xiangpku/GLUE huggingface dataset:
songs from the second floor has all the enjoyable randomness of a very lively dream and so manages to be compelling , amusing and unsettling at the same time .
enough to watch huppert scheming , with her small , intelligent eyes as steady as any noir villain , and to enjoy the perfectly pitched web of tension that chabrol spins
real-time rhythms
elegant , mannered and teasing
an excruciating demonstration of the unsalvageability of a movie saddled with an amateurish screenplay .
unlikeable people
of naiveté and sophistication
a fudged opportunity of gigantic proportions -- a lunar mission with no signs of life
lan yu is a genuine love story , full of traditional layers of awakening and ripening and separation and recovery .
a canny crowd pleaser , and the last kiss ...
louiso lets the movie dawdle in classic disaffected-indie-film mode , and brother hoffman 's script stumbles over a late-inning twist that just does n't make sense
's not enough substance here
is a hoot
to keep things interesting
it well worth watching
all end in someone screaming
... a cheap , ludicrous attempt at serious horror .
viewed and treasured
, surrealistic moments
welcomes a dash of the avant-garde fused with their humor
leave you cold
that educates viewers with words and pictures while entertaining them
overwrought comedy/drama
hate ( madonna ) within the film 's first five minutes
so much about the film is loopy and ludicrous ... that it could have been a hoot in a bad-movie way if the laborious pacing and endless exposition had been tightened .
distasteful and downright creepy
funny documentary
deep intelligence
a cold blanket
the nicest thing
you care about the characters
more enjoyable than its predecessor .
so muddled , repetitive and ragged that it says far less about the horrifying historical reality than about the filmmaker 's characteristic style
're at the right film
pulling on heartstrings
is 75 wasted minutes of sandler as the voice-over hero in columbia pictures ' perverse idea of an animated holiday movie .
true to its animatronic roots : ... as stiff , ponderous and charmless as a mechanical apparatus
the service of a limpid and conventional historical fiction
need to be invented to describe exactly how bad it is
i encourage young and old alike to go see this unique and entertaining twist on the classic whale 's tale -- you wo n't be sorry !
oscar-caliber
nothing better to do with 94 minutes
're over 25 , have an iq over 90 ,
uninventive
is never quite able to overcome the cultural moat surrounding its ludicrous and contrived plot .
the children of varying ages in my audience never coughed , fidgeted or romped up and down the aisles for bathroom breaks
the hastily and amateurishly
becomes a tiresome cliché
is simply no doubt that this film asks the right questions at the right time in the history of our country .
distinctive
engaging storyline
is allegedly `` inspired '' was a lot funnier and more deftly enacted than what 's been cobbled together onscreen
a surgeon mends
's better than one might expect when you look at the list of movies starring ice-t in a major role .
a terrific role
too many barney videos
is absolutely and completely ridiculous and an insult to every family whose mother has suffered through the horrible pains of a death by cancer
a flood of emotion
the work of an exhausted , desiccated talent who ca n't get out of his own way .
, with some glimpses of nature and family warmth , time out is a discreet moan of despair about entrapment in the maze of modern life .
overacted
begins as a conventional thriller evolves into a gorgeously atmospheric meditation on life-changing chance encounters .
kouyate elicits strong performances from his cast , and he delivers a powerful commentary on how governments lie , no matter who runs them
it could become a historically significant work as well as a masterfully made one
it is impossible to think of any film more challenging or depressing than the grey zone
's a whole heap of nothing at the core of this slight coming-of-age/coming-out tale
gives one of his most daring , and complicated , performances
paul bettany is good at being the ultra-violent gangster wannabe
inhabit that special annex of hell where adults behave like kids
'll cheer
typical junkie opera
change hackneyed concepts when it comes to dreaming up romantic comedies
we 're looking back at a tattered and ugly past with rose-tinted glasses
, this is a movie that tells stories that work -- is charming , is moving
the stories work and
slumming
very ambitious
scene-chewing
amuse even
having sucked dry the undead action flick formula
more than a bait-and-switch
the comic possibilities
who mourns her tragedies in private and embraces life in public
a much more successful translation than its most famous previous film adaptation , writer-director anthony friedman 's similarly updated 1970 british production .
