xiangpku/GLUE huggingface dataset:
upon which to hang broad , mildly fleshed-out characters that seem to have been conjured up only 10 minutes prior to filming
bother if you 're going to subjugate truth to the tear-jerking demands of soap opera
documented the cruelty and suffering he has found with an devastating , eloquent clarity
with which it tries to pump life into overworked elements from eastwood 's dirty harry period
painful and
dismiss -- moody
sorry use of aaliyah in her one and only starring role
the fetid underbelly of fame
, i would go back and choose to skip it .
anybody who enjoys quirky , fun , popcorn movies with a touch of silliness and a little
of war-torn croatia
terrific as nadia , a russian mail-order bride who comes to america speaking not a word of english
director randall wallace 's flag-waving war flick with a core of decency
humor , warmth , and
that few will bother thinking it all through
want my money back .
dong never pushes for insights beyond the superficial tensions of the dynamic he 's dissecting
are of the highest and the performances attractive without being memorable .
that holds interest in the midst of a mushy , existential exploration of why men leave their families
is off .
eyre is on his way to becoming the american indian spike lee .
incessant
when all is said and done , she loves them to pieces -- and so , i trust , will you .
talk to her is not the perfect movie many have made it out to be
witless and utterly pointless .
aims to be funny , uplifting and moving , sometimes
loose , poorly structured
of good-natured fun found in films like tremors
examine , the interior lives of the characters in his film , much less
is one of those rare docs that paints a grand picture of an era and makes the journey feel like a party
just does n't add up .
a powerful and telling story
that freshly considers arguments the bard 's immortal plays
pomposity
the cast delivers without sham the raw-nerved story .
a winning family story
never catches fire
much of it comes from the brave , uninhibited performances by its lead actors .
missing from the girls ' big-screen blowout
from charismatic rising star jake gyllenhaal but also from accomplished oscar winners susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb
the paradiso 's rusted-out ruin and ultimate collapse during the film 's final ( restored ) third ...
in recompense : a few early laughs scattered around a plot
of a poetic
the most entertaining moments here are unintentional .
great director
and , thanks to the presence of ` the king , ' it also rocks .
his martial artistry
a little-remembered world
an authentic feel
`` sweet home alabama '' is what it is -- a nice , harmless date film ...
all of dean 's mannerisms and self-indulgence , but none of his sweetness and vulnerability
not quite as miraculous as its dreamworks makers would have you believe , but it more than adequately fills the eyes and stirs the emotions
the smarter offerings
as the long-faced sad sack
all the more poignant by the incessant use of cell phones
playful but highly studied and dependent for its success on a patient viewer
director m. night shyamalan can weave an eerie spell
negativity
does a great combination act as narrator , jewish grandmother and subject --
brian tufano 's handsome widescreen photography and paul grabowsky 's excellent music
's too much forced drama in this wildly uneven movie , about a young man 's battle with his inescapable past and uncertain future in a very shapable but largely unfulfilling present
steven spielberg has dreamed up such blatant and sickening product placement in a movie .
and it 's not that funny -- which is just generally insulting .
jostling against farce , thoughtful dialogue elbowed aside by one-liners , and a visual style that incorporates rotoscope animation for no apparent reason except ,
a late-inning twist that just does n't make sense
is without doubt an artist of uncompromising vision , but that vision is beginning to feel , if not morally bankrupt , at least terribly monotonous
to shine through the gloomy film noir veil
of the year 's most enjoyable releases
a bittersweet drama about the limbo of grief and how truth-telling can open the door to liberation .
a delightful , if minor , pastry
the latest gimmick from this unimaginative comedian
the film lacks momentum and its position remains mostly undeterminable
vulgar , sexist , racist humor
offbeat humor
finds warmth in the coldest environment and makes each crumb of emotional comfort
viewers do n't have to worry about being subjected to farts , urine , feces , semen , or any of the other foul substances that have overrun modern-day comedies
in the director 's cut , the film is not only a love song to the movies but it also is more fully an example of the kind of lush , all-enveloping movie experience it rhapsodizes .
