xiangpku/GLUE huggingface dataset:
pretty watchable
a japan bustling
one of the few ` cool ' actors who never seems aware of his own coolness
fiercely clever and subtle
is an object lesson in period filmmaking
the worst titles in recent cinematic history
great over-the-top moviemaking if you 're in a slap-happy mood
in the not-too-distant future , movies like ghost ship will be used as analgesic balm for overstimulated minds .
that hardly distinguish it from the next teen comedy
some interesting storytelling devices
engaging fantasy
as bad as you think
is a film that manages to find greatness in the hue of its drastic iconography .
is trite
has that rare quality of being able to creep the living hell out of you
an acting bond that makes the banger sisters a fascinating character study with laughs to spare
if that does n't clue you in that something 's horribly wrong
be , by its art and heart , a necessary one
self-deprecating , biting and witty feature
layer upon layer of action man cliché atop wooden dialogue and a shifting tone that falls far short of the peculiarly moral amorality of ( woo 's ) best work
power to help people endure almost unimaginable horror
routine stuff yuen
vile , incoherent mess
while cleverly worked out
is one of the most repellent things to pop up in a cinematic year already littered with celluloid garbage
plot lapses
smartly and
like a true star
of intelligence or invention
so with an artistry that also smacks of revelation
the predominantly amateur cast is painful to watch , so stilted and unconvincing
material realm
of filmmaking with an assurance worthy of international acclaim
, the project should have been made for the tube .
, featuring an oscar-worthy performance by julianne moore .
signature style
zings all the way
pan nalin 's exposition is beautiful and mysterious
smacks of exhibitionism more than it does cathartic truth telling
( t ) he script is n't up to the level of the direction
hugely entertaining and
to the integrity and vision of the band
a little more special
nothing good can happen
cantet beautifully illuminates what it means sometimes to be inside looking out , and at other times outside looking in .
is , in a word , brilliant as the conflicted daniel .
uninspired preachy and clichéd
wears
deeply unpleasant
the only thing avary seems to care about
a fast-moving and cheerfully simplistic 88 minutes of exaggerated action
i think even fans of sandler 's comic taste may find it uninteresting
maintains a surprisingly buoyant tone throughout , notwithstanding some of the writers ' sporadic dips
everybody else is in the background and it just seems manufactured to me and artificial
the film 's gamble to occasionally break up the live-action scenes with animated sequences pays off , as does its sensitive handling of some delicate subject matter .
sustain laughs
mannerisms and self-indulgence
is a tribute not only to his craft , but to his legend
made every effort to disguise it as an unimaginative screenwriter 's invention
, bombastic and ultimately empty world war ii action
has a fluid , no-nonsense authority
you go into the theater expecting a scary , action-packed chiller
girl-meets-girl romantic comedy
the rare movie that 's as crisp and to the point as the novel on which it 's based .
witty and sophisticated
more than make up for its logical loopholes , which fly by so fast there 's no time to think about them anyway .
intermittently hilarious
second helpings of love , romance , tragedy , false dawns , real dawns , comic relief
probably the best case for christianity since chesterton and lewis .
becomes lifeless and
to some talented performers
a conventional thriller evolves into a gorgeously atmospheric meditation on life-changing chance encounters
it appears to have been made by people to whom the idea of narrative logic or cohesion is an entirely foreign concept .
itself is about something very interesting and odd that
guest appearance
it 's a pedestrian , flat drama that screams out ` amateur ' in almost every frame .
an inelegant combination of two unrelated shorts that falls far short of the director 's previous work in terms of both thematic content and narrative strength .
hart 's war seems to want to be a character study , but apparently ca n't quite decide which character .
is thought-provoking .
its `` dead wife communicating from beyond the grave '' framework is even remotely new or interesting
has a few nice twists in a standard plot and the charisma of hugh grant and sandra bullock .
we 're drawn in by the dark luster .
terribly episodic and
gets an exhilarating new interpretation in morvern callar .
the empty stud knockabout of equilibrium
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 .
during which you want to bang your head on the seat in front of you , at its cluelessness , at its idiocy , at its utterly misplaced earnestness
it wears you down like a dinner guest showing off his doctorate
this story gets sillier , not scarier , as it goes along ...
