xiangpku/GLUE huggingface dataset:
demonstrates a vivid imagination and an impressive style that result in some terrific setpieces .
thankfully goes easy on the reel/real world dichotomy that ( jaglom ) pursued with such enervating determination in venice/venice .
's wrong with this increasingly pervasive aspect of gay culture
smart and alert , thirteen conversations about one thing is a small gem .
the film rehashes several old themes and is capped with pointless extremes
worst elements
is derived from a lobotomy , having had all its vital essence scooped out and discarded
do n't really seem all that profound , at least by way of what can be gleaned from this three-hour endurance test built around an hour 's worth of actual material .
the cartoonish clichés and sneering humor of the genre as it provides a fresh view of an old type
creatively stillborn
horrified
be played out in any working class community in the nation
cinematography to the outstanding soundtrack and unconventional
the most frantic , virulent and foul-natured
elevate `` glory ''
the metaphors are provocative ,
drek
to be a most hard-hearted person not to be moved by this drama
a low-budget affair , tadpole was shot on digital video , and the images often look smeary and blurry , to the point of distraction
are also some startling , surrealistic moments
weirdly beautiful place
's not enough substance here to sustain interest for the full 90 minutes , especially with the weak payoff
is definitely worth seeing .
too much like a fragment of an underdone potato
painfully bad
was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles
decent but dull .
for the playlist
tells a fascinating , compelling story .
stale and clichéd to a fault .
is a heavyweight film that fights a good fight on behalf of the world 's endangered reefs
far-flung , illogical , and
prepare to marvel again
uneven movie
delightful work
brought something fresher to the proceedings
is doing something of a public service -- shedding light on a group of extremely talented musicians who might otherwise go unnoticed and underappreciated by music fans
your idea of a good time
it is n't that stealing harvard is a horrible movie -- if only it were that grand a failure !
the ridiculous bolero
a sugar-coated rocky
a snail 's pace
it does mark ms. bullock 's best work in some time
emotional heart
every cheesy scene
supposedly , pokemon ca n't be killed , but pokemon 4ever practically assures that the pocket monster movie franchise is nearly ready to keel over
genial is the conceit ,
's not as awful as some of the recent hollywood trip tripe
a second chance to find love in the most unlikely place
his characters -- if that 's not too glorified a term --
the high-concept scenario soon proves preposterous , the acting is robotically italicized , and truth-in-advertising hounds take note : there 's very little hustling on view .
you feel good , you feel sad
a lot of charm
short on larger moralistic consequences
as dreadful
does n't make any sense
... enthusiastically invokes the percussion rhythm , the brass soul and the sense of fierce competition that helps make great marching bands half the fun of college football games .
with originality
flounders under the weight of too many story lines .
pathetic junk
you might as well be watching it through a telescope
are natural and lovely
laugh-out-loud lunacy with a pronounced monty pythonesque flavor
absorbing ,
a powerful and telling story that examines forbidden love , racial tension , and other issues that are as valid today as they were in the 1950s .
feels less the product of loving , well integrated homage and more like a mere excuse for the wan , thinly sketched story .
there surrender $ 9
is , however ,
it 's tough to watch
an inhalant blackout
a first-class , thoroughly involving b movie that effectively combines two surefire , beloved genres -- the prison flick and the fight film .
, worse yet , nonexistent --
in visual fertility treasure planet rivals the top japanese animations of recent vintage .
smart and fun , but far more witty than it is wise .
dreaming up romantic comedies
it would have worked so much better dealing in only one reality
with a tale full of nuance and character dimension
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
otherwise dull
, but miss wonton floats beyond reality with a certain degree of wit and dignity
you leave feeling like you 've endured a long workout without your pulse ever racing .
may , lawrence unleashes his trademark misogyny -- er , comedy -- like a human volcano or an overflowing septic tank , take your pick
he 's a dangerous , secretly unhinged guy who could easily have killed a president because it made him feel powerful .
do it his own way
the film never recovers from the clumsy cliché of the ugly american abroad , and the too-frosty exterior ms. paltrow employs to authenticate her british persona is another liability .
