xiangpku/GLUE huggingface dataset:
that so much of the movie -- again , as in the animal -- is a slapdash mess
an impressive style
, he is always sympathetic .
permeates all its aspects -- from the tv movie-esque , affected child acting to the dullest irish pub scenes ever filmed .
reasonably creative
uncommonly pleasurable
dislikable study in sociopathy .
is they have a tendency to slip into hokum
's got to be a more graceful way of portraying the devastation of this disease
maudlin and cliche-ridden
hawaiian setting
... about as exciting to watch as two last-place basketball teams playing one another on the final day of the season .
there 's a spontaneity to the chateau , a sense of light-heartedness , that makes it attractive throughout .
know a star
a modest masterpiece .
be made on the cheap
that profound , at least
equal amounts of beautiful movement and inside information
because they 're clueless and inept
offers an interesting bit of speculation as to the issues brecht faced as his life drew to a close .
a higher plateau
buy is an accomplished actress , and this is a big , juicy role .
a gleefully grungy , hilariously wicked black comedy ...
natural sportsmen
friel pulls the strings that make williams sink into melancholia
painfully redundant and inauthentic
not without merit
well-made and satisfying thriller
rally to its cause ,
a variant of the nincompoop benigni persona
resembles a soft porn brian de palma pastiche .
bottom-feeder
its rawness and vitality
a chilling tale
a truly magical movie
gosling creates a staggeringly compelling character , a young man whose sharp intellect is at the very root of his contradictory , self-hating , self-destructive ways .
the most brilliant work in this genre since the 1984 uncut version of sergio leone 's flawed but staggering once upon a time in america .
, funny , even punny 6
enjoyed the love story
the film is a hoot , and is just as good , if not better than much of what 's on saturday morning tv especially the pseudo-educational stuff we all ca n't stand .
up offering nothing more than the latest schwarzenegger or stallone flick
is ultimately what makes shanghai ghetto move beyond a good , dry , reliable textbook and what allows it to rank with its worthy predecessors .
reminds you how pertinent its dynamics remain
does n't trust laughs -- and does n't conjure proper respect for followers of the whole dead-undead genre , who deserve more from a vampire pic than a few shrieky special effects
$ 99 bargain-basement special
unbalanced mixture
compellingly watchable .
a majestic achievement , an epic of astonishing grandeur
so could young romantics out on a date .
wears out its welcome as tryingly as the title character
hilariously , gloriously alive , and quite often hotter
a stark portrait
director peter kosminsky gives these women a forum to demonstrate their acting ` chops ' and they take full advantage .
offers a glimpse of the solomonic decision facing jewish parents in those turbulent times : to save their children and yet to lose them .
impressive and
a domestic melodrama with weak dialogue and biopic cliches .
is a purposefully reductive movie -- which may be why it 's so successful at lodging itself in the brain
that the german film industry can not make a delightful comedy centering on food
strikingly devious
prepared to cling to the edge of your seat , tense with suspense
to the courage of new york 's finest and a nicely understated expression of the grief
action-adventure buffs
stop buying tickets to these movies
the start -- and , refreshingly ,
, in the hands of a brutally honest individual like prophet jack , might have made a point or two regarding life
rich with human events
the dynamic first act
this charming but slight tale has warmth , wit and interesting characters compassionately portrayed .
be on video
boll uses a lot of quick cutting and blurry step-printing to goose things up
that does n't even in passing mention political prisoners , poverty and the boat loads of people who try to escape the country
not well enough
it 's a cool event for the whole family .
capable thriller
at three hours and with very little story or character development
nothing we have n't seen before from murphy
more beautiful than either of those films
is whether these ambitions , laudable in themselves , justify a theatrical simulation of the death camp of auschwitz ii-birkenau .
this is a beautiful film for people who like their romances to have that french realism
wholesome and
i 'm guessing the director is a magician .
the horizons of boredom to the point of collapse , turning into a black hole of dullness , from which no interesting concept can escape
boisterous , heartfelt comedy
bang-up
us share their enthusiasm
innovative backgrounds
a powerful emotional wallop
'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 .
the movie is a dud .
