xiangpku/GLUE huggingface dataset:
is too calm and thoughtful for agitprop ,
practically every expectation either a longtime tolkien fan or a movie-going neophyte
is a pointless , meandering celebration of the goth-vampire , tortured woe-is-me lifestyle
very simply sets out to entertain and ends up delivering in good measure
personally , i 'd rather watch them on the animal planet .
the magic that made it all work
at best and mind-destroying cinematic pollution
breathtakingly beautiful outer-space documentary space station 3d
shallow and
that leaves vague impressions and a nasty aftertaste but little clear memory of its operational mechanics
writing , skewed characters , and the title performance by kieran culkin
there are n't too many films that can be as simultaneously funny , offbeat and heartwarming ( without a thick shmear of the goo , at least ) , but
is contrived , unmotivated , and psychologically unpersuasive
truly bad
90 punitive minutes of eardrum-dicing gunplay , screeching-metal smashups , and flaccid odd-couple sniping
this latest installment of the horror film franchise that is apparently as invulnerable as its trademark villain
a good human being
just such a dungpile
this new jangle of noise , mayhem and stupidity
lacks the inspiration of the original and has a bloated plot that stretches the running time about 10 minutes past a child 's interest and an adult 's patience .
to mention inappropriate and wildly undeserved
flamboyant style
have done a fine job of updating white 's dry wit to a new age .
... an airless , prepackaged julia roberts wannabe that stinks so badly of hard-sell image-mongering you 'll wonder if lopez 's publicist should share screenwriting credit .
more good than great but freeman and judd make it work .
received such a sophisticated and unsentimental treatment on the big screen
brave and challenging
be considered a funny little film
gets its greatest play from the timeless spectacle of people really talking to each other .
stilted and unconvincing
this alleged psychological thriller
veered off too far into the exxon zone , and
imbued with passion and attitude
almost seems like a documentary in the way
its willingness to explore its principal characters with honesty , insight and humor
in tight pants and big tits
true to its animatronic roots :
when ( reno ) lets her radical flag fly , taking angry potshots at george w. bush , henry kissinger , larry king , et al. , reno devolves into a laugh-free lecture .
the `` a '' range ,
fills the eyes
is oppressively heavy .
the climactic hourlong cricket match
make ` cherish ' a very good ( but not great ) movie
in the film that surprises or delights
find much fascination
a clever exercise in neo-hitchcockianism
joyless , idiotic , annoying , heavy-handed
hard to imagine a more generic effort in the genre
it may not be a great piece of filmmaking
but overall the halloween series has lost its edge
the simpering soundtrack and editing more so
lost its edge
a poignant and gently humorous
completely honest
good enough to be the purr
then by all means check it out .
on petter næss ' delicate , clever direction ... and a wonderful , imaginative script
made by someone who obviously knows nothing about crime
a summer entertainment adults can see without feeling embarrassed , but
is long on narrative and ( too ) short on action .
elling builds gradually until you feel fully embraced by this gentle comedy .
the charms of stars hugh grant and sandra bullock
created such a vibrant , colorful world
but it 's defiantly and delightfully against the grain .
a tired , predictable
struggle furiously
extravaganza
a depressing story
that did n't sell many records but helped change a nation
pyrotechnics its punchy style promises
might to resist , if you 've got a place in your heart for smokey robinson
the film becomes an overwhelming pleasure , and
take as long as you 've paid a matinee price
it 's usually a bad sign when directors abandon their scripts and go where the moment takes them , but olympia , wash. , based filmmakers anne de marcken and marilyn freeman did just that and it 's what makes their project so interesting .
is firing his r&d people
that such a talented director as chen kaige
and your reward will be a thoughtful , emotional movie experience .
she allows each character to confront their problems openly and honestly .
for the future , one hopes mr. plympton will find room for one more member of his little band , a professional screenwriter .
both a beautifully made nature film and a tribute to a woman whose passion for this region and its inhabitants still shines in her quiet blue eyes .
does not have
an old-fashioned nature film that educates viewers with words and pictures while entertaining them
feels impersonal , almost generic .
