xiangpku/GLUE huggingface dataset:
hugely entertaining from start to finish , featuring a fall from grace that still leaves shockwaves , it will gratify anyone who has ever suspected hollywood of being overrun by corrupt and hedonistic weasels .
it 's a smart , funny look at an arcane area of popular culture , and if it is n't entirely persuasive , it does give exposure to some talented performers
even if the picture itself is somewhat problematic
it 's a big idea , but the film itself is small and shriveled .
drags the film down .
takes you somewhere
he can cross swords with the best of them and helm a more traditionally plotted popcorn thriller while surrendering little of his intellectual rigor or creative composure
convince almost everyone that it was put on the screen , just for them
has about 25 minutes of decent material .
the best korean film
has the disjointed feel of a bunch of strung-together tv episodes .
people who have never picked a lock do so easily after a few tries and become expert fighters after a few weeks
in one forum or another
held my attention
smart-aleck
fall dreadfully short
transcendent
phlegmatic
could hate it for the same reason .
an epic
, it 's the very definition of epic adventure .
when he moves his setting to the past , and relies on a historical text , he loses the richness of characterization that makes his films so memorable
lushness
has the chops of a smart-aleck film school brat and the imagination of a big kid
with square conviction
for all its brilliant touches
car to drive through
a funny ( sometimes hilarious ) comedy with a deft sense of humor about itself , a playful spirit and a game cast
better film
little farm melodrama .
i firmly believe that a good video game movie is going to show up soon .
's little to recommend snow dogs , unless one considers cliched dialogue and perverse escapism a source of high hilarity
the feature-length stretch ... strains the show 's concept
think an action film disguised as a war tribute is disgusting to begin with
the real issues
developed with more care
it lets you brush up against the humanity of a psycho , without making him any less psycho .
a visionary marvel , but it 's lacking a depth in storytelling usually found in anime like this .
similarly themed
the town has kind of an authentic feel , but each one of these people stand out and everybody else is in the background and it just seems manufactured to me and artificial
tiresome
a weird and wonderful comedy .
has made the near-fatal mistake of being what the english call ` too clever by half .
rare depth
'' wanted and quite honestly
hypnotically dull
feels as if ( there 's ) a choke leash around your neck so director nick cassavetes can give it a good , hard yank whenever he wants you to feel something .
mess ...
lusty , boisterous and utterly charming
incongruous summer playoff
similarly ill-timed
you are likely to be as heartily sick of mayhem as cage 's war-weary marine .
a perfect family film to take everyone to since there 's no new `` a christmas carol '' out in the theaters this year
the vagueness
lacking about everything
its predictability
this that puts flimsy flicks like this behind bars
than romantic
funny situations and
gorgeous to look at but insufferably tedious and turgid ... a curiously constricted epic .
may leave the theater with more questions than answers , but darned if your toes wo n't still be tapping .
a simple misfire
an achingly enthralling premise
the bai brothers have taken an small slice of history and opened it up for all of us to understand
for an older one
that elevate `` glory '' above most of its ilk
nutty cliches and far too much
a loose collection
enough to let you bask in your own cleverness as you figure it out
( especially the frank sex scenes ) ensure that the film is never dull
its visual merits
elegant , mannered and teasing .
the mushy finale
crisp and purposeful without overdoing it
emotionally honest
's a terrible movie in every regard ,
as you watch the movie , you 're too interested to care .
, is a note of defiance over social dictates .
amid the new populist comedies that underscore the importance of family tradition and familial community
geriatric dirty harry ,
dazzling panoramic shots
a poem to the enduring strengths of women
the sense of fierce competition that helps make great marching bands half the fun of college football games
us to laugh because he acts so goofy all the time
should please fans of chris fuhrman 's posthumously published cult novel .
like a glossy melodrama that occasionally verges on camp .
the drama discloses almost nothing .
an idea of expectation
dutiful precision
to many clichés
real film
more mature than fatal attraction ,
paints a grand picture of an era and makes the journey feel like a party
squanders chan 's uniqueness
rouge is less about a superficial midlife crisis than it is about the need to stay in touch with your own skin , at 18 or 80 .
a great writer and
blue crush '' is the phenomenal , water-born cinematography by david hennings
be better suited to a night in the living room than a night at the movies
like the excruciating end of days , collateral damage presents schwarzenegger as a tragic figure , but
about one in three gags in white 's intermittently wise script hits its mark ; the rest are padding unashamedly appropriated from the teen-exploitation playbook
same easy targets
, four-star movie
you 'll end up moved .
