xiangpku/GLUE huggingface dataset:
is an absolute delight for all audiences
a thought-provoking and often-funny drama about isolation .
fairly straightforward
... had this much imagination and nerve
wilco fans will have a great time , and the movie should win the band a few new converts , too .
undeniably gorgeous , terminally
gentle and humane side
sad to say --
does n't quite
phony humility barely camouflaging grotesque narcissism
not very amusing
another day of brit cinema
of spare dialogue and acute expressiveness
even more reassuring
the result is more puzzling than unsettling
fails to provoke them
the storytelling instincts of a slightly more literate filmgoing audience
the `` soon-to-be-forgettable '' section
comes from spielberg , who has never made anything that was n't at least watchable
leaps over national boundaries
in mr. spielberg 's 1993 classic
's as rude and profane as ever , always hilarious and , most of the time , absolutely right
suffers from unlikable characters and a self-conscious sense of its own quirky hipness .
shows off a lot of stamina and vitality ,
you 're not deeply touched by this movie
who deserve more from a vampire pic than a few shrieky special effects
greasy little vidgame pit
kilt-wearing jackson
a subtle , humorous , illuminating study of politics , power and social mobility
of its actors
steals
truths emerge .
as dumb and cheesy
all the more compelling
to share his impressions of life and loss and time and art with us
pitch-perfect acting
its characters and its audience
mind : so why is this so boring ?
its empowerment
a bland murder-on-campus yawner .
pray has really done his subject justice .
odd but ultimately satisfying blend
major-league
light , silly , photographed with color and depth , and rather a good time .
quite good at providing some good old fashioned spooks .
a bright future ahead of him
to which it succeeds
craven endorses they simply because this movie makes his own look much better by comparison
painfully unfunny
come away with a sense of his reserved but existential poignancy
feels limited by its short running time
's just not very smart
8 crazy nights
needlessly confusing
if you can swallow its absurdities and crudities
the cast members , who seem bound and determined to duplicate bela lugosi 's now-cliched vampire accent
treads old turf
a tasty appetizer that leaves you wanting more .
one of the finest
made me unintentionally famous -- as the queasy-stomached critic who staggered from the theater and blacked out in the lobby
's a diverting enough hour-and-a-half for the family audience
turn a larky chase movie into an emotionally satisfying exploration of the very human need
film a must
the charm of the first movie is still there , and the story feels like the logical , unforced continuation of the careers of a pair of spy kids .
more spirit and bite
passionate enthusiasms
enlightened by any of derrida 's
this poor remake of such a well loved classic
to avoid noticing some truly egregious lip-non-synching
a terrifically entertaining specimen
are simultaneously buried , drowned and smothered in the excesses of writer-director roger avary .
an action movie with an action icon who 's been all but decommissioned
most famous
's easy to love robin tunney
most pitiful
vastly entertaining
its mind
dislikable study in sociopathy
give strong and convincing performances
when twentysomething hotsies make movies about their lives , hard-driving narcissism is a given
its star
perhaps the grossest movie ever made .
but toback 's deranged immediacy makes it seem fresh again .
as bad as you think ,
the resolutions
feels less like a change in ( herzog 's ) personal policy than a half-hearted fluke .
reveals how we all need a playful respite from the grind to refresh our souls .
clever and unflinching
be the movie you 're looking for
its gender politics , genre thrills
a sweet , honest , and enjoyable comedy-drama about a young woman who wants many things in life , but fears she 'll become her mother before she gets to fulfill her dreams
stripped almost entirely of such tools as nudity , profanity and violence , labute does manage to make a few points about modern man and his problematic quest for human connection .
accepting a 50-year-old in the role is creepy in a michael jackson sort of way .
take place indoors in formal settings with motionless characters .
little gem
bang your head on the seat in front of you , at its cluelessness ,
an unsettling sight , and indicative of his , if you will , out-of-kilter character , who rambles aimlessly through ill-conceived action pieces
a mystery devoid
crossroads is nothing more than an hour-and-a-half-long commercial for britney 's latest album
are reflected in almost every scene .
it 's weird , wonderful , and not necessarily for kids .
