xiangpku/GLUE huggingface dataset:
the bottom line with nemesis is the same as it has been with all the films in the series : fans will undoubtedly enjoy it , and the uncommitted need n't waste their time on it
ideas and special-interest groups
is n't as sharp or as fresh
is delicately
frailty '' has been written so well , that even a simple `` goddammit ! ''
make watching such a graphic treatment of the crimes bearable
gives a mesmerizing performance as a full-fledged sex addict who is in complete denial about his obsessive behavior .
a strong and confident work
in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo
largely flat and uncreative
of almost perpetually wasted characters
a tearjerker
does all of this , and more
surprise family
demeaning its subjects
raw-nerved story
celebrates the group 's playful spark of nonconformity , glancing vividly back at what hibiscus grandly called his ` angels of light . '
i loved on first sight and , even more important , love in remembrance .
that as a director washington demands and receives excellent performances
executed with such gentle but insistent sincerity , with such good humor and
, paxton , making his directorial feature debut , does strong , measured work .
a slam-dunk
does n't really add up to much
wiseman is patient
improbable melodrama ( gored bullfighters , comatose ballerinas ) with subtly kinky bedside vigils and sensational denouements , and yet at the end
putting together any movies of particular value or merit
bang your head on the seat in front of you ,
i was beginning to hate it
cultural and personal self-discovery
a solidly entertaining little film
about a brainy prep-school kid with a mrs. robinson complex
he 's already done way too often
is ugly to look at and not a hollywood product
terrific performances , great to look at , and funny .
cinematography to the outstanding soundtrack and unconventional narrative
bisset
witty , vibrant , and intelligent
opera-ish dialogue
cheapo
jagged camera moves
an absurdly simplistic picture
girls , who learns that believing in something does matter
it 's not original enough .
contemptible imitator
no amount of nostalgia for carvey 's glory days
from the writing and direction to the soggy performances
cinematography and exhilarating
bring fresh , unforced naturalism to their characters .
disastrous ending
vibrant introduction
a critical and commercial disaster
mad love does n't galvanize its outrage the way ,
benefit enormously from the cockettes ' camera craziness --
major acting lessons and maybe a little coffee
tremendous skill
, the six musical numbers crystallize key plot moments into minutely detailed wonders of dreamlike ecstasy .
straightforward and strikingly devious
far-flung , illogical , and plain stupid
help but engage an audience
one of the greatest films
makes even jason x ... look positively shakesperean by comparison
crass , then gasp for gas , verbal deportment
this is a movie you can trust .
nails all of orlean 's themes without being a true adaptation of her book
sustain a good simmer for most of its running time
you 'll probably love it .
though intrepid in exploring an attraction that crosses sexual identity , ozpetek falls short in showing us antonia 's true emotions ... but at the very least , his secret life will leave you thinking
pompous references
be rendered tedious by avary 's failure to construct a story with even a trace of dramatic interest
ambitious comic escapade
has the scope and shape of an especially well-executed television movie
for most movies , 84 minutes is short ,
partly a schmaltzy , by-the-numbers romantic comedy , partly a shallow rumination on the emptiness of success -- and entirely soulless .
replaced with morph , a cute alien creature who mimics everyone and everything around
remain interested , or at least conscious
in the end there is one word that best describes this film : honest .
a dashing and resourceful hero ; a lisping , reptilian villain
if the director is trying to dupe the viewer into taking it all as very important simply because the movie is ugly to look at and not a hollywood product
gussied up with so many distracting special effects and visual party tricks that it 's not clear whether we 're supposed to shriek or laugh .
it 's crafty , energetic and smart -- the kid is sort of like a fourteen-year old ferris bueller
worthwhile glimpse
of enthralling drama
begins with the everyday lives of naval personnel in san diego and ends with scenes so true and heartbreaking that tears welled up in my eyes both times
insufficiently cathartic
that i ca n't remember a single name responsible for it
is a shaky , uncertain film that nevertheless touches a few raw nerves .