enough to give you brain strain
in sham actor workshops and an affected malaise
ca n't remember the last time i saw worse stunt editing or cheaper action movie production values than in extreme ops
downplays the raunch in favor of gags that rely on the strength of their own cleverness as opposed to the extent of their outrageousness
a couple hours of summertime
to confident filmmaking and a pair of fascinating performances
pleasingly
's impossible to care
cutting hollywood satire
directors abandon their scripts and go where the moment takes them
this wretchedly unfunny wannabe comedy is inane and awful -
terms of the low-grade cheese standards on which it operates
sometimes improbable story
sitting open too long
the fact that the film idiotically uses the website feardotcom.com or the improperly hammy performance from poor stephen rea
a peculiar malaise
a step further , richer and
welles groupie/scholar peter bogdanovich took a long time to do it , but he 's finally provided his own broadside at publishing giant william randolph hearst
an actress
its cheesy screenplay
a tricky tightrope between being wickedly funny and just plain wicked
never really busts out of its comfy little cell
is hollow , self-indulgent , and - worst of all - boring
sustain the buoyant energy level of the film 's city beginnings
are tops
a pointed , often tender , examination of the pros and cons of unconditional
create and sustain a mood
as a real movie
of seeing justice served
entertaining enough , but nothing new
leaden and
that most every aggrieved father cliché has been unturned
americans to finally revel in its splendor
delicious pulpiness
notwithstanding some of the writers ' sporadic dips
it 's better than one might expect when you look at the list of movies starring ice-t in a major role .
ellen pompeo sitting next to you for the ride
a ` girls gone wild ' video for the boho art-house crowd , the burning sensation is n't a definitive counter-cultural document
useful in telling the story , which is paper-thin and decidedly unoriginal
is its utter sincerity
the ticket you need
the kind of ` laugh therapy '
passes for sex in the movies look like cheap hysterics
of his character
enough to give the film the substance it so desperately needs
blue hilarity
a laughable -- or rather
but unless you 're an absolute raving star wars junkie , it is n't much fun .
burdened by the actor
sympathy and intelligence
astonishing voice cast
an unchanged dullard
is right at home in this french shocker playing his usual bad boy weirdo role
has warmth , wit and interesting characters compassionately portrayed .
when there 's nothing else happening
on cable
it with ring ,
far from a groundbreaking endeavor
that these women are spectacular
it can seem tiresomely simpleminded .
revelled in the entertaining shallows
good music documentary
wewannour money back , actually .
makes up for it with a pleasing verisimilitude
animation back 30 years , musicals back 40 years and
mysterious , sensual , emotionally intense , and replete
a good-hearted ensemble comedy with a variety of quirky characters and an engaging story
can take credit for most of the movie 's success .
still , the updated dickensian sensibility of writer craig bartlett 's story is appealing .
a satisfying well-made romantic comedy
crammed with scenes and vistas and pretty moments
impressive performances
a great one
proves unrelentingly grim -- and equally engrossing .
of cerebral and cinemantic flair
oodles of charm
one whose view of america , history and the awkwardness of human life is generous and deep
in xxx , diesel is that rare creature -- an action hero with table manners , and one who proves that elegance is more than tattoo deep .
exactly endearing
churns up not one but two flagrantly fake thunderstorms to underscore the action
constantly flows forwards and back , weaving themes among three strands which allow us to view events as if through a prism
kline 's ) utterly convincing -- and deeply appealing -- as a noble teacher who embraces a strict moral code
delivers a magnetic performance .
a sumptuous work
are innocent , childlike and inherently funny
're stuck with a script that prevents them from firing on all cylinders
likeable thanks to its cast , its cuisine and its quirky tunes
of ` black culture ' and the dorkier aspects
the crap
consumed by lust and love and crushed by betrayal that it conjures up the intoxicating fumes and emotional ghosts of a freshly painted rembrandt
sodden and glum
frequently hilarious
because panic room is interested in nothing more than sucking you in ... and making you sweat
i did n't laugh .
glued
it has its faults
nice twists
were already tired
rooting for the film
dumb , sweet , and intermittently hilarious
refreshingly forthright one
does somehow manage to get you under its spell
salient points
cruel story
defuses this provocative theme by submerging it in a hoary love triangle .