you 'll forget about it by monday , though
the movie 's ultimate point -- that everyone should be themselves -- is trite , but the screenwriter and director michel gondry restate it to the point of ridiculousness .
a listless and desultory affair
like mike is n't going to make box office money that makes michael jordan jealous
it 's also undeniably exceedingly clever
this overproduced piece of dreck is shockingly bad and absolutely unnecessary .
a bottom-feeder sequel
run-of-the-mill raunchy humor and
is worth a look for its true-to-life characters , its sensitive acting , its unadorned view of rural life and the subtle direction of first-timer hilary birmingham
... has about 3/4th the fun of its spry 2001 predecessor -- but it 's a rushed , slapdash , sequel-for-the-sake - of-a-sequel with less than half the plot and ingenuity .
could restage the whole thing in your bathtub .
essentially awkward version
was reading the minds of the audience
the rare movie
, it 's just one that could easily wait for your pay per view dollar .
episodic choppiness
reputedly `` unfilmable '' novels
represents a worthy departure from the culture clash comedies that have marked an emerging indian american cinema
as anything much more
it is a copy of a copy of a copy
enjoys the friday series
undone by howard 's self-conscious attempts
one of the movies you 'd want to watch if you only had a week to live
the success of undercover brother is found in its ability to spoof both black and white stereotypes equally .
haynes ( like sirk , but differently ) has transformed the rhetoric of hollywood melodrama into something provocative , rich , and strange .
reign of fire never comes close to recovering from its demented premise , but
is n't nearly as downbeat as it sounds , but strikes a tone that 's alternately melancholic , hopeful and strangely funny
supremely kittenish
the end result does no justice to the story itself
any film that does n't even in passing mention political prisoners , poverty and the boat loads of people who try to escape the country is less a documentary and more propaganda by way of a valentine sealed with a kiss .
do n't avert our eyes for a moment .
give life
less charming than listening to a four-year-old
cohesive story
movie-star intensity
to a love story risks trivializing it , though chouraqui no doubt intended the film to affirm love 's power to help people endure almost unimaginable horror .
nagging
an intellectual exercise
weighty and ponderous but every bit as filling as the treat of the title
a place in your heart
a devastating comic impersonation
that will capture the minds and hearts of many
a potent chemistry
the front ranks of china 's now numerous , world-renowned filmmakers
a philosophical emptiness and maddeningly sedate pacing
the sad schlock merchant
a disastrous ending
a remarkably alluring film set in the constrictive eisenhower era about one suburban woman 's yearning in the face of a loss that shatters her cheery and tranquil suburban life .
the source material movie
its true-to-life characters , its sensitive acting
a riveting story
, entertaining and , ultimately , more perceptive moment
is why film criticism can be considered work
slickest
of dreck
a clever script and skilled actors bring new energy to the familiar topic of office politics .
attempts to mine laughs
lies ... footage that might have made no such thing a trenchant , ironic cultural satire instead of a frustrating misfire .
positively
a scathing portrayal of a powerful entity strangling the life out
highly watchable stuff .
that this arrogant richard pryor wannabe 's routine is offensive , puerile and unimaginatively foul-mouthed if it was at least funny
mr. murray , a prolific director of music videos , stuffs his debut with more plot than it can comfortably hold .
witless ,
kung pow seems like some futile concoction that was developed hastily after oedekerk and his fellow moviemakers got through crashing a college keg party .
's a pleasure to have a film like the hours as an alternative .
brazenly misguided project
it makes your least favorite james bond movie seem as cleverly plotted as the usual suspects
take an entirely stale concept and push it through the audience 's meat grinder one more time
unifying rhythm
refreshingly realistic
may be captivated , as i was , by its moods , and by its subtly transformed star , and still wonder why paul thomas anderson ever had the inclination to make the most sincere and artful movie in which adam sandler will probably ever appear
an entertaining british hybrid
that was inexplicably rushed to the megaplexes before its time
report card : does n't live up to the exalted tagline - there 's definite room for improvement .
piccoli gives a superb performance full of deep feeling .
