xiangpku/GLUE huggingface dataset:
it 's too bad that the helping hand he uses to stir his ingredients is also a heavy one .
yes , dull .
some of their jokes work , but most fail miserably and in the end , pumpkin is far more offensive than it is funny .
intriguing documentary which is emotionally diluted by focusing on the story 's least interesting subject .
shaky close-ups of turkey-on-rolls , stubbly chins , liver spots , red noses and the filmmakers new bobbed do draw easy chuckles but lead nowhere .
the inspirational screenplay by mike rich covers a lot of ground , perhaps too much , but ties things together , neatly , by the end .
ramsay , as in ratcatcher , remains a filmmaker with an acid viewpoint and a real gift for teasing chilly poetry out of lives and settings that might otherwise seem drab and sordid .
the characters are interesting and often very creatively constructed from figure to backstory .
so unremittingly awful that labeling it a dog probably constitutes cruelty to canines .
reggio 's continual visual barrage is absorbing as well as thought-provoking .
adults will wish the movie were less simplistic , obvious , clumsily plotted and shallowly characterized .
you will emerge with a clearer view of how the gears of justice grind on and the death report comes to share airtime alongside the farm report .
thanks to haynes ' absolute control of the film 's mood , and buoyed by three terrific performances , far from heaven actually pulls off this stylistic juggling act .
the problem with this film is that it lacks focus .
belongs to daniel day-lewis as much as it belongs to martin scorsese ; it 's a memorable performance in a big , brassy , disturbing , unusual and highly successful film .
involves two mysteries -- one it gives away and the other featuring such badly drawn characters that its outcome hardly matters .
a tv style murder mystery with a few big screen moments ( including one that seems to be made for a different film altogether ) .
a by-the-numbers patient/doctor pic that covers all the usual ground
it 's a stunning lyrical work of considerable force and truth .
while undisputed is n't exactly a high , it is a gripping , tidy little movie that takes mr. hill higher than he 's been in a while .
funny but perilously slight .
cq 's reflection of artists and the love of cinema-and-self suggests nothing less than a new voice that deserves to be considered as a possible successor to the best european directors .
even if you do n't think ( kissinger 's ) any more guilty of criminal activity than most contemporary statesmen , he 'd sure make a courtroom trial great fun to watch .
dazzling in its complexity , disturbing for its extraordinary themes , the piano teacher is a film that defies categorisation .
a literate presentation that wonderfully weaves a murderous event in 1873 with murderous rage in 2002 .
the script is n't very good ; not even someone as gifted as hoffman ( the actor ) can make it work .
( e ) ventually , every idea in this film is flushed down the latrine of heroism .
a cartoon that 's truly cinematic in scope , and a story that 's compelling and heartfelt -- even if the heart belongs to a big , four-legged herbivore .
it 's dumb , but more importantly , it 's just not scary .
detox is ultimately a pointless endeavor .
as a rumor of angels reveals itself to be a sudsy tub of supernatural hokum , not even ms. redgrave 's noblest efforts can redeem it from hopeless sentimentality .
an exquisitely crafted and acted tale .
this is so bad .
it showcases carvey 's talent for voices , but not nearly enough and not without taxing every drop of one 's patience to get to the good stuff .
light years / several warp speeds / levels and levels of dilithium crystals better than the pitiful insurrection .
it 's about following your dreams , no matter what your parents think .
the overall effect is less like a children 's movie than a recruitment film for future hollywood sellouts .
anchored by friel and williams 's exceptional performances , the film 's power lies in its complexity .
unlike the speedy wham-bam effect of most hollywood offerings , character development -- and more importantly , character empathy -- is at the heart of italian for beginners .
a sequel that 's much too big for its britches .
harrison 's flowers puts its heart in the right place , but its brains are in no particular place at all .
deadeningly dull , mired in convoluted melodrama , nonsensical jargon and stiff-upper-lip laboriousness .
dragonfly has no atmosphere , no tension -- nothing but costner , flailing away .
the film is powerful , accessible and funny .
and that 's a big part of why we go to the movies .
crackerjack entertainment -- nonstop romance , music , suspense and action .