's never dull and always looks good .
with a sickening thud
a prolific director of music videos
emotionally complex
with a flimsy ending
outlandish
into forced fuzziness
will no doubt rally to its cause , trotting out threadbare standbys like ` masterpiece ' and ` triumph ' and all that malarkey , but rarely does an established filmmaker so ardently waste viewers ' time with a gobbler like this .
even as it pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators
the re-release of ron howard 's apollo 13 in the imax format proves absolutely that really , really , really good things can come in enormous packages .
how resolutely unamusing , how thoroughly unrewarding all of this is , and
the chateau has one very funny joke and a few other decent ones , but all it amounts to is a mildly funny , sometimes tedious , ultimately insignificant film .
most of the problems with the film
it 's surprisingly decent , particularly for a tenth installment in a series .
like getting all excited about a chocolate eclair and then biting into it and finding the filling missing
wit and hoopla
without much of a story
this is more fascinating -- being real -- than anything seen on jerry springer .
presents yet another tired old vision of the gay community as an all-inclusive world where uptight , middle class bores like antonia can feel good about themselves
is all but washed away by sumptuous ocean visuals and the cinematic stylings of director john stockwell .
true and heartbreaking
, like bartleby , is something of a stiff -- an extra-dry office comedy that seems twice as long as its 83 minutes .
lifts the film high above run-of-the-filth gangster flicks
than anything that 's been done before
is n't a disaster , exactly , but a very handsomely produced let-down
provides a satisfyingly unsettling ride into the dark places of our national psyche .
unbearable
lacking in chills
a low-key labor of love that strikes a very resonant chord .
the solid filmmaking and convincing characters
is the kind of movie where people who have never picked a lock do so easily after a few tries and become expert fighters after a few weeks .
practically assures that the pocket monster movie franchise is nearly ready to keel over
a calculating fiend
wickedly funny , visually engrossing
if you really want to understand what this story is really all about , you 're far better served by the source material .
( other than the very sluggish pace )
failing to compensate for the paper-thin characterizations and facile situations
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
` fatal script error
the director 's epitaph for himself
the rich and sudden wisdom , the film
a war tribute
a very compelling , sensitive , intelligent and almost cohesive piece
what could have been a confusing and horrifying vision into an intense and engrossing head-trip
you 'd swear you
insipid , brutally clueless
slides downhill as soon as macho action conventions assert themselves
discomfort and embarrassment
is not entirely successful
garcía bernal and talancón are an immensely appealing couple ,
is about as deep as that sentiment
, you feel alive - which is what they did
bring tissues
replaced by goth goofiness
fresh and absorbing look
a one-trick pony
dreadfully short
the mediocre end of the pool
the story is too steeped in fairy tales and other childish things to appeal much to teenagers
too sappy
seems just as expectant of an adoring , wide-smiling reception .
why paul thomas anderson ever had the inclination to make the most sincere and artful movie in which adam sandler will probably ever appear
offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a hollywood film .
compelling piece
half-baked setups
distinguished and thoughtful film
all awkward , static ,
ah-nuld 's action hero days might be over .
jennifer lopez 's most aggressive and most sincere attempt
thoughtful and surprisingly affecting
sloughs one 's way
for blade ii
his films so memorable
overdoing
time is a beautiful film to watch
gritty realism and magic realism
induces headaches more slowly
true believer
to fulfill its own ambitious goals
determined to uncover the truth and hopefully inspire action
without any passion
limited and so embellished by editing that there 's really not much of a sense of action or
more and more abhorrent
visually stunning rumination
filmmakers anne de marcken and marilyn freeman did just that and it 's what makes their project so interesting
be revealed by the dispassionate gantz brothers as ordinary , pasty lumpen
a jarring , new-agey tone creeping into the second half
still manages to string together enough charming moments to work .
