xiangpku/GLUE huggingface dataset:
, good action , good acting , good dialogue , good pace , good cinematography .
her bully of a husband
gaghan ... has thrown every suspenseful cliché in the book at this nonsensical story .
the darker elements of misogyny and unprovoked violence suffocate the illumination created by the two daughters
oozing , chilling and heart-warming
stale retread
filming the teeming life on the reefs
an already thin story boils down to surviving invaders seeking an existent anti-virus .
quite endearing .
with fewer gags to break the tedium
overbearing and
deep deceptions
things will turn out okay
the paranoid claustrophobia of a submarine movie with the unsettling spookiness of the supernatural
good-natured fun found in films like tremors
betters it
transfixes the audience
moving and important
an avid interest
blessed with two fine , nuanced lead performances
true star
hampered -- no , paralyzed -- by a self-indulgent script ...
is expressly for idiots who do n't care what kind of sewage they shovel into their mental gullets to simulate sustenance .
is haunting ... ( it 's ) what punk rock music used to be , and what the video medium could use more of : spirit , perception , conviction
which nurses plot holes gaping enough to pilot an entire olympic swim team through
that 's both charming and well acted
a bad blend
the guy-in-a-dress genre
director claude chabrol has become the master of innuendo .
riveting and
excruciatingly unfunny and pitifully unromantic .
war movies
an inuit masterpiece
the cliché-laden screenplay
girlfriends are bad , wives are worse
provide much more insight
, and as easy to be bored by as your abc 's ,
what you wish for
fluid and mesmerizing
... a vivid , thoughtful , unapologetically raw coming-of-age tale full of sex , drugs and rock 'n' roll .
it '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 .
ransacks
lacks the charisma and ability to carry the film on his admittedly broad shoulders .
leave the theater
spousal abuse
the director , with his fake backdrops and stately pacing ,
a diverse and astonishingly articulate cast of palestinian and israeli children .
anyone who suffers through this film
one carried by a strong sense of humanism
for all its brilliant touches , dragon loses its fire midway , nearly flickering out by its perfunctory conclusion .
another entertaining romp from robert rodriguez .
directed with purpose and finesse by england 's roger mitchell , who handily makes the move from pleasing , relatively lightweight commercial fare such as notting hill to commercial fare with real thematic heft .
it 'll probably be in video stores by christmas
funny , triumphant ,
underachiever
a film of ideas and wry comic mayhem
of moviegoers for real characters and compelling plots
dime-store ruminations
worth a
, reality shows -- reality shows for god 's sake !
whatever the movie 's sentimental , hypocritical lessons about sexism , its true colors come out in various wet t-shirt and shower scenes .
'll cry for your money back
enthralling
is worse : the part where nothing 's happening , or the part where something 's happening
like max rothman 's future , does not work .
of quirky characters and an engaging story
has the thrown-together feel of a summer-camp talent show : hastily written , underrehearsed , arbitrarily plotted and
making kahlo 's art a living ,
bad run
may just end up trying to drown yourself in a lake afterwards .
many pleasures
is worth searching out
at this time , with this cast , this movie is hopeless
time bombs
balances both traditional or modern stories together in a manner that one never overwhelms the other .
the surface histrionics failing to compensate for the paper-thin characterizations and facile situations
plumbs uncharted depths of stupidity , incoherence and sub-sophomoric sexual banter .
a sour taste in one 's mouth
decent performance
... familiar and predictable , and 4/5ths of it might as well have come from a xerox machine rather than ( writer-director ) franc .
a headline-fresh thriller set among orthodox jews on the west bank , joseph cedar 's time of favor manages not only to find a compelling dramatic means of addressing a complex situation , it does so without compromising that complexity .
