xiangpku/GLUE huggingface dataset:
while insomnia is in many ways a conventional , even predictable remake , nolan 's penetrating undercurrent of cerebral and cinemantic flair lends ( it ) stimulating depth .
scored and powered
a dreary , humorless soap opera
ability to make its subject interesting to those who are n't part of its supposed target audience
glides gracefully from male persona to female without missing a beat
a terrible strength
have been this odd , inexplicable and unpleasant
straightforward and old-fashioned in the best possible senses of both those words , possession is a movie that puts itself squarely in the service of the lovers who inhabit it .
the same sort of good-natured fun found in films like tremors
realizing that you 've spent the past 20 minutes looking at your watch and waiting for frida to just die already
chronicle not 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 .
of epic scale
, the film is not only a love song to the movies but it also is more fully an example of the kind of lush , all-enveloping movie experience it rhapsodizes .
there is little else to recommend `` never again . ''
you 'll love this movie .
sheer joy and pride
inspires
is perfectly creepy and believable .
an already obscure demographic
is smart to vary the pitch of his movie , balancing deafening battle scenes with quieter domestic scenes of women back home receiving war department telegrams
a paunchy midsection , several plodding action sequences and
's just one that could easily wait for your pay per view dollar .
that a nightmare is a wish a studio 's wallet makes
cliched dialogue and
an astonishing voice cast ( excepting love hewitt ) , an interesting racial tension , and
an actual story
it is hard to tell who is chasing who or why
makes barbershop so likable
the precision of the insurance actuary
deserving
turn in perfectly executed and wonderfully sympathetic characters , who are alternately touching and funny
the one-sided theme
is nearly incoherent , an excuse to get to the closing bout ... by which time it 's impossible to care who wins
a minor miracle of self-expression
of hackery
hack script
has transformed the rhetoric of hollywood melodrama into something provocative , rich , and strange
becomes a fascinating study of isolation and frustration that successfully recreates both the physical setting and emotional tensions of the papin sisters .
like heathers , then becomes bring it on , then becomes unwatchable
a retread story
sense-of-humour failure
blaxploitation spoof
bursting through the constraints of its source , this is one adapted - from-television movie that actually looks as if it belongs on the big screen .
would force you to give it a millisecond of thought
smart and funny
jim brown
hashiguchi covers this territory with wit and originality , suggesting that with his fourth feature -- the first to be released in the u.s. --
splashy and
thoroughly formulaic film
her appear foolish and shallow rather than , as was more likely ,
cut their losses -- and ours -- and retitle it the adventures of direct-to-video nash ,
goes on for too long and bogs down in a surfeit of characters and unnecessary subplots
will only satisfy the most emotionally malleable of filmgoers
with a smile that says , ` if i stay positive , maybe i can channel one of my greatest pictures , drunken master
suited to a quiet evening on pbs than a night out at an amc .
with spirit , purpose and emotionally bruised characters who add up to more than body count
others do n't ,
humble , teach and
never once predictable
increasingly amused
too-frosty exterior
jaw-dropping action sequences , striking villains , a gorgeous color palette
by an intelligent screenplay and gripping performances
few cheap shocks
still charming
the formula is familiar but enjoyable .
quirky road movie that constantly defies expectation
lets you brush up against the humanity of a psycho , without making him any less psycho .
it seems impossible that an epic four-hour indian musical about a cricket game could be this good , but it is
feel fully embraced by this gentle comedy
insulted
men in black ii achieves ultimate insignificance
's refreshing that someone understands the need for the bad boy
it will just as likely make you weep , and it will do so in a way that does n't make you feel like a sucker .
the movie does leave you marveling at these guys ' superhuman capacity to withstand pain
my mind kept returning to one anecdote for comparison : the cartoon in japan that gave people seizures .
swooning melodrama
stands still in more ways that one in clockstoppers , a sci-fi thriller as lazy as it is interminable
make a clear point
fertile
energetic and sweetly whimsical
but no-nonsense human beings they are and for the still-inestimable contribution they have made to our shared history
playful but highly studied and
it 's a crime movie made by someone who obviously knows nothing about crime
laudable
this overproduced piece of dreck
there is a beautiful , aching sadness to it all .