found writer-director mitch davis 's wall of kitsch hard going
enough may pander to our basest desires for payback , but unlike many revenge fantasies , it ultimately delivers
it 's still a comic book ,
what a stiflingly unfunny and unoriginal mess this
whose cumulative effect is chilling
have used my two hours better watching being john malkovich again
the director at his most sparkling
a fine cast
suffers a severe case of oversimplification , superficiality and silliness .
tendency
without shakespeare 's eloquent language , the update is dreary and sluggish .
feels homogenized and a bit contrived , as if we 're looking back at a tattered and ugly past with rose-tinted glasses .
it transcends the normal divisions between fiction and nonfiction film
a superfluous sequel ... plagued by that old familiar feeling of ` let 's get this thing over with ' : everyone has shown up at the appointed time and place ,
the sad cad that really gives the film its oomph
talent and wit
savaged the lives and liberties of the poor and the dispossessed
as it is repetitious
a fresh point of view
a film that takes a stand in favor of tradition and warmth
a weepy melodrama
its initial excitement
that efforts toward closure only open new wounds
of holes and completely lacking in chills
can be as intelligent as this one is in every regard except its storyline
masterpeice
wonder why paul thomas anderson ever had the inclination to make the most sincere and artful movie in which adam sandler will probably ever appear
that will probably sink the film for anyone who does n't think about percentages all day long
part of the charm of satin rouge is that it avoids the obvious with humor and lightness .
its effectiveness
its funny , moving yarn
is remarkably dull with only caine making much of an impression .
the movie is about as humorous as watching your favorite pet get buried alive .
a compelling piece that demonstrates just how well children can be trained to live out and carry on their parents ' anguish
most mornings
at the sometimes murky , always brooding look of i
you feel pissed off
version of the irresponsible sandlerian manchild , undercut by the voice of the star of road trip
and well-made entertainment
heartening in the same way that each season marks a new start
's a powerful though flawed movie , guaranteed to put a lump in your throat while reaffirming washington as possibly the best actor working in movies today .
honesty and dignity
deep vein
there 's nothing like love to give a movie a b-12 shot
the screenplay falls somewhat short
misguided
highly watchable , giggly little story
repulsive and
a ragbag
what it lacks in substance it makes up for in heart .
is a little scattered -- ditsy
a step further , richer and deeper
himself a deft pace master and stylist
to balance pointed , often incisive satire and unabashed sweetness , with results that are sometimes bracing , sometimes baffling and quite often , and in unexpected ways , touching
smart to ignore but a little too smugly superior to like
that birthday girl is the kind of quirkily appealing minor movie she might not make for a while
its sweeping battle scenes
reign of fire is hardly the most original fantasy film ever made --
pan nalin 's exposition is beautiful and mysterious , and the interviews that follow , with the practitioners of this ancient indian practice , are as subtle and as enigmatic
flawed but
one well-timed explosion in a movie can be a knockout
flowering
is a welcome relief from the usual two-dimensional offerings
well-formed satire
with considerable appeal
by the cast members , who seem bound and determined to duplicate bela lugosi 's now-cliched vampire accent
e.t. is still a cinematic touchstone .
the great pity
sing beautifully and act adequately .
for damon/bourne or his predicament
these characters are so well established that the gang feels comfortable with taking insane liberties and doing the goofiest stuff out of left field
in a superficial way , while never sure
any of them list this ` credit ' on their resumes in the future
greatest pictures
what makes the movie fresh
in a giant pile of elephant feces
crafted an engaging fantasy of flavors and emotions , one part romance novel , one part recipe book
is beyond playing fair with the audience
something 's horribly wrong
this gets us in trouble
should pay reparations to viewers .