are poorly delivered
, 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
as the scenes of torture and self-mutilation
too clichéd and too often strains
to be a compelling
i 'm likely to see all year
fueled by the light comedic work of zhao benshan and the delicate ways of dong jie
turn out okay
impeccable comic skill
of what was created for the non-fan to figure out what makes wilco a big deal
redundant and
terrible .
far more meaningful
director lee has a true cinematic knack
the gorgeous piano and
a sweetly affecting story about four sisters who are coping , in one way or another , with life 's endgame .
three minutes of dialogue , 30 seconds of plot
no one in the audience or the film seems to really care
box office money that makes michael jordan jealous
the greatest date movies in years
is a fragmented film , once a good idea that was followed by the bad idea to turn it into a movie .
is a children 's film in the truest sense
cletis tout might inspire a trip to the video store -- in search of a better movie experience .
of routine stuff yuen
a superfluous sequel ... plagued by that old familiar feeling of ` let 's get this thing over with '
reminds me of a vastly improved germanic version of my big fat greek wedding --
the field no favors
scene the impressively discreet filmmakers may have expected to record with their mini dv
a wise and powerful tale
the word -- mindless , lifeless , meandering , loud , painful , obnoxious
elegant and eloquent ( meditation ) on death and that most elusive of passions , love .
breathes extraordinary life into the private existence of the inuit people
forget about it by monday , though
eerily accurate
a fiercely clever and subtle film , capturing the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries .
bogdanovich puts history in perspective
you suffer the dreadfulness of war from both sides
thrill you , touch you
visuals and enveloping sounds
an intriguing look at the french film industry during the german occupation ; its most delightful moments come when various characters express their quirky inner selves .
what results is the best performance from either in years
this overlong infomercial
remains surprisingly idealistic
rodan is out of his league
as particularly memorable or even all that funny
to the serbs themselves but also to a network of american right-wing extremists
it offers much to absorb and even more to think about after the final frame .
well-intentioned , but shamelessly manipulative movie
too cliched
fabulously funny and
it plays like a powerful 1957 drama we 've somehow never seen before
it 's also not very good .
there is truth here
substantive
may just end up trying to drown yourself in a lake afterwards
is spot on
to triumphantly sermonize
it is a refreshingly forthright one
, contrived sequels
wannabe .
over its seemingly eternal running time to pique your interest , your imagination , your empathy or anything , really , save your disgust and your indifference
the rich and sudden wisdom ,
consistent embracing humanity
indigestion sets
empowerment tale thinly
this is not one of the movies you 'd want to watch if you only had a week to live .
undernourished and plodding
this remake of lina wertmuller 's 1975 eroti-comedy might just be the biggest husband-and-wife disaster since john and
beautiful , self-satisfied
long-lived friendships and
are far more alienating than involving
punching people in the stomach again
a soul-stirring documentary
you are likely to witness in a movie theater for some time
should be doing a lot of things , but does n't .
entertains not so much
the film is predictable in the reassuring manner of a beautifully sung holiday carol .
sordid universe
it quickly enters the pantheon of wreckage that includes battlefield earth and showgirls
a remarkably accessible and haunting film
for the ones that do n't come off
host to some truly excellent sequences
pure composition
i 'll settle for a nice cool glass of iced tea and a jerry bruckheimer flick any day of the week
the screenplay , which lags badly in the middle and lurches between not-very-funny comedy , unconvincing dramatics and some last-minute action strongly reminiscent of run lola run
like many western action films , this thriller is too loud and thoroughly overbearing , but
compelling supporting characters
equally miserable film
its invitingly upbeat overture to
juxtapositions
this beautifully animated epic
a movie like ballistic : ecks vs. sever is more of an ordeal than an amusement .
as it is , it 's too long and unfocused .
demme gets a lot of flavor and spice into his charade remake , but he ca n't disguise that he 's spiffing up leftovers that are n't so substantial or fresh .
trusted audiences
a bad film
is almost in a class with that of wilde himself .
