xiangpku/GLUE huggingface dataset:
... routine , harmless diversion and little else .
is the time really ripe for a warmed-over james bond adventure , with a village idiot as the 007 clone ?
even the finest chef ca n't make a hotdog into anything more than a hotdog , and robert de niro ca n't make this movie anything more than a trashy cop buddy comedy .
the reality of the new live-action pinocchio he directed , cowrote and starred in borders on the grotesque .
samira makhmalbaf 's new film blackboards is much like the ethos of a stream of consciousness , although , it 's unfortunate for the viewer that the thoughts and reflections coming through are torpid and banal
a bloated gasbag thesis grotesquely impressed by its own gargantuan aura of self-importance ...
every time you look , sweet home alabama is taking another bummer of a wrong turn .
how do you spell cliché ?
no telegraphing is too obvious or simplistic for this movie .
director of photography benoit delhomme shot the movie in delicious colors , and the costumes and sets are grand .
i thought my own watch had stopped keeping time as i slogged my way through clockstoppers .
less dizzying than just dizzy , the jaunt is practically over before it begins .
overall the film feels like a low-budget tv pilot that could not find a buyer to play it on the tube .
they should have called it gutterball .
corpus collosum -- while undeniably interesting -- wore out its welcome well before the end credits rolled about 45 minutes in .
( a ) n utterly charming and hilarious film that reminded me of the best of the disney comedies from the 60s .
there 's too much falseness to the second half , and what began as an intriguing look at youth fizzles into a dull , ridiculous attempt at heart-tugging .
wince-inducing dialogue , thrift-shop costumes , prosthetic makeup by silly putty and kmart blue-light-special effects all conspire to test trekkie loyalty .
a rigorously structured and exquisitely filmed drama about a father and son connection that is a brief shooting star of love .
this is human comedy at its most amusing , interesting and confirming .
whaley 's determination to immerse you in sheer , unrelenting wretchedness is exhausting .
worth watching for dong jie 's performance -- and for the way it documents a culture in the throes of rapid change .
a poignant , artfully crafted meditation on mortality .
too restrained to be a freak show , too mercenary and obvious to be cerebral , too dull and pretentious to be engaging ... the isle defies an easy categorization .
vera 's three actors -- mollà , gil and bardem -- excel in insightful , empathetic performances .
it 's everything you do n't go to the movies for .
( grant 's ) bumbling magic takes over the film , and it turns out to be another winning star vehicle .
it gets onto the screen just about as much of the novella as one could reasonably expect , and is engrossing and moving in its own right .
velocity represents everything wrong with '' independent film '' as a commodified , sold-out concept on the american filmmaking scene .
but taken as a stylish and energetic one-shot , the queen of the damned can not be said to suck .
the piece plays as well as it does thanks in large measure to anspaugh 's three lead actresses .
suffocated by its fussy script and uptight characters , this musty adaptation is all the more annoying since it 's been packaged and sold back to us by hollywood .
but what are adults doing in the theater at all ?
like being trapped at a perpetual frat party ... how can something so gross be so boring ?
the man from elysian fields is a cold , bliss-less work that groans along thinking itself some important comment on how life throws us some beguiling curves .
this is n't even madonna 's swept away .
the experience of going to a film festival is a rewarding one ; the experiencing of sampling one through this movie is not .
american chai encourages rueful laughter at stereotypes only an indian-american would recognize .
my big fat greek wedding uses stereotypes in a delightful blend of sweet romance and lovingly dished out humor .
... a magnificent drama well worth tracking down .
oscar wilde 's masterpiece , the importance of being earnest , may be the best play of the 19th century .
jose campanella delivers a loosely autobiographical story brushed with sentimentality but brimming with gentle humor , bittersweet pathos , and lyric moments that linger like snapshots of memory .
but it still jingles in the pocket .
it 's a demented kitsch mess ( although the smeary digital video does match the muddled narrative ) , but it 's savvy about celebrity and has more guts and energy than much of what will open this year .
you really have to wonder how on earth anyone , anywhere could have thought they 'd make audiences guffaw with a script as utterly diabolical as this .
one from the heart .
made with no discernible craft and monstrously sanctimonious in dealing with childhood loss .
people cinema at its finest .
what 's surprising about full frontal is that despite its overt self-awareness , parts of the movie still manage to break past the artifice and thoroughly engage you .
and when you 're talking about a slapstick comedy , that 's a pretty big problem .
a working class `` us vs. them '' opera that leaves no heartstring untugged and no liberal cause unplundered .
nelson 's brutally unsentimental approach ... sucks the humanity from the film , leaving behind an horrific but weirdly unemotional spectacle .
one long string of cliches .
like watching a dress rehearsal the week before the show goes up : everything 's in place but something 's just a little off-kilter .
it 's hard to imagine alan arkin being better than he is in this performance .
the film will play equally well on both the standard and giant screens .