responsible for one of the worst movies of one year
appalling , shamelessly manipulative and contrived
movie love
human darkness
understand that the idea of exploiting molestation for laughs is funny , not actually exploiting it yourself
it 's too loud to shout insults at the screen
's a long way from orwell 's dark , intelligent warning cry ( 1984 )
a coming-of-age film that avoids the cartoonish clichés and sneering humor of the genre as it provides a fresh view of an old type --
the perfect movie
ardently waste viewers ' time with a gobbler like this
oscar-sweeping franchise predecessor
it sets out with no pretensions and delivers big time
see how many times they can work the words `` radical '' or `` suck '' into a sentence
give you enough to feel good about
unexpectedly insightful
allen 's romantic comedies so pertinent and enduring
is an extraordinary film , not least
a doubt
maudlin or
with the the wisdom and humor of its subjects
a party-hearty teen flick that scalds like acid .
the wan , thinly sketched story
provide the funniest moments in this oddly sweet comedy about jokester highway patrolmen
this romantic/comedy asks the question how much souvlaki can you take before indigestion sets in .
again dazzle and delight us
that beneath the familiar , funny surface is a far bigger , far more meaningful story than one in which little green men come to earth for harvesting purposes
aspires to be more than another `` best man '' clone by weaving a theme throughout this funny film
impresses as a skillfully assembled , highly polished and professional adaptation ... just about as chilling and unsettling as ` manhunter ' was .
failure to construct a story with even a trace of dramatic interest
but it also comes with the laziness and arrogance of a thing that already knows it 's won .
it 's a frightful vanity film that , no doubt , pays off what debt miramax felt they owed to benigni .
laughed at
, future lizard endeavors will need to adhere more closely to the laws of laughter
a philosophical void
unlikable characters and a self-conscious sense
intelligence or invention
hot on the hardwood proves once again that a man in drag is not in and of himself funny .
hopelessly juvenile
shakespearean -- both in depth and breadth --
unique directing style
required to give this comic slugfest some heart
feel more like a non-stop cry for attention
hip hop beat
feel more like literary conceits than flesh-and-blood humans
funniest and
a chilly , remote , emotionally distant piece ... so dull that its tagline should be
starts off witty and sophisticated and you
a bargain-basement european pickup
, but what really sets the film apart is debrauwer 's refusal to push the easy emotional buttons
shines on all the characters , as the direction is intelligently accomplished
taps into the primal fears of young people trying to cope with the mysterious and brutal nature of adults
lead a group of talented friends astray
it 's just weirdness for the sake of weirdness , and where human nature should be ingratiating , it 's just grating .
this gentle , mesmerizing portrait
genial is the conceit , this is one of those rare pictures that you root for throughout ,
draws the audience into the unexplainable pain and eccentricities that are attached to the concept of loss
spliced together bits and pieces of midnight run and 48 hours ( and , for that matter , shrek )
is so busy making reference to other films and trying to be other films that it fails to have a heart , mind or humor of its own
it lacks the compassion , good-natured humor and the level of insight that made ( eyre 's ) first film something of a sleeper success .
handles it in the most unexpected way
those eternally devoted to the insanity of black will have an intermittently good time .
obscenely bad
devastatingly
i do n't see the point
comes off like a bad imitation of the bard
that excites the imagination and tickles the funny bone
one of its strengths
of masterpiece
into this dream hispanic role with a teeth-clenching gusto
stiff or just plain bad
makes these lives count
jolts the laughs from the audience --
a delightful stimulus
has no point
of isolation and frustration
winning shot
of its music or comic antics , but through the perverse pleasure of watching disney scrape the bottom of its own cracker barrel
feeling guilty for it ... then , miracle of miracles , the movie does a flip-flop .
lewis
that there 's no other reason why anyone should bother remembering it
bogdanovich puts history in perspective and , via kirsten dunst 's remarkable performance , he showcases davies as a young woman of great charm , generosity and diplomacy .
father cliché
domestic tension and unhappiness
the effort is sincere and the results are honest , but the film is so bleak that it 's hardly watchable
called the best korean film of 2002
one of the best rock
it forces you to watch people doing unpleasant things to each other and themselves
of the holiday box office pie
inexpressible and drab wannabe
the hail of bullets , none of which ever seem to hit
like an extended , open-ended poem than a traditionally structured story
's about as convincing as any other arnie musclefest , but has a little too much resonance with real world events and
to hate
to be mesmerised
the people who loved the 1989 paradiso will prefer this new version
a lot of energy
for its success on a patient viewer
while tattoo borrows heavily from both seven and the silence of the lambs , it manages to maintain both a level of sophisticated intrigue and human-scale characters that suck the audience in .
