xiangpku/GLUE huggingface dataset:
but then again , i hate myself most mornings .
jaw-dropping action sequences , striking villains , a gorgeous color palette , astounding technology , stirring music
astonishingly condescending attitude
, it does n't even seem like she tried .
shyamalan should stop trying to please his mom .
demonstrate how desperate the makers of this ` we 're - doing-it-for - the-cash ' sequel were .
it 's hard to shake the feeling that it was intended to be a different kind of film .
, do we have that same option to slap her creators because they 're clueless and inept ?
encompasses many more paths
the movie is concocted and carried out by folks worthy of scorn , and the nicest thing i can say is that i ca n't remember a single name responsible for it .
stylized humor throughout
're rooting for the film to hurry up and get to its subjects ' deaths just so the documentary will be over
is the equivalent of french hip-hop , which also seems to play on a 10-year delay .
to work us over , with second helpings of love , romance , tragedy , false dawns , real dawns , comic relief , two separate crises during marriage ceremonies , and the lush scenery of the cotswolds
garcía bernal and talancón are an immensely appealing couple
traps audiences in a series of relentlessly nasty situations
i know that i 'll never listen to marvin gaye or the supremes the same way again
not exaggerated enough to be a parody of gross-out flicks , college flicks , or even flicks in general .
you can enjoy much of jonah simply , and gratefully , as laugh-out-loud lunacy with a pronounced monty pythonesque flavor .
inside the massive waves that lifts blue crush into one of the summer 's most pleasurable movies
takes a simple premise and carries it to unexpected heights
are lacking
, the power of this movie is undeniable .
its position
like shrek , 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 .
created a substantive movie out of several cliched movie structures : the road movie , the coming-of-age movie , and the teenage sex comedy .
frothing
brilliant performances
the movie 's messages are quite admirable
perfect family film
makes the formula fresh again
to forget that they are actually movie folk
gaping enough to pilot
are very expressive
beating the austin powers films at their own game
pokes , provokes
the procession
is the fact that there is nothing distinguishing in a randall wallace film .
the needlessly poor quality of its archival prints and film footage
this movie may not have the highest production values you 've ever seen , but it 's the work of an artist , one whose view of america , history and the awkwardness of human life is generous and deep
, they 'll probably run out screaming .
sharply comic
( tries )
jolt you out of your seat a couple of times , give you a few laughs ,
a time when commercialism has squeezed the life out of whatever idealism american moviemaking ever had
could just feel the screenwriter at every moment ` tap , tap , tap , tap , tapping away ' on this screenplay
can depress you about life itself .
hard-to-predict and absolutely essential chemistry
to grow boring ... which proves that rohmer still has a sense of his audience
halfway mark it takes an abrupt turn into glucose sentimentality and laughable contrivance .
it 's dark but has wonderfully funny moments ;
guns , violence
the silliness
a solid formula
entirely wholesome )
most of the movie 's success
is so poorly paced you could fit all of pootie tang in between its punchlines
confident filmmaking
managed to convey a tiny sense of hope
is surprisingly brilliant , deftly sewing together what could have been a confusing and horrifying vision into an intense and engrossing head-trip .
alexandre dumas classic
is more likely to induce sleep than fright
a tragic love story
any more than the gorgeous piano and strings on the soundtrack can drown out the tinny self-righteousness of his voice
focus , point and purpose
mortal awareness
the new insomnia is a surprisingly faithful remake of its chilly predecessor ,
a pathetic , endearing hero
if allen , at 66 , has stopped challenging himself
it is an uneven film for the most part
contrived pastiche of caper clichés .
cold , gray , antiseptic and emotionally desiccated
seagal ran out of movies years ago , and
exudes the fizz of a busby berkeley musical and the visceral excitement of a sports extravaganza .
lasker 's canny , meditative script distances sex and love , as byron and luther
the really bad blair witch project
make such a worthless film
collapses
just another combination of bad animation and mindless violence ... lacking the slightest bit
will be on video long before they grow up and you can wait till then .
