xiangpku/GLUE huggingface dataset:
a coming-of-age film that avoids the cartoonish clichés and sneering humor of the genre as it provides a fresh view of an old type -- the uncertain girl on the brink of womanhood .
could work , especially since the actresses in the lead roles are all more than competent
its intended audience has n't yet had much science
a small fortune in salaries and stunt cars might have been saved if the director , tom dey , had spliced together bits and pieces of midnight run and 48 hours ( and , for that matter , shrek ) .
listless and
approaches his difficult , endless work with remarkable serenity and discipline
fully formed and
a few ear-pleasing songs
gone more over-the-top instead of trying to have it both ways
you 'll like promises .
, evocative
'll probably love it
your seat for long stretches
angry and
viewing for its courage , ideas , technical proficiency and great acting
a charismatic charmer likely to seduce and conquer
community-college advertisement
the delicious trimmings ... arrive early and stay late , filling nearly every minute ... with a lighthearted glow , some impudent snickers , and a glorious dose of humankind 's liberating ability to triumph over a scrooge or two
a positively thrilling combination of ethnography and all the intrigue , betrayal , deceit and murder
was impressed by how many tit-for-tat retaliatory responses the filmmakers allow before pulling the plug on the conspirators and averting an american-russian armageddon
distasteful
uncompromising , difficult
has a cinematic fluidity and sense of intelligence that makes it work more than it probably should .
you never know where changing lanes is going to take you
dark areas
k-19 will not go down in the annals of cinema as one of the great submarine stories , but it is an engaging and exciting narrative of man confronting the demons of his own fear and paranoia .
a soul-stirring documentary about the israeli/palestinian conflict as revealed through the eyes of some children who remain curious about each other against all odds .
weighted down with slow , uninvolving storytelling and flat acting
since the evil dead
to go down as the worst -- and only -- killer website movie of this or any other year
surprisingly buoyant
the dark areas of parent-child relationships
as ugly as the shabby digital photography
astonishingly skillful and moving ...
a film with contemporary political resonance
a picaresque view
the campy results make mel brooks ' borscht belt schtick look sophisticated .
be forgiven for frequently pandering to fans of the gross-out comedy
fresh by an intelligent screenplay and gripping performances
a documentary to disregard available bias
a compelling story of musical passion against governmental odds
it will warm your heart
self-aware , often self-mocking ,
she-cute
's a hellish , numbing experience to watch
french filmmaker karim dridi that celebrates the hardy spirit of cuban music
these self-styled athletes have banged their brains into the ground so frequently and furiously , their capacity to explain themselves has gone the same way as their natural instinct for self-preservation
the filmmaker 's extraordinary access to massoud
a sweetness , clarity and emotional openness
will definitely win some hearts
was covered earlier and much better in ordinary people
a potentially trite and overused concept ( aliens come to earth )
is funny and looks professional
triumphs
an ugly , revolting movie .
have an intermittently good time
letting its imagery speak for it while it forces you to ponder anew what a movie can be .
rich , and strange
mind-numbingly awful that you hope britney wo n't do it one more time , as far as movies are concerned .
red lights , a rattling noise
are undermined by the movie 's presentation , which is way too stagy .
commanding screen presence
but thoroughly satisfying entertainment
two men who discover what william james once called ` the gift of tears
not everything in this ambitious comic escapade works , but coppola , along with his sister , sofia , is a real filmmaker .
what a great shame that such a talented director as chen kaige has chosen to make his english-language debut with a film
be hard put to find a movie character more unattractive or odorous ( than leon )
loses its fire
any attempts at nuance given by the capable cast is drowned out by director jon purdy 's sledgehammer sap .
it sends you away a believer again and quite cheered at just that .
is clumsy
a remake by the numbers
but one thing 's for sure : it never comes close to being either funny or scary .
's funniest and most likeable movie in years
a refreshingly realistic , affectation-free coming-of-age tale .
by some dramatic scenes that are jarring and deeply out of place in what could have ( and probably should have ) been a lighthearted comedy
innovations and
the performances and the cinematography to the outstanding soundtrack and unconventional narrative
than a ` direct-to-video ' release
has a real filmmaker 's eye .
both a grand tour through 300 hundred years of russian cultural identity and a stunning technical achievement .