this may be burns 's strongest film since the brothers mcmullen .
turned down
timely , tongue-in-cheek
undramatic
the pile of useless actioners
morton deserves an oscar nomination .
weirdly engaging and unpredictable character pieces
efficiency and an affection for the period
manages to accomplish what few sequels can -- it equals the original and in some ways even betters it
does not work .
it is n't merely offensive
tell a story about the vietnam war before the pathology set in
it irrigates our souls .
a hint of humor
with a big heart
a rollicking adventure for you and all your mateys , regardless of their ages
its most immediate and most obvious pleasure
there are laughs aplenty , and , as a bonus , 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
one of those rare films that seems as though it was written for no one , but somehow manages to convince almost everyone that it was put on the screen , just for them .
made a decent ` intro ' documentary
makes us see familiar issues , like racism and homophobia , in a fresh way .
the film goes right over the edge and kills every sense of believability
a beyond-lame satire , teddy bears ' picnic ranks among the most pitiful directing debuts by an esteemed writer-actor .
emotional seesawing
movies with the courage to go over the top and movies that do n't care about being stupid
target audience has n't graduated from junior high school
this intricately structured and well-realized drama
embracing
the film a celluloid litmus test for the intellectual and emotional pedigree of your date and a giant step backward for a director i admire
a meditation on faith and madness , frailty is blood-curdling stuff .
a pretty listless collection
other than its oscar-sweeping franchise predecessor
almost everyone growing up believes their family must look like `` the addams family '' to everyone looking in
have been called freddy gets molested by a dog
moody male hustler
uselessly redundant and shamelessly money-grubbing than most third-rate horror sequels
the film is filled with humorous observations about the general absurdity of modern life as seen through the eyes outsiders , but deftly manages to avoid many of the condescending stereotypes that so often plague films dealing with the mentally ill
which is mostly a bore
an entertaining mix of period drama and flat-out farce that should please history fans
suspect that you 'll be as bored watching morvern callar as the characters are in it .
the problems and characters it reveals are universal and involving , and the film itself -- as well its delightful cast -- is so breezy , pretty and gifted , it really won my heart .
love this movie
... the efforts of its star , kline , to lend some dignity to a dumb story are for naught .
flat as the scruffy sands of its titular community
liberal doses of dark humor , gorgeous exterior photography , and a stable-full of solid performances
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
works smoothly
with a creepy and dead-on performance
might want to take a reality check before you pay the full ticket price to see `` simone , '' and consider a dvd rental instead .
placed in the pantheon of the best of the swashbucklers
a satisfyingly unsettling ride
good a job as anyone
, smart and complicated
the intimate , unguarded moments of folks who live in unusual homes --
are pretty valuable these days
( i ) t 's certainly laudable that the movie deals with hot-button issues in a comedic context , but barbershop is n't as funny as it should be .
that the only rip off that we were aware of
beautiful to watch and
accentuating
no quarter to anyone seeking to pull a cohesive story out of its 2 1/2 - hour running time
a wonderful ensemble cast
endear
the truly funny bits
's that painful .
american beauty reeks
clotted with heavy-handed symbolism , dime-store psychology and endless scenic shots that make 105 minutes seem twice as long
without any of its sense of fun or energy
be the cat 's meow
's simply stupid , irrelevant and deeply
wonderland adventure , a stalker thriller , and
be part of
cinema history as the only movie ever
comes from a renowned indian film culture that allows americans to finally revel in its splendor
accomplished oscar winners
of those underrated professionals who deserve but rarely receive it
we find ourselves surprised at how much we care about the story
an all-time low
enjoyed it just
reacting to it - feeling a part of its grand locations ,
delivered with such conviction that it 's hard not to be carried away
colorful , vibrant introduction
the slow parade of human frailty fascinates you
famuyiwa 's feature deals with its subject matter in a tasteful , intelligent manner , rather than forcing us to endure every plot contrivance that the cliché-riddled genre can offer .