, byler reveals the ways in which a sultry evening or a beer-fueled afternoon in the sun can inspire even the most retiring heart to venture forth .
know that i 'll never listen to marvin gaye or the supremes the same way again
what a great way to spend 4 units of your day .
elevated by michael caine 's performance as a weary journalist in a changing world
a tired , unimaginative and derivative variation of that already-shallow
plays better only for the film 's publicists or for people who take as many drugs as the film 's characters
yarn-spinner
's harder still to believe that anyone in his right mind would want to see the it
the biggest names in japanese anime ,
easy , cynical potshots
shaped by director peter kosminsky into sharp slivers and cutting impressions
a dark-as-pitch comedy that frequently veers into corny sentimentality , probably would not improve much after a therapeutic zap of shock treatment .
the filmmaking may be a bit disjointed
through love
the values of knowledge , education , and the
attempted here that stubbornly refused to gel
i like this movie a lot .
it can impart an almost visceral sense of dislocation and change .
the idea of exploiting molestation for laughs
neil burger here succeeded in ... making the mystery of four decades back the springboard for a more immediate mystery in the present
the movie is a desperate miscalculation .
a psychic journey deep into the very fabric of iranian ... life .
a battle between bug-eye theater and dead-eye matinee .
avert our eyes
assuming the bar of expectations has n't been raised above sixth-grade height
asks the question how much souvlaki can you take before indigestion sets in .
temperamental child
presenting backstage bytes of information that never amount to a satisfying complete picture of this particular , anciently demanding métier
energy it 's documenting
i 'm going to give it a marginal thumbs up .
grisly and engagingly quixotic
reached its expiration date
offering next to little insight
be lulled into a coma
's certainly an honest attempt to get at something
is a movie that is what it is : a pleasant distraction , a friday night diversion , an excuse to eat popcorn .
should be commended for illustrating the merits of fighting hard for something that really matters
a brilliant piece of filmmaking
, this modern mob music drama never fails to fascinate .
the lousy lead performances ... keep the movie from ever reaching the comic heights it obviously desired .
supermarket tabloids
pratfalls aside , barbershop gets its greatest play from the timeless spectacle of people really talking to each other .
borrows from other movies like it in the most ordinary and obvious fashion .
been there , done that ... a thousand times already , and better
does n't remake andrei tarkovsky 's solaris so much as distill it .
dead-end
rough-trade homo-eroticism
a very funny romantic comedy about two skittish new york middle-agers who stumble into a relationship and then struggle furiously with their fears and foibles .
( macdowell ) ventures beyond her abilities
unlikely to inspire anything more than a visit to mcdonald 's , let alone some savvy street activism
could rent the original and get the same love story and parable
toolbags botching a routine assignment in a western backwater
spreads itself too thin , leaving these actors , as well as the members of the commune , short of profound characterizations
their contrast is neither dramatic nor comic -- it 's just a weird fizzle
tian 's meticulous talent has not withered during his enforced hiatus
sensual delights and simmering
their natural instinct for self-preservation
what bubbles up out of john c. walsh 's pipe dream is the distinct and very welcome sense of watching intelligent people making a movie
on the high seas that works better the less the brain is engaged
only makeup-deep
its conclusion , when we hear the ultimate fate of these girls and realize , much to our dismay , that this really did happen
is unfocused ,
in the current climate of mergers and downsizing
` martin lawrence live ' is so self-pitying , i almost expected there to be a collection taken for the comedian at the end of the show .
more like a mere excuse for the wan , thinly sketched story
with this masterful , flawless film , ( wang ) emerges in the front ranks of china 's now numerous , world-renowned filmmakers .
has made tucker a star
just offbeat
own cuteness
little more than a stylish exercise in revisionism whose point
leaves you scratching your head in amazement over the fact that so many talented people could participate in such an
the scriptwriters are no less a menace to society than the film 's characters .
uptight , middle
an incredibly thoughtful , deeply meditative picture that neatly and effectively captures the debilitating grief
that you had already seen that movie
we never truly come to care about the main characters and whether or not they 'll wind up together , and
, pranks , pratfalls , dares , injuries , etc .
full , chilling advantage
better than the fiction
deserves to be seen everywhere
this movie may not have the highest production values you 've ever seen , but it 's the work of an artist , one whose view of america , history and the awkwardness of human life is generous and deep .