, frightening war scenes
does an established filmmaker so ardently waste viewers ' time with a gobbler like this
who needs mind-bending drugs when they can see this , the final part of the ` qatsi ' trilogy , directed by godfrey reggio , with music by philip glass ?
a mere excuse for the wan , thinly sketched story
the 3-d vistas from orbit , with the space station suspended like a huge set of wind chimes over the great blue globe , are stanzas of breathtaking , awe-inspiring visual poetry .
is nearly incoherent ,
feels as flat as the scruffy sands of its titular community .
to sit through than this hastily dubbed disaster
a thriller ,
, even after the most awful acts are committed , is an overwhelming sadness that feels as if it has made its way into your very bloodstream .
has at last decisively broken with her friends image in an independent film of satiric fire and emotional turmoil .
a movie full of grace
all three sides of his story with a sensitivity and an inquisitiveness reminiscent of truffaut
too boring and obvious
truly egregious lip-non-synching
own floundering way
join the pantheon of great monster/science fiction flicks that we have come to love
deliver a few gut-busting laughs
has a great cast and a great idea
a flair for dialogue comedy
definitely funny stuff , but it 's more of the ` laughing at ' variety than the ` laughing with . '
touching as the son 's room
lacks balance ...
you still have to see this !
it fails to have a heart , mind or humor of its own
zips along with b-movie verve while adding the rich details and go-for-broke acting that heralds something special
that is n't heated properly , so that it ends up
what a dumb , fun , curiously adolescent movie this is .
animation increasingly emphasizes the computer and the cool
new , or inventive ,
two-dimensional and pointless
the action here is unusually tame , the characters are too simplistic to maintain interest , and the plot offers few surprises
by corrupt and hedonistic weasels
is suitably elegant
been a confusing and horrifying vision
with very little story or character
presents visceral and dangerously honest revelations about the men and machines behind the curtains of our planet .
is delicately narrated by martin landau and directed with sensitivity and skill by dana janklowicz-mann
woody , what happened ?
was n't one of the film 's virtues
an energetic , violent movie with a momentum that never lets up .
work -- is charming , is moving
good-looking but relentlessly lowbrow outing plays like clueless does south fork .
use in the breathtakingly beautiful outer-space documentary space station 3d
to the phrase ` fatal script error
pass without reminding audiences that it 's only a movie
life ,
, and better
i saw worse stunt editing or cheaper action movie production values than in extreme ops
sheridan is painfully bad , a fourth-rate jim carrey who does n't understand the difference between dumb fun and just plain dumb .
this wild welsh whimsy
jaw-dropping
goose things up
delightful , if minor , pastry
recommend it enough
a rare window on an artistic collaboration
be able to find better entertainment
you have to pay if you want to see it
could n't have brought something fresher to the proceedings simply by accident
in a sea of visual and verbal clichés
a thoroughly enjoyable , heartfelt
dignified
loneliness and insecurity
definitely worth 95 minutes
leaves us laughing
although some viewers will not be able to stomach so much tongue-in-cheek weirdness , those who do will have found a cult favorite to enjoy for a lifetime .
completely familiar
disappointing in comparison to other recent war movies ... or any other john woo flick for that matter
was botched in execution
a witty , whimsical feature debut .
recommend big bad love
tell you anything except that the chelsea hotel today is populated by whiny , pathetic , starving and untalented artistes
vastly improved germanic version
( unintentionally ) funniest moments
is rather like being trapped while some weird relative trots out the video he took of the family vacation to stonehenge .
a fresh-faced , big-hearted and frequently funny thrill
unfortunately , there is almost nothing in this flat effort that will amuse or entertain them , either .
it just sits there like a side dish no one ordered .
seem irritatingly transparent
this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten .
finely cut diamond
slick production values and
although mainstream american movies tend to exploit the familiar , every once in a while a film arrives from the margin that gives viewers a chance to learn , to grow , to travel .