of balto
at its best , it 's black hawk down with more heart .
are sometimes bracing
offers opportunities for occasional smiles
's impossible to claim that it is `` based on a true story '' with a straight face
drag an audience
succeeded only in making me groggy
thurman
as any other arnie musclefest
funny in the way that makes you ache with sadness ( the way chekhov is funny ) , profound without ever being self-important , warm without ever succumbing to sentimentality
makes an amazing breakthrough in her first starring role and eats up the screen .
amusing
with guns , expensive cars , lots of naked women and rocawear clothing
offers a thoughtful and rewarding glimpse into the sort of heartache everyone
so poorly plotted and scripted .
bears about as much resemblance to the experiences of most battered women as spider-man
is complex from the start -- and , refreshingly , stays that way .
all the demographically appropriate comic buttons
schumacher does probably as good a job as anyone at bringing off the hopkins/rock collision of acting styles and onscreen personas
creepy-crawly bug things
a classy , sprightly spin
it aspires
its cast , its cuisine and its quirky tunes
utterly absorbing
, you should be able to find better entertainment .
the first mistake , i suspect ,
of the most original american productions this year
it is definitely worth seeing .
with a humanistic message
but rather , ` how can you charge money for this ? '
a lot of tooth in roger dodger
the best date movie of the year
in a film you will never forget -- that you should never forget
the action sequences -- clearly the main event -- are surprisingly uninvolving
as those monologues stretch on and on , you realize there 's no place for this story to go but down
begins with promise ,
too violent
rude , scarily funny , sorrowfully sympathetic to the damage it surveys
living under a rock
that makes a depleted yesterday feel very much like a brand-new tomorrow
the touch is generally light enough and the performances , for the most part , credible .
fast-moving and cheerfully simplistic
the excitement
short of profound characterizations
that a man in drag is not in and of himself funny
to say that it does n't follow the stale , standard , connect-the-dots storyline which has become commonplace in movies that explore the seamy underbelly of the criminal world
like the work of an artist who is simply tired -- of fighting the same fights , of putting the weight of the world on his shoulders , of playing with narrative form
careless and unfocused
an observant , unfussily poetic meditation
undercuts the joie de vivre even as he creates it
one of the most genuinely sweet films
who will be moved to the edge of their seats by the dynamic first act
despite its sincere acting
the last days
are able to accomplish
the update is dreary and sluggish .
who is not a character in this movie
of his contradictory , self-hating , self-destructive ways
all bluster
it 's supposed to feel funny and light
the screenplay or something
, signs is just another unoriginal run of the mill sci-fi film with a flimsy ending and lots of hype .
provoked to intolerable levels
done , running off the limited chemistry created by ralph fiennes and jennifer lopez
his control
mark it takes an abrupt turn into glucose sentimentality and laughable contrivance .
hypnotically dull ,
auto-critique
pure movie
is visually ravishing ,
seen through the right eyes , with the right actors and with the kind of visual flair that shows what great cinema can really do .
paced and satisfying
to make of this italian freakshow
what should have been a painless time-killer becomes instead a grating endurance test .
to have the best of both worlds
's tough to be startled when you 're almost dozing
although fairly involving as far as it goes , the film does n't end up having much that is fresh to say about growing up catholic or , really , anything .
of the film 's cheeky charm
healing process
actory concoctions , defined by childlike dimness and a handful of quirks
a captivating drama
old-fashioned hollywood magic
realistically
that jumps off the page , and for the memorable character creations
inhabit that special annex of hell
collateral damage paints an absurdly simplistic picture .
newcastle , the first half of gangster no. 1 drips with style and , at times ,
of fun for all
a hit - and-miss affair ,
great , has solid acting and a neat premise
do we have that same option to slap her creators because they 're clueless and inept
an autopilot hollywood concoction lacking in imagination and authentic christmas spirit
of nearly epic proportions
filmmaking that is plainly dull and visually ugly when it is n't incomprehensible
my greatest pictures
is the first film in a long time that made me want to bolt the theater in the first 10 minutes
modest amusements
) just too bratty for sympathy
magnificent to behold in its sparkling beauty
to get to the closing bout ... by which time it 's impossible to care who wins
a ` guy 's film ' in the worst sense of the expression .
its apparent glee is derived from a lobotomy , having had all its vital essence scooped out and discarded .
scenes all end in someone screaming .
plays like an unbalanced mixture of graphic combat footage and almost saccharine domestic interludes that are pure hollywood .
is sandler running on empty , repeating what he 's already done way too often .
gain from watching they
grittily beautiful film
left in the broiling sun for a good three days
... is inspiring , ironic , and revelatory of just how ridiculous and money-oriented the record industry really is .