it 's crafty , energetic and smart -- the kid is sort of like a fourteen-year old ferris bueller .
in which the hero might have an opportunity to triumphantly sermonize
glamorous machine
for some very good acting , dialogue ,
form at once visceral and spiritual , wonderfully vulgar and sublimely lofty -- and as emotionally grand as life .
good action , good acting , good dialogue , good pace
but quietly effective retelling
wannabe-hip crime comedy
it 's technically sumptuous but also almost wildly alive .
recreation to resonate
profoundly
could easily be dealing with right now in your lives
halfway through this picture i was beginning to hate it , and ,
little to salvage this filmmaker 's flailing reputation
' dwells on crossing-over mumbo jumbo , manipulative sentimentality , and sappy dialogue .
all starts to smack of a hallmark hall of fame , with a few four letter words thrown in that are generally not heard on television .
emotional and
somehow makes it all the more compelling .
intriguing and alluring
disbelief
, pinocchio never quite achieves the feel of a fanciful motion picture .
for people who like their romances to have that french realism
every bit as high
a feast for the eyes
i spied with my little eye ... a mediocre collection of cookie-cutter action scenes and occasionally inspired dialogue bits
tackled a meaty subject and
irresistibly uncanny ambience
warm your heart without making you feel guilty about it .
would have easily tipped this film into the `` a '' range , as is
a true and historically significant story
awfully
it takes to describe how bad it is
slap her
die-hard french film connoisseurs
a sincere performance
credulous
does a solid job of slowly , steadily building up to the climactic burst of violence .
the pitfalls you 'd expect in such a potentially sudsy set-up
's the gift of the magi relocated to the scuzzy underbelly of nyc 's drug scene
, so who knew charles dickens could be so light-hearted ?
emotionally grand
boll uses a lot of quick cutting and blurry step-printing to goose things up ,
's tough to tell which is in more abundant supply in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo .
acute writing and a host of splendid performances
that could only be made by african-americans because of its broad racial insensitivity towards african-americans
you 'll just have your head in your hands wondering why lee 's character did n't just go to a bank manager and save everyone the misery .
's definitely a step in the right direction
have developed some taste
a pregnant premise being wasted by a script that takes few chances and manages to insult the intelligence of everyone in the audience
refreshes the mind and spirit along with the body
exactly how bad it is
slightly less successful
bad action movie
successfully recreates both the physical setting and emotional tensions of the papin sisters
achieving some honest insight into relationships that most high-concept films candy-coat with pat storylines , precious circumstances and beautiful stars
contradictory
is loaded with good intentions
the e-graveyard
a smart comedy
's a very valuable film
enticing and
a step down
a mediocre exercise in target demographics , unaware that it 's the butt of its own joke .
an exploitation piece doing its usual worst to guilt-trip parents
reno devolves into a laugh-free lecture .
borrows from bad lieutenant and les vampires ,
that the film opens with maggots crawling on a dead dog
is a brilliantly played , deeply unsettling experience .
brimming
is the fact that there is nothing distinguishing in a randall wallace film
you come to believe that nachtwey hates the wars he shows and empathizes with the victims he reveals .
any attempts at nuance given by the capable cast
worst cinematic tragedies
and completely ridiculous
the film runs on a little longer than it needs to -- muccino either does n't notice when his story ends or just ca n't tear himself away from the characters -- but it 's smooth and professional
if swimfan does catch on , it may be because teens are looking for something to make them laugh .
does a great combination act
employs changes that fit it well rather than ones that were imposed for the sake of commercial sensibilities
someone who obviously knows nothing about crime
moore wonderfully underplays the long-suffering heroine with an unflappable '50s dignity somewhere between jane wyman and june cleaver
has had a successful career in tv
you 'll find yourself remembering this refreshing visit to a sunshine state .