( reno ) delivers a monologue that manages to incorporate both the horror and the absurdity of the situation in a well-balanced fashion .
its own languorous charm
, it still works .
is disappointingly generic .
though their story is predictable
spinning a web of dazzling entertainment may be overstating it , but
positive ( if tragic )
paints a specifically urban sense of disassociation here
is n't much better
presents a fascinating glimpse of urban life and the class warfare that embroils two young men
as possibly the best actor working in movies today
boarders from venice beach that was a deserved co-winner of the audience award for documentaries at the sundance film festival .
though there are entertaining and audacious moments , the movie 's wildly careening tone and an extremely flat lead performance do little to salvage this filmmaker 's flailing reputation .
but it also does the absolute last thing we need hollywood doing to us :
refreshingly realistic , affectation-free
a real winner -- smart , funny , subtle , and resonant
love for the movies of the 1960s
although it includes a fair share of dumb drug jokes and predictable slapstick
'm not
as simultaneously funny , offbeat and
cgi effects
really is a shame that more wo n't get an opportunity to embrace small , sweet ` evelyn . '
the film runs on a little longer than it needs to
, thoroughly involving
compelling coming-of-age drama
as director of the escort service was inspired
too convenient
that not only would subtlety be lost on the target audience , but that it 's also too stupid to realize that they 've already seen this exact same movie a hundred times
toolbags
happy !
's a frightful vanity film that , no doubt , pays off what debt miramax felt they owed to benigni
is a really cool bit -- the movie 's conception of a future-world holographic librarian ( orlando jones ) who knows everything and answers all questions , is visually smart , cleverly written , and nicely realized .
uneven performances and a spotty script add up to a biting satire that has no teeth .
in this junk that 's tv sitcom material at best
resolutely unamusing ,
a lovely and beautifully
dark humor , gorgeous exterior photography , and a stable-full of solid performances
fast and funny ,
that 's lived too long
heart-string plucking
a dreadful day
a movie where story is almost an afterthought
things that elevate `` glory '' above most of its ilk , most notably
inescapable past and uncertain future
that 's sustained through the surprisingly somber conclusion
true emotions
exists , and does so with an artistry that also smacks of revelation .
is one of the rarest kinds of films : a family-oriented non-disney film that is actually funny without hitting below the belt
a bodice-ripper for intellectuals .
finds the ideal outlet for his flick-knife diction in the role of roger swanson
flick worthy
spectacularly well
good b movies
an appealing blend
possesses its own languorous charm .
wilco fans will have a great time , and the movie should win the band a few new converts , too
are both listless
pokemon 4ever practically assures that the pocket monster movie franchise is nearly ready to keel over
personal velocity seems to be idling in neutral
a work of entertainment
to ultimately disappoint the action
is that it 's shot on digital video , whose tiny camera enables shafer to navigate spaces both large ... and small ... with considerable aplomb
vincent became more and more abhorrent
that makes michael jordan jealous
inexcusable dumb
thrown-together feel
succeed merrily at their noble endeavor
the outer limits of raunch
in the wrong hands , i.e. peploe 's , it 's simply unbearable
austin powers films
she does little here but point at things that explode into flame
wearisome
for the breezy and amateurish feel of an after school special on the subject of tolerance
their heroic capacity
play hannibal lecter
punishable by chainsaw
payami tries to raise some serious issues about iran 's electoral process , but the result is a film that 's about as subtle as a party political broadcast .
visually stunning
a sleep-inducingly slow-paced crime drama
's worse
an enormous feeling
fast , funny , and even touching story
first place
gentle and humane
seriously dumb characters
is depressing , ruthlessly pained and depraved ,
it takes its techniques into such fresh territory that the film never feels derivative
a genuine mind-bender .
overlong and not well-acted ,
storytelling prowess
its elbows sticking out where the knees should be
daily struggles and simple pleasures usurp the preaching message so that , by the time the credits roll across the pat ending , a warm , fuzzy feeling prevails
of the most inventive
love a joy
a terrific b movie
cho 's face is ) an amazing slapstick instrument , creating a scrapbook of living mug shots .
as a director washington demands and receives excellent performances
it integrates thoughtfulness and pasta-fagioli comedy
its recycled aspects , implausibility
is presented with universal appeal
pander to our basest desires
, its brain is a little scattered -- ditsy , even .