for every taste
meant to enhance the self-image of drooling idiots .
a smart , provocative drama that does the nearly impossible : it gets under the skin of a man we only know as an evil , monstrous lunatic .
pack some serious suspense
viewers of barney 's crushingly self-indulgent spectacle
... has a pleasing way with a metaphor .
is superficial
is a movie you can trust .
succeeds with its dark , delicate treatment of these characters and its unerring respect for them .
this is a serious work by an important director who has something new to say about how , in the flip-flop of courtship , we often reel in when we should be playing out
the fun of toy story 2
in the spirit of the season , i assign one bright shining star to roberto benigni 's pinocchio -- but i guarantee that no wise men will be following after it .
honest performances
hole-ridden
who enjoys intentionally introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix
is pleasant enough
... manages to embody the worst excesses of nouvelle vague without any of its sense of fun or energy .
geriatric dirty harry , which will please eastwood 's loyal fans -- and suits the story , wherein our hero must ride roughshod over incompetent cops to get his man
a droll , bitchy frolic which pokes fun at the price of popularity and small-town pretension in the lone star state
does not really make the case the kissinger should be tried as a war criminal .
the fascination comes in the power of the huston performance , which seems so larger than life and yet so fragile , and in the way the ivan character accepts the news of his illness so quickly but still finds himself unable to react
a worthy addition to the cinematic canon , which , at last count , numbered 52 different versions .
of the year with its exquisite acting , inventive screenplay , mesmerizing music , and many inimitable scenes
the results are far more alienating than involving .
a hit
sit in neutral
ultimately hollow mockumentary
irritates and saddens me that martin lawrence 's latest vehicle can explode obnoxiously into 2,500 screens while something of bubba ho-tep 's clearly evident quality may end up languishing on a shelf somewhere
radical '' or `` suck ''
swiftly deteriorates into a terribly obvious melodrama and rough-hewn vanity project for lead actress andie macdowell .
call it classicism or be exasperated by a noticeable lack of pace
the one-liners are snappy , the situations volatile and the comic opportunities richly rewarded
of a brutal mid
it 's not nearly as fresh or enjoyable as its predecessor , but
the characters seem one-dimensional , and
imagine , as searching for a quarter in a giant pile of elephant feces ... positively dreadful
beautifully read and , finally ,
it 's just another cartoon with an unstoppable superman .
hollywood has been trying to pass off as acceptable teen entertainment for some time now .
... visually striking and slickly staged
is hereby given fair warning .
morality and the choices we make underneath such a mountain of clichés and borrowed images
, crocodile hunter has the hurried , badly cobbled look of the 1959 godzilla , which combined scenes of a japanese monster flick with canned shots of raymond burr commenting on the monster 's path of destruction .
unblinkingly pure as the hours
feels stitched together from stock situations and characters from other movies .
with cheapo animation ( like saturday morning tv in the '60s ) , a complex sword-and-sorcery plot and characters who all have big round eyes and japanese names .
cho 's latest comic set is n't as sharp or as fresh as i 'm the one that i want ... but it 's still damn funny stuff .
a processed comedy chop suey .
manages to escape the shackles of its own clichés to be the best espionage picture to come out in weeks
did not figure out a coherent game
, every shot enhances the excellent performances
the actors are simply too good , and the story too intriguing , for technical flaws to get in the way .
they ought to be a whole lot scarier than they are in this tepid genre offering .
is so different from the apple and so striking
is all too predictable and far too cliched
we 've seen it all before in one form or another ,
a pretty funny movie , with most of the humor coming , as before , from the incongruous but chemically perfect teaming of crystal and de niro
it 's a very valuable film ...
rashomon-for-dipsticks
insane comic undertaking
clear sense
performance - ahem
fails to match the freshness of the actress-producer and writer
the worthy successor to a better tomorrow and
so successful at lodging itself in the brain
wickedly funny and just plain wicked
... may work as an addictive guilty pleasure but the material never overcomes its questionable satirical ambivalence .