the minor figures surrounding ( bobby ) ... form a gritty urban mosaic .
a poignant and compelling story about relationships , food of love takes us on a bumpy but satisfying journey of the heart .
a movie that successfully crushes a best selling novel into a timeframe that mandates that you avoid the godzilla sized soda .
the vivid lead performances sustain interest and empathy , but the journey is far more interesting than the final destination .
lapaglia 's ability to convey grief and hope works with weaver 's sensitive reactions to make this a two-actor master class .
villeneuve spends too much time wallowing in bibi 's generic angst ( there are a lot of shots of her gazing out windows ) .
care deftly captures the wonder and menace of growing up , but he never really embraces the joy of fuhrman 's destructive escapism or the grace-in-rebellion found by his characters .
this is an egotistical endeavor from the daughter of horror director dario argento ( a producer here ) , but her raw performance and utter fearlessness make it strangely magnetic .
if looking for a thrilling sci-fi cinematic ride , do n't settle for this imposter .
plays like a volatile and overlong w magazine fashion spread .
not far beneath the surface , this reconfigured tale asks disturbing questions about those things we expect from military epics .
michael gerbosi 's script is economically packed with telling scenes .
moretti 's compelling anatomy of grief and the difficult process of adapting to loss .
so refreshingly incisive is grant that for the first time he 'll probably appeal more to guys than to their girlfriends who drag them to this movie for the hugh factor .
comes off like a rejected abc afterschool special , freshened up by the dunce of a screenwriting 101 class .
it has its moments of swaggering camaraderie , but more often just feels generic , derivative and done to death .
a romantic comedy enriched by a sharp eye for manners and mores .
the fly-on-the-wall method used to document rural french school life is a refreshing departure from the now more prevalent technique of the docu-makers being a visible part of their work .
rare birds has more than enough charm to make it memorable .
it 's a bit disappointing that it only manages to be decent instead of dead brilliant .
it has all the excitement of eating oatmeal .
it haunts , horrifies , startles and fascinates ; it is impossible to look away .
for close to two hours the audience is forced to endure three terminally depressed , mostly inarticulate , hyper dysfunctional families for the price of one .
a superbly acted and funny/gritty fable of the humanizing of one woman at the hands of the unseen forces of fate .
( t ) here 's only so much anyone can do with a florid , overplotted , anne rice rock 'n' roll vampire novel before the built-in silliness of the whole affair defeats them .
for anyone unfamiliar with pentacostal practices in general and theatrical phenomenon of hell houses in particular , it 's an eye-opener .
`` mostly martha '' is a bright , light modern day family parable that wears its heart on its sleeve for all to see .
i just loved every minute of this film .
a quiet , pure , elliptical film
a disappointment for those who love alternate versions of the bard , particularly ones that involve deep fryers and hamburgers .
a simple , but gritty and well-acted ensemble drama that encompasses a potent metaphor for a country still dealing with its fascist past .
it 's so mediocre , despite the dynamic duo on the marquee , that we just ca n't get no satisfaction .
do not see this film .
binoche makes it interesting trying to find out .
the most compelling wiseman epic of recent years .
there 's no emotional pulse to solaris .
for each chuckle there are at least 10 complete misses , many coming from the amazingly lifelike tara reid , whose acting skills are comparable to a cardboard cutout .
although huppert 's intensity and focus has a raw exhilaration about it , the piano teacher is anything but fun .
from the opening scenes , it 's clear that all about the benjamins is a totally formulaic movie .
on the heels of the ring comes a similarly morose and humorless horror movie that , although flawed , is to be commended for its straight-ahead approach to creepiness .
the film is based on truth and yet there is something about it that feels incomplete , as if the real story starts just around the corner .
i 've always dreamed of attending cannes , but after seeing this film , it 's not that big a deal .
a coarse and stupid gross-out .
... nothing scary here except for some awful acting and lame special effects .
nothing in waking up in reno ever inspired me to think of its inhabitants as anything more than markers in a screenplay .
here 's yet another studio horror franchise mucking up its storyline with glitches casual fans could correct in their sleep .
so unassuming and pure of heart , you ca n't help but warmly extend your arms and yell ` safe ! '
it treats women like idiots .