can actually feel good
some weird masterpiece theater sketch with neither
wilson and murphy
a pretty funny movie , with most of the humor coming , as before , from the incongruous but chemically perfect teaming of crystal and de niro .
a-list players
made the full monty a smashing success ...
wooden delivery
it , offering fine acting moments and pungent
reign of fire is hardly the most original fantasy film ever made
propels
draggy
transcends ethnic lines
rapturous
run out of clever ideas and visual gags
he goes out into public , to avoid being recognized as the man who bilked unsuspecting moviegoers
robert harmon 's less-is-more approach delivers real bump-in - the-night chills -- his greatest triumph is keeping the creepy crawlies hidden in the film 's thick shadows .
warmth to go around , with music and laughter and the love of family
one of the best gay love stories ever made
crafted but ultimately hollow mockumentary .
with we were soldiers , hollywood makes a valiant attempt to tell a story about the vietnam war before the pathology set in .
seem smart and well-crafted in comparison
lawrence should stick to his day job .
boring , self-important stories
a refreshingly realistic , affectation-free
its pathos-filled but ultimately life-affirming finale
, he 's unlikely to become a household name on the basis of his first starring vehicle .
scattered
find an enthusiastic audience among american action-adventure buffs , but the film 's interests
swooning elegance
deep as a petri dish
, it 's nowhere near as good as the original .
viscerally exciting
's nowhere near
leads up to a strangely sinister happy ending
a stirring , funny and
it 's because there 's no discernible feeling beneath the chest hair
this indie flick never found its audience , probably because it 's extremely hard to relate to any of the characters .
well , jason 's gone to manhattan and hell
still eludes madonna and , playing a charmless witch
mostly works because of the universal themes , earnest performances ... and excellent use of music by india 's popular gulzar and jagjit singh .
a tremendous piece of work
relentlessly saccharine
a handsome but unfulfilling suspense drama more
really gives the film its oomph
the screenwriters eventually shoot themselves in the feet with cop flick cliches like an oily arms dealer , squad car pile-ups and the requisite screaming captain
a waterlogged version of ` fatal attraction ' for the teeny-bopper set ... a sad , soggy potboiler that wastes the talents of its attractive young leads .
cinematic intoxication , a wildly inventive mixture of comedy and melodrama , tastelessness and swooning elegance
silly summer entertainment
those who are only mildly curious , i fear , will be put to sleep or bewildered by the artsy and often pointless visuals .
is a funny , puzzling movie ambiguous enough to be engaging and oddly moving
goes easy on the reel/real world dichotomy that ( jaglom ) pursued with such enervating determination in venice/venice .
, david caesar has stepped into the mainstream of filmmaking with an assurance worthy of international acclaim and with every cinematic tool well under his control -- driven by a natural sense for what works on screen .
rich and intelligent film
brings a tragic dimension and savage full-bodied wit and cunning to the aging sandeman
may be lovely
its broad racial insensitivity
feels more like the pilot episode of a tv series than a feature film
, there 's a certain robustness to this engaging mix of love and bloodletting .
shock and amaze
it were , well , more adventurous
mimics everyone and everything
just consider what new best friend does not have , beginning with the minor omission of a screenplay .
you feel that you never want to see another car chase , explosion or gunfight again
more accurately , it 's moving
making a farrelly brothers-style , down-and-dirty laugher for the female
( a ) satisfying niblet
engages
fights a good fight on behalf of the world 's endangered reefs
the film has in kieran culkin a pitch-perfect holden .
curiosity factors
depressed fifteen-year-old 's
, incoherent , instantly disposable
provides more than enough sentimental catharsis for a satisfying evening at the multiplex
can easily imagine benigni 's pinocchio becoming a christmas perennial .
boring despite the scenery
clever and unflinching in its comic barbs , slap her is a small but rewarding comedy that takes aim at contemporary southern adolescence and never lets up .
you 'll enjoy this movie .