a 60-second homage
is just the point
the brilliant surfing photography bringing you right inside the massive waves that lifts blue crush into one of the summer 's most pleasurable movies
of those terrific documentaries that collect a bunch of people who are enthusiastic about something and then
a sleep-inducing thriller with a single
watchable up until the point where the situations and the dialogue spin hopelessly out of control -- that is to say ,
this is a perceptive study of two families in crisis -- and of two girls whose friendship is severely tested by bad luck and their own immaturity .
will probably be in wedgie heaven .
the fun of the movie
gratify anyone who has ever suspected hollywood of being overrun by corrupt and hedonistic weasels
seems content to dog-paddle in the mediocre end of the pool
distinctly sub-par ...
borstal boy represents the worst kind of filmmaking , the kind that pretends to be passionate and truthful but is really frustratingly timid and soggy .
about the benjamins evokes the bottom tier of blaxploitation flicks from the 1970s .
are required to balance all the formulaic equations in the long-winded heist comedy who is cletis tout ?
seen in a while , a meander through worn-out material
meandering and confusing .
acknowledges upfront that the plot makes no sense
a complicated hero who is a welcome relief from the usual two-dimensional offerings
seem like something to endure instead of enjoy
, heartfelt , mesmerizing king lear
mugs mercilessly
an unwieldy cast
other than money why this distinguished actor would stoop so low
recommend secretary
a quiet , disquieting triumph
campanella gets the tone just right -- funny in the middle of sad in the middle of hopeful .
death to smoochy is often very funny
, the weight of water is oppressively heavy .
the explosion essentially ruined -- or , rather , overpowered --
and we do n't avert our eyes for a moment .
there are n't too many films that can be as simultaneously funny , offbeat and heartwarming ( without a thick shmear of the goo , at least ) ,
the most original fantasy film ever made
suitable summer entertainment that offers escapism without requiring a great deal of thought
largely flat and uncreative moments
interesting psychological game
masters of both
praises female self-sacrifice
i did n't particularly like e.t. the first time i saw it as a young boy
to adopt as a generational signpost
a prison comedy that never really busts out of its comfy little cell
sensuality and a conniving wit
its elegantly colorful look and
a durable part
the movie 's seams may show ... but pellington gives `` mothman '' an irresistibly uncanny ambience that goes a long way toward keeping the picture compelling
are worse
enhancing the cultural and economic subtext , bringing richer meaning to the story 's morals
give many ministers and bible-study groups hours of material to discuss
the worst kind of mythologizing , the kind that sacrifices real heroism and abject suffering for melodrama .
-- but it makes for one of the most purely enjoyable and satisfying evenings at the movies i 've had in a while .
the film never feels derivative
the gifted pearce
smart ,
well directed
satisfying during a summer of event movies than a spy thriller like the bourne identity that 's packed with just as much intelligence as action
predictable storyline and by-the-book scripting is all but washed away by sumptuous ocean visuals and the cinematic stylings of director john stockwell .
to an impressive and highly entertaining celebration of its sounds
more to think about after the final frame
what 's really sad 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 .
at the ridiculous dialog or the oh-so convenient plot twists
trash-cinema
brosnan gives a portrayal as solid and as perfect as his outstanding performance as bond in die another day .
to check your brain at the door
as good a job as anyone
just as i hoped i would -- with moist eyes
virtually collapses into an inhalant blackout , maintaining consciousness just long enough to achieve callow pretension
do no wrong
will touch you to the core in a film you will never forget -- that you should never forget
, there is a mediocre movie trying to get out .
unfolds with such a wallop of you-are-there immediacy
you to scratch a hole in your head
in the process of trimming the movie to an expeditious 84 minutes , director roger kumble seems to have dumped a whole lot of plot in favor of ... outrageous gags .
cool visual backmasking )
indulgent two-hour-and-fifteen-minute length
rises above superficiality
i truly enjoyed most of mostly martha while i ne
transvestite comedy
has turned out nearly 21/2 hours of unfocused , excruciatingly tedious cinema that , half an hour in , starts making water torture seem appealing
asks what truth can be discerned from non-firsthand experience , and specifically questions cinema 's capability for recording truth .
dramatically lackluster .