there 's surely something wrong with a comedy where the only belly laughs come from the selection of outtakes tacked onto the end credits .
to endure instead of enjoy
it might deliver again and again
enough to keep you interested without coming close to bowling you over
guessing plot and
cold , oddly colorful and just plain otherworldly
lurid
... in trying to capture the novel 's deeper intimate resonances , the film has -- ironically - distanced us from the characters .
another boorish movie from the i-heard-a-joke
from a flat script and a low budget
a movie version of a paint-by-numbers picture .
match their own creations for pure venality -- that 's giving it the old college try
the entire point of a shaggy dog story , of course , is that it goes nowhere , and this is classic nowheresville in every sense
glossy melodrama
some flashy twists
of a great one
another classic for the company
an inspired portrait of male-ridden angst and
an artist who is simply tired --
freakish
cascade over the screen effortlessly
straightforward , emotionally honest
with slow pacing
'm not exactly sure what -- and has all the dramatic weight of a raindrop
a bravura performance
discovering your destination in life
, it 'll probably be in video stores by christmas , and it might just be better suited to a night in the living room than a night at the movies .
, banter-filled comedy
needed .
average , at best , i 'm afraid .
an attempt to do something different over actually pulling it off
tiresomely derivative and hammily acted .
, political intrigue , partisans and sabotage
the performances by harris , phifer and cam ` ron seal the deal
want to be jolted out of their gourd
directed with purpose and finesse
timeless and universal tale
stories work
through 300 hundred years of russian cultural identity and a stunning technical achievement
the more outrageous bits achieve a shock-you-into-laughter intensity of almost dadaist proportions .
may have been born to make
quaid is utterly fearless as the tortured husband living a painful lie ,
pubescent
staggers
of cliches that the talented cast generally
fast-paced and wonderfully edited , the film is extremely thorough .
thoroughly enjoyed themselves
feels uncomfortably real ,
a performance that is masterly
has been written so well , that even a simple `` goddammit !
there must be an audience that enjoys the friday series , but i would n't be interested in knowing any of them personally
it 's a drag how nettelbeck sees working women -- or at least this working woman -- for whom she shows little understanding .
then expects us to laugh because he acts so goofy all the time
is found in its ability to spoof both black and white stereotypes equally .
while the third feels limited by its short running time
it has its moments
it might have held my attention ,
much worse than bland or
solidly constructed , entertaining thriller
, pristine style and bold colors make it as much fun as reading an oversized picture book before bedtime .
because of the way it allows the mind to enter and accept another world
rich details
by an angel simplicity
helps create a complex , unpredictable character
has waited three years with breathless anticipation for a new hal hartley movie to pore over
can only be described as sci-fi generic
it serves as a workable primer for the region 's recent history , and would make a terrific 10th-grade learning tool .
that same option to slap her creators because they 're clueless and inept
you 'll be as bored watching morvern callar as the characters are in it
must go to grant , who has n't lost a bit of the dry humor that first made audiences on both sides of the atlantic love him
not exaggerated enough
interest can not be revived .
the high-concept scenario soon proves preposterous , the acting is robotically italicized , and truth-in-advertising hounds take note :
can almost see mendes and company getting together before a single frame had been shot and collectively vowing , ` this is going to be something really good . '
newcastle , the first half of gangster no. 1 drips with style and , at times , blood
no means a slam-dunk
it says far less about the horrifying historical reality than about the filmmaker 's characteristic style
could be so light-hearted ?
that i truly enjoyed most of mostly martha while i ne
is hardly a perverse , dangerous libertine and agitator -- which would have made for better drama
unaware that it 's the butt of its own joke
manages to sustain a good simmer for most of its running time
can feel the love .
it 's the type of film about growing up that we do n't see often enough these days : realistic , urgent , and
has dressed up this little parable in a fairly irresistible package full of privileged moments and memorable performances .