a keep - 'em - guessing plot and an affectionate take on its screwed-up characters
vibrance and
cute animals and
tells this very compelling tale with little fuss or noise
going on inside each trailer park you drive past -- even if it chiefly inspires you to drive a little faster
faux-urban
's most memorable about circuit
feels like very light errol morris , focusing on eccentricity but failing , ultimately , to make something bigger out of its scrapbook of oddballs
audiences are advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching ,
semi-amusing to watch robert deniro belt out `` when you 're a jet
its almost too-spectacular coastal setting distracts slightly from an eccentric and good-naturedly aimless story .
, all-over-the-map movie would be a lot better if it pared down its plots and characters to a few rather than dozens ... or if it were subtler ... or if it had a sense of humor .
a few gross-out comedies i 've been trying to forget
reassuring
with the visceral sensation of longing , lasting traces of charlotte 's web of desire and desperation
very talented but underutilized
extraordinary journalism
works more often than it does n't
skillfully assembled , highly polished and professional adaptation
with nary a glimmer of self-knowledge , ( crane ) becomes more specimen than character -- and auto focus remains a chilly , clinical lab report
a bland , obnoxious 88-minute infomercial for universal studios and its ancillary products ...
it 's just a movie that happens to have jackie chan in it .
good , hard-edged stuff , violent and a bit exploitative but also nicely done , morally alert and street-smart
foul-mouthed
sarah 's dedication to finding her husband seems more psychotic than romantic , and nothing in the movie makes a convincing case that one woman 's broken heart outweighs all the loss we witness .
the tale has turned from sweet to bittersweet , and when the tears come during that final , beautiful scene , they finally feel absolutely earned
particularly amateurish episode
failed jokes ,
's tough to watch
tragedies
a smart and funny , albeit sometimes superficial , cautionary tale of a technology in search
as with all ambitious films , it has some problems
a frustrating patchwork
like those d.w. griffith made in the early days of silent film
cheap , ludicrous attempt
deftly executed
hugh grant 's act is so consuming that sometimes it 's difficult to tell who the other actors in the movie are .
not even solondz 's thirst for controversy , sketchy characters and immature provocations can fully succeed at cheapening it .
chance to shine
to be somebody , and
is shrewd enough to activate girlish tear ducts does n't mean it 's good enough for our girls
would 've reeked of a been-there , done-that sameness .
sexual relationship
of the national lampoon film franchise , too long reduced to direct-to-video irrelevancy
for the film 's winning tone
the movie 's major and most devastating flaw is its reliance on formula , though , and it 's quite enough to lessen the overall impact the movie could have had .
the enjoyable undercover brother
is felt ; not the craven of ' a nightmare on elm street ' or ` the hills have eyes , ' but the sad schlock merchant of ` deadly friend
is not one of the movies you 'd want to watch if you only had a week to live
has all the sibling rivalry and general family chaos to which anyone can relate .
when you find yourself rooting for the monsters in a horror movie , you know the picture is in trouble .
worst films
ruined by amateurish writing and acting , while the third feels limited by its short running time
, they ca n't go wrong .
the film has the uncanny ability to right itself precisely when you think it 's in danger of going wrong .
the big-fisted direction of jez butterworth , who manages to blast even the smallest sensitivities from the romance with his clamorous approach
' the play more has partly closed it down .
, nonsensical and formulaic
sexy beast
, we need agile performers
entertainingly
tedious it makes the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian
the brawn , but not the brains
this might have been an eerie thriller
solidly
a farrelly brothers-style , down-and-dirty laugher
plays out ... like a high-end john hughes comedy , a kind of elder bueller 's time out .
's burns ' visuals , characters and his punchy dialogue , not his plot , that carry waydowntown .