, stuart little 2 manages sweetness largely without stickiness .
works - mostly due to its superior cast of characters .
that deftly , gradually reveals a real human soul buried beneath a spellbinding serpent 's smirk
the natural affability that has made tucker a star
totally exemplify
is somewhat satisfying
an engaging fantasy of flavors and emotions , one part romance novel , one part recipe book
are in perfect balance
the the wisdom and humor
to the growing , moldering pile of , well , extreme stunt
among three strands which allow us to view events as if through a prism
silly and crude storyline
an interesting movie
with clever dialogue and likeable characters
a chilly , remote , emotionally distant piece ... so dull
, it succeeds .
with notorious c.h.o. cho proves she has the stuff to stand tall with pryor , carlin and murphy .
india 's popular gulzar and jagjit singh
is always welcome
impossible as it may sound
, you ca n't miss it .
more often than not hits the bullseye
from charismatic rising star jake gyllenhaal
, long-suffering but cruel
by the time it 's done with us , mira nair 's new movie has its audience giddy with the delight of discovery , of having been immersed in a foreign culture only to find that human nature is pretty much the same all over .
bean drops the ball too many times ... hoping the nifty premise will create enough interest to make up for an unfocused screenplay
it 's a film that 's destined to win a wide summer audience through word-of-mouth reviews and , not far down the line , to find a place among the studio 's animated classics .
is not the first time that director sara sugarman stoops to having characters drop their pants for laughs and not the last time
are true to the essence of what it is to be ya-ya
creeping
sensitive , smart , savvy , compelling
great cinema
is one of those films that aims to confuse
directorial touch
are paper thin
improvise and scream their way around this movie directionless , lacking any of the rollicking dark humor so necessary to make this kind of idea work on screen
the parents
jaw-droppingly
shallow rumination
and , through it all , human
call me a cold-hearted curmudgeon for not being able to enjoy a mindless action movie
, runteldat is something of a triumph .
shabby script
consumed by lust and love and crushed by betrayal that it conjures up the intoxicating fumes and emotional ghosts of a freshly painted rembrandt .
) ensure that the film is never dull
a sweet , tender sermon about a 12-year-old welsh boy more curious about god than girls , who learns that believing in something does matter
a real film
go to a bank manager and save everyone the misery
stylish cinematography
writer-director randall wallace has bitten off more than he or anyone else could chew ,
best star trek movie
a pulpy concept that , in many other hands would be completely forgettable
together familiar themes
famed charisma
by the forced funniness found in the dullest kiddie flicks
a well-made evocation
personal tragedy and also the human comedy
by labored writing and slack direction
it must have read ` seeking anyone with acting ambition but no sense of pride or shame . '
a clever adaptation
it has its faults , but it is a kind , unapologetic , sweetheart of a movie , and mandy moore leaves a positive impression .
been given the drive of a narrative
why `` they '' were here and what `` they '' wanted and quite honestly , i did n't care .
just wants to be liked by the people who can still give him work .
because it aims so low
lacks the inspiration of the original and
babak payami 's boldly quirky iranian drama secret ballot ...
shatner is probably the funniest person in the film , which gives you an idea just how bad it was .
it 's moving
a heart , mind or humor
works - mostly due to its superior cast of characters
not to mention a convincing brogue
are n't too many films that can be as simultaneously funny , offbeat and heartwarming ( without a thick shmear of the goo , at least )
the aaa of action
big heart
drama , conflict , tears and surprise
'm sure mainstream audiences will be baffled
surprises you
his boisterous energy fails to spark this leaden comedy
another useless recycling of a brutal mid -
the `` a '' range
carries a charge of genuine excitement
too bad .
as artificial and soulless
denying that burns is a filmmaker with a bright future ahead of him
until the final act
become apparent that the franchise 's best years are long past
have to see this
need a playful respite
of a slightly more literate filmgoing audience
is one helluva singer .
to the horrors of the killing field and the barbarism of ` ethnic cleansing
indulges in the worst elements of all of them .
