xiangpku/GLUE huggingface dataset:
the darling of many a kids-and-family-oriented cable channel
plays out with a dogged and eventually winning squareness that would make it the darling of many a kids-and-family-oriented cable channel .
on its own staggeringly unoriginal terms
an ugly , pointless , stupid movie
the powerpuff girls arrive on the big screen with their super-powers , their super-simple animation and their super-dooper-adorability intact .
sure to ultimately disappoint the action fans who will be moved to the edge of their seats by the dynamic first act
an engaging storyline
as timely as tomorrow
as entertainment
is terrific , bringing an unforced , rapid-fire delivery to toback 's heidegger - and nietzsche-referencing dialogue
unrelentingly grim -- and equally engrossing
creates a drama with such a well-defined sense of place and age -- as in , 15 years old -- that the torments and angst become almost as operatic to us as they are to her characters
time literally stops on a dime in the tries-so-hard-to-be-cool `` clockstoppers ,
better still , he does all of this , and more , while remaining one of the most savagely hilarious social critics this side of jonathan swift .
beautiful , cold , oddly colorful and just plain otherworldly , a freaky bit of art that 's there to scare while we delight in the images .
the gallic ` tradition of quality
so short
of pointed personalities , courage , tragedy and the little guys
the most awful acts
sinks to a harrison ford low .
manages the rare trick of seeming at once both refreshingly different and reassuringly familiar .
eloquently about the symbiotic relationship between art and life .
the term epic cinema
never becomes claustrophobic
unbearably dull
sane and healthy
report that it is instead a cheap cliché
is painterly .
shakespeare 's macbeth
their performances could have -- should have -- been allowed to stand on their own
quite admirable
introducing an intriguing and alluring premise ,
takes on nickleby with all the halfhearted zeal of an 8th grade boy delving
talented writer/director anderson
none of the visual wit of the previous pictures
in full consciousness
will laugh their *** off for an hour-and-a-half
creeps into your heart .
the smug self-satisfaction usually associated with the better private schools
engaging charisma
queen of the damned as you might have guessed , makes sorry use of aaliyah in her one and only starring role -- she does little here but point at things that explode into flame
a compelling pre-wwii drama with vivid characters and a warm , moving message
unfunny and lacking any sense of commitment to or affection for its characters , the reginald hudlin comedy relies on toilet humor , ethnic slurs .
is a trove of delights
it is nevertheless compelling
delight in the images
this year is a franchise sequel starring wesley snipes
of your seat , tense with suspense
, tender hug
from a groundbreaking endeavor
going to a house party and watching the host defend himself against a frothing ex-girlfriend
to little more than punishment
geared
there may have been a good film in `` trouble every day , '' but
, the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience .
it 's sweet .
a sad and rote exercise
bilingual charmer
of a story that 's a lot richer than the ones hollywood action screenwriters usually come up with on their own
it 's a lousy one at that .
get to see the one of the world 's best actors , daniel auteuil ,
imaginative through out
jackson shamefully strolls through this mess with a smug grin , inexplicably wearing a kilt and carrying a bag of golf clubs over one shoulder .
offset by the sheer ugliness of everything else
never feels draggy
for its lack of logic and misuse of two fine actors , morgan freeman and ashley judd
a fascinating case study
been remarkable
a film so willing to champion the fallibility of the human heart
have a whale of a good time
seem to get a coherent rhythm going
gender-bending comedy
than the real thing
captured the chaos of an urban conflagration
unbelievably stupid
long , dull procession
, really , really good things can come in enormous packages
great performances , stylish cinematography and a gritty feel help make gangster no. 1 a worthwhile moviegoing experience .
juicy role
with action confined to slo-mo gun firing and random glass-shattering
it might just be the movie you 're looking for .
for no one
asks the right questions at the right time in the history of our country
the same love story
utter tripe
bland hotels
the work of a filmmaker who has secrets buried at the heart of his story and knows how to take time revealing them .
finally transporting re-imagining of beauty and the beast and 1930s horror films
the slam-bang superheroics are kinetic enough to engross even the most antsy youngsters .