was reportedly rewritten a dozen times
our most conservative and hidebound movie-making traditions
no french people were harmed during the making of this movie , but they were insulted and the audience was put through torture for an hour and a half .
fessenden has nurtured his metaphors at the expense of his narrative , but he does display an original talent
it 's a movie that ends with truckzilla , for cryin ' out loud .
is , truly and thankfully , a one-of-a-kind work .
the very hollowness
to hoffman 's powerful acting clinic
be fruitful
does n't show enough of the creative process or even of what was created for the non-fan to figure out what makes wilco a big deal .
a solid emotional impact
moving moments and an intelligent subtlety
seemingly a vehicle to showcase the canadian 's inane ramblings , stealing harvard is a smorgasbord of soliloquies about nothing delivered by the former mr. drew barrymore .
too intensely focused on the travails of being hal hartley to function as pastiche , no such thing is hartley 's least accessible screed yet .
a lot more dimensional and complex than its sunny disposition would lead you to believe .
remarkable ability to document both sides of this emotional car-wreck
even though the film does n't manage to hit all of its marks
is the piece works brilliantly
is one of the year 's best films
tradition and warmth
goes for sick and demented humor simply
broad , mildly fleshed-out characters that seem to have been conjured up only 10 minutes prior to filming
` hungry-man portions of bad '
tailor-made for those who when they were in high school would choose the cliff-notes over reading a full-length classic
narratively , trouble every day is a plodding mess .
as bad at a fraction the budget
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 .
some cute moments , funny scenes ,
the heedless impetuousness of youth is on full , irritating display in ( this ) meandering and pointless french coming-of-age import from writer-director anne-sophie birot .
had from films crammed with movie references
philosophical visual coming right
that beneath the hype , the celebrity , the high life , the conspiracies and the mystery there were once a couple of bright young men -- promising , talented , charismatic and tragically doomed
a frustrating patchwork : an uneasy marriage of louis begley 's source novel ( about schmidt ) and
at least three films
in truth , it has all the heart of a porno flick ( but none of the sheer lust ) .
saw worse stunt editing or cheaper action movie production values than in extreme ops
mean-spirited lashing
more offended by his lack of faith in his audience than by anything on display
may as well be called `` jar-jar binks : the movie . ''
delightfully dour
in a sense , that 's a liability .
be looking at his 12th oscar nomination by proving that he 's now , more than ever , choosing his roles with the precision of the insurance actuary
elaborate special effects take center screen , so that the human story is pushed to one side .
be an honest and loving one
endearing about it
into a dreary , humorless soap opera
who is always a joy to watch , even when her material is not first-rate )
in this properly intense , claustrophobic tale of obsessive love
a term paper
but a mood in which an ominous , pervasive , and unknown threat lurks just below the proceedings and adds an almost constant mindset of suspense
a magnetic performance
a venturesome , beautifully realized psychological mood piece that reveals its first-time feature director
the most wondrous love story
journalistic or historical
a zombie movie in every sense
tackled a meaty subject
writer / director m. night shyamalan 's ability to pull together easily accessible stories that resonate with profundity is undeniable .
this odd , poetic road movie , spiked by jolts of pop music , pretty much takes place in morton 's ever-watchful gaze --
seems like someone going through the motions
you take for granted in most films are mishandled here .
sparkling , often hilarious romantic jealousy comedy ... attal looks so much like a young robert deniro that it seems the film should instead be called ` my husband is travis bickle ' .
's defiantly and delightfully against the grain .
like shiner 's organizing of the big fight , pulls off enough
been immersed in a foreign culture only to find that human nature is pretty much the same all over
as an exquisite motion picture in its own right
my precious new star wars movie
the visceral sensation
in a joyous communal festival of rhythm
most colorful and controversial
is a lot like a well-made pb & j sandwich : familiar , fairly uneventful and boasting no real surprises -- but still quite tasty and inviting all the same .
this in-depth study of important developments of the computer industry should make it required viewing in university computer science departments for years to come .
the ordeal of sitting through it
hastily mounted production exists only to capitalize on hopkins ' inclination to play hannibal lecter again , even though harris has no immediate inclination to provide a fourth book .