recommend big bad love only
the resourceful molly
a vile , incoherent mess
thoughtful screenplay
parental units
as pure over-the-top trash , any john waters movie has it beat by a country mile .
invitingly upbeat overture
is by far the worst movie of the year
is darkly funny in its observation of just how much more grueling and time-consuming the illusion of work is than actual work
hotter-two-years-ago rap and r&b names and references
can take the grandkids or the grandparents
to the gifted korean american stand-up
, it actually hurts to watch .
at every opportunity to do something clever , the film goes right over the edge and kills every sense of believability ...
not a trace
an unendurable viewing experience
a more than satisfactory amount of carnage
otherwise drowns in a sea of visual and verbal clichés
we 've seen it all before in one form or another , but director hoffman , with great help from kevin kline , makes us care about this latest reincarnation of the world 's greatest teacher
a cast of competent performers from movies , television and the theater
the overall result is an intelligent , realistic portrayal of testing boundaries .
few films have been this odd , inexplicable and unpleasant .
- i also wanted a little alien as a friend !
terrific b movie
whole family
it is ok for a movie to be something of a sitcom apparatus ,
antwone fisher certainly does the trick of making us care about its protagonist and celebrate his victories but , with few exceptions , it rarely stoops to cheap manipulation or corny conventions to do it .
is energized by volletta wallace 's maternal fury , her fearlessness
is a remake by the numbers , linking a halfwit plot to a series of standup routines in which wilson and murphy show how funny they could have been in a more ambitious movie
both times
a thoughtful what-if for the heart as well as the mind .
, fetishistic violence
bombshell documentary
we never truly come to care about the main characters and whether or not they 'll wind up together
a misdemeanor , a flat , unconvincing drama that never catches fire
the charming result
also happens to be the movie 's most admirable quality
smart , sassy interpretation of the oscar wilde play
are surprising in how much they engage and even touch us .
too many characters saying too many clever things and getting into too many pointless situations
make several runs to the concession stand and/or restroom and
see a movie that embraces its old-fashioned themes and in the process comes out looking like something wholly original
perfect quiet pace
with the waldo salt screenwriting award
a vivid imagination and an impressive style
here is a vh1 behind the music special that has something a little more special behind it : music that did n't sell many records but helped change a nation .
's never too late to believe in your dreams .
of corny dialogue and preposterous moments
needed more emphasis on the storytelling and less on the glamorous machine that thrusts the audience into a future they wo n't much care about
it is to be ya-ya
is degraded , handheld blair witch video-cam footage .
self-deprecating comedy
that makes it attractive throughout
the cinematic equivalent of patronizing a bar favored by pretentious , untalented artistes who enjoy moaning about their cruel fate .
wasted nearly two hours of your own precious life
's ... worth the extra effort to see an artist , still committed to growth in his ninth decade , change while remaining true to his principles with a film whose very subject is , quite pointedly , about the peril of such efforts
is really frustratingly timid and soggy
even better than the fellowship
in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast
by this tired retread
a give-me-an-oscar kind
is prime escapist fare .
first-rate performance
sit back and enjoy a couple of great actors hamming it up
, but if you liked the previous movies in the series , you 'll have a good time with this one too .
forget about it by monday
weird .
both people 's capacity for evil and their heroic capacity for good
is heartfelt and hilarious in ways you ca n't fake .
has some of the best special effects ever
what can be gleaned from this three-hour endurance test built around an hour 's worth of actual material
the movie deals with hot-button issues in a comedic context
actually improves upon the original hit movie
dickens evergreen : the exuberant openness with which he expresses our most basic emotions
generally amusing from time
lame comedy .
a rock-solid gangster movie
necessary viewing for sci-fi fans
smarter and more unnerving than the sequels
grand picture
was going to be really awful
nicely combines the enigmatic features of ` memento ' with the hallucinatory drug culture of ` requiem for a dream . '
squanders its beautiful women
it is a remarkably original work .