, meditative
like a bad improvisation exercise , the superficially written characters ramble on tediously about their lives , loves and the art they 're struggling to create .
which becomes something about how lame it is to try and evade your responsibilities and that you should never , ever , leave a large dog alone with a toddler
frailty '' leaves us with the terrifying message that the real horror may be waiting for us at home
dysfunctional drama
such a perfect medium
chimes in on the grieving process and strangely draws the audience into the unexplainable pain and eccentricities that are attached to the concept of loss
unoriginal mess
a realistically terrifying movie
fans clamoring for another ride
well-thought stunts or a car chase
could n't stand to hear
the most accomplished work to date from hong kong 's versatile stanley kwan
a knowing sense of humor
amusing characters
about the only thing to give the movie points for is bravado -- to take an entirely stale concept and push it through the audience 's meat grinder one more time .
about schmidt belongs to nicholson .
deeper and more engaging .
the rich promise
delivers a powerful commentary on how governments lie ,
cho 's latest comic set is n't as sharp or as fresh as i 'm the one that i want ...
one of those crazy , mixed-up films that does n't know what it wants to be when it grows up
all in all , it '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 .
easily the most thoughtful fictional examination of the root causes of anti-semitism ever seen on screen .
bigelow handles the nuclear crisis sequences evenly but milks drama when she should be building suspense , and drags out too many scenes toward the end that should move quickly .
roman coppola 's brief pretentious period
a quietly introspective portrait
in perfectly executed and wonderfully sympathetic characters , who are alternately touching and funny
, it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast
an uncomfortable movie , suffocating and sometimes almost senseless , the grey zone does have a center , though a morbid one .
duvall ( also a producer ) peels layers from this character that may well not have existed on paper .
veers into corny sentimentality ,
directed and convincingly acted .
mind crappy movies as much
no substitute for on-screen chemistry
toss it
the movie 's contrived , lame screenplay and
the proceedings as funny for grown-ups as for rugrats
especially the frank sex scenes ) ensure that the film is never dull
if the tuxedo actually were a suit , it would fit chan like a $ 99 bargain-basement special .
finds one of our most conservative and hidebound movie-making traditions and gives it new texture , new relevance , new reality
be all too familiar
one that 's steeped in mystery and a ravishing , baroque beauty
emotional intelligence in this engaging film about two men who discover what william james once called ` the gift of tears
nothing more than four or five mild chuckles
sensitive ensemble performances and good period reconstruction add up to a moving tragedy with some buoyant human moments .
a success
the worst sense of the expression
i have to admit that i am baffled by jason x.
of war
embraces life
compelling dramatic
fun , and host to some truly excellent sequences
a big , tender hug
this rude and crude film
do justice to the awfulness of the movie ,
supremely
coming back to the achingly unfunny phonce and his several silly subplots
little too obvious ,
would fit chan like a $ 99 bargain-basement special
grandness
seems to want both , but succeeds in making neither
as a story of dramatic enlightenment
boredom to the point of collapse ,
family warmth
immensely ambitious , different than anything that 's been done before and amazingly successful in terms of what it 's trying to do
sometimes is a gem .
that tells us nothing new
be considered career-best performances
a good thriller .
, when the now computerized yoda finally reveals his martial artistry , the film ascends to a kinetic life so teeming that even cranky adults may rediscover the quivering kid inside .
the re - enactments , however fascinating they may be as history , are too crude to serve the work especially well .
the barn-burningly bad movie
powerful , naturally dramatic
the chateau belongs to rudd , whose portrait of a therapy-dependent flakeball spouting french malapropisms
create the kind of art shots that fill gallery shows
to be pleasant in spite of its predictability
in crisis -- and of two girls whose friendship is severely tested by bad luck and their own immaturity
humor throughout
were n't as beautifully shaped and as delicately calibrated in tone
charisma and ability
marshall keeps the energy humming , and his edits , unlike those in moulin rouge , are crisp and purposeful without overdoing it .