, almost generic
misogynist
with nary an original idea ( or role , or edit , or score , or anything , really ) in sight
a perceptive , good-natured movie .
's very much like life itself
banal and predictable .
had all its vital essence scooped out
give a thought to the folks who prepare and
combines psychological drama , sociological reflection , and high-octane thriller
more holes than clyde barrow 's car
manages to bleed it almost completely dry of humor , verve and fun .
is more fun than conan the barbarian .
wonderful film to bring to imax
again and quite cheered at just that
the sheer beauty
was as superficial
uncommonly sincere
the casting of von sydow ... is itself intacto 's luckiest stroke .
a bonus
to paraphrase a line from another dickens ' novel , nicholas nickleby is too much like a fragment of an underdone potato .
in enough clever and unexpected
emotional force
fun and funny in the middle
s1m0ne 's satire is not subtle , but it is effective
` stock up on silver bullets for director neil marshall 's intense freight train of a film . '
conjuring up a sinister , menacing atmosphere though unfortunately all the story gives us is flashing red lights , a rattling noise , and a bump on the head
keep the viewer wide-awake all the way through .
to death
of every bad action-movie line in history
of an ordeal than an amusement
an attention to detail that propels her into the upper echelons of the directing world
the following things are not at all entertaining :
an american tragedy
child acting
squanders as much as it gives out .
repressed
so convincing
it completely contradicts everything kieslowski 's work aspired to , including the condition of art
as if the movie is more interested in entertaining itself than in amusing us
a shock-you-into-laughter intensity of almost dadaist proportions
're over 25
should be relegated to a dark video store corner
rank as one of the cleverest , most deceptively amusing comedies of the year
nakata 's technique is to imply terror by suggestion , rather than the overuse of special effects .
an engrossing story that combines psychological drama , sociological reflection , and high-octane thriller .
clooney directs this film always keeping the balance between the fantastic and the believable ...
goldbacher
energy , intelligence and verve ,
shaky
though jones and snipes are enthralling
always entertaining
of blaxploitation flicks
of a man with unimaginable demons
compelling and
nothing but an episode of smackdown !
the power of shanghai ghetto
delivers on the promise of excitement
of the most poorly staged and lit action in memory
amused
is without a doubt a memorable directorial debut from king hunk
transcends their predicament
succeeds due to its rapid-fire delivery and enough inspired levity
visual merits
vicious and absurd
consummate
gore for suspense
downright transparent
that leaves you scratching your head in amazement over the fact that so many talented people could participate in such an
funnybone
lazy tearjerker
the year 's most intriguing movie experiences
this rude and crude film does deliver a few gut-busting laughs
is a fine-looking film with a bouncy score and a clutch of lively songs for deft punctuation
full-length classic
a 94-minute travesty of unparalleled proportions , writer-director parker seems to go out of his way to turn the legendary wit 's classic mistaken identity farce into brutally labored and unfunny hokum .
grow boring ... which proves that rohmer still has a sense of his audience
enjoys quirky , fun , popcorn movies
sorvino glides gracefully from male persona to female without missing a beat .
more overtly silly dialogue
gritty enough
a potentially good comic premise and excellent cast
has some unnecessary parts
it falls far short of poetry , but it 's not bad prose .
stupid , infantile , redundant , sloppy
a huge disappointment coming
takes you by the face , strokes your cheeks
both oscar winners ,
eight legged freaks wo n't join the pantheon of great monster/science fiction flicks that we have come to love ...
at the variety of tones in spielberg 's work
is not real
with big heart
the most creative mayhem
it classicism or be exasperated by a noticeable lack of pace
to cut a swathe through mainstream hollywood
charmer
long , intricate , star-studded and
merely offensive
a live-action cartoon , a fast-moving and cheerfully simplistic 88 minutes of exaggerated action put together with the preteen boy in mind .
the worst movies
, the movie is better than you might think .
clunky on the screen
a look
not to be moved by this drama
of the worst of the entire franchise
this illuminating comedy
times uncommonly moving
become a caricature -- not even with that radioactive hair
there 's something to be said for a studio-produced film that never bothers to hand viewers a suitcase full of easy answers .