's a bargain-basement european pickup .
inventive , consistently intelligent and sickeningly savage
conned
it 's kinda dumb .
video , and
beautiful , angry and sad , with a curious sick poetry , as if the marquis de sade
user-friendly
the performances elicit more of a sense of deja vu than awe
a very distinctive sensibility ,
a movie as artificial and soulless
broomfield 's style of journalism is hardly journalism at all , and
us to endure every plot contrivance that the cliché-riddled genre can offer
its predecessors proud
by mediocrity
keep it entertaining
is ) the comedy equivalent of saddam hussein , and i 'm just about ready to go to the u.n. and ask permission for a preemptive strike
's mildly sentimental , unabashedly consumerist ... studiously inoffensive and completely disposable .
done and perfectly
the action here is unusually tame , the characters are too simplistic to maintain interest ,
they do in this marvelous film
is simply not enough of interest onscreen to sustain its seventy-minute running time
feels more like an extended , open-ended poem than a traditionally structured story
the film rehashes several old themes and is capped with pointless extremes -- it 's insanely violent and very graphic .
rape-payback
of the pool with an utterly incompetent conclusion
a weak script that ca n't support the epic treatment
is more of an ordeal than an amusement .
, murder hits and generally sustains a higher plateau with bullock 's memorable first interrogation of gosling .
jiang wen 's devils on the doorstep is a wartime farce in the alternately comic and gut-wrenching style of joseph heller or kurt vonnegut .
like a drunken driver
... unbearably lame .
now it is a copy of a copy of a copy
the underworld urban angst is derivative of martin scorsese 's taxi driver and goodfellas , but this film speaks for itself .
are just too many characters saying too many clever things and getting into too many pointless situations
brings an irresistible blend of warmth and humor and a consistent embracing humanity in the face of life 's harshness .
less sense than the bruckheimeresque american action flicks it emulates
of hope
is an impressive achievement in spite of a river of sadness that pours into every frame .
this wretchedly unfunny wannabe comedy is inane and awful - no doubt , it 's the worst movie i 've seen this summer
a wretched movie that reduces the second world war to one man 's quest to find an old flame .
a raison d'etre that 's as fresh-faced as its young-guns cast
is , by itself , deserving of discussion
gives a superb performance full of deep feeling .
tackles the difficult subject of grief and loss with such life-embracing spirit that the theme does n't drag an audience down .
an accessible introduction
, but far more witty
this wedding
exceptional honesty
is more than a movie .
ugly-duckling
a fine job of updating white 's dry wit to a new age
mostly repetitive
the big screen postcard that is a self-glorified martin lawrence lovefest
the director 's many dodges and turns
the anthropomorphic animal characters are beautifully realized through clever makeup design , leaving one to hope that the eventual dvd release will offer subtitles and the original italian-language soundtrack
none of which ever seem to hit
while thurman and lewis give what can easily be considered career-best performances
are so unmemorable , despite several attempts at lengthy dialogue scenes ,
handily
it 's fun , wispy , wise and surprisingly inoffensive for a film about a teen in love with his stepmom .
dutifully pulling on heartstrings
( kline 's ) utterly convincing -- and deeply appealing -- as a noble teacher who embraces a strict moral code ,
an oscar-worthy performance
the bland songs
succeeds as a powerful look at a failure of our justice system .
kind of special
that 's unafraid to throw elbows when necessary
rush to the theater
end all chases
a fan
be mindless without being the peak of all things insipid
all its strange quirks
have failed
proficiently enough to trounce its overly comfortable trappings
director jay russell weighs down his capricious fairy-tale with heavy sentiment and lightweight meaning .
had the inclination to make the most sincere and artful movie in which adam sandler will probably ever appear
's virtually impossible to like any of these despicable characters .
is , in a word , brilliant
's not a spark of new inspiration in it , just more of the same , done with noticeably less energy and imagination .
most damning
force himself on people and into situations that would make lesser men run for cover
that the material is so second-rate
by the time the credits roll across the pat ending
serves as a workable primer for the region 's recent history , and would make a terrific 10th-grade learning tool
trapped and
enjoyed it just as much !
in any case , i would recommend big bad love only to winger fans who have missed her since 1995 's forget paris .
would be hard-pressed to find a movie with a bigger , fatter heart than barbershop .
