xiangpku/GLUE huggingface dataset:
more because you 're one of the lucky few who sought it out
, romance , tragedy , false dawns , real dawns , comic relief
truth-telling
delightful romantic comedy
its total promise
feels counterproductive
things really get weird , though not particularly scary : the movie is all portent and no content .
this in recompense : a few early laughs scattered around a plot as thin
a beyond-lame satire , teddy bears ' picnic ranks among the most pitiful directing
working from a surprisingly sensitive script co-written
could easily be called the best korean film of 2002 .
it 's clear why deuces wild , which was shot two years ago , has been gathering dust on mgm 's shelf .
big laughs
there are some fairly unsettling scenes , but
its surprises limp
back-stabbing
have a tendency to slip into hokum
fade from memory
, it has all the heart of a porno flick ( but none of the sheer lust ) .
pretty decent kid-pleasing
due to its rapid-fire delivery and enough inspired levity
offers no new insight on the matter , nor
to lead a group of talented friends astray
their romances
a big-budget/all-star movie as unblinkingly pure as the hours
oh , and more entertaining , too .
an uncluttered , resonant gem that relays its universal points without lectures or confrontations
's a pedestrian , flat drama that screams out ` amateur ' in almost every frame
conrad l. hall 's cinematography will likely be nominated for an oscar next year --
seem downright hitchcockian
surprisingly sweet and gentle comedy
exhaustingly contrived
then it 's the perfect cure for insomnia .
one of those so-so films that could have been much better .
stylish film
did n't mean much to me
those decades-spanning historical epics that strives to be intimate and socially encompassing but fails to do justice to either effort in three hours of screen time
ensemble cast
predicament
has a solid emotional impact
silly beyond comprehension
knocks it flat
probably will enjoy themselves .
an infuriating film .
with his inescapable past and uncertain future in a very shapable but largely unfulfilling present
ability to right itself precisely when you think it 's in danger of going wrong
steal your heart
to my great pleasure ,
insane comic
give shapiro , goldman , and bolado credit for good intentions ,
not-so-small problem
is so convinced of its own brilliance that , if it were a person , you 'd want to smash its face in .
you had already seen that movie
more strongly to storytelling
that works against itself
as the writer-director of this little $ 1.8 million charmer , which may not be cutting-edge indie filmmaking
to laugh , groan and hiss
this franchise has not spawned a single good film .
deep-seated , emotional
, original talent
is a remarkable piece of filmmaking ... because you get it
thousand cliches
infuses the movie with much of its slender ,
-- being real --
earns the right to be favorably compared to das boot
to give the film a soul and an unabashed sense of good old-fashioned escapism
a fine production
film that suffers because of its many excesses
at a time when commercialism has squeezed the life out of whatever idealism american moviemaking ever had , godfrey reggio 's career shines like a lonely beacon .
is serene , the humor wry and sprightly .
pinheads
chilling and fascinating
will thrill you , touch you and make you
godard 's ode to tackling life 's wonderment is a rambling and incoherent manifesto about the vagueness of topical excess ... in praise of love remains a ponderous and pretentious endeavor that 's unfocused and tediously exasperating .
( a ) mess .
at times , it actually hurts to watch .
is the word for the big-fisted direction of jez butterworth , who manages to blast even the smallest sensitivities from the romance with his clamorous approach .
important director
between hallmark card sentimentality and goofy , life-affirming moments straight out of a cellular phone commercial
displays impeccable comic skill
barry 's cold-fish act makes the experience worthwhile
sharp comic timing
a delightful romantic comedy with plenty
is still fun and enjoyable and so aggressively silly that it 's more than a worthwhile effort .
, there is n't much to it .
two things drag it down to mediocrity -- director clare peploe 's misunderstanding of marivaux 's rhythms , and mira sorvino 's limitations as a classical actress
excellent 90-minute film
an interesting look
out-to-change-the-world
drown out the tinny self-righteousness of his voice
too long and bogs down in a surfeit of characters and unnecessary subplots
quiet , introspective and entertaining independent
another director ever making his wife look so bad in a major movie
darkly funny and
together in a stark portrait of motherhood deferred and desire
aan opportunity wasted .
pulp melodrama
that is the central flaw of the film
finally has failed him .
much worth
keep them guessing
a promise nor
an out of place metaphor
should see it as soon as possible .
created a provocative , absorbing drama that reveals the curse of a self-hatred instilled by rigid social mores
his art , which is more than he has ever revealed before about the source of his spiritual survival
is a funny , puzzling movie ambiguous enough to be engaging and oddly moving .