... a fun little timewaster , helped especially by the cool presence of jean reno .
something like scrubbing the toilet .
there 's enough melodrama in this magnolia primavera to make pta proud yet director muccino 's characters are less worthy of puccini than they are of daytime television .
may be far from the best of the series , but it 's assured , wonderfully respectful of its past and thrilling enough to make it abundantly clear that this movie phenomenon has once again reinvented itself for a new generation .
if there 's one thing this world needs less of , it 's movies about college that are written and directed by people who could n't pass an entrance exam .
writer/director joe carnahan 's grimy crime drama is a manual of precinct cliches , but it moves fast enough to cover its clunky dialogue and lapses in logic .
the result is a gaudy bag of stale candy , something from a halloween that died .
it 's a lovely film with lovely performances by buy and accorsi .
there 's something auspicious , and daring , too , about the artistic instinct that pushes a majority-oriented director like steven spielberg to follow a.i. with this challenging report so liable to unnerve the majority .
movie fans , get ready to take off ... the other direction .
not an objectionable or dull film ; it merely lacks everything except good intentions .
while its careful pace and seemingly opaque story may not satisfy every moviegoer 's appetite , the film 's final scene is soaringly , transparently moving .
a film about a young man finding god that is accessible and touching to the marrow .
a compelling spanish film about the withering effects of jealousy in the life of a young monarch whose sexual passion for her husband becomes an obsession .
an infectious cultural fable with a tasty balance of family drama and frenetic comedy .
i do n't think i laughed out loud once .
very special effects , brilliantly bold colors and heightened reality ca n't hide the giant achilles ' heel in `` stuart little 2 `` : there 's just no story , folks .
not the kind of film that will appeal to a mainstream american audience , but there is a certain charm about the film that makes it a suitable entry into the fest circuit .
it 's a beautiful madness .
when the film ended , i felt tired and drained and wanted to lie on my own deathbed for a while .
not really bad so much as distasteful : we need kidnapping suspense dramas right now like we need doomsday thrillers .
as ` chick flicks ' go , this one is pretty miserable , resorting to string-pulling rather than legitimate character development and intelligent plotting .
by candidly detailing the politics involved in the creation of an extraordinary piece of music , ( jones ) calls our attention to the inherent conflict between commerce and creativity .
one of the most significant moviegoing pleasures of the year .
prurient playthings aside , there 's little to love about this english trifle .
a grimly competent and stolid and earnest military courtroom drama .
at once half-baked and overheated .
the structure the film takes may find matt damon and ben affleck once again looking for residuals as this officially completes a good will hunting trilogy that was never planned .
the movie does a good job of laying out some of the major issues that we encounter as we journey through life .
very psychoanalytical -- provocatively so -- and also refreshingly literary .
aside from minor tinkering , this is the same movie you probably loved in 1994 , except that it looks even better .
the film makes a fatal mistake : it asks us to care about a young man whose only apparent virtue is that he is not quite as unpleasant as some of the people in his life .
a valueless kiddie paean to pro basketball underwritten by the nba .
based on a devilishly witty script by heather mcgowan and niels mueller , the film gets great laughs , but never at the expense of its characters
it 's as if you 're watching a movie that was made in 1978 but not released then because it was so weak , and it has been unearthed and released now , when it has become even weaker .
that 's a cheat .
it 's somewhat clumsy and too lethargically paced -- but its story about a mysterious creature with psychic abilities offers a solid build-up , a terrific climax , and some nice chills along the way .
it 's fun lite .
... an otherwise intense , twist-and-turn thriller that certainly should n't hurt talented young gaghan 's resume .
it confirms fincher 's status as a film maker who artfully bends technical know-how to the service of psychological insight .
the film contains no good jokes , no good scenes , barely a moment when carvey 's saturday night live-honed mimicry rises above the level of embarrassment .
a fitfully amusing romp that , if nothing else , will appeal to fans of malcolm in the middle and its pubescent star , frankie muniz .
it 's not original , and , robbed of the element of surprise , it does n't have any huge laughs in its story of irresponsible cops who love to play pranks .
though moonlight mile is replete with acclaimed actors and actresses and tackles a subject that 's potentially moving , the movie is too predictable and too self-conscious to reach a level of high drama .
a tender , witty , captivating film about friendship , love , memory , trust and loyalty .
for all its technical virtuosity , the film is so mired in juvenile and near-xenophobic pedagogy that it 's enough to make one pine for the day when godard can no longer handle the rigors of filmmaking .
this film seems thirsty for reflection , itself taking on adolescent qualities .
this nickleby thing might have more homosexual undertones than an eddie murphy film .
bogdanovich tantalizes by offering a peep show into the lives of the era 's creme de la celluloid .
but the power of these ( subjects ) is obscured by the majority of the film that shows a stationary camera on a subject that could be mistaken for giving a public oration , rather than contributing to a film 's narrative .
irwin is a man with enough charisma and audacity to carry a dozen films , but this particular result is ultimately held back from being something greater .