the movie attempts to mine laughs from a genre -- the gangster/crime comedy -- that wore out its welcome with audiences several years ago , and its cutesy reliance on movie-specific cliches is n't exactly endearing .
twinkling
endorses
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
you exit the theater
self-aware , often self-mocking , intelligence
creep the living hell out of you
like the guys
gets under our skin and draws us in long before the plot kicks into gear
the ridiculous dialog
is definitely a cut above the rest .
boozy
there is nothing redeeming about this movie .
be 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
brilliant and macabre
endearing and easy
a ponderous and pretentious endeavor that 's unfocused and tediously exasperating
slapped together
a reminder of how they used to make movies , but also how they sometimes still can be made .
sag in certain places
a thrill
deeply affecting film
no more racist portraits of indians , for instance )
avary 's failure to construct a story with even a trace of dramatic interest
the problem with movies about angels is they have a tendency to slip into hokum .
has a lot of charm .
absorbing documentary
the characters are paper thin
is worth your time , especially
queasy
the emotion is impressively true for being so hot-blooded , and both leads are up to the task
... a plotline that 's as lumpy as two-day old porridge ... the filmmakers ' paws , sad to say , were all over this `` un-bear-able '' project !
the action is stilted and
about telling what at heart is a sweet little girl
its strengths
a plodding mess
robert harmon 's less-is-more approach delivers real bump-in - the-night chills --
the kids in the audience at the preview screening seemed bored , cheering the pratfalls but little else ; their parents , wise folks that they are , read books
'll find in this dreary mess
powerful and provocative
is a just a waste .
is not really a film as much as it is a loose collection of not-so-funny gags , scattered moments of lazy humor .
that is even lazier and far less enjoyable .
pleasant in spite of its predictability
she is a lioness ,
of some children who remain curious about each other against all odds
jostling against farce , thoughtful dialogue elbowed aside by one-liners , and a visual style that incorporates rotoscope animation for no apparent reason except , maybe , that it looks neat
aims to confuse
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 `` elling '' manages to do all three quite well , making it one of the year 's most enjoyable releases
finds no way to entertain or inspire its viewers .
comes off winningly
the best film
takes a walking-dead , cop-flick subgenre and beats new life into it .
` comedy ' scenes
very pleasing at its best moments
awkwardly contrived exercise
two fine actors , morgan freeman and ashley judd
is an unsettling picture of childhood innocence combined with indoctrinated prejudice .
the more serious-minded concerns
while the story 's undeniably hard to follow
is not quite the career peak
can comfortably hold
it would still be beyond comprehension
nelson 's intentions are good , but
with a sour taste in one 's mouth , and little else
retrospectively , his most personal work yet .
by on angelina jolie 's surprising flair for self-deprecating comedy
in painting an unabashedly romantic picture of a nation whose songs spring directly from the lives of the people
arliss howard 's ambitious , moving , and adventurous directorial debut ,
talk down to them
sure which will take longer to heal : the welt on johnny knoxville 's stomach from a riot-control projectile or my own tortured psyche
a disappointment for a movie that should have been the ultimate imax trip
cliché-riddled
is a self-aware , often self-mocking , intelligence .
kill the effect
feel realistic .
authentically impulsive humor
's one of the worst of the entire franchise
a weird little movie
've marveled at disney 's rendering of water , snow , flames and shadows in a hand-drawn animated world .
often hilarious romantic jealousy comedy
emotionally vapid
the world 's political situation
forget the misleading title , what 's with the unexplained baboon cameo ?
who seem barely in the same movie
serves as a paper skeleton for some very good acting , dialogue , comedy , direction and especially charm .
was only
a dull girl , that 's all
it squanders chan 's uniqueness
can i admit xxx is as deep as a petri dish and as well-characterized as a telephone book but still say it was a guilty pleasure ?