elicits strong performances
good qualities
mainly because blanchett and ribisi compellingly tap into a spiritual aspect of their characters ' suffering
in this engaging film about two men who discover what william james once called ` the gift of tears
his life , his dignity and his music
looks great , has solid acting and a neat premise
disconcertingly
realism , crisp storytelling
supposed to feel funny and light
seemingly eternal running time to pique your interest , your imagination , your empathy or anything , really , save your disgust and your indifference
catches dramatic fire
broomfield has compelling new material but he does n't unveil it until the end , after endless scenes of him wheedling reluctant witnesses and pointing his camera through the smeared windshield of his rental car .
you feel like running out screaming
with a sharp script and strong performances
-- and not in a good way
been there , done that ... a thousand times already , and better .
sneaks up on the viewer
do you make a movie with depth about a man who lacked any ?
decorous
gets vivid performances
as my friend david cross would call it , ` hungry-man portions of bad '
a dashing and absorbing
that a decent draft in the auditorium might blow it off the screen
a buoyant , expressive flow
such high-wattage brainpower coupled with pitch-perfect acting and
the plot , and a maddeningly insistent and repetitive piano score that made me want to scream
by storm
, it 's pleasant enough and its ecological , pro-wildlife sentiments are certainly welcome .
, violent , self-indulgent and maddening
, payami graphically illustrates the problems of fledgling democracies , but also the strength and sense of freedom the iranian people already possess , with or without access to the ballot box .
no such thing is sort of a minimalist beauty and the beast , but in this case the beast should definitely get top billing .
to the french to truly capture the terrifying angst of the modern working man without turning the film into a cheap thriller , a dumb comedy or a sappy melodrama
assured in its execution
illuminated
poignant if familiar story of a young person
homogenized and a bit contrived
the rage and alienation that fuels the self-destructiveness of many young people
is about the people who live in them , who have carved their own comfortable niche in the world and have been kind enough to share it
producer john penotti
is one of those crazy , mixed-up films that does n't know what it wants to be when it grows up
smart to vary the pitch of his movie , balancing deafening battle scenes with quieter domestic scenes of women back home receiving war department telegrams
from being a total rehash
international acclaim
his self-inflicted retaliation
you enjoy more because you 're one of the lucky few who sought it out
p.t. anderson understands the grandness of romance
something , one that attempts and often achieves a level of connection and concern
surprised at the variety of tones in spielberg 's work
eludes madonna and , playing a charmless witch
fast-paced
of a film that does n't know what it wants to be
the story is lacking any real emotional impact , and the plot is both contrived and cliched
perceptive
's kinda dumb .
opens today
dead gorgeous
a powerful , chilling , and affecting study of one man 's dying fall .
there are entertaining and audacious moments
about sorority boys
feels like a book report
dull , inconsistent , dishonest
neither light nor magical enough to bring off this kind of whimsy
the most accomplished work
this rush to profits
to watch with kids and use to introduce video as art
the masses with star power , a pop-induced score and sentimental
of martha stewart decorating program run amok
by a natural sense for what works
unfortunately all the story gives us is flashing red lights , a rattling noise , and a bump on the head
directed the film from the back of a taxicab
the marvelous verdu
has a built-in audience , but only among those who are drying out from spring break
would anyone cast the magnificent jackie chan in a movie full of stunt doubles and special effects ?
zoe clarke-williams 's lackluster thriller `` new best friend '' , who needs enemies
sandler running on empty , repeating what he 's already done way too often
is a riot .
of demme 's good films
but ... in trying to capture the novel 's deeper intimate resonances , the film has -- ironically - distanced us from the characters .
they show a remarkable ability to document both sides of this emotional car-wreck .
structure and
drug-induced bowel
matter , but one whose lessons are well worth revisiting as many times as possible
does n't deliver a great story ,
soul-searching
is masterful .
a zippy 96 minutes of mediocre special effects , hoary dialogue , fluxing accents , and -- worst of all -- silly-looking morlocks
the work of a genuine and singular artist
's nowhere near as good as the original
really good premise
of a determined woman 's courage to find her husband in a war zone
just is n't worth telling
never rises to its clever what-if concept .