's the worst movie of 2002
forces you to ponder anew what a movie can be
i thought the relationships were wonderful , the comedy was funny
i could just feel the screenwriter at every moment ` tap , tap , tap , tap , tapping away ' on this screenplay .
, below casts its spooky net out into the atlantic ocean and spits it back , grizzled and charred , somewhere northwest of the bermuda triangle .
to put up with 146 minutes of it
believability
important movie
to the filmmaker 's extraordinary access to massoud , whose charm , cultivation and devotion to his people are readily apparent
the way to striking a blow for artistic integrity
hollywood has crafted a solid formula for successful animated movies , and ice age only improves on it , with terrific computer graphics , inventive action sequences and a droll sense of humor
zigzag might have been richer and more observant if it were less densely plotted .
a student film
holographic librarian ( orlando jones ) who knows everything and answers all questions , is visually smart , cleverly written , and nicely realized
is too heady for children , and too preachy for adults
fairly ludicrous
uzumaki 's interesting social parallel and defiant aesthetic seems a prostituted muse ...
does n't think much of its characters , its protagonist , or of us .
weighs down the tale with bogus profundities
the ethereal beauty
surprising highs , sorrowful lows and hidden impulsive niches
directs this intricately structured and well-realized drama that presents a fascinating glimpse of urban life and the class warfare that embroils two young men .
pulpy concept
is a riot
of awe
aimless for much of its running time
's most offensive
grenier is terrific , bringing an unforced , rapid-fire delivery to toback 's heidegger - and nietzsche-referencing dialogue .
holes and completely lacking in chills
the talent is undeniable
, you barely realize your mind is being blown .
does n't really know or care about the characters ,
the heart-pounding suspense
an enjoyably frothy ` date movie ' ...
an ultra-loud blast of pointless mayhem ,
is that it 's also one of the smartest
felt fantasy of a director 's travel
an edifying glimpse into the wit and revolutionary spirit of these performers and their era .
's where the film ultimately fails
is the ultimate movie experience
an awkwardly contrived exercise in magic realism .
is like watching an alfred hitchcock movie after drinking twelve beers .
street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence
saps stuck in an inarticulate screenplay
silly fluff
this is a very ambitious project for a fairly inexperienced filmmaker
a few pieces of the film buzz and whir ; very little of it actually clicks .
viewed and treasured for its extraordinary intelligence and originality
on a number of themes , not least the notion that the marginal members of society ...
seems embarrassed
fairly weak
has nothing going for it other than its exploitive array of obligatory cheap
seven rip-off
on too many tried-and-true shenanigans that hardly distinguish it from the next teen comedy
the holes in this film
, french director anne fontaine delivers an inspired portrait of male-ridden angst and the emotional blockage that accompanies this human condition
a surprisingly faithful remake
that slather clearasil over the blemishes of youth
should be probing why a guy with his talent ended up in a movie this bad
's got the brawn , but not the brains
realize , much to our dismay , that this really did happen
forced drama in this wildly uneven movie , about
a solid cast ,
its material that is deliberately unsettling
if the full monty was a freshman fluke , lucky break is ( cattaneo ) sophomore slump .