... plot holes so large and obvious a marching band might as well be stomping through them in clown clothes , playing a college football fight song on untuned instruments .
but it 's too long and too convoluted and it ends in a muddle .
one of the best films of the year with its exploration of the obstacles to happiness faced by five contemporary individuals ... a psychological masterpiece .
although german cooking does not come readily to mind when considering the world 's best cuisine , mostly martha could make deutchland a popular destination for hungry tourists .
if the first men in black was money , the second is small change .
do n't be fooled by the impressive cast list - eye see you is pure junk .
another one of those estrogen overdose movies like `` divine secrets of the ya ya sisterhood , '' except that the writing , acting and character development are a lot better .
scorsese does n't give us a character worth giving a damn about .
with rabbit-proof fence , noyce has tailored an epic tale into a lean , economical movie .
the plot convolutions ultimately add up to nothing more than jerking the audience 's chain .
there are some wonderfully fresh moments that smooth the moral stiffness with human kindness and hopefulness .
does little more than play an innocuous game of fill-in - the-blanks with a tragic past .
feature debuter d.j. caruso directs a crack ensemble cast , bringing screenwriter tony gayton 's narcotics noir to life .
it does nothing new with the old story , except to show fisticuffs in this sort of stop-go slow motion that makes the gang rumbles look like they 're being streamed over a 28k modem .
one of those energetic surprises , an original that pleases almost everyone who sees it .
seldahl 's barbara is a precise and moving portrait of someone whose world is turned upside down , first by passion and then by illness .
passable entertainment , but it 's the kind of motion picture that wo n't make much of a splash when it 's released , and will not be remembered long afterwards .
the film 's tone and pacing are off almost from the get-go .
lovely and poignant .
a broad , melodramatic estrogen opera that 's pretty toxic in its own right .
( director ) o'fallon manages to put some lovely pictures up on the big screen , but his skill at telling a story -- he also contributed to the screenplay -- falls short .
offers very little genuine romance and even fewer laughs ... a sad sitcom of a movie , largely devoid of charm .
though only 60 minutes long , the film is packed with information and impressions .
just not campy enough
every dance becomes about seduction , where backstabbing and betrayals are celebrated , and sex is currency .
it takes a certain kind of horror movie to qualify as ` worse than expected , ' but ghost ship somehow manages to do exactly that .
it can not be enjoyed , even on the level that one enjoys a bad slasher flick , primarily because it is dull .
despite all evidence to the contrary , this clunker has somehow managed to pose as an actual feature movie , the kind that charges full admission and gets hyped on tv and purports to amuse small children and ostensible adults .
it 's just filler .
a hamfisted romantic comedy that makes our girl the hapless facilitator of an extended cheap shot across the mason-dixon line .
one of those pictures whose promising , if rather precious , premise is undercut by amateurish execution .
the humor is n't as sharp , the effects not as innovative , nor the story as imaginative as in the original .
director uwe boll and the actors provide scant reason to care in this crude '70s throwback .
... a story we have n't seen on the big screen before , and it 's a story that we as americans , and human beings , should know .
if your taste runs to ` difficult ' films you absolutely ca n't miss it .
this movie is something of an impostor itself , stretching and padding its material in a blur of dead ends and distracting camera work .
i got a headache watching this meaningless downer .
zaidan 's script has barely enough plot to string the stunts together and not quite enough characterization to keep the faces straight .
the terrific and bewilderingly underrated campbell scott gives a star performance that is nothing short of mesmerizing .
building slowly and subtly , the film , sporting a breezy spontaneity and realistically drawn characterizations , develops into a significant character study that is both moving and wise .
all the amped-up tony hawk-style stunts and thrashing rap-metal ca n't disguise the fact that , really , we 've been here , done that .
the director knows how to apply textural gloss , but his portrait of sex-as-war is strictly sitcom .
visually rather stunning , but ultimately a handsome-looking bore , the true creativity would have been to hide treasure planet entirely and completely reimagine it .