an empty shell of an epic rather than the real deal .
by the time the credits roll across the pat ending , a warm , fuzzy feeling prevails
you know there 's something there .
into a warmed over pastiche
wear thin
weighs down
promising debut
heaped upon a project of such vast proportions need to reap more rewards than spiffy bluescreen technique and stylish weaponry .
by the end of the flick , you 're on the edge of your seat
stunning film
a quaint , romanticized rendering .
that leaps over national boundaries and celebrates universal human nature
potty-mouthed
listless sci-fi comedy
combine the paranoid claustrophobia of a submarine movie with the unsettling spookiness of the supernatural -- why did n't hollywood think of this sooner ?
comic voice
with strange and wonderful creatures
the kind of ` laugh therapy ' i need from movie comedies
that there is nothing in it to engage children emotionally
, i was entranced .
but arriving at a particularly dark moment in history , it offers flickering reminders of the ties that bind us .
looks as though jay roach directed the film from the back of a taxicab
's that good
is a variant of the nincompoop benigni persona , here a more annoying , though less angry version of the irresponsible sandlerian manchild , undercut by the voice of the star of road trip
it looks as though jay roach directed the film from the back of a taxicab
, open-hearted film
sex on screen been so aggressively anti-erotic
is throwing up his hands in surrender , is firing his r&d people ,
everett remains a perfect wildean actor ,
about itself , a playful spirit and a game cast
choppy and sloppy
for all the wrong reasons besides .
so overwhelmed by its lack of purpose that it seeks excitement in manufactured high drama
to hand it to director george clooney for biting off such a big job the first time out
the best special effects
more revealing , more emotional and more surprising --
the urge to doze
amusing and engrossing
with alexandre desplat 's haunting and sublime music
its unerring respect
adds an almost constant mindset of suspense
virulent and foul-natured
watching these two actors play
their seats
's both sitcomishly predictable and cloying in its attempts to be poignant .
's a little violence and lots of sex in a bid to hold our attention
a true adaptation
admirable rigor
sweeping ,
of authentically impulsive humor
would have likely wound up a tnt original
the way chekhov is funny
rely on dumb gags , anatomical humor , or character cliches
-- sadly -- dull
the always hilarious meara and
, love , duty and friendship
, a ripping good yarn is told .
explosive physical energy and convincing intelligence
virtuosity
sympathizing
phony relationship
, poignant and leavened
what on earth is going on
a funny and well-contructed black comedy where the old adage `` be careful what you wish for '' is given a full workout .
a gorgeous film
major opportunity to be truly revelatory about his psyche
tara reid plays a college journalist ,
it marks him as one of the most interesting writer/directors working today .
's most substantial feature for some time .
powerful and deeply moving
this sensuous and spirited tale of a prim widow who finds an unlikely release in belly-dancing clubs
the touch is generally light enough
arbitrarily plotted
every visual joke is milked
sappy ethnic sleeper
facetious
new insight
straight-to-video movie
double-barreled rip-off
and drab wannabe
are intriguing and realistic
trumpet blast that there may be a new mexican cinema a-bornin ' . '
rather leaden and dull
child abuse
the trouble with making this queen a thoroughly modern maiden is that it also makes her appear foolish and shallow rather than , as was more likely , a victim of mental illness .
a movie more to be prescribed than recommended -- as visually bland as a dentist 's waiting room , complete with soothing muzak and a cushion of predictable narrative rhythms .
unless it happens to cover your particular area of interest
moral favorite
'll be wistful for the testosterone-charged wizardry of jerry bruckheimer productions , especially because half past dead is like the rock on a wal-mart budget
as an emotionally accessible , almost mystical work
that it does n't even qualify as a spoof of such
when the casting call for this movie went out , it must have read ` seeking anyone with acting ambition but no sense of pride or shame . '
its excellent use of new york locales and sharp writing
a woefully dull
avid interest
to the nonconformist in us all
the superficially written characters ramble
its old-hat set-up and
a solid , well-formed satire .
in praise of love ' is the director 's epitaph for himself