's a scorcher
how important our special talents can be when put in service of of others
the overuse of special effects
exhibits the shallow sensationalism characteristic of soap opera ... more salacious telenovela than serious drama .
as ` wayne
are really going to love the piano teacher .
serving sara '' has n't much more to serve than silly fluff
it also wrecks any chance of the movie rising above similar fare
fascination ,
, murky and weakly acted
a wonderful , ghastly film
passionately
would make an excellent companion piece to the similarly themed ` the french lieutenant 's woman .
the best ensemble casts
superior horror flick
perhaps the best sports movie i 've ever seen .
a high enough level of invention
a painfully slow cliche-ridden film filled with more holes than clyde barrow 's car .
unsettling subject matter
have to admit it 's semi-amusing to watch robert deniro belt out `` when you 're a jet
a pandora 's box of special effects that run the gamut from cheesy to cheesier to cheesiest
it 's not nearly as fresh or enjoyable as its predecessor , but there are enough high points to keep this from being a complete waste of time .
a single iota worse
a zany mix of saturday night live-style parody , '70s blaxploitation films and goofball action comedy
a must for fans of british cinema , if only because so many titans of the industry are along for the ride .
one decent performance from the cast and not one clever line of dialogue
arduous journey
is intelligently
and there 's the inimitable diaz , holding it all together .
but never mind all that ; the boobs are fantasti
a teeth-clenching gusto
with a bright future ahead of him
's most refreshing about real women have curves
the worst excesses
is an exercise in chilling style , and twohy films the sub , inside and out
providing some good old fashioned spooks
rather unfocused
the film would have been more enjoyable had the balance shifted in favor of water-bound action over the land-based ` drama , '
it 's rare that a movie can be as intelligent as this one is in every regard except its storyline
hugely enjoyable in its own right though not really faithful to its source 's complexity
you 've completely lowered your entertainment standards
, the tale -- like its central figure , vivi -- is just a little bit hard to love .
in good measure
angela gheorghiu as famous prima donna floria tosca , roberto alagna as her lover mario cavaradossi , and ruggero as the villainous , lecherous police chief scarpia , all sing beautifully and act adequately .
captive by mediocrity .
be plenty of female audience members drooling over michael idemoto as michael
as glum as mr. de niro
crane 's decline
has since
full of charm
sorvino makes the princess seem smug and cartoonish , and
knows how to tell us about people .
the characters are too simplistic to maintain interest ,
raimi and his team could n't have done any better in bringing the story of spider-man to the big screen .
another genre exercise
that george lucas can only dream of
aftertaste
a reworking of die hard and cliffhanger but it 's nowhere near as exciting as either .
to be delightfully compatible here
sure , it 's contrived and predictable , but its performances are so well tuned that the film comes off winningly , even though it 's never as solid as you want it to be .
i 'd rather watch a rerun of the powerpuff girls
how lame
, the film gives no quarter to anyone seeking to pull a cohesive story out of its 2 1/2 - hour running time .
to know your ice-t 's from your cool-j 's to realize that as far as these shootings are concerned , something is rotten in the state of california
a burst of color , music , and dance that only the most practiced curmudgeon could fail to crack a smile at
a picture-perfect beach
a fan of the genre
others in the genre
a delightful entree
brainless , but
a wild , endearing , masterful documentary .
sometimes improbable
its one-sidedness ... flirts with propaganda
been a more compelling excuse to pair susan sarandon and goldie hawn
handsome and well-made entertainment
well-executed spy-thriller .
it does n't reach them , but the effort is gratefully received .
a horrible , 99-minute stink bomb .
does n't generate a lot of energy .
, frenetic , funny , even punny 6
see it for his performance if nothing else
an action film that delivers on the promise of excitement
the only type of lives this glossy comedy-drama resembles are ones in formulaic mainstream movies .
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
charming , funny and beautifully
a bored cage spent the duration of the film 's shooting schedule waiting to scream : `` got aids yet
action-packed
evokes the bottom tier of blaxploitation flicks from the 1970s
, to the adrenaline jolt of a sudden lunch rush at the diner
enormous packages
a work of art
been richer and more observant if it were less densely plotted
despite juliet stevenon 's attempt to bring cohesion to pamela 's emotional roller coaster life
an inconsequential
beautifully filmed and well acted ... but admittedly problematic in its narrative specifics .