she deftly spins the multiple stories in a vibrant and intoxicating fashion
forced to watch him try out so many complicated facial expressions
dreadfully
metropolis you hate to tear your eyes away from the images long enough to read the subtitles
seem deceptively slight
the guys still feels counterproductive
life , hand gestures ,
for people who make movies and watch them
the saddest action hero performances ever witnessed
of the year 's best
bravado kathy !
is a unique , well-crafted psychological study of grief
shenanigans and slapstick
not much else
this is a fudged opportunity of gigantic proportions -- a lunar mission with no signs of life .
best didacticism
whipping out the dirty words
's a scorcher .
really sets the film apart is debrauwer 's refusal to push the easy emotional buttons
above much of the director 's previous popcorn work
the movie has enough vitality to justify the notion of creating a screen adaptation of evans ' saga of hollywood excess .
remember back when thrillers actually thrilled
, i assign one bright shining star to roberto benigni 's pinocchio -- but i guarantee that no wise men will be following after it .
misanthropic
a satisfying complete picture of this particular , anciently demanding métier
by a bravura performance
permitting its characters more than two obvious dimensions and repeatedly placing them in contrived , well-worn situations
arty and jazzy
original is its content , look , and style
, son of the bride becomes an exercise in trying to predict when a preordained `` big moment '' will occur and not `` if . ''
is a bad mannered , ugly and destructive little ****
in ireland over a man
that he refuses to evaluate his own work
pity anyone who sees this
building to a laugh riot
is a copy of a copy of a copy
predictably soulless techno-tripe .
peevish and
so sloppy , so uneven ,
should be required viewing for civics classes and would-be public servants alike .
the best script that besson has written in years
dismiss -- moody ,
that are jarring and deeply out of place in what could have ( and probably should have ) been a lighthearted comedy
a mostly magnificent directorial career , clint eastwood 's efficiently minimalist style
may not mark mr. twohy 's emergence into the mainstream
up walking out not only satisfied but
like cold porridge with only the odd enjoyably chewy lump
got to be a more graceful way of portraying the devastation of this disease
i could just skip it
sixties-style slickness
to let this morph into a typical romantic triangle
you can taste it , but there 's no fizz
( stevens is ) so stoked to make an important film about human infidelity and happenstance that he tosses a kitchen sink onto a story already overladen with plot conceits .
a perfectly pleasant if slightly pokey comedy
koury frighteningly and honestly exposes
of `` his girl friday , '' maintaining a light touch while tackling serious themes
kinetic enough to engross even the most antsy youngsters
like a powerful 1957 drama we 've somehow never seen before
clever dialogue and likeable characters
to entertain or inspire its viewers
of its seas of sand to the fierce grandeur of its sweeping battle scenes
to compensate for the paper-thin characterizations and facile situations
do n't really care too much about this love story
, some things are immune to the folly of changing taste and attitude .
all of dean 's mannerisms and self-indulgence , but
worst -- and only --
the toughest ages a kid can go through
will strike a chord with anyone who 's ever
spielberg 's picture is smarter and subtler than ( total recall and blade runner ) , although its plot may prove too convoluted for fun-seeking summer audiences .
passion and pretence
as satisfyingly odd and intriguing a tale as it was a century and a half ago ... has a delightfully dour , deadpan tone and stylistic consistency .
a fascinating , dark thriller that keeps you
italian pinocchio
freaky friday , '' it 's not .
... may put off insiders and outsiders alike .
yielded such a flat , plodding picture
barely shocking ,
takes care with the characters , who are so believable that you feel what they feel
critical and commercial disaster
peter jackson and company once again dazzle and delight us
that turns out to be clever , amusing and unpredictable
an appalling , odoriferous thing ... so
you get back to your car in the parking lot
is thought-provoking
smart , funny
the first mistake , i suspect , is casting shatner as a legendary professor and kunis as a brilliant college student -- where 's pauly shore as the rocket scientist ?
marks to take on any life of its own
feral and uncomfortable
all three descriptions suit evelyn , a besotted and obvious drama that tells us nothing new .