slap-happy
challenging or depressing
return to form for director peter bogdanovich
soggy potboiler
to the idiocy of its last frames
it 's crafty , energetic and smart --
, not-nearly - as-nasty - as-it
so bad it does n't improve upon the experience of staring at a blank screen
the way home is an ode to unconditional love and compassion garnered from years of seeing it all , a condition only the old are privy to , and ... often misconstrued as weakness .
the hours , a delicately crafted film , is an impressive achievement in spite of a river of sadness that pours into every frame .
are uncomfortably strained
shoplifts shamelessly from farewell-to-innocence movies like the wanderers and a bronx tale without cribbing any of their intelligence
of the more overtly silly dialogue
best actress
is little question that this is a serious work by an important director who has something new to say about how , in the flip-flop of courtship , we often reel in when we should be playing out .
dialog between realistic characters
's not that funny -- which is just generally insulting
( barry ) gives assassin a disquieting authority .
this nasty comedy
's a smartly directed , grown-up film of ideas
, intelligent
is that her confidence in her material is merited
heartwarming without stooping to gooeyness
like the movie 's various victimized audience members after a while
b-movie category
in its committed dumbness
desiccated talent
so putrid it is not worth the price of the match that should be used to burn every print of the film .
why animation is such a perfect medium for children , because of the way it allows the mind to enter and accept another world
outing with one of france 's most inventive directors
appalling , shamelessly manipulative and contrived ,
is more interesting than the screenplay , which lags badly in the middle and lurches between not-very-funny comedy , unconvincing dramatics and some last-minute action strongly reminiscent of run lola run
we never truly come to care about the main characters and whether or not they 'll wind up together , and michele 's spiritual quest is neither amusing nor dramatic enough to sustain interest
equal doses of action , cheese , ham and cheek
does pack some serious suspense
does so marvelously compelling is present brown as a catalyst for the struggle of black manhood in restrictive and chaotic america ... sketchy but nevertheless gripping portrait of jim brown , a celebrated wonder in the spotlight
one problem with the movie ,
allegiance to chekhov
snide
of favor manages not only to find a compelling dramatic means of addressing a complex situation
a delicious and delicately funny look at the residents of a copenhagen neighborhood coping with the befuddling complications life
the best possible senses
make for some robust and scary entertainment .
constructs a hilarious ode to middle america and middle age with this unlikely odyssey , featuring a pathetic , endearing hero who is all too human
must shoot it in the head
feature to hit theaters since beauty and the beast 11 years ago .
israeli/palestinian conflict as
letting go at all the wrong moments
it follows the blair witch formula for an hour , in which we 're told something creepy and vague is in the works , and then it goes awry in the final 30 minutes .
the camera soars above the globe in dazzling panoramic shots that make the most of the large-screen format , before swooping down on a string of exotic locales , scooping the whole world up in a joyous communal festival of rhythm .
nails all of orlean 's themes
a film -- full of life and small delights --
's a fantastic movie
mistake .
instead of using george and lucy 's most obvious differences to ignite sparks , lawrence desperately looks elsewhere , seizing on george 's haplessness and lucy 's personality tics .
stuttering editing and pompous references to wittgenstein and kirkegaard
out of eudora welty
that manages to have a good time as it doles out pieces of the famous director 's life
jump-in-your-seat
movies about angels
a cold , calculated exercise
turn away from one another instead of talking
writer and director otar iosseliani 's pleasant tale about a factory worker who escapes for a holiday in venice
odd bedfellows
able to give full performances
wastes its time on mood rather than riding with the inherent absurdity of ganesh 's rise up the social ladder
could n't someone take rob schneider and have him switch bodies with a funny person ?
fans of sandler 's comic taste may find it uninteresting
this frozen tundra soap opera that breathes extraordinary life into the private existence of the inuit people
the product
the distinct and very welcome sense of watching intelligent people making a movie
may look cool
... a fascinating curiosity piece -- fascinating , that is , for about ten minutes .
in an era where big stars and high production values are standard procedure , narc strikes a defiantly retro chord , and outpaces its contemporaries with daring and verve .