pretentious mess
campanella 's competent direction and his excellent cast overcome the obstacles of a predictable outcome and a screenplay that glosses over rafael 's evolution .
ca n't accuse kung pow for misfiring , since it is exactly what it wants to be : an atrociously , mind-numbingly , indescribably bad movie
derivative , overlong , and bombastic
the high infidelity
admirable energy , full-bodied characterizations and narrative urgency
a culture-clash comedy that , in addition to being very funny ,
, and yet at the end
actually means to face your fears
not a word of english
well-intentioned
wickedly sick and twisted humor
african american professionals
tipped this film into the `` a '' range , as is
of those reputedly `` unfilmable '' novels that has bucked the odds to emerge as an exquisite motion picture in its own right
emotionally and narratively complex
consider it ` perfection . '
, structure and rhythms
just too silly and
impressive and yet lacking about everything
starving and untalented
gets clunky on the screen
has none of the crackle of `` fatal attraction '' , `` 9 1/2 weeks '' , or even `` indecent proposal '' , and feels more like lyne 's stolid remake of `` lolita '' .
to bleed it almost completely dry of humor , verve and fun
fails to rise above its disgusting source material
jolly , fun-for-fun 's - sake communal spirit goes to the essence of broadway
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
so many distracting special effects and visual party tricks
disappoints
a time machine , a journey back to your childhood , when cares melted away in the dark theater , and films had the ability to mesmerize , astonish and entertain .
difficult for the audience
utterly misplaced
a spirited film
the makers of this ` we 're - doing-it-for - the-cash ' sequel were
awakening and ripening
is rote work and predictable , but with a philosophical visual coming right at the end that extravagantly redeems it
been conjured up only 10 minutes prior to filming
bears a grievous but obscure complaint against fathers ,
is an insultingly inept and artificial examination of grief and its impacts upon the relationships of the survivors
were watching monkeys flinging their feces at you .
a visually flashy but narratively opaque and emotionally vapid exercise in style and mystification .
` blade ii ' just does n't cut it
seem like they were lifted from terry gilliam 's subconscious , pressed through kafka 's meat grinder and into buñuel 's casings
) taste for `` shock humor '' will wear thin on all
soul-stirring documentary
a matter of plumbing arrangements and mind games , of no erotic or sensuous charge
uncanny ability to right itself precisely when you think it 's in danger of going wrong
an appealing couple --
juwanna mann
that 's conspicuously missing from the girls ' big-screen blowout
an extended , open-ended poem
and self-conscious seams
the weird thing
the filmmaker 's extraordinary access to massoud , whose charm , cultivation and devotion to his people are readily apparent
damn funny stuff
, the film ( at 80 minutes ) is actually quite entertaining .
despite its visual virtuosity , ` naqoyqatsi ' is banal in its message and the choice of material to convey it .
so low in a poorly
is unconvincing soap opera that tornatore was right to cut
we do n't get paid enough to sit through crap like this .
this version is raised a few notches above kiddie fantasy pablum by allen 's astringent wit .
godfrey reggio 's career shines like a lonely beacon .
because it overstays its natural running time
are clinically depressed and have abandoned their slim hopes and dreams
, compelling story
turns fanciful , grisly and engagingly quixotic .
a finale that is impenetrable and dull
a text to ` lick ,
like an extended dialogue exercise in retard 101
introducing an intriguing and alluring premise
charm , cultivation and devotion
as though you rode the zipper after eating a corn dog and an extra-large cotton candy
feels like three hours
very well-written
parents beware ; this is downright movie penance
very choppy and monosyllabic despite the fact
pale xerox of other , better crime movies
reflective and beautifully
leaving the theater with a smile on your face
is blazingly alive and admirable on many levels .
one baaaaaaaaad movie
we get the comedy we settle for .
hoary
be ( assayas ' ) homage to the gallic ` tradition of quality ,
'll be as bored watching morvern callar as the characters are in it
, as blood work proves , that was a long , long time ago .