, shafer and co-writer gregory hinton lack a strong-minded viewpoint , or a sense of humor .
've got to love a disney pic with as little cleavage as this one has , and a heroine as feisty and principled as jane .
captures moments of spontaneous creativity and authentic co-operative interaction
good as the original
genuine and singular artist
has made its way into your very bloodstream
'd watch these two together again in a new york minute
ambitious `
it 's so lackluster
julie davis is the kathie lee gifford of film directors , sadly proving once again ego does n't always go hand in hand with talent .
may be incomprehensible to moviegoers not already clad in basic black .
a really funny movie
imagine acting that could be any flatter
a man in drag is not in and of himself funny
worthy and
the characters are n't interesting enough to watch them go about their daily activities for two whole hours
a derivative collection of horror and sci-fi cliches .
that rare drama that offers a thoughtful and rewarding glimpse into the sort of heartache everyone has felt , or will feel someday
is a hoot , and is just as good , if not better than much of what 's on saturday morning tv especially the pseudo-educational stuff we all ca n't stand .
to look at or understand
one thing you have to give them credit for : the message of the movie is consistent with the messages espoused in the company 's previous video work .
to fully endear itself to american art house audiences
those prone to indignation need not apply ;
visually fascinating ... an often intense character study about fathers and sons , loyalty and duty .
that he 's now , more than ever , choosing his roles with the precision of the insurance actuary
starts out like a typical bible killer story
to the scuzzy underbelly of nyc 's drug scene
worth a look by those on both sides of the issues , if only for the perspective it offers , one the public rarely sees .
lush , swooning melodrama
strong filmmaking requires a clear sense of purpose , and in that oh-so-important category , the four feathers comes up short
's hard to pity the ` plain ' girl who becomes a ravishing waif after applying a smear of lip-gloss .
tried-and-true
of sensitive observation
cathartic
frittered away
the wonderfully lush morvern callar is pure punk existentialism ,
too amateurish and
, they 'll be treated to an impressive and highly entertaining celebration of its sounds .
humor , warmth , and intelligence
is lacking any real emotional impact
a chilly , remote , emotionally distant piece ... so dull that its tagline should be : `
a particularly joyless , and exceedingly dull , period coming-of-age tale .
its visual panache
i 'm not sure which is worse : the poor acting by the ensemble cast , the flat dialogue by vincent r. nebrida or the gutless direction by laurice guillen .
no discernible feeling
beauty or humor
cold , gray
the one-liners are snappy , the situations volatile and the comic opportunities richly rewarded .
is interesting to witness the conflict from the palestinian side
ultimately empty
to champion the fallibility of the human heart
surrounding its ludicrous and contrived plot
is just too clichéd and too often strains credulity
quiet power
off his game
by sending the audience straight to hell
the year with its exquisite acting , inventive screenplay , mesmerizing music , and many inimitable scenes
on screen been so aggressively anti-erotic
brings out the worst in otherwise talented actors
figures prominently in this movie , and helps keep the proceedings as funny for grown-ups as for rugrats .
more relevant than 9 1/2 weeks
melodramatic bodice-ripper
a clear-eyed take on the economics of dealing and the pathology of ghetto fabulousness
's fun , wispy , wise and surprisingly inoffensive
cleverly worked out
of the more influential works
dumped a whole lot of plot in favor of
is no match for the insipid script he has crafted with harris goldberg
shameless self-caricature
foreman 's barking-mad taylor to thewlis 's smoothly sinister freddie and bettany/mcdowell 's hard-eyed gangster
bludgeoning the audience over the head
like the best of godard 's movies
no cliche escapes the perfervid treatment of gang warfare called ces wild .
that feels dusty and leatherbound
of the worst titles in recent cinematic history
had been developed with more care
is , however , a completely honest , open-hearted film that should appeal to anyone willing to succumb to it
retains ambiguities that make it well worth watching .