in addition to gluing you to the edge of your seat , changing lanes is also a film of freshness , imagination and insight .
mentally `` superior '' friends
posing as a serious drama about spousal abuse
an enjoyable level
may just scare the pants off you .
shameless attempt
paul bettany is good at being the ultra-violent gangster wannabe ,
that memorable ,
almost as offensive as `` freddy got fingered . ''
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
help be entertained by the sight of someone getting away with something
watching junk like this induces a kind of abstract guilt , as if you were paying dues for good books unread , fine music never heard .
flog the dead horse of surprise as if it were an obligation
mindless , lifeless , meandering , loud , painful , obnoxious
i have a confession to make : i did n't particularly like e.t. the first time i saw it as a young boy .
should have been the be-all-end-all of the modern-office anomie films .
hard to care about a film that proposes as epic tragedy the plight of a callow rich boy who is forced to choose between his beautiful , self-satisfied 22-year-old girlfriend and an equally beautiful , self-satisfied 18-year-old mistress
forced drama
... is dudsville .
as one of the cleverest , most deceptively amusing comedies of the year
this tale has been told and retold ; the races and rackets change , but the song remains the same .
might go down as one of the all-time great apocalypse movies
of a legal thriller
'm just about ready to go to the u.n. and ask permission for a preemptive strike
a tougher time balancing its violence with kafka-inspired philosophy
sluggish , tonally uneven
manages a neat trick
see this piece of crap
a pretty decent kid-pleasing , tolerable-to-adults lark of a movie .
how inseparable the two are
another `` best man ''
is simply brilliant
drumline is -- the mere suggestion , albeit a visually compelling one , of a fully realized story .
pity and
given a part worthy of her considerable talents
soggy performances
impersonal and
bug-eye theater and dead-eye
wildly overproduced ,
a physique to match
feel-bad
it desperately wants to be a wacky , screwball comedy , but the most screwy thing here is how so many talented people were convinced to waste their time .
the script was reportedly rewritten a dozen times
of a growing strain of daring films
like peace
savvy street activism
supremely hopeful cautionary tale
it should be done cinematically
set in a 1986 harlem that does n't look much like anywhere in new york
whose sharp intellect
a consistent tone
it is a whole lot of fun
this ludicrous film is predictable at every turn .
do n't think that a.c. will help this movie one bit
will enjoy .
for the under-7 crowd
the likes of which mainstream audiences have rarely seen
remarkably cohesive whole
blustery movie
mostly , ( goldbacher ) just lets her complicated characters be unruly , confusing and , through it all , human .
is above all about a young woman 's face , and by casting an actress whose face projects that woman 's doubts and yearnings
, you should avoid this like the dreaded king brown snake .
his beautiful , self-satisfied 22-year-old girlfriend
make us care about zelda 's ultimate fate
memorable character creations
no amount of good acting is enough to save oleander 's uninspired story .
mazel tov to a film about a family 's joyous life acting on the yiddish stage .
is the most disappointing woody allen movie
a finely written ,
hampered -- no , paralyzed -- by a self-indulgent script ... that aims for poetry and ends up sounding like satire
even if invincible is not quite the career peak that the pianist is for roman polanski , it demonstrates that werner herzog can still leave us with a sense of wonder at the diverse , marvelously twisted shapes history has taken .
under my seat trying to sneak out of the theater
the whole thing plays like a tired tyco ad .
thoroughly awful movie
a breezy blend
a charming and evoking little ditty
debuts by an esteemed writer-actor
thoughtfully written
sub-formulaic
the long list of renegade-cop tales
watching austin powers in goldmember is like binging on cotton candy .
muddled to be an effectively chilling guilty pleasure
's exploitive without being insightful .
the more outre aspects of ` black culture ' and the dorkier aspects of ` white culture , ' even as it points out how inseparable the two are
an engaging story that keeps you guessing at almost every turn