childlike smile
brave and sweetly
no real surprises
gangster no. 1 drips
sleep-inducingly slow-paced crime drama
a waterlogged version of ` fatal attraction ' for the teeny-bopper set
the result is somewhat satisfying
directs this film always keeping the balance between the fantastic and the believable
, triumphant ,
a nice album
confidently
except that the chelsea hotel today is populated by whiny , pathetic , starving and untalented artistes
an emotionally and spiritually compelling journey seen through the right eyes , with the right actors and with the kind of visual flair that shows what great cinema can really do .
the script 's endless assault
moving experience
it can easily worm its way into your heart . '
it 's badder than bad .
is an enjoyable big movie
, well , funnier .
little excitement
seen to better advantage on cable , especially considering its barely
paxton is surprisingly brilliant , deftly sewing together what could have been a confusing and horrifying vision into an intense and engrossing head-trip .
it 's definitely a step in the right direction .
electrocute and dismember their victims in full consciousness
interesting both as a historical study and as a tragic love story .
wonderful as the long-faced sad sack
fun with it
real situations and characters
the movie weighs no more than a glass of flat champagne .
light-years ahead of paint-by-number american blockbusters like pearl harbor , at least artistically .
pathetically compare notes about their budding amours
the genuinely funny jokes
worth sitting through
( or worth rooting against , for that matter )
's because the laughs come from fairly basic comedic constructs
a fascinating little tale
skilfully
the notion of deleting emotion from people , even in an advanced prozac nation
is an interesting exercise by talented writer/director anderson
the jokes , most at women 's expense
despite modest aspirations
you 're a struggling nobody
'll be white-knuckled and unable to look away
as the mediterranean sparkles , ` swept away ' sinks .
plunges you into a reality that is , more often then not , difficult and sad ,
an unsettling picture
is the last thing any of these three actresses , nor their characters , deserve
opera on film is never satisfactory .
uses his usual modus operandi of crucifixion
a worthwhile addition to a distinguished film legacy
one of the most entertaining monster movies in ages
very compelling tale
distasteful and
it 's a visual rorschach test and i must have failed
's really so appealing about the characters
brings a youthful , out-to-change-the-world aggressiveness to the project , as if she 's cut open a vein and bled the raw film stock
russian cultural identity and a stunning technical achievement
about existential suffering
, it will be well worth your time .
the land
might actually want to watch
it collapses into exactly the kind of buddy cop comedy
no affinity
of charm
mesmerize , astonish and entertain
is a greater attention to the parents -- and particularly the fateful fathers -- in the emotional evolution of the two bewitched adolescents
nijinsky says , ' i know how to suffer ' and if you see this film you 'll know too .
the story simply putters along looking for astute observations and coming up blank .
to be running on hypertime in reverse as the truly funny bits
begging for attention , giving audiences no reason to truly care for its decrepit freaks beyond the promise of a reprieve from their incessant whining
sometimes exceptional film
clarity and
mindless yet impressively lean spinoff of last summer 's bloated effects fest the mummy returns .
laughter and self-exploitation
mostly it 's a work that , with humor , warmth , and intelligence , captures a life interestingly lived .
a smart , provocative drama that does the nearly impossible :
disintegrating bloodsucker computer effects and
exceptionally dreary and overwrought
a coming-of-age tale
, vulgar is , truly and thankfully , a one-of-a-kind work .
maintains an appealing veneer
because the intelligence level of the characters must be low , very low , very very low , for the masquerade to work , the movie contains no wit , only labored gags .
had just typed ` chris rock , ' ` anthony hopkins ' and ` terrorists ' into some univac-like script machine
interesting in unfaithful
is such a sweet and sexy film
probably one of the best since the last waltz
melds derivative elements into something that is often quite rich and exciting , and always a beauty to behold
the most opaque , self-indulgent and just plain goofy an excuse for a movie as you can imagine .
it feels like a glossy rehash .
exhibits the shallow sensationalism characteristic of soap opera ... more salacious telenovela than serious drama
the movie ends with outtakes in which most of the characters forget their lines and just utter ` uhhh , ' which is better than most of the writing in the movie .
re-fried green tomatoes
keep the story compelling
feeling this movie
overexposed waste
demonstrating vividly that the beauty and power of the opera reside primarily in the music itself
is to sit through about 90 minutes of a so-called ` comedy ' and not laugh once
far more stylish and
's always fascinating to watch marker the essayist at work .
while it 's all quite tasteful to look at , the attention process tends to do a little fleeing of its own .