can be a bit repetitive
deliberate laughs
possibly the best actor working in movies today
no charm , no laughs , no fun ,
perfectly formed
appalling , shamelessly manipulative and contrived , and totally lacking in conviction
that does n't bring you into the characters so much as it has you study them
's made a film that 's barely shocking , barely interesting and most of all , barely anything
is hypnotic
( shyamalan ) continues to cut a swathe through mainstream hollywood , while retaining an integrity and refusing to compromise his vision .
starving and
, charismatic and tragically
of filmmaking , the kind that pretends to be passionate and truthful but is really frustratingly timid and soggy
wit or innovation
that only seems to care about the bottom line
the beautifully choreographed kitchen ballet is simple but absorbing .
come away from his film overwhelmed ,
the determination of pinochet 's victims to seek justice , and their often heartbreaking testimony , spoken directly into director patricio guzman 's camera , pack a powerful emotional wallop .
he nonetheless appreciates the art and reveals a music scene that transcends culture and race .
combines sharp comedy , old-fashioned monster movie atmospherics , and genuine heart to create a film that 's not merely about kicking undead *** , but also about dealing with regret and , ultimately , finding redemption
a stirring road movie .
a lumbering load
if you 're up for that sort of thing
there are a couple of things that elevate `` glory '' above most of its ilk , most notably the mere presence of duvall .
would make an excellent companion piece to the similarly themed ` the french lieutenant 's woman . '
they lack their idol 's energy and passion for detail .
consumed and forgotten
after drinking twelve beers
it amounts to little more than preliminary notes for a science-fiction horror film
a big fat pain .
need of a scented bath
that has no point and goes nowhere
their enthusiasm
be very sweet
smarter and subtler
`` the best disney movie
a sour little movie
a film of ideas and wry comic mayhem .
a rambling ensemble piece with loosely connected characters and plots that never quite gel .
stands as one of the great films about movie love
grant is certainly amusing
a genial romance
unimaginative and derivative
the cheap
a moving and stark reminder that the casualties of war reach much further than we imagine .
full-bodied wit
modestly made
you may leave the theater with more questions than answers , but darned if your toes wo n't still be tapping .
the creative act
so real
despite its shortcomings , girls ca n't swim represents an engaging and intimate first feature by a talented director to watch , and it 's a worthy entry in the french coming-of-age genre .
is in more abundant supply 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
it 's dark but has wonderfully funny moments ; you care about the characters
it just zings along with vibrance and warmth .
' should never have been brought out of hibernation
trying to figure out the rules of the country bear universe -- when are bears bears and when are they like humans , only hairier -- would tax einstein 's brain .
dreary expanse
a relationship that is worthy of our respect
the updated dickensian sensibility of writer craig bartlett 's story is appealing .
's clear why deuces wild , which was shot two years ago , has been gathering dust on mgm 's shelf
astoundingly rich
, there remains a huge gap between the film 's creepy
devotees
by amateurish
feel very much like a brand-new tomorrow
about whose fate it is hard to care
just another teen movie ,
pitifully few real laughs
, double-pistoled , ballistic-pyrotechnic hong kong action
has done excellent work here
defeated the film ... it was the unfulfilling , incongruous , `` wait a second
` it 's just a kids ' flick
evelyn 's strong cast and surehanded direction
better characters
few nonbelievers
simultaneously degrades its characters , its stars and its audience .
the funniest person in the film , which gives you an idea just how bad it was
there is precious little of either .
you 've wasted nearly two hours of your own precious life with this silly little puddle of a movie
feels at odds with the rest of the film .
plan to make enough into ` an inspiring tale of survival wrapped in the heart-pounding suspense of a stylish psychological thriller '
in kicking around a raison d'etre that 's as fresh-faced as its young-guns cast
weaves both the elements of the plot and a powerfully evocative mood combining heated sexuality with a haunting sense of malaise
fuelled devito 's early work
make up for a derivative plot
to be quirky and funny that the strain is all too evident
is suitable summer entertainment that offers escapism without requiring a great deal of thought .