describes this film : honest
it finds no way to entertain or inspire its viewers .
the molehill
there is something in full frontal , i guess , about artifice and acting and how it distorts reality for people who make movies and watch them , but like most movie riddles , it works only if you have an interest in the characters you see .
distinguished film legacy
is too savvy a filmmaker to let this morph into a typical romantic triangle .
a mawkish self-parody that plays like some weird masterpiece theater sketch with neither
absurdly simplistic picture
sneaks up on you and stays with you long after you have left the theater
the art direction and costumes are gorgeous and finely detailed , and kurys ' direction is clever and insightful .
to smash its face in
a whole heap of nothing at the core of this slight coming-of-age/coming-out tale
, often incisive satire and unabashed sweetness
seems endless
fighting off the urge to doze
in which laughter and self-exploitation merge into jolly soft-porn 'em powerment
to be the cat 's meow
're supposed to shriek
there 's not a spark of new inspiration in it , just more of the same , done with noticeably less energy and imagination .
the cleverness
its own rules regarding love and family , governance and hierarchy
a sour taste in one 's mouth , and little else
cliches that sink it faster than a leaky freighter
be cherished
the wildly popular vin diesel
love , duty and friendship
that , even in all its director 's cut glory , he 's made a film that 's barely shocking , barely interesting and most of all , barely anything
hugely imaginative and successful casting to its great credit ,
a genuine love story , full of traditional layers of awakening and ripening and separation and recovery
stunning , taxi driver-esque portrayal
moving , if uneven , success
undermining the story 's emotional thrust
lacks aspirations of social upheaval
strives to be intimate and socially encompassing but fails to do justice to either effort in three hours of screen time
a complicated hero
a mediocre exercise in target demographics
ca n't disguise the fact that it 's inauthentic at its core and that its story just is n't worth telling .
seen it all before in one form or another
there are many definitions of ` time waster ' but this movie must surely be one of them .
are not to be dismissed .
the film falters
was that santa bumps up against 21st century reality so hard
the film sparkles with the the wisdom and humor of its subjects .
of fascinating performances
the best advice
scotland , pa is entirely too straight-faced to transcend its clever concept .
overcome the cultural moat surrounding its ludicrous and contrived plot
an improvement on the first blade
moments of breathtaking mystery
an inspired portrait
high-wattage
performances all around are tops , with the two leads delivering oscar-caliber performances .
this smart
there 's ... an underlying old world sexism to monday morning that undercuts its charm .
a master
brash , intelligent and erotically perplexing , haneke 's portrait of an upper class austrian society and the suppression of its tucked away demons
made nature film and a tribute
satisfyingly scarifying , fresh and old-fashioned at the same time
harmed
the story and the more contemporary , naturalistic tone
carved their own comfortable niche in the world
, worse ,
there 's ... an underlying old world sexism to monday morning that undercuts its charm
across as lame and sophomoric
a sad , soggy potboiler that wastes the talents of its attractive young leads
thematically
reassures us that he will once again be an honest and loving one .
ordinary , pasty lumpen
is a pan-american movie , with moments of genuine insight into the urban heart
in cannes offers rare insight into the structure of relationships .
for someone like judd , who really ought to be playing villains
has made a movie that will leave you wondering about the characters ' lives after the clever credits roll .
his ninth decade
never pushes for insights beyond the superficial tensions of the dynamic he 's dissecting
, duvall ( also a producer ) peels layers from this character that may well not have existed on paper .
last 15 years
in all fairness , i must report that the children of varying ages in my audience never coughed , fidgeted or romped up and down the aisles for bathroom breaks .
grand a failure
completely transfixes the audience .
long gone bottom-of-the-bill fare like the ghost and mr. chicken
are a couple of things that elevate `` glory '' above most of its ilk , most notably the mere presence of duvall
intelligence and verve
loses points when it surrenders to a formulaic bang-bang , shoot-em-up scene at the conclusion
great cinematic polemic
sometimes inadequate
even a little dated
unique culture
plays like an extended dialogue exercise in retard 101
thought i heard a mysterious voice , and felt myself powerfully drawn toward the light -- the light of the exit sign
almost makes you wish he 'd gone the way of don simpson
waste viewers ' time
what ultimately makes windtalkers a disappointment is the superficial way it deals with its story .