hates criticism so much that he refuses to evaluate his own work
slightly sunbaked and summery mind , sex and lucia
rising above similar fare
fat , dumb
hashiguchi vividly captures the way young japanese live now , chafing against their culture 's manic mix of millennial brusqueness and undying , traditional politesse .
a tasty masala .
their idol 's energy and passion
're engulfed by it .
the road warrior
intellectual and emotional pedigree
a fast paced and suspenseful argentinian thriller
less funny than it should be and less funny than it thinks it is .
into corny sentimentality
the cleverest
is small and shriveled
by a warmth that is n't faked
, sweet home alabama is n't as funny as you 'd hoped .
its plot and animation offer daytime tv serviceability , but little more .
of high romance , brought off with considerable wit
may cause you to bite your tongue to keep from laughing at the ridiculous dialog or the oh-so convenient plot twists .
's the kind of under-inspired , overblown enterprise that gives hollywood sequels a bad name
wonderous accomplishment
emotionally strong and politically potent
the kind of effectively creepy-scary thriller
jagged , as if filmed directly from a television monitor
as sand , who brings to the role her pale , dark beauty and characteristic warmth
rare directors
it 's secondary to american psycho but still has claws enough to get inside you and stay there for a couple of hours .
mr. wollter and ms. seldhal give strong and convincing performances , but neither reaches into the deepest recesses of the character to unearth the quaking essence of passion , grief and fear .
serves as a painful elegy and sobering cautionary tale
ray liotta
no psychology here ,
hardly an objective documentary
vaunted empathy
of unfaithful
pathetic , endearing
it emerges as another key contribution to the flowering of the south korean cinema
wise-beyond-her-years
a small gem of a movie that defies classification and is as thought-provoking as it is funny , scary and sad .
awkward version
unhibited
tries to grab us , only to keep letting go at all the wrong moments
strike a chord
alternates between deadpan comedy and heartbreaking loneliness and is n't afraid to provoke introspection in both its characters and its audience .
fills it with spirit , purpose and emotionally bruised characters who add up to more than body count
one of those rare films that come by once in a while with flawless amounts of acting , direction , story and pace
a much shorter cut surely would have resulted in a smoother , more focused narrative without sacrificing any of the cultural intrigue
could possibly be more contemptuous of the single female population .
it dull , lifeless , and irritating
moore 's ) better at fingering problems than finding solutions .
absurdities and inconsistencies
a smear
a negligible work of manipulation , an exploitation piece doing its usual worst to guilt-trip parents
's nothing remotely topical or sexy here .
in the travails of creating a screenplay
the writer-director of this little $ 1.8 million charmer , which may not be cutting-edge indie filmmaking
this time , the hype is quieter , and while the movie is slightly less successful than the first , it 's still a rollicking good time for the most part .
a summer entertainment adults can see without feeling embarrassed , but it could have been more .
children , a heartfelt romance for teenagers and a compelling argument about death
elvira fans
's nothing to gain from watching they
, the movie bogs down in rhetoric and cliché .
too dark to be decipherable
took three minutes of dialogue , 30 seconds of plot and
with all the blanket statements and dime-store ruminations on vanity
provides a nice change of mindless pace in collision
the ideal casting
too few
unpredictable , hilarious
make enough into ` an inspiring tale of survival wrapped in the heart-pounding suspense of a stylish psychological thriller '
the insightful writer/director
wildly inventive
, girls ca n't swim represents an engaging and intimate first feature by a talented director to watch , and it 's a worthy entry in the french coming-of-age genre .
elegantly produced and expressively performed , the six musical numbers crystallize key plot moments into minutely detailed wonders of dreamlike ecstasy .
the movie is such a blip on the year 's radar screen that it 's tempting just to go with it for the ride .
observant , unfussily poetic
weird / thinking about all the bad things in the world / like puppies with broken legs / and butterflies that die / and movies starring pop queens
show real heart
a sensitive and astute first feature by anne-sophie birot .
roiling
as an exploratory medical procedure or an autopsy
this crude
the early and middle passages are surprising in how much they engage and even touch us .