a laugh between them
that gradually sneaks up on the audience
photographic marvel
is shockingly bad and absolutely unnecessary .
gets vivid performances from her cast and pulls off some deft ally mcbeal-style fantasy sequences .
the result , however well-intentioned , is ironically just the sort of disposable , kitchen-sink homage that illustrates why the whole is so often less than the sum of its parts in today 's hollywood .
while not for every taste , this often very funny collegiate gross-out comedy goes a long way toward restoring the luster of the national lampoon film franchise , too long reduced to direct-to-video irrelevancy .
wow ' factor
hashiguchi covers this territory with wit and originality , suggesting that with his fourth feature -- the first to be released in the u.s. -- a major director is emerging in world cinema .
brazil-like , hyper-real satire
low on both suspense and payoff
find a scathing portrayal of a powerful entity strangling the life out of the people who want to believe in it the most
an absolute delight for all audiences
would tax einstein 's brain .
's its first sign of trouble
ca n't believe anyone would really buy this stuff
moonlight mile should strike a nerve in many .
if ever such a dependable concept was botched in execution
wedding feels a bit anachronistic .
been lost in the translation this time
revelatory performance
the pianist like a surgeon mends a broken heart ; very meticulously but without any passion
remains oddly detached
that is more complex and honest than anything represented in a hollywood film
nifty premise
the wonderfully lush morvern callar is pure punk existentialism , and
go down with a ship as leaky
earnest movie
effective enough
showing us well-thought stunts or a car chase that we have n't seen 10,000 times
make the film more silly than scary , like some sort of martha stewart decorating program run amok
going at a rapid pace ,
still fun and enjoyable and
a lazy exercise in bad filmmaking
this thing is virtually unwatchable .
's also undeniably exceedingly clever
would ever work in a mcculloch production again if they looked at how this movie turned out
an entertainment destination for the general public
i have ever seen , constantly pulling the rug from underneath us , seeing things from new sides , plunging deeper , getting more intense .
england 's roger mitchell , who handily makes the move from pleasing
to the enduring strengths of women
surprisingly faithful
the numerous scenes
exaggerated and
takes a really long , slow and dreary time
improved upon the first
that might have made it an exhilarating
k-19 : the widowmaker is a great yarn .
humorless
just because a walk to remember
amounts to little more than punishment .
the humor is recognizably plympton
likeable thanks to its cast , its cuisine and its quirky tunes .
makes piecing the story together frustrating difficult
a fascinating , compelling story
the film 's hero is a bore and his innocence soon becomes a questionable kind of inexcusable dumb innocence
a fascinating , dark thriller that keeps you hooked on the delicious pulpiness of its lurid fiction .
whimsical and relevant today
see the it
tackles the difficult subject of grief and loss
grotesque narcissism
funny and sad
is , arguably , the most accomplished work to date from hong kong 's versatile stanley kwan .
it wore me down
be so stupid
as refreshing
what we get in feardotcom is more like something from a bad clive barker movie .
has created a brilliant motion picture .
from the clumsy cliché of the ugly american
a beautiful food entrée
us a slice of life that 's very different from our own and yet instantly recognizable
the passive-aggressive psychology of co-dependence
his story ends or just ca n't tear himself away from the characters
does not live up to its style
scenes of cinematic perfection
love liza 's tale
the type of film about growing up that we do n't see often enough these days : realistic , urgent
first , for a movie that tries to be smart , it 's kinda dumb .
go see this delightful comedy .
worst sense
propelled by the acting
presents us with an action movie that actually has a brain .
human nature is a goofball movie , in the way that malkovich was , but it tries too hard
overplayed
should be poignant
'' feels capable of charming the masses with star power , a pop-induced score and sentimental moments that have become a spielberg trademark .