nonsensical , dull `` cyber-horror '' flick is a grim , hollow exercise in flat scares and bad acting .
big fat waste of time .
professionally speaking , it 's tempting to jump ship in january to avoid ridiculous schlock like this shoddy suspense thriller .
fancy a real downer ?
instead , he shows them the respect they are due .
first-time writer-director serry shows a remarkable gift for storytelling with this moving , effective little film .
vera 's technical prowess ends up selling his film short ; he smoothes over hard truths even as he uncovers them .
puts a human face on a land most westerners are unfamiliar with .
makes for a pretty unpleasant viewing experience .
ahhhh ... revenge is sweet !
highbrow self-appointed guardians of culture need not apply , but those who loved cool as ice have at last found a worthy follow-up .
nine queens is not only than a frighteningly capable debut and genre piece , but also a snapshot of a dangerous political situation on the verge of coming to a head .
like you could n't smell this turkey rotting from miles away .
the performances take the movie to a higher level .
davis ... is so enamored of her own creation that she ca n't see how insufferable the character is .
... takes the beauty of baseball and melds it with a story that could touch anyone regardless of their familiarity with the sport
against all odds in heaven and hell , it creeped me out just fine .
as the latest bid in the tv-to-movie franchise game , i spy makes its big-screen entry with little of the nervy originality of its groundbreaking small-screen progenitor .
there 's really only one good idea in this movie , but the director runs with it and presents it with an unforgettable visual panache .
the so-inept - it 's - surreal dubbing ( featuring the voices of glenn close , regis philbin and breckin meyer ) brings back memories of cheesy old godzilla flicks .
without non-stop techno or the existential overtones of a kieslowski morality tale , maelström is just another winter sleepers .
an unclassifiably awful study in self - and audience-abuse .
the moviegoing equivalent of going to a dinner party and being forced to watch the host and hostess 's home video of their baby 's birth .
kinnear does n't aim for our sympathy , but rather delivers a performance of striking skill and depth .
few films capture so perfectly the hopes and dreams of little boys on baseball fields as well as the grown men who sit in the stands .
it is amusing , and that 's all it needs to be .
challenging , intermittently engrossing and unflaggingly creative .
for the most part stevens glides through on some solid performances and witty dialogue .
this flick is about as cool and crowd-pleasing as a documentary can get .
nervous breakdowns are not entertaining .
writer-director 's mehta 's effort has tons of charm and the whimsy is in the mixture , the intoxicating masala , of cultures and film genres .
excessive , profane , packed with cartoonish violence and comic-strip characters .
a taut psychological thriller that does n't waste a moment of its two-hour running time .
burns never really harnesses to full effect the energetic cast .
just embarrassment and a vague sense of shame .
still , as a visual treat , the film is almost unsurpassed .
harris commands the screen , using his frailty to suggest the ravages of a life of corruption and ruthlessness .
or emptying rat traps .
offers much to enjoy ... and a lot to mull over in terms of love , loyalty and the nature of staying friends .
the piquant story needs more dramatic meat on its bones .
my wife is an actress is an utterly charming french comedy that feels so american in sensibility and style it 's virtually its own hollywood remake .
indifferently implausible popcorn programmer of a movie .
an important movie , a reminder of the power of film to move us and to make us examine our values .
the magic of the film lies not in the mysterious spring but in the richness of its performances .
this re-do is so dumb and so exploitative in its violence that , ironically , it becomes everything that the rather clumsy original was railing against .
the jabs it employs are short , carefully placed and dead-center .
while locals will get a kick out of spotting cleveland sites , the rest of the world will enjoy a fast-paced comedy with quirks that might make the award-winning coen brothers envious .
the words , ` frankly , my dear , i do n't give a damn , ' have never been more appropriate .
the longer the movie goes , the worse it gets , but it 's actually pretty good in the first few minutes .
too much of the humor falls flat .
further proof that the epicenter of cool , beautiful , thought-provoking foreign cinema is smack-dab in the middle of dubya 's axis of evil .
the film 's few ideas are stretched to the point of evaporation ; the whole central section is one big chase that seems to have no goal and no urgency .