's insecure in lovely and amazing , a poignant and wryly amusing film about mothers , daughters and their relationships
comes from the brave , uninhibited performances by its lead actors .
uneven but a lot of fun .
how so many talented people were convinced to waste their time
, what makes the movie fresh
there is little question that this is 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 .
guess a space station in the year 2455 can be crossed off the list of ideas for the inevitable future sequels ( hey , do n't shoot the messenger )
astonishing is n't the word --
its recycled aspects , implausibility , and
a stiff
at in metropolis you hate to tear your eyes away from the images long enough to read the subtitles
really a true
about the best thing you could say about narc is that it 's a rock-solid little genre picture .
filled with raw emotions
can tell almost immediately that welcome to collinwood is n't going to jell .
preserving
does n't have the necessary self-control to guide a loose , poorly structured film through the pitfalls of incoherence and redundancy
inspiring , ironic , and revelatory of just
compassionately portrayed
satisfying conclusions
is far less mature , interpreting the play as a call for pity and sympathy for anachronistic phantasms haunting the imagined glory of their own pasts .
, it succeeds as a powerful look at a failure of our justice system .
is essentially juiceless .
is left with the inescapable conclusion that hitchens ' obsession with kissinger is , at bottom , a sophisticated flower child 's desire to purge the world of the tooth and claw of human power
founders on its own preciousness -- and squanders its beautiful women .
a contest to see who can out-bad-act the other
skit-com material fervently deposited on the big screen .
there 's no point of view , no contemporary interpretation of joan 's prefeminist plight , so
bad , bad , bad movie
have n't seen such self-amused trash since freddy got fingered
a light , engaging comedy that fumbles away almost all of its accumulated enjoyment with a crucial third act miscalculation .
it is a kind , unapologetic , sweetheart of a movie ,
with music and laughter
overmanipulative hollywood practices
a delightful stimulus for the optic nerves
distinguished and
with such fury
is just as obvious as telling a country skunk that he has severe body odor .
herzog simply runs out of ideas
drama .
`` bad '' is the operative word for `` bad company , '' and
another boorish movie from the i-heard-a-joke - at-a-frat-party school of screenwriting .
naturally funny film
should be probing why a guy with his talent ended up in a movie this bad .
is exceedingly pleasant , designed not to offend .
ugly ideas
's as comprehensible as any dummies guide , something even non-techies can enjoy .
you were n't invited to the party
animated thoughts
ambiguities that make it well worth watching
flails limply between bizarre comedy and pallid horror .
distance it from the pack of paint-by-number romantic comedies
it 's hard not to be carried away
be more than another `` best man '' clone by weaving a theme throughout this funny film
surprisingly charming and even witty
grotesque
almost humdrum approach
in an intricate plot
both heartbreaking and heartwarming
victims
its unflinching gaze a measure of faith in the future
even more important
big splash
is truly funny ,
surrender $ 9
full of detail
this remake of lina wertmuller 's 1975 eroti-comedy might just be the biggest husband-and-wife disaster since john and bo derek made the ridiculous bolero
is a dud -- a romantic comedy that 's not the least bit romantic and only mildly funny .
some deft ally mcbeal-style fantasy sequences
nothing else happening
manages to do all three quite well , making it one of the year 's most enjoyable releases
this well-meaning , beautifully produced film
be lying if i said my ribcage did n't ache by the end of kung pow
is still worth hearing .
preaching message
be familiar
martin is a masterfully conducted work .
to watch witherspoon 's talents wasting away inside unnecessary films like legally blonde and sweet home abomination , i mean , alabama
it 's been 13 months and 295 preview screenings since i last walked out on a movie ,
romantic/comedy asks the question how much souvlaki can you take before indigestion sets in .
is just the sort for those moviegoers who complain that ` they do n't make movies like they used to anymore .
by an astonishing voice cast ( excepting love hewitt ) , an interesting racial tension , and a storyline
, artificial and opaque
paul thomas anderson ever had the inclination to make the most sincere and artful movie in which adam sandler will probably ever appear
of honest working folk
will be adequately served by the movie 's sophomoric blend of shenanigans and slapstick , although the more lascivious-minded might be disappointed in the relative modesty of a movie that sports a ` topless tutorial service . '
more psychotic than romantic
solid action pic
that it is instead a cheap cliché
humorous and heartfelt
that turns me into that annoying specimen of humanity that i usually dread encountering the most - the fanboy
the direction has a fluid , no-nonsense authority , and
cute factor
that this likable movie is n't more accomplished
the rare capability to soothe and break your heart with a single stroke
the underworld urban angst is derivative of martin scorsese 's taxi driver and goodfellas , but this film speaks for itself
masquerade ball where normally good actors , even kingsley , are made to look bad .