one of ( witherspoon 's ) better films
fails to spark this leaden comedy
have come to term an `` ambitious failure
is so warm and fuzzy you might be able to forgive its mean-spirited second half .
are poorly
the ultimate movie experience
happens to be the movie 's most admirable quality
sword-and-sorcery
with an unusual protagonist ( a kilt-wearing jackson ) and subject matter , the improbable `` formula 51 '' is somewhat entertaining , but it could have been much stronger .
more down-home flavor
the limited chemistry created by ralph fiennes and jennifer lopez
, imaginative
a properly spooky film about the power of spirits
many bona fide groaners
a day at the beach -- with air conditioning and popcorn
interested in jerking off in all its byzantine incarnations to bother pleasuring its audience
spectacularly beautiful
ca n't think of a thing to do with these characters except have them run through dark tunnels , fight off various anonymous attackers , and evade elaborate surveillance technologies .
to build a feel-good fantasy around a vain dictator-madman
( and funnier
of a war zone
, and as easy to be bored by as your abc 's
charismatic and tragically
un-bear-able '' project
mild hallucinogenic buzz
suffocate
is ) so stoked to make an important film about human infidelity and happenstance that he tosses a kitchen sink onto a story already overladen with plot conceits .
while not all that bad of a movie , it 's nowhere near as good as the original .
among the most pitiful directing
... a sour little movie at its core ; an exploration of the emptiness that underlay the relentless gaiety of the 1920 's ...
a rip-roaring comedy action
often-hilarious farce
contentedly
the characters ' moves are often more predictable than their consequences
rare trick
falls far short of the peculiarly moral amorality of ( woo 's ) best work
conjured up more coming-of-age stories
nearly surprising or clever enough to sustain a reasonable degree of suspense on its own
portrays the frank humanity of ... emotional recovery
the scuzzy underbelly
see two academy award winning actresses ( and one academy award winning actor ) succumb to appearing in this junk that 's tv sitcom material at best
, we are forced to reflect that its visual imagination is breathtaking
thoughtful and unflinching examination
( haneke ) steers clear of the sensational and offers instead an unflinching and objective look at a decidedly perverse pathology .
beautifully crafted , engaging filmmaking that should attract upscale audiences hungry for quality and a nostalgic , twisty yarn that will keep them guessing .
an eloquent , reflective and beautifully
here is doa .
a movie that keeps throwing fastballs
yawner
of a-list brit actors
hiss
actors in bad bear suits
like a rash
it 's loud and boring ;
becomes an exercise in trying to predict when a preordained `` big moment '' will occur and not `` if
fudges fact and fancy with such confidence that we feel as if we 're seeing something purer than the real thing .
further sad evidence
a breezy blend of art , history , esoteric musings and philosophy
stylish but steady , and ultimately very satisfying , piece
seek and strike just the right tone
mess that it feels less like bad cinema than like being stuck in a dark pit having a nightmare about bad cinema .
is fabulously funny and over the top as a ` very sneaky ' butler who excels in the art of impossible disappearing/reappearing acts
rooted in a sincere performance
amazingly dopey .
an edgy thriller
emotionally strong and politically potent piece
run-of-the-mill .
, this movie is hopeless
compelling is present brown as a catalyst for the struggle of black manhood in restrictive and chaotic america ... sketchy but nevertheless gripping portrait of jim brown , a celebrated wonder in the spotlight
, obnoxious
` funny
did they not have the nerve to speak up
instead gets ( sci-fi ) rehash
nonconformist
behan 's memoir is great material for a film -- rowdy , brawny and lyrical in the best irish sense -- but sheridan has settled for a lugubrious romance .
to decide what annoyed me most about god is great
is a refreshingly smart and newfangled variation on several themes derived from far less sophisticated and knowing horror films
humorless , self-conscious art drivel ,
is a rare treat that shows the promise of digital filmmaking .
wait to see it then
while the film is not entirely successful
like most of jaglom 's films , some of it is honestly affecting , but more of it seems contrived and secondhand .
