xiangpku/GLUE huggingface dataset:
'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
you expect more from director michael apted ( enigma ) and screenwriter nicholas kazan ( reversal of fortune ) than this cliche pileup .
that made the original men in black such a pleasure
film festival
had to sit through it again
gritty realism , crisp storytelling and radiant compassion
stretches of impact and moments
children , a heartfelt romance for teenagers
it is quite possibly the sturdiest example yet of why the dv revolution has cheapened the artistry of making a film .
great to begin with
more than sketches ... which leaves any true emotional connection or identification frustratingly out of reach
just a kiss is a just a waste .
may well be the year 's best and most unpredictable comedy
uneven , self-conscious but often hilarious
observant .
it aimlessly and unsuccessfully attempts to fuse at least three dull plots into one good one .
depressingly thin
never gets off the ground .
bring on the sequel
unendurable viewing experience
gets the feeling that the typical hollywood disregard for historical truth and realism is at work here
makes the princess seem smug and cartoonish
redeems it
surreal ache of mortal awareness emerges a radiant character portrait .
see this , the final part of the ` qatsi ' trilogy , directed by godfrey reggio , with music
has a script ( by paul pender ) made of wood
ride , with jaw-dropping action sequences , striking villains , a gorgeous color palette , astounding technology , stirring music and a boffo last hour that leads up to a strangely sinister happy ending
to examine , the interior lives of the characters in his film , much less incorporate them into his narrative
lame kiddie flick
fails in making this character understandable , in getting under her skin , in exploring motivation ... well
... there is enough originality in ` life ' to distance it from the pack of paint-by-number romantic comedies that so often end up on cinema screens .
vowing ,
is too long with too little
makes its message resonate .
stanley kwan has directed not only one of the best gay love stories ever made , but one of the best love stories of any stripe .
the film 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 .
slow death
as much fun
very real and amusing give-and-take
makes a great impression as the writer-director of this little $ 1.8 million charmer , which may not be cutting-edge indie filmmaking but has a huge heart .
kinda dumb
for touched by an angel simplicity
the sci-fi comedy spectacle as whiffle-ball epic
its engaging simplicity
is balanced by a rich visual clarity and deeply
, worse , that you have to pay if you want to see it
the movie does n't think much of its characters , its protagonist , or of us .
at female friendship , spiked with raw urban humor
sabotaged by pomposity
a part of its fun
drawing wrenching performances from his actors ( improvised over many months ) and for conveying the way tiny acts of kindness make ordinary life survivable
once again that a man in drag is not in and of himself funny
coral reef adventure is a heavyweight film that fights a good fight on behalf of the world 's endangered reefs -- and it lets the pictures do the punching
magnificent landscape to create a feature film that is wickedly fun to watch
deftly spins the multiple stories in a vibrant and intoxicating fashion
filled with raw emotions conveying despair and love
and vulgar innuendo
enough chuckles for a three-minute sketch
undeniably touched
racial insensitivity
only of one man 's quest to be president , but of how that man single-handedly turned a plane full of hard-bitten , cynical journalists into what was essentially , by campaign 's end , an extended publicity department
sexy razzle-dazzle
to the film 's considerable charm
stuffiest
sorvino makes the princess seem smug and cartoonish , and the film only really comes alive when poor hermocrates and leontine pathetically compare notes about their budding amours
surprisingly ` solid '
clumsy dialogue , heavy-handed phoney-feeling sentiment
an airless , prepackaged julia roberts wannabe that stinks so badly of hard-sell image-mongering you
we 're touched by the film 's conviction that all life centered on that place , that time and that sport
has succeeded beyond all expectation
of a really solid woody allen film
is weighed down by supporting characters who are either too goodly , wise and knowing or downright comically evil .
both a grand tour through 300 hundred years of russian cultural identity and a stunning technical achievement
that should be relegated to a dark video store corner
in good fun
almost perpetually wasted characters
brash , intelligent and erotically perplexing
family audience
more mature than fatal attraction
go your emotions , taking them to surprising highs , sorrowful lows and hidden impulsive niches ... gorgeous , passionate , and at times uncommonly moving
a perfect example of rancid , well-intentioned , but shamelessly manipulative movie making .