, the film is , arguably , the most accomplished work to date from hong kong 's versatile stanley kwan .
an opportunity missed .
works because of the ideal casting of the masterful british actor ian holm as the aged napoleon
nearly perfect in their roles
wonderful fencing scenes and an exciting plot make this an eminently engrossing film .
mindless and boring
this listless feature will win him any new viewers
the light of the exit sign
like an infomercial for ram dass 's latest book
's quaid who anchors the film with his effortless performance and that trademark grin of his -- so perfect for a ballplayer
's a fun adventure movie for kids ( of all ages ) that like adventure
seen this exact same movie a hundred times
of this laughable dialogue
will gratify anyone who has ever suspected hollywood of being overrun by corrupt and hedonistic weasels .
the astute direction of cardoso and beautifully detailed performances by all of the actors
about nothing
it 's a hellish , numbing experience to watch ,
touching good sense on the experience of its women
concrete story and definitive answers
as bad at it is cruel
a lovably
a chilling movie
it gets harder and harder to understand her choices
to shock and amaze
, three-dimensional characters
witless
a pointless , meandering celebration
find it uninteresting
hollywood pipeline
the insightful writer/director responsible for this illuminating comedy
the solid filmmaking
the reginald hudlin comedy relies on toilet humor , ethnic slurs .
is a disaster .
squirts the screen in ` warm water under a red bridge '
, did the screenwriters just do a cut-and-paste of every bad action-movie line in history ?
family and community
the film is full of charm .
are so crucial to the genre and another first-rate performance
it 's no surprise that as a director washington demands and receives excellent performances , from himself and from newcomer derek luke .
ah , yes , that would be me : fighting off the urge to doze .
ice age wo n't drop your jaw ,
sharply comic and
wonderfully speculative
slightly flawed
's being conned right up to the finale
exploitative for the art houses and too cynical
the city 's old-world charm
to sober us up with the transparent attempts at moralizing
although devoid of objectivity and full of nostalgic comments from the now middle-aged participants
, ultimate x is the gabbiest giant-screen movie ever , bogging down in a barrage of hype .
befuddled in its characterizations
of traditional layers of awakening and ripening and separation and recovery
vibrantly colored
even cranky adults may rediscover the quivering kid inside
veers like a drunken driver
backstage must-see
, because of its heightened , well-shaped dramas , twice as powerful
where their heads were
and withholds delivery
knockabout
journey into a philosophical void .
margarita feels like a hazy high that takes too long to shake .
coming-of-age portrait
for insomnia
on the deep deceptions of innocence
boasting some of the most poorly staged and lit action in memory , impostor is as close as you can get to an imitation movie .
's neither too erotic nor very thrilling ,
more ways
a powerful and deeply moving example of melodramatic moviemaking
big stars and
meandering , low on energy ,
degrading and strangely liberating
tends to plod .
is druggy and self-indulgent , like a spring-break orgy for pretentious arts majors
a haunted house ,
creates a portrait of two strong men in conflict , inextricably entwined through family history
will assuredly rank as one of the cleverest , most deceptively amusing comedies of the year .
is so pat it makes your teeth hurt .
a gently funny , sweetly adventurous film that makes you feel genuinely good ,
wasted in this crass , low-wattage endeavor
offers rare insight
no , it 's not as single-minded as john carpenter 's original , but it 's sure a lot smarter and more unnerving than the sequels
past his prime
it is a hilarious place to visit
has been replaced by the bottom of the barrel
's as lumpy as two-day old porridge
maybe there 's a metaphor here , but figuring it out would n't make trouble every day any better .