, unimaginative and derivative
most disappointing woody allen movie
a poignant comedy that offers food for
is like binging on cotton candy
's depressing to see how far herzog has fallen
to the filmmakers , ivan is a prince of a fellow , but he comes across as shallow and glib though not mean-spirited , and there 's no indication that he 's been responsible for putting together any movies of particular value or merit .
milder is n't better
they could n't have done in half an hour
exploiting it yourself
an amateurish screenplay
point and purpose
leave you wanting more ,
moaning about their cruel fate
there is almost nothing in this flat effort that will amuse or entertain them , either .
stale and
sorority boys is a bowser .
there 's undeniable enjoyment to be had from films crammed with movie references , but the fun wears thin -- then out -- when there 's nothing else happening
the plot is paper-thin and the characters are n't interesting enough to watch them go about their daily activities for two whole hours .
would not improve much after a therapeutic zap of shock treatment
violated
the courage of its convictions and excellent performances on its side
stirs us as well
smothered in the excesses of writer-director roger avary
the pretensions -- and disposable story -- sink the movie .
born out of an engaging storyline , which also is n't embarrassed to make you reach for the tissues
de niro 's right-hand goombah
are remarkable
marshall keeps the energy humming ,
bad bear suits
to whet one 's appetite for the bollywood films
come from philippe , who makes oliver far more interesting than the character 's lines would suggest , and sarandon , who could n't be better as a cruel but weirdly likable wasp matron .
there 's some good material in their story about a retail clerk wanting more out of life , but the movie too often spins its wheels with familiar situations and repetitive scenes
the three leads produce adequate performances , but what 's missing from this material is any depth of feeling
seriously , folks , it does n't work .
stunning technical achievement
it plods along methodically , somehow under the assumption that its `` dead wife communicating from beyond the grave '' framework is even remotely new or interesting .
the brim with ideas
some charm and heart
there are flaws , but also stretches of impact and moments of awe ; we 're wrapped up in the characters , how they make their choices , and why
contrived plot points
awakening and
, mr. schnitzler proves himself a deft pace master and stylist .
deem it necessary to document all this emotional misery
is too busy hitting all of its assigned marks to take on any life of its own
a strength
that appeals to me
naive dreams
a better celebration of these unfairly dismissed heroes would be a film that is n't this painfully forced , false and fabricated .
about an adult male dressed in pink jammies
, laissez-passer has all the earmarks of french cinema at its best .
shorter than the first ( as best i remember ) , but still a very good time at the cinema
though harris is affecting at times , he can not overcome the sense that pumpkin is a mere plot pawn for two directors with far less endearing disabilities .
little wit
, his secret life will leave you thinking
the still-inestimable contribution they have made to our shared history
at its laziest
its worst harangues
miracles ,
a dull , simple-minded and stereotypical tale of drugs , death and mind-numbing indifference on the inner-city streets .
nothing short of refreshing
there 's nothing remotely topical or sexy here .
be about everything that 's plaguing the human spirit in a relentlessly globalizing world
see all summer
as scary-funny as tremors
a captivatingly quirky hybrid
a wonderful film to bring to imax
an intelligently made ( and beautifully edited ) picture that at the very least has a spark of life to it -- more than you can say for plenty of movies that flow through the hollywood pipeline without a hitch .
both a detective story and a romance spiced with the intrigue of academic skullduggery and politics .
you find comfort in familiarity
rises above the level of a telanovela .
naqoyqatsi ' is banal in its message and the choice of material to convey it .
, however entertainingly presented ,
a sour attempt
astounds .
point the way for adventurous indian filmmakers toward a crossover into nonethnic markets .
its perfunctory conclusion
engage and even touch us
loved classic
transformed star