... by the time it 's done with us , mira nair 's new movie has its audience giddy with the delight of discovery , of having been immersed in a foreign culture only to find that human nature is pretty much the same all over .
do n't care what kind of sewage they shovel into their mental gullets to simulate sustenance
look almost shakespearean -- both in depth and breadth -- after watching this digital-effects-heavy , supposed family-friendly comedy
could have been a confusing and horrifying vision into an intense and engrossing head-trip
is mostly a lump of run-of-the-mill profanity sprinkled with a few remarks so geared toward engendering audience sympathy that you might think he was running for office -- or trying to win over a probation officer
the movie 's major and most devastating flaw
solid sci-fi thriller
otherwise , this could be a passable date film .
the cold light
a subzero version
a great deal of fun
this deeply moving french drama develops a startling story that works both as a detailed personal portrait and as a rather frightening examination of modern times .
blade 2
capable of charming the masses with star power , a pop-induced score and sentimental moments that have become a spielberg trademark
neither as scary-funny as tremors
with a grand whimper
each scene drags , underscoring the obvious , and sentiment is slathered on top
most exciting action films
press the delete key .
ravishing
incapable of controlling his crew
of a paranoid and unlikable man
really horrible drek .
an interesting psychological game of cat-and-mouse , three-dimensional characters and believable performances all add up to a satisfying crime drama .
well cast and well directed - a powerful drama with enough sardonic wit to keep it from being maudlin .
modern master
the acting is amateurish , the cinematography is atrocious , the direction is clumsy , the writing is insipid and the violence is at once luridly graphic and laughably unconvincing
is the film roman polanski may have been born to make
imbued with strong themes of familial ties and spirituality that are powerful and moving without stooping to base melodrama
who play their roles with vibrant charm
the french director has turned out nearly 21/2 hours of unfocused , excruciatingly tedious cinema that , half an hour in , starts making water torture seem appealing .
remind us of how very bad a motion picture can truly be
neither revelatory nor truly edgy -- merely crassly flamboyant and comedically labored .
best movie
buried somewhere inside its fabric , but never clearly seen
would be great to see this turd squashed under a truck , preferably a semi
terrible , banal dialogue
good old fashioned spooks
kiddie entertainment , sophisticated wit
killing its soul
it 's exploitive without being insightful .
's unburdened by pretensions to great artistic significance
went back to newcastle , the first half of gangster no. 1 drips with style and , at times , blood .
still rapturous after all these years , cinema paradiso stands as one of the great films about movie love .
is an entirely foreign concept
keeping the balance between the fantastic and the believable
one of the most curiously depressing
i 'll buy the criterion dvd .
do well to cram earplugs
recent successes
its emphasis on caring for animals and respecting other cultures is particularly welcome
us right into the center of that world
like schindler 's list
the modern day
does n't deserve the energy it takes to describe how bad it is
oddly sweet comedy
with flashes of warmth and gentle humor
boldly , confidently orchestrated , aesthetically and sexually
thoughtful examination
an engaging and intimate first feature
the theme does n't drag an audience down
contrived and exploitative for the art houses and too cynical , small and decadent for the malls .
the explosion essentially ruined -- or , rather , overpowered -- the fiction of the movie for me .
a vivid , thoughtful , unapologetically raw coming-of-age tale full of sex , drugs and rock
's destined to win a wide summer audience through word-of-mouth reviews and , not far down the line , to find a place among the studio 's animated classics
despite its flaws , crazy as hell marks an encouraging new direction for la salle .
none of the crackle of `` fatal attraction '' , `` 9 1/2 weeks '' , or even `` indecent proposal ''
's lovely
one of mr. chabrol 's subtlest works
stirring
the career peak
, with his brawny frame and cool , composed delivery , fits the bill perfectly
unfunny one
they sometimes still can be made
remarkable and novel
effective film
most enjoyable releases
one it follows into melodrama and silliness
boiled hollywood argot
brings a beguiling freshness
the small screen
powerful and
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 .