the adventures of direct-to-video nash
interpreting the play as a call for pity and sympathy
artless sytle
with a core of decency
the film works as well as it does because of the performances .
through clever makeup design
's a pretty good execution of a story that 's a lot richer than the ones hollywood action screenwriters usually come up with on their own .
blatant and sickening product placement
seems to have dumped a whole lot of plot in favor of ... outrageous gags .
defiantly and delightfully against the grain
full of traditional layers of awakening and ripening and separation and recovery
part of what makes dover kosashvili 's outstanding feature debut so potent
best forgotten
big bloody chomps
rejection by one 's mother
although this idea is `` new '' the results are tired .
one of the funnier movies in town
some futile concoction that was developed hastily after oedekerk
snared in its own tangled plot
honest insight
like the excruciating end of days , collateral damage presents schwarzenegger as a tragic figure ,
delicious and
has delivered a solidly entertaining and moving family drama .
silver bullets for director neil marshall 's intense freight
that has nothing going for it other than its exploitive array of obligatory cheap
sweet home alabama '' is what it is -- a nice , harmless date film ...
it certainly got lost in the `` soon-to-be-forgettable '' section of the quirky rip-off prison romp pile .
fashioned an absorbing look at provincial bourgeois french society
's clear that washington most certainly has a new career ahead of him
manipulative and contrived
coarse , cliched and clunky
of sanctimony , self-awareness , self-hatred and self-determination
of sexy intrigue
be a thoughtful , emotional movie experience
miserable and
an intriguing and alluring premise
even the hastily and amateurishly
spent an hour setting a fancy table and then served up kraft macaroni and cheese
the perkiness of witherspoon
takes advantage of the fact
lost ideal
the town has kind of an authentic feel ,
i also wanted a little alien as a friend !
the film 's lack
thrilling movie
i do n't know if frailty will turn bill paxton into an a-list director , but
has made a film that is an undeniably worthy and devastating experience .
is the best kind of documentary , one that makes a depleted yesterday feel very much like a brand-new tomorrow
with its lackadaisical plotting and mindless action
crisp framing , edgy camera work ,
riveting and surprisingly romantic
spirals downward , and thuds to the bottom of the pool with an utterly incompetent conclusion .
they 'll probably run out screaming .
it 's a satisfying summer blockbuster and worth a look .
the land of unintentional melodrama and tiresome love triangles
a fine job contrasting the sleekness of the film 's present with the playful paranoia of the film 's past
road to perdition does display greatness , and it 's worth seeing
needs more filmmakers with passionate enthusiasms like martin scorsese .
is betrayed by the surprisingly shoddy makeup work
's just too bad the screenwriters eventually shoot themselves in the feet with cop flick cliches like an oily arms dealer , squad car pile-ups and the requisite screaming captain .
a puzzle whose pieces do not fit .
franco is an excellent choice for the walled-off but combustible hustler , but he does not give the transcendent performance sonny needs to overcome gaps in character development and story logic
evelyn may be based on a true and historically significant story , but the filmmakers have made every effort to disguise it as an unimaginative screenwriter 's invention
a downer and a little
would n't make trouble every day any better .
delivers a powerful commentary
proves to be a good match of the sensibilities of two directors
decrepit freaks
is going to be something really good
believe it
sweet home alabama certainly wo n't be remembered as one of ( witherspoon 's ) better films .
the problematic characters and
long for the end
be why it works as well as it does
like being able to hit on a 15-year old when you 're over 100 .
a four star performance from kevin kline who unfortunately works with a two star script .
is tragically
lively and engaging examination
works so well for the first 89 minutes ,
rohmer still has a sense of his audience
's no real sense of suspense
comes together
for his first attempt at film noir , spielberg presents a fascinating but flawed look at the near future .
go where the moment takes them
mopes
exquisite motion picture
a poignant and gently humorous parable that loves its characters and communicates something rather beautiful about human nature .
rambling and incoherent
genre-busting
trying to drown yourself in a lake afterwards
lots of obvious political insights
a headline-fresh thriller
starts promisingly
the two and
of lingerie models and bar dancers