an american
an unimaginative screenwriter 's
i liked the original short story but this movie , even at an hour and twenty-some minutes
even when it drags , we are forced to reflect that its visual imagination is breathtaking
stylishly
a mess as this one
essentially ruined -- or , rather ,
a work of extraordinary journalism , but it is also a work of deft and subtle poetry
a promise nor a threat so much as wishful thinking
fessenden has nurtured his metaphors at the expense of his narrative ,
... a hokey piece of nonsense that tries too hard to be emotional .
the rope snaps
the tuxedo miscalculates badly by forcing the star to play second fiddle to the dull effects that allow the suit to come to life .
fanciful drama
that delivers on the promise of excitement
deeply moving french drama
big-hearted and
, longley 's film lacks balance ... and fails to put the struggle into meaningful historical context .
sad ending
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 .
adorable italian guys
no doubt the star and everyone else involved had their hearts in the right place .
with exquisite craftsmanship
here is how so many talented people were convinced to waste their time
maybe you 'll be lucky , and there 'll be a power outage during your screening so you can get your money back .
what they 're doing is a matter of plumbing arrangements and mind games , of no erotic or sensuous charge .
... silly humbuggery ...
may prove to be ( tsai 's ) masterpiece
typed ` chris rock , ' ` anthony hopkins ' and ` terrorists ' into some univac-like script machine
might just be the movie you 're looking for
an affection
love to come from an american director in years
most resonant film since the killer .
in the name of an allegedly inspiring and easily marketable flick , the emperor 's club turns a blind eye to the very history it pretends to teach .
the widowmaker is derivative , overlong , and bombastic -- yet surprisingly entertaining .
, ash wednesday is essentially devoid of interesting characters or even a halfway intriguing plot .
is great
spirit 's visual imagination reminds you of why animation is such a perfect medium for children , because of the way it allows the mind to enter and accept another world .
judging by those standards , ` scratch ' is a pretty decent little documentary .
engaging , surprisingly touching british comedy
, 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 .
confident filmmaking and a pair of fascinating performances
avoid the ghetto of sentimental chick-flicks by treating female follies with a satirical style
in one scene , we get a stab at soccer hooliganism , a double-barreled rip-off of quentin tarantino 's climactic shootout -- and meat loaf explodes .
a sugar-coated rocky whose valuable messages are forgotten 10 minutes after the last trombone honks .
death , especially
by the dynamic first act
fails so fundamentally on every conventional level
too daft by half ... but supremely good natured .
the worst sin of attributable to a movie like this
i have always appreciated a smartly written motion picture , and , whatever flaws igby goes down may possess , it is undeniably that .
the film 's plot may be shallow
rotten in almost every single facet of production that you 'll want to crawl up your own *** in embarrassment .
` epic
easy to like
steers , in his feature film debut , has created a brilliant motion picture .
an inelegant combination of two unrelated shorts that falls far short of the director 's previous work
it 's rare to find a film to which the adjective ` gentle ' applies ,
a director beginning to resemble someone 's crazy french grandfather
`` frailty '' has been written so well , that even a simple `` goddammit ! ''
are uncomfortably strained .
make the film more silly than scary ,
what makes it worth watching
has one of the most moronic screenplays of the year , full of holes that will be obvious even to those who are n't looking for them .
huge disappointment coming
deliver a riveting and surprisingly romantic ride
the rest of the cast comes across as stick figures reading lines from a teleprompter .
that the typical hollywood disregard for historical truth and realism is at work here
you ca n't help but feel ` stoked . '
wonderful , imaginative script
entirely witless
is akin to a reader 's digest condensed version of the source material
fun or
ponderous to work as shallow entertainment , not remotely incisive enough to qualify as drama , monsoon
shows its indie tatters and self-conscious seams in places ,
unfolds with all the mounting tension of an expert thriller
a film that 's rarely as entertaining as it could have been
obscenity
stitched together from stock situations and characters from other movies
can be viewed as pure composition and form --
look at that clever angle !
of the best films of the year with its exquisite acting , inventive screenplay , mesmerizing music , and many inimitable scenes
the surprisingly somber conclusion
not only learning but inventing a remarkable new trick .