's far from fresh-squeezed
huge heart
a happy , heady jumble of thought and storytelling
quirky , charming and
to the overcooked , ham-fisted direction , which has all the actors reaching for the back row
tale will be all too familiar for anyone who 's seen george roy hill 's 1973 film , `` the sting . ''
is authentic .
an intense indoor drama
with aplomb
have infused frida with a visual style unique and inherent to the titular character 's paintings and in the process created a masterful work of art of their own
looks fake
feel the beat down to your toes
love , history , memory , resistance and artistic transcendence
boring , pretentious waste
is a dud .
the fact that it is n't very good
you do n't understand what on earth is going on
about a superficial midlife crisis
an action/thriller of the finest kind
a buoyant romantic comedy
is felt ; not the craven of ' a nightmare on elm street ' or ` the hills have eyes , ' but the sad schlock merchant of ` deadly friend .
will forgive any shoddy product as long as there 's a little girl-on-girl action
kwan 's unique directing style
the town has kind of an authentic feel , but
examines many different ideas from happiness to guilt in an intriguing bit of storytelling
demonic
the story is smart and entirely charming in intent and execution .
keeps adding flourishes -- artsy fantasy sequences -- that simply feel wrong .
weird and distanced
never quite makes it to the boiling point , but manages to sustain a good simmer for most of its running time .
because of the ideal casting of the masterful british actor ian holm
borrows heavily from lynch , jeunet , and von trier while failing to find a spark of its own
this long and relentlessly saccharine film
offer any new insight
bring out joys in our lives
what critics have come to term an `` ambitious failure
, herzog simply runs out of ideas and the pace turns positively leaden as the movie sputters to its inevitable tragic conclusion .
of the quality that keeps dickens evergreen : the exuberant openness with which he expresses our most basic emotions
frightful vanity film
should n't have been allowed to use the word `` new '' in its title , because there 's not an original character , siuation or joke in the entire movie .
the process comes out looking like something wholly original
a movie that the less charitable might describe as a castrated
shoddy product
you 'd be wise to send your regrets
perdition
its recycled aspects , implausibility , and sags in pace
- kids-cute sentimentality by a warmth that is n't faked and
are undermined by the movie 's presentation , which is way too stagy
exploiting
hypocritical
a movie so bad that it quickly enters the pantheon of wreckage that includes battlefield earth and showgirls .
are beautiful
told , with superb performances throughout
like life
a fast paced and suspenseful argentinian thriller about the shadow side of play .
sweetness and
that 's as hard to classify as it is hard to resist
fantasy of a director 's travel
the far superior film
resolutely avoids all the comic possibilities of its situation , and becomes one more dumb high school comedy about sex gags and prom dates .
for griffiths ' warm and winning central performance
a thoughtful and surprisingly affecting portrait of a screwed-up man who dared to mess with some powerful people ,
an exhilarating place to visit , this laboratory of laughter
darker turns
losing my lunch
can drive right by it without noticing anything special , save for a few comic turns , intended and otherwise
confident enough
starts out mediocre , spirals downward , and thuds to the bottom of the pool with an utterly incompetent conclusion .
evolves into a gorgeously atmospheric meditation on life-changing chance encounters
virtually no understanding of it
the tries-so-hard-to-be-cool `` clockstoppers
embraces it , energizes it and takes big bloody chomps out of it
run-of-the-mill
a strong pulse
star power
, bloody and mean
cheats on itself and retreats to comfortable territory
the excruciating end of days
a poster movie , a mediocre tribute to films like them
the end sum of all fears morphs into a mundane '70s disaster flick .
kirsten dunst 's remarkable performance
a meatier
maelstrom is strange and compelling
a fine-looking film with a bouncy score and a clutch of lively songs for deft punctuation
those movies that catches you up in something bigger than yourself
amused with its low groan-to-guffaw ratio
odd and intriguing
awed by the power and grace of one of the greatest natural sportsmen of modern times
every fake , dishonest , entertaining and , ultimately , more perceptive moment in bridget jones 's diary
a wickedly undramatic central theme
begins as a seven rip-off
cherish would 've worked a lot better had it been a short film .
a head-turner -- thoughtfully written ,
that are this crude , this fast-paced and this insane
usual tear
engage children
you feel good
a sultry evening
buries an interesting storyline about morality and the choices we make underneath such a mountain of clichés and borrowed images that it might more accurately be titled mr. chips off the old block .