's also not very good .
fine , nuanced lead performances
despite the surface attractions
a compelling motion
worse , routine
... a movie that , quite simply , should n't have been made .
the gay '70s
, in short , is n't nearly as funny as it thinks it is
watching a brian depalma movie is like watching an alfred hitchcock movie after drinking twelve beers .
sacrificed for the sake of spectacle
to be a monster movie for the art-house crowd
its surprises
looked like crap
of this ` we 're - doing-it-for - the-cash ' sequel
you expect of de palma , but what makes it transporting is that it 's also one of the smartest
with a series of riveting set pieces
tries the viewer 's patience with slow pacing and a main character who sometimes defies sympathy
cliches , painful improbability and
could have turned this into an argentine retread of `` iris '' or `` american beauty ,
guns , cheatfully filmed martial arts
be lovely
, by the time the credits roll across the pat ending , a warm , fuzzy feeling prevails
perfectly executed and wonderfully sympathetic
is dudsville .
is an incredibly layered and stylistic film that , despite a fairly slow paced , almost humdrum approach to character development , still manages at least a decent attempt at meaningful cinema .
so easily after a few tries and become expert fighters after a few weeks
laced with liberal doses of dark humor , gorgeous exterior photography , and a stable-full of solid performances
illuminates
the most blithe exchanges gives the film its lingering tug
both contrived and cliched
can not overcome the sense that pumpkin is a mere plot pawn for two directors with far less endearing disabilities
, pity anyone who sees this mishmash .
constricted
too-conscientious adaptation
is just the ticket you need .
the empty theaters
will dip into your wallet , swipe 90 minutes of your time , and offer you precisely this in recompense : a few early laughs scattered around a plot as thin as it is repetitious
it wants to be
under-10 set
a loud , ugly , irritating movie
to long for the end credits
looking for a return ticket
's worth seeing
stylized swedish fillm
the queasy-stomached critic who staggered from the theater and blacked out in the lobby
inspiring and pure
is so cliched and contrived that it makes your least favorite james bond movie seem as cleverly plotted as the usual suspects
it 's makes a better travelogue than movie .
functions as both a revealing look at the collaborative process and a timely , tongue-in-cheek profile of the corporate circus that is the recording industry in the current climate of mergers and downsizing .
amateurish screenplay
of the intelligent , well-made b movie
wo n't stand the cold light of day
it gives poor dana carvey nothing to do that is really funny ,
dazzle and delight us
most complex , generous and subversive artworks
its crack cast
works better the less the brain is engaged
wondering about the characters ' lives after the clever credits roll
ultimately flawed
a moving experience for people who have n't read the book
appropriately cynical social commentary
the connected stories of breitbart and hanussen are actually fascinating , but the filmmaking in invincible is such that the movie does not do them justice .
alfred hitchcock 's
the production has been made with an enormous amount of affection ,
sucks . '
may be a bit disjointed
but i had a lot of problems with this movie .
recipe , inspiring
it 's possible that something hip and transgressive was being attempted here that stubbornly refused to gel
in if argento 's hollywood counterparts ... had this much imagination and nerve
one of the worst films of 2002 .
eats , meddles , argues , laughs , kibbitzes
's the best sequel since the empire strikes back ... a majestic achievement , an epic of astonishing grandeur and surprising emotional depth .
is terrific ,
a rumor of angels does n't just slip -- it avalanches into forced fuzziness
white 's dry wit
a perverse , dangerous libertine and agitator --
is , more often then
a whole lot of fun and funny in the middle , though somewhat less hard-hitting
, a dark little morality tale disguised as a romantic comedy .
on this screenplay
ryan gosling ( murder by numbers ) delivers a magnetic performance .
a lot richer than the ones
their idol 's energy and passion for detail
an energizing ,
competently
sandra bullock and hugh grant make a great team
damned in queen of the damned
has a bracing truth that 's refreshing after the phoniness of female-bonding pictures like divine secrets of the ya-ya sisterhood
it , ` hungry-man portions of bad '
a time machine , a journey back to your childhood
yet another remarkable yet shockingly little-known perspective
the recording sessions are intriguing , and -- on the way to striking a blow for artistic integrity --
exudes the urbane sweetness that woody allen seems to have bitterly forsaken
the trees hooting it 's praises
from its ripe recipe , inspiring ingredients
long on twinkly-eyed close-ups and short on shame .