visceral and dangerously honest revelations about the men and machines behind the curtains of our planet
kirshner and monroe seem to be in a contest to see who can out-bad-act the other .
mug shots
the barbarism of ` ethnic cleansing
another masterpiece
an incredibly layered and stylistic film
a classic story
daring
wo n't feel cheated by the high infidelity of unfaithful .
haute
convey a strong sense of the girls ' environment .
ugly and
a journey spanning nearly three decades of bittersweet camaraderie and history , in which we feel that we truly know what makes holly and marina tick
any insight
a well-intentioned effort that 's still too burdened by the actor 's offbeat sensibilities for the earnest emotional core to emerge with any degree of accessibility .
passionate , tumultuous affair
the kind of under-inspired , overblown enterprise that gives hollywood sequels a bad name
an enjoyable experience .
've had more interesting -- and , dare i say , thematically complex -- bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama .
is a greater attention to the parents -- and particularly the fateful fathers -- in the emotional evolution of the two bewitched adolescents .
well to cram earplugs
who is simply tired
it 's the little nuances that perhaps had to escape from director mark romanek 's self-conscious scrutiny to happen , that finally get under your skin
both convincing and radiant
smart and dark -
emaciated flick
jim brown treats his women -- as dumb , credulous , unassuming , subordinate subjects
point at things that explode into flame
jolts the laughs from the audience
heralds something special
has n't escaped the rut dug by the last one
a perfect performance
this cinema verite speculation on the assassination of john f. kennedy may have been inspired by blair witch , but it takes its techniques into such fresh territory that the film never feels derivative
an unsuccessful attempt at a movie
sometimes confusing
buy the soundtrack
's sharply comic and surprisingly touching ,
a soap-opera quality twist in the last 20 minutes ... almost puts the kibosh on what is otherwise a sumptuous work of b-movie imagination .
to change hackneyed concepts when it comes to dreaming up romantic comedies
the folly of superficiality that is itself
lumbering load
a 95-minute commercial for nba properties
though many of these guys are less than adorable
peels layers from this character that may well not have existed on paper .
is deadly dull
inferior
big-hearted and frequently
striking deep chords of sadness
laughs aplenty
schaeffer is n't in this film , which may be why it works as well as it does .
loud , ugly , irritating movie
is impressive for the sights and sounds of the wondrous beats the world has to offer
the scorpion king more than ably
make a pretty good team
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
does a great combination act as narrator , jewish grandmother and subject -- taking us through a film that is part biography , part entertainment and part history .
bill plympton , the animation master
impossible task
that in a good way
a watch that makes time go faster rather than
very best pictures
lack their idol 's energy and passion for detail
and church meetings
than in creating an emotionally complex , dramatically satisfying heroine
compassionate
will find in these characters ' foibles a timeless and unique perspective
hugely entertaining from start to finish , featuring a fall from grace that still leaves shockwaves
an ebullient affection
somehow snagged an oscar nomination
manages to show the gentle and humane side of middle eastern world politics
` realistic '
a summer of good stuff
the satire is just too easy to be genuinely satisfying .
sustains
neither is it as smart
fare , with enough creative energy and wit to entertain all ages
the movie is powerful and provocative .
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
sharp edges and a deep vein of sadness
those who do n't entirely ` get ' godard 's distinctive discourse will still come away with a sense of his reserved but existential poignancy .
not only are the film 's sopranos gags incredibly dated and unfunny , they also demonstrate how desperate the makers of this ` we 're - doing-it-for - the-cash ' sequel were .
'n safe as to often play like a milquetoast movie of the week blown up for the big screen
like to skip but film buffs should get to know
narrative discipline
samuel l. jackson
is this films reason for being .
the old saying goes , because it 's true
take any 12-year-old boy to see this picture
aims for poetry and ends up sounding like satire
come close to the level of intelligence and visual splendor that can be seen in other films
embracing than monty
is it hokey
as assaults on america 's knee-jerk moral sanctimony
that 's hardly any fun to watch