now as a former gong show addict , i 'll admit it , my only complaint is that we did n't get more re-creations of all those famous moments from the show .
should have been a more compelling excuse to pair susan sarandon and goldie hawn .
an obvious rapport with her actors and a striking style behind the camera
into hogwash
that beneath the familiar , funny surface
sparse instances
captivating and intimate
broad streaks of common sense
resourceful amnesiac
's fairly solid -- not to mention well edited so that it certainly does n't feel like a film that strays past the two and a half mark
directors dean deblois and chris sanders valiantly keep punching up the mix .
that the real antwone fisher was able to overcome his personal obstacles and become a good man is a wonderful thing ; that he has been able to share his story so compellingly with us is a minor miracle .
an unflinching look
it has made its way into your very bloodstream
enjoy its own transparency
vulgar dialogue and a plot that crawls along at a snail 's pace
an imponderably stilted and self-consciously arty movie .
always destined to be measured against anthony asquith 's acclaimed 1952 screen adaptation .
nothing original
the solid filmmaking and
and as with most late-night bull sessions , eventually the content is n't nearly as captivating as the rowdy participants think it is .
an interesting racial tension
it falls far short of poetry , but
makes me wonder if lawrence hates criticism so much that he refuses to evaluate his own work
the outstanding thrillers
the unexplored story opportunities
chance to see three splendid actors
marry science fiction with film noir and action flicks
disguising the obvious with energy and innovation
presents events partly from the perspective of aurelie and christelle , and infuses the film with the sensibility of a particularly nightmarish fairytale .
a degree of affection rather than revulsion
sprinkled with a few remarks so geared toward engendering audience sympathy that you might think he was running for office -- or trying to win over a probation officer
for overstimulated minds
's most weirdly engaging and unpredictable character pieces
dramatic nor comic
dressed up this little parable in a fairly irresistible package full of privileged moments and memorable performances
are often a stitch
as ledger attempts , in vain , to prove that movie-star intensity can overcome bad hair design
screenwriter dan schneider and director shawn levy
a dull girl
most fish stories are a little peculiar , but this is one that should be thrown back in the river
in mind an ( emotionally at least ) adolescent audience demanding regular shocks and bouts of barely defensible sexual violence to keep it interested
of nature and family warmth
` cherish '
've seen before
strained caper movies that 's hardly any fun to watch and begins to vaporize from your memory minutes after it ends
for history buffs
a grittily beautiful film
is a trove of delights .
this is historical filmmaking without the balm of right-thinking ideology , either liberal or conservative .
a sexy , surprising romance ... idemoto and kim make a gorgeous pair ... their scenes brim with sexual possibility and emotional danger .
creates an impeccable sense of place , while thurman and lewis give what can easily be considered career-best performances .
it were that grand a failure
that rare movie that works on any number of levels
spaces both large ... and small ... with considerable aplomb
nourishing aspects
pride themselves on sophisticated , discerning taste
go-for-broke
are n't very bright
to generate the belly laughs of lowbrow comedy without sacrificing its high-minded appeal
's simply crude and unrelentingly exploitative
it 's refreshing that someone understands the need for the bad boy ; diesel , with his brawny frame and cool , composed delivery , fits the bill perfectly .
the images lack contrast , are murky and are frequently too dark to be decipherable .
are as maudlin as any after-school special you can imagine
its own good
few sequels
wedding sequence
who do n't know how to tell a story for more than four minutes
uni-dimensional
who know nothing about the subject
a clear point
singer/composer bryan adams contributes a slew of songs -- a few potential hits , a few more simply intrusive to the story -- but the whole package certainly captures the intended , er , spirit of the piece
leave you with a smile on your face and a grumble in your stomach
collapses like an overcooked soufflé .
to the world trade center tragedy
brings them to life
oddly compelling
compelled to watch the film twice or pick up a book on the subject
enough to make you put away the guitar , sell the amp , and apply to medical school
sweet home alabama is n't going to win any academy awards , but
self-righteousness
lives down to its title .