disappointed by a movie
a guy dressed as a children 's party clown gets violently gang-raped
as you watch them clumsily mugging their way through snow dogs
birthday girl walks a tricky tightrope between being wickedly funny and just plain wicked .
one terrific score and
michele 's spiritual quest is neither amusing nor dramatic enough to sustain interest
pinochet
shreve 's graceful dual narrative
hard to imagine anyone managing to steal a movie not only from charismatic rising star jake gyllenhaal but also from accomplished oscar winners susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb
's a very very strong `` b + . ''
amused and entertained by the unfolding of bielinsky 's cleverly constructed scenario ,
is high on squaddie banter
is highly pleasurable .
life affirming and heartbreaking , sweet without the decay factor ,
one in clockstoppers , a sci-fi thriller as lazy as it is interminable
the documentary is much too conventional -- lots of boring talking heads , etc. -- to do the subject matter justice .
was n't a good movie
is very much of a mixed bag , with enough negatives
is a masterfully conducted work
that constantly defies expectation
you 'll find in this dreary mess .
the unmistakable stamp of authority
it would be like to be smack in the middle of a war zone armed with nothing but a camera
a rude black comedy about the catalytic effect a holy fool has upon those around him in the cutthroat world of children 's television .
beautiful ,
the artwork is spectacular and
to sit still for two hours and change watching such a character , especially when rendered in as flat and impassive a manner as phoenix 's
humorous observations
nifty plot line
strongest and most touching movie of recent years
ca n't save it
comes the first lousy guy ritchie imitation .
tear their eyes away from the screen
this dumas adaptation entertains
i can imagine this movie as a b & w british comedy , circa 1960 , with peter sellers , kenneth williams , et al. , but at this time , with this cast , this movie is hopeless
is like cold porridge with only the odd enjoyably chewy lump
whiny and
only to keep letting go at all the wrong moments
most practiced
intolerant
should have gone straight to video .
though it was written for no one , but somehow
sexual and romantic tension
merchandised-to-the-max
in which the script and characters hold sway
one of the more glaring signs of this movie 's servitude to its superstar
emotional conviction
is : ` scooby ' do n't .
getting tired of the whole slo-mo , double-pistoled , ballistic-pyrotechnic hong kong action aesthetic
would be a toss-up between presiding over the end of cinema as we know it and another night of delightful hand shadows .
its characters , weak and strong
small in scope ,
majidi shoe-loving
a movie that harps on media-constructed ` issues ' like whether compromise is the death of self ... this orgasm ( wo n't be an ) exceedingly memorable one for most people .
a depressing experience
an absolute delight
a solidly constructed , entertaining thriller that stops short of true inspiration
nurses plot holes gaping enough to pilot an entire olympic swim team through
bad direction and bad acting
their place in the world
mr. deeds '' is suitable summer entertainment that offers escapism without requiring a great deal of thought .
satisfying complete
the sort for those moviegoers who complain that ` they do n't make movies like they used to anymore
cliched and contrived that it makes your least favorite james bond movie seem as cleverly plotted as the usual suspects
it will be ,
lets you brush up against the humanity of a psycho ,
is that the filmmakers and studio are brazen enough to attempt to pass this stinker off as a scary movie
the action quickly sinks into by-the-numbers territory .
, but wanes in the middle
insensitivity
, find an escape clause and avoid seeing this trite , predictable rehash .
was put through torture for an hour and a half
and altogether creepy
as a nifty plot line in steven soderbergh 's traffic fails to arrive at any satisfying destination
the always hilarious meara
plot holes sink this ` sub '
come from a family that eats , meddles , argues , laughs , kibbitzes and fights together
is without intent .
gets vivid , convincing performances from a fine cast , and generally keeps things going at a rapid pace , occasionally using an omniscient voice-over narrator in the manner of french new wave films
his charming 2000 debut shanghai noon
it pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators
's really wrong with this ricture !
from burkina faso
joyless , idiotic , annoying , heavy-handed ,
unabashedly romantic picture
it 's a funny no-brainer
one of those movies that catches you up in something bigger than yourself , namely , an archetypal desire to enjoy good trash every now and then .
a dark-as-pitch comedy
has the air of a surprisingly juvenile lark , a pop-influenced prank whose charms are immediately apparent and wear thin with repetition .
is ultimately scuttled by a plot that 's just too boring and obvious
this region and
for quality and a nostalgic , twisty yarn that will keep them guessing
nicholson 's goofy , heartfelt , mesmerizing king lear
itself is actually quite vapid .