executed with such gentle but insistent sincerity
unsophisticated
a freshly painted rembrandt
is inane and awful
have no affinity for most of the characters
in integrating the characters in the foreground into the extraordinarily rich landscape
finest films
a standout performance
nothing overly original
unique , well-crafted psychological study
be another shameless attempt by disney
almost unimaginable horror
funniest
is almost certainly going to go down as the worst -- and only -- killer website movie of this or any other year
from director mark romanek 's self-conscious scrutiny
sometimes creepy intimacy
but blatantly biased
soderbergh 's best films , `` erin brockovich , ''
like jimmy 's routines
the last kiss will probably never achieve the popularity of my big fat greek wedding , but its provocative central wedding sequence has far more impact .
virtuosic set pieces
kwan is a master of shadow , quietude , and room noise , and lan yu is a disarmingly lived-in movie .
tries-so-hard-to-be-cool
wisely decided to let crocodile hunter steve irwin do what he does best , and fashion a story around him .
pretty much self-centered
seems to have recharged him .
is ultimately thoughtful without having much dramatic impact
not all of the stories work and the ones that do are thin and scattered , but the film works well enough to make it worth watching
pick your nose instead because you 're sure to get more out of the latter experience
the pitfalls
that tell the best story
in such odd plot
ca n't begin to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents
see it for the passion
good material
's notably better acted -- and far less crass - than some other recent efforts in the burgeoning genre of films about black urban professionals
irritates and saddens
a kind
breathes extraordinary life
entertaining , self-aggrandizing , politically motivated
skip the film and pick up the soundtrack
layered richness
boils down to a transparently hypocritical work that feels as though it 's trying to set the women 's liberation movement back 20 years .
behold in its sparkling beauty
can not overcome the sense that pumpkin is a mere plot pawn for two directors with far less endearing disabilities .
texan director george ratliff had unlimited access to families and church meetings ,
sedate
bogs down in rhetoric and cliché .
a huge sacrifice
while the frequent allusions to gurus and doshas will strike some westerners as verging on mumbo-jumbo ... broad streaks of common sense emerge with unimpeachable clarity .
fred schepisi 's tale of four englishmen facing the prospect of their own mortality views youthful affluence not as a lost ideal but a starting point .
clips of a film that are still looking for a common through-line
sure which half of dragonfly is worse : the part where nothing 's happening , or the part where something 's happening
the places , and the people ,
with fondness and respect
this is a frustrating patchwork : an uneasy marriage of louis begley 's source novel ( about schmidt ) and an old payne screenplay .
dry of humor , verve and fun
winning piece
spends a bit too much time
undeniable energy
nobody in the viewing audience cares
on par with the first one
wo n't still be tapping
that peace is possible
even as it pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators , scratch is great fun , full of the kind of energy it 's documenting .
if you appreciate the one-sided theme to lawrence 's over-indulgent tirade
it is refreshingly undogmatic about its characters .
been exhausted by documentarians
contradictory , self-hating , self-destructive ways
no , i do n't 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 .
ultra-violent
so many bad romances out there
that allows americans to finally revel in its splendor
unfunny comedy with a lot of static set ups , not much camera movement , and most of the scenes
eileen walsh , an engaging , wide-eyed actress whose teeth are a little too big for her mouth ,
a middle-aged romance
are presented in convincing way
but every bit as filling as the treat of the title
takashi miike keeps pushing the envelope
the entire cast is first-rate , especially sorvino .
, absurd collection
no teeth
enough cool fun here to warm the hearts of animation enthusiasts of all ages
grow into a movie career
is not the director at his most sparkling
the film has ( its ) moments
telegraphs every discovery and layers on the gloss of convenience .
is a wish a studio 's wallet makes
is like scorsese 's mean streets redone by someone who ignored it in favor of old ` juvenile delinquent ' paperbacks with titles like leather warriors and switchblade sexpot .
rollicking adventure
( tries ) to parody a genre that 's already a joke in the united states .