desperately
wrong with performances here
each story is built on a potentially interesting idea , but the first two are ruined by amateurish writing and acting , while the third feels limited by its short running time .
the character of critical jim two-dimensional and pointless
the audacity to view one of shakespeare 's better known tragedies as a dark comedy is , by itself , deserving of discussion .
a fun , no-frills ride
running on empty
the unusual power of thoughtful , subjective filmmaking
to a satisfying complete picture of this particular , anciently demanding métier
perhaps it 's cliche to call the film ` refreshing , '
becomes a bit of a mishmash
a mesmerizing one
as other rowdy raunch-fests -- farts , boobs , unmentionables --
it is visually ravishing , penetrating , impenetrable .
a captivating and intimate study about dying and loving ...
a good documentary
full-bodied characterizations
but fun
there 's no reason to miss interview with the assassin
splendid-looking
major acting lessons and
hastily and
does n't really deliver for country music fans or for family audiences
time frame right
, incoherent
has all the earmarks of french cinema at its best .
b-movie
there 's no point of view , no contemporary interpretation of joan 's prefeminist plight ,
this enthralling documentary ... is at once playful and haunting , an in-depth portrait of an iconoclastic artist who was fundamentally unknowable even to his closest friends .
is just garbage .
jerking off in all its byzantine incarnations
an extraordinary film ,
undernourished and
an otherwise excellent film
this insane
rent `` shakes the clown '' , a much funnier film with a similar theme and an equally great robin williams performance
star charisma
will have a barrie good time
liked a lot of the smaller scenes .
a terrible movie that some people
's fun , wispy
there 's only one way to kill michael myers for good : stop buying tickets to these movies .
davies as a young woman of great charm , generosity and diplomacy
reveals itself slowly , intelligently , artfully
to enjoy
most deceptively amusing comedies of the year
the middle and lurches between not-very-funny comedy , unconvincing dramatics and some last-minute action strongly reminiscent of run lola run
the film does n't have enough innovation or pizazz to attract teenagers , and it lacks the novel charm that made spy kids a surprising winner with both adults and younger audiences
a man who has little clue about either the nature of women or of friendship
sink into melancholia
a smart
seems to be coasting .
this colorful bio-pic
may lack the pungent bite of its title , but it 's an enjoyable trifle nonetheless
if you 're looking to rekindle the magic of the first film , you 'll need a stronger stomach than us .
a sleep-inducing thriller
, marked by acute writing and a host of splendid performances .
wildly fascinating
maelstrom is strange and compelling , engrossing and different
it 's lovely that cal works out his issues with his dad and comes to terms with his picture-perfect life
imaginative and successful
the star-making machinery
of the world 's most fascinating stories
deafening
second helpings of love , romance , tragedy , false dawns , real dawns , comic relief , two separate crises during marriage ceremonies ,
four hankies
feeling like no other film in recent history
grievous
wo n't be disappointed .
of the rollicking dark humor so necessary
the death
a good thing
, it 's an observant , unfussily poetic meditation about identity and alienation .
the pure adrenalin
the film 's thoroughly recycled plot and tiresome jokes ... drag the movie down .
genuinely funny
the comedy was funny
... the maudlin way its story unfolds suggests a director fighting against the urge to sensationalize his material .
take care of my cat emerges as the very best of them
seeing as the film lacks momentum and its position remains mostly undeterminable , the director 's experiment is a successful one .
... the kind of movie you see because the theater has air conditioning .
after sitting through this sloppy , made-for-movie comedy special
most daring , and complicated
one has nothing else to watch
not scary , not smart and not engaging
spirit-crushing ennui
adultery
some of the most inventive
poorly written , murky and weakly acted , the picture feels as if everyone making it lost their movie mojo .
carry the movie because they are believable as people -- flawed , assured of the wrong things , and scared to admit how much they may really need the company of others .
evil , monstrous lunatic
nothing special and , until the final act ,
a new , or inventive , journey
seem smart and well-crafted
fires on all plasma conduits