... less a story than an inexplicable nightmare , right down to the population 's shrugging acceptance to each new horror .
, trouble every day is a plodding mess .
needless chase scenes and swordfights as the revenge unfolds
with all its flaws
it may be a no-brainer , but at least it 's a funny no-brainer .
a terrific screenplay and fanciful direction
's what makes their project so interesting
got to love a disney pic with as little cleavage as this one has , and a heroine as feisty and principled as jane
adults , other than the parents ... will be hard pressed to succumb to the call of the wild .
's rare for any movie to be as subtle and touching as the son 's room .
intelligent , realistic portrayal
funnier than being about something
a film that is part biography , part entertainment and part history
is that rare combination of bad writing , bad direction and bad acting -- the trifecta of badness .
other feel-good fiascos like antwone fisher or
convincing way
into too many pointless situations
... is so intimate and sensual and funny and psychologically self-revealing that it makes most of what passes for sex in the movies look like cheap hysterics .
a sentimental mess that never
the young stars are too cute ; the story and ensuing complications are too manipulative ; the message is too blatant ; the resolutions are too convenient
stale retread of the '53 original
trial movie
starts making water torture seem appealing
is a canny crowd pleaser , and the last kiss ... provides more than enough sentimental catharsis for a satisfying evening at the multiplex
the perkiness of witherspoon ( who is always a joy to watch , even when her material is not first-rate )
servicable world war ii drama
the beautifully choreographed kitchen ballet
rodrigues 's
are too obvious
walked out muttering words like `` horrible '' and `` terrible , '' but had so much fun dissing the film that they did n't mind the ticket cost
an accessible introduction as well as
an energetic , violent movie
than a more measured or polished production ever could
a stirring visual sequence like a surge through swirling rapids or a leap from pinnacle to pinnacle rouses us .
's more enjoyable than i expected , though
wonderfully funny moments
i just saw this movie ... well , it 's probably not accurate to call it a movie
of fresh air
, resistance and artistic transcendence
funny ( sometimes hilarious )
the tv movie-esque , affected child acting to the dullest irish pub scenes ever filmed
fluffy neo-noir hiding behind cutesy film references .
be some sort of credible gender-provoking philosophy submerged here , but who the hell cares
agenda to deliver awe-inspiring , at times sublime , visuals
too indulgent
hard-core slasher aficionados will find things to like ... but overall the halloween series has lost its edge .
a fairly impressive debut
the best ensemble casts of the year
what made old-time b movies good-bad that makes eight legged freaks a perfectly entertaining summer diversion
shines through every frame .
at every opportunity to do something clever
a younger lad
much to recommend the film
the stuff of high romance , brought off with considerable wit
this interminable , shapeless documentary about the swinging subculture
a cutesy romantic tale
uplifting , funny and wise
detract from the affection of that moral favorite
... an hour-and-a-half of inoffensive , unmemorable filler .
as little cleavage
prolonged and boring
confrontations
fumbles away almost all of its accumulated enjoyment with a crucial third act miscalculation
the movie is concocted and carried out by folks worthy of scorn , and
a rather unique approach to documentary
like most of jaglom 's films , some of it is honestly affecting , but more of it seems contrived and secondhand
this fascinating -- and timely -- content comes wrapped
's also nice to see a movie with its heart so thoroughly
( improvised over many months ) and for conveying the way tiny acts of kindness make ordinary life survivable
with a sensitivity
for almost the first two-thirds of martin scorsese 's 168-minute gangs of new york
capture the minds and hearts of many
offensive and redundant
caught up in the rush of slapstick thoroughfare
memorable directorial debut
do n't know why steven seagal is considered a star , nor why he keeps being cast in action films when none of them are ever any good or make any money .
comes together to create a very compelling , sensitive , intelligent and almost cohesive piece of film entertainment
soulless
thinking someone made off with your wallet
an affluent damsel in distress who decides to fight her bully of a husband
the rich performances by friel -- and especially williams , an american actress who becomes fully english -- round out the square edges .
dramatic enough to sustain interest
it 's a very very strong `` b + . ''
just enough sweet and traditional romantic comedy to counter the crudity
on the santa clause 2
if you are in the mood for an intelligent weepy , it can easily worm its way into your heart . '
despite juliet stevenon 's attempt to bring cohesion to pamela 's emotional roller coaster life , it is not enough to give the film the substance it so desperately needs .