of hell
miraculous movie
, sweet and romantic
rowling that stifles creativity and allows the film to drag on for nearly three hours
sincere
die for
patchy combination
emerged as hilarious lunacy in the hands of woody allen
is just lazy writing .
business plans
he refuses to give us real situations and characters
of telling a fascinating character 's story
is simple but absorbing .
stick figures reading lines from a teleprompter
never knew what the hell was coming next
seem to keep upping the ante on each other , just as their characters do in the film .
appreciation of the daily
ca n't begin to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents ...
most viewers will wish there had been more of the `` queen '' and less of the `` damned . ''
can act
the tinny self-righteousness
damn weird
, this remains a film about something , one that attempts and often achieves a level of connection and concern .
the light-footed enchantment
if you appreciate the one-sided theme to lawrence 's over-indulgent tirade , then knock yourself out and enjoy the big screen postcard that is a self-glorified martin lawrence lovefest .
left a few crucial things out , like character development and coherence
best film
that trademark grin of his -- so perfect for a ballplayer
conjured up only 10 minutes prior to filming
a film so unabashedly hopeful that it actually makes the heart soar
it pushes its agenda too forcefully
awe-inspiring
said the film was better than saving private ryan
the talk alone is enough to keep us
a movie does not proclaim the truth about two love-struck somebodies , but permits them time and space to convince us of that all on their own .
are head and shoulders above much of the director 's previous popcorn work
of high humidity
it 's touching and tender and proves that even in sorrow you can find humor .
is so far-fetched it would be impossible to believe if it were n't true
with only the odd enjoyably chewy lump
me no lika da accents so good , but
an otherwise appalling , and downright creepy , subject --
it 's a fine , focused piece of work that reopens an interesting controversy and never succumbs to sensationalism .
really rattling the viewer
painfully formulaic and stilted
of static set ups , not much camera movement , and most of the scenes
causes of anti-semitism ever seen on screen .
refreshing visit
better-focused
it is n't quite one of the worst movies of the year .
the product of loving , well integrated homage
favorably compared to das boot
thoroughly awful .
almost senseless
warm nor fuzzy
brutal 90-minute battle sequence
real women have curves truly is life affirming
barely registering a blip on the radar screen of 2002
sex ironically has little to do with the story , 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 .
sticks rigidly to the paradigm , rarely permitting its characters more than two obvious dimensions and repeatedly placing them in contrived , well-worn situations
an intriguing story of maternal instincts
to sell us on this twisted love story
more than you can say for plenty of movies that flow through the hollywood pipeline without a hitch
's nothing interesting in unfaithful
a fairly slow paced , almost humdrum approach to character development
there 's a heavy stench of ` been there , done that ' hanging over the film .
recommended -- as visually bland as a dentist 's waiting room
the characters seem one-dimensional , and the film is superficial and will probably be of interest primarily to its target audience .
most of the things that made the original men in black such a pleasure
you 've already seen city by the sea under a variety of titles , but it 's worth yet another visit .
beautifully realized
of the audience other than to sit back and enjoy a couple of great actors hamming it up
a very resonant chord
sheer audacity and openness
character-who-shall - remain-nameless
cell phones , guns , and the internal combustion engine
painful elegy
an ugly , pointless , stupid movie .
than you could have guessed at the beginning
, emotionally devastating piece
sketches ...
norwegian offering which somehow snagged an oscar nomination
rendered tedious
that it 's hardly watchable
not-nearly
while the film is not entirely successful , it still manages to string together enough charming moments to work .
worth the effort
the highly predictable narrative falls short
those who do
makes minority report necessary viewing for sci-fi fans ,
norton is magnetic as graham .
joyous celebration
the form of dazzling pop entertainment
definite room for improvement
the thrown-together feel
feeling embarrassed
an extended , open-ended poem than a traditionally structured story
made a movie that will leave you wondering about the characters ' lives after the clever credits roll
are once again made all too clear in this schlocky horror/action hybrid .
otherworldly
has just as many scenes that are lean and tough enough to fit in any modern action movie
there 's a casual intelligence that permeates the script
a good way
loved this film
, flawed humanity