have lost the ability to think
, reverent , and subtly different
with an idea buried somewhere inside its fabric , but never clearly seen or felt
to drown yourself in a lake afterwards
safe conduct is so rich with period minutiae it 's like dying and going to celluloid heaven .
will grab you
it also represents glossy hollywood at its laziest .
has all the enjoyable randomness of a very lively dream
... better described as a ghost story gone badly awry .
deeply out of place
a low rate annie featuring some kid who ca n't act , only echoes of jordan , and weirdo actor crispin glover screwing things up old school
projects onto the screen -- loud , violent and mindless
'll enjoy the hot chick .
stale first act , scrooge story , blatant product placement ,
the movie resolutely avoids all the comic possibilities of its situation , and becomes one more dumb high school comedy about sex gags and prom dates .
are too grave for youngsters
right movie
a documentary to make the stones weep -- as shameful as it
old , familiar
as inept as big-screen remakes of the avengers and the wild wild west .
the good and different
, this indie flick never found its audience , probably because it 's extremely hard to relate to any of the characters .
a vibrant , colorful , semimusical rendition .
, it must have read ` seeking anyone with acting ambition but no sense of pride or shame . '
-- ever so gracefully --
the too-frosty exterior
to being exciting
pleasant enough
some good , organic character work
a twisted sense
the movie is well crafted , and well executed .
's a barely tolerable slog over well-trod ground .
... keep the movie slaloming through its hackneyed elements with enjoyable ease .
deserved all the hearts it won -- and wins still , 20 years later
a full experience
better actor
making `` die another day '' one of the most entertaining bonds in years
the crap continues .
the grandness of romance
to watch jackson , who also served as executive producer , take his smooth , shrewd , powerful act abroad
, it should pay reparations to viewers .
overall , cletis tout is a winning comedy that excites the imagination and tickles the funny bone .
passionate heart
of honest poetry
... an often intense character study about fathers and sons , loyalty and duty .
bad filmmaking
their often heartbreaking testimony , spoken directly into director patricio guzman 's camera , pack a powerful emotional wallop
too heady for children , and too preachy
of the ugly american
clearly evident quality
that would make it the darling of many a kids-and-family-oriented cable channel
perfectly pleasant if
where the bizarre is credible and the real turns magical
of a film that 's rarely as entertaining as it could have been
best brush
unrealistic
this is christmas future for a lot of baby boomers .
to overcome gaps in character development and story logic
overmanipulative
makes you care about music you may not have heard before
good movie
me feel weird / thinking about all the bad things in the world / like puppies with broken legs / and butterflies that die / and movies starring pop queens
are nearly impossible to care about
suited for the history or biography channel
just like a splendid meal
the action sequences -- clearly the main event --
, color and cringe
the problem is he has no character , loveable or otherwise .
deflated ending aside , there 's much to recommend the film .
a haunting tale
sillier
disappointing in comparison to other recent war movies ...
awards animals the respect they
by a weak script that ca n't support the epic treatment
that even freeman ca n't save it
is the film roman polanski may have been born to make .
the visceral excitement of a sports extravaganza
in the present
immensely appealing
in death to smoochy , we do n't get williams ' usual tear and a smile , just sneers and bile , and the spectacle is nothing short of refreshing .
well-lensed
a riveting story well told .
cardiac arrest
if invincible is not quite the career peak that the pianist is for roman polanski
his own idiosyncratic strain
that does the nearly impossible
of pre-9 / 11 new york and
greatest teacher
low-rent -- and even lower-wit --
ca n't say it 's on par with the first one
journalistically dubious , inept and often lethally dull .
execrable
destined to fill the after-school slot at shopping mall theaters across the country .
sweet and romantic
most gloriously unsubtle and adrenalized extreme
is hugely overwritten ,
a bad soap opera
unflappable air
as endearing and easy
with no signs of life
a rollicking adventure for you and
a woefully dull , redundant concept that bears more than a whiff of exploitation , despite iwai 's vaunted empathy .
ringu is a disaster of a story , full of holes and completely lacking in chills .