, xxx is a blast of adrenalin ,
the emotion or timelessness of disney 's great past
its essential problem
starts as a tart little lemon drop of a movie and ends up as a bitter pill .
an inexplicable nightmare ,
a fast-moving and cheerfully simplistic
may be burns 's strongest film since the brothers mcmullen .
a dramatic comedy as pleasantly dishonest and pat as any hollywood fluff .
playful paranoia
one of the finest , most humane and important holocaust movies ever made .
of softheaded metaphysical claptrap
grievous but obscure
enjoy yourselves without feeling conned
a schmaltzy , by-the-numbers romantic comedy , partly a shallow rumination on the emptiness of success -- and entirely soulless .
enjoyed as a work of fiction inspired by real-life events
worked wonders with the material
the lady and the duke something of a theatrical air
a fascinating , bombshell documentary that should shame americans , regardless of whether or not ultimate blame finally lies with kissinger .
inconsistent , dishonest
are what makes it worth the trip to the theater .
the most brilliant and brutal uk crime film since jack carter went back to newcastle , the first half of gangster no. 1 drips with style and , at times , blood .
good music
thematic resonance
winning actresses ( and one academy award winning actor ) succumb to appearing in this junk that 's tv sitcom material at best
skip this turd
thinking the only reason to make the movie is because present standards allow for plenty of nudity
every visual joke is milked , every set-up obvious and lengthy ,
pretentious .
coarse , cliched and clunky , this trifling romantic comedy in which opposites attract for no better reason than that the screenplay demands it squanders the charms of stars hugh grant and sandra bullock .
a sham construct based on theory , sleight-of-hand , and ill-wrought hypothesis .
to attempt to pass this stinker off as a scary movie
high drama
appeal beyond being a sandra bullock vehicle or a standard romantic comedy
an ode to unconditional love and compassion garnered from years of seeing it all , a condition only the old are privy to , and ... often misconstrued as weakness
gorgeous to look at but insufferably tedious and turgid ... a curiously constricted epic
tom tykwer , director of the resonant and sense-spinning run lola run
horribly depressing and not
a moving and weighty depiction of one family 's attempts to heal after the death of a child .
this quality band may pick up new admirers
demanding regular shocks and bouts of barely defensible sexual violence to keep it interested
this humbling little film , fueled by the light comedic work of zhao benshan and the delicate ways of dong jie , is just the sort for those moviegoers who complain that ` they do n't make movies like they used to anymore . '
a superior moral tone
over the years , 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 .
convoluted
pointless meditation on losers in a gone-to-seed hotel .
a unique culture
manages for but a few seconds
be a good match of the sensibilities of two directors
it will make you wish you were at home watching that movie instead of in the theater watching this one .
's a fairy tale that comes from a renowned indian film culture that allows americans to finally revel in its splendor .
a therapeutic zap of shock treatment
the slapstick is labored
your children will be occupied for 72 minutes .
difficult to conceive of anyone who has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny
she gradually makes us believe she is kahlo
the cracked lunacy of the adventures of buckaroo banzai , but thanks to an astonishingly witless script
filmmaker stacy peralta has a flashy editing style that does n't always jell with sean penn 's monotone narration
, the new thriller proves that director m. night shyamalan can weave an eerie spell and that mel gibson can gasp , shudder and even tremble without losing his machismo .
of the best-sustained ideas i have ever seen on the screen
is better than you might think
the pacing is often way off and
biggest names
cynical creeps
a more credible script
-- sometimes tedious --
earnest