family of five blind , crippled , amish people alive in this situation better than these british soldiers do at keeping themselves kicking .
a dazzling , remarkably unpretentious reminder of what ( evans ) had , lost , and got back
to make up for the ones that do n't come off
been 13 months and 295 preview screenings
like any good romance
a step further ,
spirit is a visual treat , and
of a 20-car pileup
is a clever and cutting , quick and dirty look at modern living and movie life
maintains a beguiling serenity and poise that make it accessible for a non-narrative feature
street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or
solid emotional impact
in clichés and mawkish dialogue
tom green 's freddie got fingered
increasingly implausible as it races
beckons us all
first-time director denzel washington and a top-notch cast
dying and loving
fails so fundamentally on every conventional level that it achieves some kind of goofy grandeur .
an unsettling sight , and