tepid
's something to be said for a studio-produced film that never bothers to hand viewers a suitcase full of easy answers .
the low-grade cheese standards on which it operates
give each other the willies
( lee ) treats his audience the same way that jim brown treats his women -- as dumb , credulous , unassuming , subordinate subjects .
is credible and remarkably mature
highlighted by a gritty style and an excellent cast , it 's better than one might expect when you look at the list of movies starring ice-t in a major role .
of the unsung heroes of 20th century
that 's actually sort of amazing
that rare movie that works on any number of levels -- as a film of magic and whimsy for children , a heartfelt romance for teenagers and a compelling argument about death , both pro and con , for adults
the young stars are too cute ; the story and ensuing complications are too manipulative ; the message is too blatant
a streetwise mclaughlin group
funny and well-contructed
's mired in a shabby script that piles layer upon layer of action man cliché atop wooden dialogue and a shifting tone that falls far short of the peculiarly moral amorality of ( woo 's ) best work
oversimplification , superficiality and silliness
overproduced
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
though he only scratches the surface
awash in self-consciously flashy camera effects , droning house music and flat , flat dialogue
visual splendor
lingering questions about what the film is really getting at
an ` action film ' mired in stasis
most intense
this is a visually stunning rumination on love , memory , history and the war between art and commerce .
's about as convincing as any other arnie musclefest , but has a little too much resonance with real world events and ultimately comes off as insultingly simplistic .
carried out by men of marginal intelligence ,
dialogue that cuts to the chase of the modern girl 's dilemma
that the plot makes no sense
too bad none of it is funny .
can seem tiresomely simpleminded .
combines improbable melodrama ( gored bullfighters , comatose ballerinas ) with subtly kinky bedside vigils and sensational denouements , and yet at the end
twohy 's a good yarn-spinner , and ultimately the story compels
well-meant
bad need of major acting lessons and maybe a little coffee
america 's thirst for violence
so horrendously confusing
when you 're a struggling nobody
talkiness
`` ballistic : ecks vs. sever '' seems as safe as a children 's film .
ignore the reputation , and ignore the film .
manage to be spectacularly outrageous
cookie-cutter action scenes
of the best since the last waltz
to lawrence 's over-indulgent tirade
a pale imitation
withered
pass for a thirteen-year-old 's book report
a wind-tunnel and a simply astounding cor-blimey-luv-a-duck cockney accent
writing , skewed characters ,
to provoke them
remarkable skill
is the stuff that disney movies are made of .
enough sentimental
crawl up your own ***
there 's not enough intelligence , wit or innovation on the screen to attract and sustain an older crowd .
that sends you out of the theater feeling
a sun-drenched masterpiece , part parlor game , part psychological case study
engaging comedy
certainly an entertaining ride , despite many talky , slow scenes
strong performances
is a smorgasbord of soliloquies about nothing delivered by the former mr. drew barrymore .
folds under its own thinness .
itself virtually collapses into an inhalant blackout , maintaining consciousness just long enough to achieve callow pretension
conceptual feat
, sitting through dahmer 's two hours amounts to little more than punishment .
genuine rather than pandering
randolph
great to knock back a beer with but they 're simply not funny performers
did i miss something ?
a porno flick
this is a gorgeous film - vivid with color , music and life .
simply by accident
never bothers to question why somebody might devote time to see it
this movie 's lack of ideas
cynicism
take an entirely stale concept and
, wit and interesting characters
is an all-time low for kevin costner
a stylish but steady , and ultimately very satisfying , piece of character-driven storytelling
it is an interesting exercise by talented writer/director anderson
surprising flair
i liked it just enough .
an uneasy mix of run-of-the-mill raunchy humor and seemingly sincere personal reflection .
a grand fart coming from a director beginning to resemble someone 's crazy french grandfather .
some of the back-story is a little tired
nothing of the audience other than to sit back and enjoy a couple of great actors hamming it up
huppert ... is magnificent
puzzle whose pieces do not fit
sorority boys , which is as bad at it is cruel ,