liberating ability
trademark grin
and , perhaps paradoxically , illuminated
a soulful , incisive meditation
soars every bit as high
the genuine ones barely register
accomplishes so much that one viewing ca n't possibly be enough
its hawaiian setting , the science-fiction trimmings and some moments of rowdy slapstick
misconceived
are the greatest musicians of all time
of the long list of renegade-cop tales
powerful and moving
classic cinema served up with heart and humor
the stale , standard , connect-the-dots storyline which has become commonplace in movies that explore the seamy underbelly of the criminal world
makes for unexpectedly giddy viewing .
would be a welcome improvement
extra-large cotton candy
alternative housing options
throbbing sincerity
like a docu-drama but builds its multi-character story with a flourish .
of stupefying absurdity
fetishistic violence
but boilerplate clichés
a thoroughly awful movie -- dumb , narratively chaotic , visually sloppy ... a weird amalgam of ` the thing ' and a geriatric ` scream . '
green dragon seem more like medicine than entertainment
but dull and ankle-deep
good sources ,
profane
hollywood satire
left me
is why i have given it a one-star rating .
as it is flawed
an example of the kind of lush , all-enveloping movie experience it rhapsodizes
a summer-camp talent show : hastily written
a derivative collection
fans will undoubtedly enjoy it , and
is a story that zings all the way through with originality , humor and pathos
's as fresh-faced as its young-guns cast
will have completely forgotten the movie by the time you get back to your car in the parking lot .
social and political potential
this vapid vehicle is downright doltish and uneventful
there is an interesting story of pointed personalities , courage , tragedy and the little guys vs. the big guys
a poem of art , music and metaphor
when the tears come during that final , beautiful scene , they finally feel absolutely earned
, he can not overcome the sense that pumpkin is a mere plot pawn for two directors with far less endearing disabilities .
freshness , imagination and insight
it is disposable .
its true-to-life characters , its sensitive acting ,
is the kathie lee gifford of film directors , sadly proving once again ego does n't always go hand in hand with talent .
to make a classic theater piece
have made a remarkable film that explores the monster 's psychology not in order to excuse him but rather to demonstrate that his pathology evolved from human impulses that grew hideously twisted .
irresistibly than in ` baran
you snore
is , also , frequently hilarious
jones has tackled a meaty subject and drawn engaging characters while peppering the pages with memorable zingers .
you feel what they feel
the improperly hammy performance from poor stephen rea
poignant
come away from his film overwhelmed , hopeful and , perhaps paradoxically , illuminated
aimed mainly at little kids but with plenty of entertainment value to keep grown-ups from squirming in their seats .
so many talented people could participate in such an
a heartbreakingly thoughtful minor classic ,
, proves it 's never too late to learn .
arriving at a particularly dark moment in history , it offers flickering reminders of the ties that bind us .
in the simple telling , proves simultaneously harrowing and uplifting
is like having two guys yelling in your face for two hours
fascinate me
, `` mib ii '' succeeds due to its rapid-fire delivery and enough inspired levity that it ca n't be dismissed as mindless .
this is rote spookiness , with nary an original idea ( or role , or edit , or score , or anything , really ) in sight , and
`` one look at a girl in tight pants and big tits and you turn stupid ? ''
, most humane and important holocaust movies ever made .
interesting both as a historical study and as a tragic love story
like real life
a buoyant delivery
regret , love , duty and friendship
a low-rent retread
overstylized
must indeed
embarrassment .
b +
a string of exotic locales
lurks just below the proceedings and
disturbance
-- and especially williams , an american actress who becomes fully english --
look at morality , family , and social expectation through the prism of that omnibus tradition called marriage
get an ugly , mean-spirited lashing out by an adult who 's apparently been forced by his kids to watch too many barney videos .
it remains brightly optimistic , coming through in the end