, marshall keeps the energy humming , and his edits , unlike those in moulin rouge , are crisp and purposeful without overdoing it .
meets so many of the challenges it poses for itself that one can forgive the film its flaws
quirky and funny
having an old friend for dinner '
spinning a web of dazzling entertainment may be overstating it , but `` spider-man '' certainly delivers the goods
good trash
just unlikable
a triumph of pure craft and passionate heart
a good film with a solid pedigree both in front of and , more specifically , behind the camera .
each scene immediately succumbs to gravity and plummets to earth .
successful on other levels
wonderful acting clinic
a terrifically entertaining specimen of spielbergian sci-fi .
is painfully bad , a fourth-rate jim carrey who does n't understand the difference between dumb fun and just plain dumb
made-for-tv
the charismatic jackie chan to
all its flaws
reserved but existential
a stab at soccer hooliganism ,
life-affirming message
worse stunt editing or cheaper action movie production values than in extreme ops
be probing why a guy with his talent ended up in a movie this bad
, the film maintains a beguiling serenity and poise that make it accessible for a non-narrative feature .
you 're rooting for the film to hurry up and get to its subjects ' deaths just so the documentary will be over
freddy gets molested
a bold ( and lovely ) experiment that will
are side stories aplenty
lan yu seems altogether too slight to be called any kind of masterpiece .
most fish stories are a little peculiar , but this is one that should be thrown back in the river .
has made a film so unabashedly hopeful that it actually makes the heart soar .
the real triumphs
, it 's one of the most beautiful , evocative works i 've seen .
has as much right to make a huge action sequence as any director
spiffing up leftovers that are n't so substantial or fresh
as comedic spotlights go , notorious c.h.o. hits all the verbal marks it should .
in this oddly sweet comedy about jokester highway patrolmen
it 's hard to imagine that even very small children will be impressed by this tired retread .
a culture clash comedy only half as clever as it thinks it is .
every joke is repeated at least
makes the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian
is flat .
add up to a biting satire that has no teeth
a cut-and-paste of every bad action-movie line in history
as an intellectual exercise -- an unpleasant debate that 's been given the drive of a narrative and that 's been acted out -- the believer is nothing less than a provocative piece of work
the film 's vision of sport as a secular religion is a bit cloying
the pacing is deadly , the narration helps little and naipaul , a juicy writer , is negated .
is genial and decent
heavy on the atmospheric weirdness
, also like its hero , it remains brightly optimistic , coming through in the end
overstylized , puréed mélange
has a bigger-name cast
odds with the rest of the film
too amateurish
was utterly charming
commands attention
barely manages for but a few seconds over its seemingly eternal running time to pique your interest , your imagination , your empathy or anything , really , save your disgust and your indifference .
a powerful performance
even those with an avid interest in the subject will grow impatient
it 's definitely not made for kids or their parents , for that matter , and i think even fans of sandler 's comic taste may find it uninteresting
an interesting look at the life of the campaign-trail press , especially ones
is n't this painfully forced , false and fabricated
their way around this movie directionless ,
, it 's still not a good movie
sounds whiny and defensive
has fun with the quirks of family life
format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them
the story together frustrating difficult
there 's much tongue in cheek in the film and there 's no doubt the filmmaker is having fun with it all
a fragile framework upon which to hang broad , mildly fleshed-out characters that seem to have been conjured up only 10 minutes prior to filming
slimed in the name of high art
idol 's
contrived , maudlin and cliche-ridden ... if this sappy script was the best the contest received , those rejected must have been astronomically bad .
empathy and pity fogging up the screen ... his secret life enters the land of unintentional melodrama and tiresome love triangles .
toss-up
often lethally dull
full of surprises .
overwhelming sadness
another useless recycling of a brutal mid - '70s american sports movie
margarita happy hour
the pleasure
too long reduced to direct-to-video irrelevancy
trying to hold onto what 's left of his passe ' chopsocky glory
that you want to slap it
his pleas
is disappointingly generic
little grace ( rifkin 's ) tale of precarious skid-row dignity
her best
, stop eric schaeffer before he makes another film .