too slow , too long and too little happens .
due to some script weaknesses and the casting of the director 's brother , the film trails off into inconsequentiality .
very bad .
a lackluster , unessential sequel to the classic disney adaptation of j.m. barrie 's peter pan .
a science-fiction pastiche so lacking in originality that if you stripped away its inspirations there would be precious little left .
birthday girl is an amusing joy ride , with some surprisingly violent moments .
so much facile technique , such cute ideas , so little movie .
expect the same-old , lame-old slasher nonsense , just with different scenery .
a smart , witty follow-up .
chabrol has taken promising material for a black comedy and turned it instead into a somber chamber drama .
like mike is a winner for kids , and no doubt a winner for lil bow wow , who can now add movies to the list of things he does well .
it 's another video movie photographed like a film , with the bad lighting that 's often written off as indie film naturalism .
there 's not enough here to justify the almost two hours .
it will grip even viewers who are n't interested in rap , as it cuts to the heart of american society in an unnerving way .
the film is beautifully mounted , but , more to the point , the issues are subtly presented , managing to walk a fine line with regard to the question of joan 's madness .
and if you 're not nearly moved to tears by a couple of scenes , you 've got ice water in your veins .
richard gere and diane lane put in fine performances as does french actor oliver martinez .
good film , but very glum .
there are plot holes big enough for shamu the killer whale to swim through .
preaches to two completely different choirs at the same time , which is a pretty amazing accomplishment .
verbinski implements every hack-artist trick to give us the ooky-spookies .
two hours fly by -- opera 's a pleasure when you do n't have to endure intermissions -- and even a novice to the form comes away exhilarated .
in all , this is a watchable movie that 's not quite the memorable experience it might have been .
drops you into a dizzying , volatile , pressure-cooker of a situation that quickly snowballs out of control , while focusing on the what much more than the why .
atom egoyan has conjured up a multilayered work that tackles any number of fascinating issues
slick piece of cross-promotion .
well-nigh unendurable ... though the picture strains to become cinematic poetry , it remains depressingly prosaic and dull .
majidi is an unconventional storyteller , capable of finding beauty in the most depressing places .
the movie is n't just hilarious : it 's witty and inventive , too , and in hindsight , it is n't even all that dumb .
filmmakers who can deftly change moods are treasures and even marvels .
the vitality of the actors keeps the intensity of the film high , even as the strafings blend together .
( a ) shapeless blob of desperate entertainment .
in the end , the movie collapses on its shaky foundation despite the best efforts of director joe carnahan .
true tale of courage -- and complicity -- at auschwitz is a harrowing drama that tries to tell of the unspeakable .
a study in shades of gray , offering itself up in subtle plot maneuvers ...
no screen fantasy-adventure in recent memory has the showmanship of clones ' last 45 minutes .
more romantic , more emotional and ultimately more satisfying than the teary-eyed original .
this is a shameless sham , calculated to cash in on the popularity of its stars .
if you 've ever entertained the notion of doing what the title of this film implies , what sex with strangers actually shows may put you off the idea forever .
once the 50 year old benigni appears as the title character , we find ourselves longing for the block of wood to come back .
stultifyingly , dumbfoundingly , mind-numbingly bad .
an effectively creepy , fear-inducing ( not fear-reducing ) film from japanese director hideo nakata , who takes the superstitious curse on chain letters and actually applies it .
sustains its dreamlike glide through a succession of cheesy coincidences and voluptuous cheap effects , not the least of which is rebecca romijn-stamos .
because of an unnecessary and clumsy last scene , ` swimfan ' left me with a very bad feeling .
no aspirations to social import inform the movie version .
sit through this one , and you wo n't need a magic watch to stop time ; your dvd player will do it for you .
for the first time in years , de niro digs deep emotionally , perhaps because he 's been stirred by the powerful work of his co-stars .
not since tom cruise in risky business has an actor made such a strong impression in his underwear .
an interesting story with a pertinent ( cinematically unique ) message , told fairly well and scored to perfection , i found myself struggling to put my finger on that elusive `` missing thing . ''