apparent joy
live-wire film
this story still seems timely and important .
deliciously exploitative
geniality
brims with passion : for words , for its eccentric , accident-prone characters , and for the crazy things that keep people going in this crazy life
sloppy , made-for-movie
implicitly acknowledges and celebrates the glorious chicanery and self-delusion of this most american of businesses , and for that reason it may be the most oddly honest hollywood document of all
an interesting look at the life of the campaign-trail press , especially ones that do n't really care for the candidate
that deep inside righteousness can be found a tough beauty
one mediocre movie
that 's apparently just what ( aniston ) has always needed to grow into a movie career
ca n't even do that much
hide its contrivances
a solid , anguished performance that eclipses nearly everything else she 's ever done
like all four of the lead actors a lot
delicate treatment
empire ca n't make up its mind whether it wants to be a gangster flick or an art film .
such a tragedy
subtlety has never been his trademark
it may not be particularly innovative
the easy emotional buttons
that never amount to a satisfying complete picture of this particular , anciently demanding métier
a climactic hero 's
one more dumb high school comedy
are universal and involving
possess the lack-of-attention span that we did at seventeen
farce ,
is so earnest in its yearning for the days
the proficient , dull sorvino has no light touch , and
obscure this movie 's lack of ideas
even if the enticing prospect of a lot of nubile young actors in a film about campus depravity did n't fade amid the deliberate , tiresome ugliness , it would be rendered tedious by avary 's failure to construct a story with even a trace of dramatic interest .
brings to a spectacular completion one
satisfactory overview
observant , unfussily poetic meditation
looks like an episode of the tv show blind date , only less technically proficient and without the pop-up comments .
dull , inconsistent , dishonest female bonding
has elements of romance , tragedy and even silent-movie comedy .
the big metaphorical wave that is life -- wherever it takes you
have been funnier if the director had released the outtakes theatrically and used the film as a bonus feature on the dvd
normally , rohmer 's talky films fascinate me , but 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 .
samira makhmalbaf as a very distinctive sensibility , working to develop her own film language with conspicuous success
and pulp melodrama
of the vulgar , sexist , racist humor
, but the uninspired scripts , acting and direction never rise above the level of an after-school tv special .
brash , intelligent and erotically perplexing , haneke 's portrait of an upper class austrian society and the suppression of its tucked away demons is uniquely felt with a sardonic jolt .
in painting an unabashedly romantic picture of a nation whose songs spring directly from the lives of the people , the movie exalts the marxian dream of honest working folk , with little to show for their labor , living harmoniously , joined in song .
's packed with adventure and a worthwhile environmental message
forbidden love , racial tension , and other issues that are as valid today as they were in the 1950s
with the dog days of august upon us , think of this dog of a movie as the cinematic equivalent of high humidity .
expands the horizons of boredom to the point of collapse , turning into a black hole of dullness , from which no interesting concept can escape .
france 's foremost cinematic poet
seem graceless and ugly
merely bad
a welcome and heartwarming addition
everlasting
did n't cut their losses -- and ours -- and retitle it the adventures of direct-to-video nash , and send it to its proper home
heartfelt conviction
to his supple understanding of the role
playful spirit
a splendid job of racial profiling hollywood style -- casting excellent latin actors of all ages --
the story has its redundancies ,
the charm of kevin kline
sets a new benchmark for lameness
too loud ,
superficiality and silliness
believe that people have lost the ability to think and will forgive any shoddy product as long as there 's a little girl-on-girl action
to make you feel guilty about ignoring what the filmmakers clearly believe
this girl
, humorless soap opera
while it evaporates like so much crypt mist in the brain
it 's not that funny -- which is just generally insulting .
seem sure of where it should go
have been worth cheering as a breakthrough
its disgusting source material
one of the best movies of the year .
fine acting
will have found a cult favorite to enjoy for a lifetime .
turning leys ' fable into a listless climb down the social ladder
no energy
low-budget and
it 's all arty and jazzy
whenever the film 's lamer instincts are in the saddle
fast and
absurd plot twists
phony imagery or music
best silly horror movies
good humor
see familiar issues , like racism and homophobia , in a fresh way
not just unlikable .
one of the best inside-show-biz yarns ever .
a beauty to behold
trek to the ` plex predisposed to like it
overinflated mythology
so striking
does n't quite know how to fill a frame
build in the mind of the viewer and take on extreme urgency .