... a cinematic disaster so inadvertently sidesplitting it 's worth the price of admission for the ridicule factor alone .
be called animation
warm and winning central performance
made nature film and a tribute to a woman whose passion for this region and its inhabitants still shines in her quiet blue eyes
to turn his movie in an unexpected direction
there 's a delightfully quirky movie to be made from curling
his fake backdrops
lacks fellowship 's heart
by halfway through this picture i was beginning to hate it , and , of course , feeling guilty for it ... then , miracle of miracles , the movie does a flip-flop .
that comes along only occasionally , one so unconventional , gutsy and perfectly
relegated
e.t. works because its flabbergasting principals , 14-year-old robert macnaughton , 6-year-old drew barrymore and 10-year-old henry thomas , convince us of the existence of the wise , wizened visitor from a faraway planet .
of ineptly
find love
builds gradually until you feel fully embraced by this gentle comedy
authentic
a mundane '70s disaster flick
matches the page-turning frenzy that clancy creates .
is a total misfire
is almost nothing in this flat effort that will amuse or entertain them , either .
kitchen-sink homage
gets better after foster leaves that little room .
( madonna 's ) denied her own athleticism by lighting that emphasizes every line and sag .
that 's where this film should have remained
find yourself rooting for the monsters in a horror movie
the plot of the comeback curlers is n't very interesting actually ,
, this is more appetizing than a side dish of asparagus .
a delightful , if minor , pastry of a movie
despite an overwrought ending , the film works as well as it does because of the performances .
's nothing interesting in unfaithful whatsoever
something awfully deadly about any movie with a life-affirming message
it 's mildly sentimental , unabashedly consumerist ... studiously inoffensive and completely disposable .
describing badness
undeterminable
the acting is fine but the script is about as interesting as a recording of conversations at the wal-mart checkout line .
the story is predictable , the jokes are typical sandler fare ,
runteldat is something of a triumph .
, `` orange county '' is far funnier than it would seem to have any right to be .
as exciting as all this exoticism might sound to the typical pax viewer , the rest of us will be lulled into a coma .
visually flashy but narratively opaque and
arrive on the big screen with their super-powers , their super-simple animation and their super-dooper-adorability intact .
a shame
even more damning --
a good race , one that will have you at the edge of your seat for long stretches
of relationships in such a straightforward , emotionally honest manner that by the end
comic gem
piercingly affecting ...
feels homogenized and a bit contrived
bad alternative music
enough , but nothing new
world cinema 's most wondrously gifted artists
remains prominent
as a conventional thriller evolves into a gorgeously atmospheric meditation on life-changing chance encounters
entirely irresistible
, the eye candy here lacks considerable brio .
a documentary and more propaganda
as obnoxious as tom green 's freddie got fingered
bad imitation
that collect a bunch of people who are enthusiastic about something and then
learning but inventing a remarkable new trick
's always fun to watch
way to tolerate this insipid , brutally clueless film
thrilling combination
need a stronger stomach than us
a disaster of a story , full of holes and completely lacking in chills
ennui-hobbled
` praise the lord
the film 's lamer instincts are in the saddle
searches ( vainly , i think ) for something fresh to say
tired tyco ad
its characters and communicates something
tries to pump life into overworked elements from eastwood 's dirty harry period
young everlyn sampi , as the courageous molly craig ,
where people who have never picked a lock do so easily after a few tries and become expert fighters after a few weeks
one of the most beautiful , evocative works i 've seen
rather dull , unimaginative
to serve the work especially well
, multi-layered and profoundly humanist ( not to mention gently political ) meditation
have to put up with 146 minutes of it
that is so meditative and lyrical about babak payami 's boldly quirky iranian drama secret ballot ... a charming and evoking little ditty that manages to show the gentle and humane side of middle eastern world politics
very sluggish pace
seems as funny as it did in analyze this , not even joe viterelli as de niro 's right-hand goombah .
feels rigged and sluggish .
gaping enough to pilot an entire olympic swim team through
without ever succumbing to sentimentality
fresh and raw
dramatically moving