, satisfying
to be revealed by the dispassionate gantz brothers as ordinary , pasty lumpen
sticks rigidly to the paradigm ,
the director of such hollywood blockbusters as patriot games can still turn out a small , personal film with an emotional wallop
painful ride
we had to endure last summer
fascinate in their recklessness
the movie is a lumbering load of hokum but ... it 's at least watchable
a kinetic life so teeming that even cranky adults may rediscover the quivering kid inside
's thanks to huston 's revelatory performance
remember the last time i saw worse stunt editing or cheaper action movie production values than in extreme ops
max pokes , provokes , takes expressionistic license and hits a nerve ...
there 's an admirable rigor to jimmy 's relentless anger , and to the script 's refusal of a happy ending , but as those monologues stretch on and on , you realize there 's no place for this story to go but down
those famous moments
that it appears not to have been edited at all
's sanctimonious , self-righteous and so eager
an emotionally complex , dramatically satisfying heroine
if you can read the subtitles ( the opera is sung in italian ) and you like ` masterpiece theatre ' type costumes , you 'll enjoy this movie .
a sly female empowerment movie , although not in a way anyone would expect .
all works out
a winner
usually goes straight to video -- with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography
was only a matter of time before some savvy producer saw the potential success inherent in the mixture of bullock bubble and hugh goo .
you do n't need to be a hip-hop fan to appreciate scratch , and that 's the mark of a documentary that works .
if you give a filmmaker an unlimited amount of phony blood
lane and
are terribly wasted .
makes us see familiar issues , like racism and homophobia , in a fresh way
a rich historical subject
deserves a place of honor next to nanook as a landmark in film history
makes even elizabeth hurley seem graceless and ugly
a blast of adrenalin
... as stiff , ponderous and charmless as a mechanical apparatus
have cared much about any aspect of it , from its cheesy screenplay to the grayish quality of its lighting to its last-minute , haphazard theatrical release
wit and humor
does so without compromising that complexity .
's splash without the jokes .
for bug-eyed mugging and gay-niche condescension
for words , for its eccentric , accident-prone characters , and for the crazy things that keep people going in this crazy life
bizarre , implausible
the last kiss
length , awash in self-consciously flashy camera effects , droning house music and flat , flat dialogue
in bad filmmaking
campy recall for older fans or a silly , nickelodeon-esque kiddie flick
has an odd purity that does n't bring you into the characters so much as it has you study them .
worth the trip to the theater
it simply lulls you into a gentle waking coma .
loud , brash and mainly unfunny
sneaks up on the viewer , providing an experience that is richer than anticipated
are anguished , bitter and truthful
low , smoky and inviting
, transforms that reality into a lyrical and celebratory vision
is particularly impressive .
screenplay or
a solidly entertaining little film .
lazy ,
how they make their choices , and
predictable plotting and
the color sense of stuart little 2
of criminals
by a winning family story
arresting image
, it ultimately delivers
imagine ( if possible ) a pasolini film without passion or politics , or an almodovar movie without beauty or humor , and
spectacle and
remotely topical or sexy
generosity
's get this thing over with
the ambiguous ending seem goofy rather than provocative
one of the most savagely hilarious social critics
creative belly laughs
aloof and lacks any real raw emotion , which is fatal for a film that relies on personal relationships .
charge money for this ? '
hoping for a stiff wind
a stadium-seat megaplex
has a real filmmaker 's eye
an overripe episode of tv 's dawson 's creek
demonstrate their acting ` chops '
the effort is gratefully received
so clumsily sentimental
feels painfully redundant and inauthentic .
will be a thoughtful , emotional movie experience .
that it ca n't really be called animation
as south park
jackson and co have brought back the value and respect for the term epic cinema .
to blandly go where we went 8 movies ago ...
has n't aged a day
fall to pieces
any summer blockbuster
a beguiling freshness
you 're in the right b-movie frame of mind
... an incredibly heavy-handed , manipulative dud that feels all too familiar .