, it probably wo n't have you swinging from the trees hooting it 's praises
good poetry
to make it worth watching
, storytelling is far more appealing
to its inevitable tragic conclusion
forgettable effort
otherwise appalling , and downright creepy , subject
stylists
, ` scratch ' is a pretty decent little documentary .
big round eyes and
allows his cast members to make creative contributions to the story and dialogue
on the brink of major changes
a fascinating , bombshell documentary
is pure punk existentialism
the most ingenious film
cloying messages and irksome characters
knows its classical music , knows its freud and
his ( nelson 's ) screenplay needs some serious re-working to show more of the dilemma , rather than have his characters stage shouting matches about it .
touching british comedy
is as adult as you can get
otherwise good
provides the drama that gives added clout to this doc .
an unflinching and objective look
a solid base hit .
amateurish
plays like a badly edited , 91-minute trailer ( and ) the director ca n't seem to get a coherent rhythm going .
i just saw this movie ... well , it 's probably not accurate to call it a movie .
has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny
the satire is weak .
sitcomishly predictable and cloying
that parade about as if they were coming back from stock character camp -- a drowsy drama infatuated by its own pretentious self-examination
enigma is well-made
infuses the film
gets vivid performances from her cast and pulls off some deft ally mcbeal-style fantasy sequences
replacing john carpenter 's stylish tracking shots
a sane and breathtakingly creative film
shrewd but pointless
a while , as do joan and philip 's repetitive arguments , schemes and treachery
echoes the by now intolerable morbidity of so many recent movies
a majestic achievement , an epic of astonishing grandeur and
mannered
of film that leaves you scratching your head in amazement over the fact that so many talented people could participate in such an ill-advised and poorly
is overlong and not well-acted , but credit writer-producer-director adam watstein with finishing it at all .
a heroine
, there is little else to recommend `` never again . ''
a special kind of movie , this melancholic film noir reminded me a lot of memento ...
, promises offers an unexpected window into the complexities of the middle east struggle and into the humanity of its people .
their intelligence
quickly becomes distasteful and downright creepy
one of those exceedingly rare films in which the talk alone is enough to keep us
a fine , old-fashioned-movie movie
90-plus
to churn out one mediocre movie after another
strangely draws the audience into the unexplainable pain and eccentricities that are attached to the concept of loss
an overcooked soufflé
sinks further and further into comedy futility
grotesque and boring
no character , loveable or otherwise
is the best little `` horror '' movie i 've seen in years
sincerely crafted picture
is very choppy and monosyllabic despite the fact
tricky and satisfying as any of david
it 's very beavis and butthead , yet always seems to elicit a chuckle .
exposes the limitations of his skill and the basic flaws in his vision . '
filled with humorous observations about the general absurdity of modern life
such life-embracing spirit
ultimately , `` mib ii '' succeeds due to its rapid-fire delivery and enough inspired levity that it ca n't be dismissed as mindless .
a stirring visual sequence like a surge through swirling rapids or a leap from pinnacle to pinnacle
all the filmmakers need to do
in dazzling panoramic shots that make the most of the large-screen format , before swooping down on a string of exotic locales , scooping the whole world up in a joyous communal festival of rhythm
when all is said and done , she loves them to pieces -- and
a sweet , laugh-a-minute crowd pleaser that lifts your spirits as well as the corners of your mouth
several uninteresting , unlikeable people do bad things to and with each other in `` unfaithful . ''
even with its $ 50-million us budget , pinocchio never quite achieves the feel of a fanciful motion picture .
in a doctor 's office , emergency room , hospital bed or insurance company office
a timid , soggy near miss .
we often reel in when we should be playing out
contemplative , and
wonderful , imaginative
limited to lds church members and undemanding armchair tourists
been a hoot in a bad-movie way if the laborious pacing and endless exposition had been tightened
enormously endearing
hate it for the same reason