burnt out
long enough to read the subtitles
maintains a surprisingly buoyant tone throughout
have a feeling that i would have liked it much more if harry & tonto never existed
disappointment coming
stay with the stage versions , however , which bite cleaner , and deeper
( ahola ) has a wooden delivery and encounters a substantial arc of change that does n't produce any real transformation .
excellent performances on its side
comes along only occasionally
the film 's predictable denouement
will have a fun , no-frills ride
a delightful romantic comedy
seems worse for the effort
greatest star wattage
juliette binoche 's sand is vivacious , but
amused by its special effects
distinct rarity
the music makes a nice album , the food is enticing and italy beckons us all .
does n't give us a reason to be in the theater beyond wilde 's wit and the actors ' performances
a highly watchable , giggly little story with a sweet
more bizarre than
you love the music ,
the filmmakers want nothing else than to show us a good time ,
do n't work in concert .
devolves
narrated by martin landau and directed with sensitivity and skill by dana janklowicz-mann
formulaic , its plot and pacing typical hollywood war-movie stuff ,
should scare any sane person away .
its promising cast
ca n't generate enough heat in this cold vacuum of a comedy to start a reaction .
as filling as the treat of the title
too sappy for its own good
... del toro maintains a dark mood that makes the film seem like something to endure instead of enjoy .
`` looking for leonard '' just seems to kinda sit in neutral , hoping for a stiff wind to blow it uphill or something .
that explores the monster 's psychology not in order to excuse him but rather to demonstrate that his pathology evolved from human impulses that grew hideously twisted
us watch as his character awakens to the notion that to be human is eventually to have to choose
mourning in favor of bogus spiritualism
changing lanes is also a film of freshness , imagination and insight .
to the floor with a sickening thud
you might to scrutinize the ethics of kaufman 's approach
i fear
smart little indie .
, but it also does the absolute last thing we need hollywood doing to us : it preaches .
a deliciously nonsensical comedy about a city
a film that 's barely shocking , barely interesting and most of all , barely anything
as with so many merchandised-to-the-max movies of this type , more time appears to have gone into recruiting the right bands for the playlist and the costuming of the stars than into the script , which has a handful of smart jokes and not much else .
stylish thriller .
becomes a tv episode rather than a documentary
own languorous charm
eventual discovery
zings along with vibrance and warmth .
disgusted with the lazy material and the finished product 's unshapely look
she has the stuff to stand tall with pryor , carlin and murphy
supremely hopeful
various amusing sidekicks add much-needed levity to the otherwise bleak tale
most every aggrieved father cliché
the ingenuity that parker displays in freshening the play
the lively intelligence of the artists and
but something far more stylish and cerebral -- and , hence , more chillingly effective
gorgeously strange movie
its own thinness
miracle of miracles , the movie
be made by african-americans because of its broad racial insensitivity towards african-americans
powerful documentary
such high-wattage brainpower coupled with pitch-perfect acting
in the end , the film is less the cheap thriller you 'd expect than it is a fairly revealing study of its two main characters -- damaged-goods people whose orbits will inevitably and dangerously collide .
real magic ,
anything but frustrating ,
deep down , i realized the harsh reality of my situation
huppert 's show to steal
that it certainly does n't feel like a film that strays past the two and a half mark
the plot 's contrivances are uncomfortably strained .
genuine dramatic impact
retro uplifter .
grandly
you 'll know a star when you see one .
provides amélie 's audrey tautou with another fabuleux destin -- i.e. , a banal spiritual quest
are worthwhile
warm , fuzzy feeling
meaning in relationships or work
is a mildly funny , sometimes tedious , ultimately insignificant film
faster , livelier
can also negotiate the movie 's darker turns
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
that no amount of imagination , no creature , no fantasy story and no incredibly outlandish scenery
of flimsy -- or , worse yet , nonexistent -- ideas
some of the computer animation is handsome , and
emphasizes every line and sag
is one of my least favorite emotions , especially when i have to put up with 146 minutes of it .
convinced that this mean machine was a decent tv outing that just does n't have big screen magic
as if he or she has missed anything
kate is n't very bright