griffiths proves she 's that rare luminary who continually raises the standard of her profession .
just as moving , uplifting and funny as ever .
enormously entertaining for moviegoers of any age .
a lean , deftly shot , well-acted , weirdly retro thriller that recalls a raft of '60s and '70s european-set spy pictures .
this is a good script , good dialogue , funny even for adults .
the affectionate loopiness that once seemed congenital to demme 's perspective has a tough time emerging from between the badly dated cutesy-pie mystery scenario and the newfangled hollywood post-production effects .
this surreal gilliam-esque film is also a troubling interpretation of ecclesiastes .
i can take infantile humor ... but this is the sort of infantile that makes you wonder about changing the director and writer 's diapers .
this piece of channel 5 grade trash is , quite frankly , an insult to the intelligence of the true genre enthusiast .
a delightful coming-of-age story .
a spellbinding african film about the modern condition of rootlessness , a state experienced by millions around the globe .
a strangely compelling and brilliantly acted psychological drama .
the only excitement comes when the credits finally roll and you get to leave the theater .
the movie is dawn of the dead crossed with john carpenter 's ghosts of mars , with zombies not as ghoulish as the first and trains not as big as the second .
it has the charm of the original american road movies , feasting on the gorgeous , ramshackle landscape of the filmmaker 's motherland .
exciting and direct , with ghost imagery that shows just enough to keep us on our toes .
it 's a buggy drag .
it wants to tweak them with a taste of tangy new humor .
late marriage 's stiffness is unlikely to demonstrate the emotional clout to sweep u.s. viewers off their feet .
candid and comfortable ; a film that deftly balances action and reflection as it lets you grasp and feel the passion others have for their work .
a quiet treasure -- a film to be savored .
the movie , directed by mick jackson , leaves no cliche unturned , from the predictable plot to the characters straight out of central casting .
this is the sort of burly action flick where one coincidence pummels another , narrative necessity is a drunken roundhouse , and whatever passes for logic is a factor of the last plot device left standing .
teen movies have really hit the skids .
woody allen 's latest is an ambling , broad comedy about all there is to love -- and hate -- about the movie biz .
it 's made with deftly unsettling genre flair .
manages to show life in all of its banality when the intention is quite the opposite .
ultimately feels empty and unsatisfying , like swallowing a communion wafer without the wine .
collateral damage finally delivers the goods for schwarzenegger fans .
a giggle-inducing comedy with snappy dialogue and winning performances by an unlikely team of oscar-winners : susan sarandon and goldie hawn .
it 's too self-important and plodding to be funny , and too clipped and abbreviated to be an epic .
will amuse and provoke adventurous adults in specialty venues .
sometimes seems less like storytelling than something the otherwise compelling director needed to get off his chest .
but this films lacks the passion required to sell the material .
what is 100 % missing here is a script of even the most elemental literacy , an inkling of genuine wit , and anything resembling acting .
there 's a wickedly subversive bent to the best parts of birthday girl .
a better title , for all concerned , might be swept under the rug .
a wildly inconsistent emotional experience .
given how heavy-handed and portent-heavy it is , this could be the worst thing soderbergh has ever done .
despite the evocative aesthetics evincing the hollow state of modern love life , the film never percolates beyond a monotonous whine .
an absurdist comedy about alienation , separation and loss .
... mafia , rap stars and hood rats butt their ugly heads in a regurgitation of cinematic violence that gives brutal birth to an unlikely , but likable , hero . '
his healthy sense of satire is light and fun ...
trademark american triteness and simplicity are tossed out the window with the intelligent french drama that deftly explores the difficult relationship between a father and son .
miller is playing so free with emotions , and the fact that children are hostages to fortune , that he makes the audience hostage to his swaggering affectation of seriousness .
impostor has a handful of thrilling moments and a couple of good performances , but the movie does n't quite fly .
part low rent godfather .
( serry ) wants to blend politics and drama , an admirable ambition .
for all the writhing and wailing , tears , rage and opium overdoses , there 's no sense of actual passion being washed away in love 's dissolution .
it 's fascinating to see how bettany and mcdowell play off each other .
in a way , the film feels like a breath of fresh air , but only to those that allow it in .
visually imaginative , thematically instructive and thoroughly delightful , it takes us on a roller-coaster ride from innocence to experience without even a hint of that typical kiddie-flick sentimentality .
the film 's welcome breeziness and some unbelievably hilarious moments -- most portraying the idiocy of the film industry -- make it mostly worth the trip .
add yet another hat to a talented head , clooney 's a good director .
stephen rea , aidan quinn , and alan bates play desmond 's legal eagles , and when joined by brosnan , the sight of this grandiloquent quartet lolling in pretty irish settings is a pleasant enough thing , ` tis .
bennett 's naturalistic performance speaks volumes more truth than any ` reality ' show , and anybody contemplating their own drastic life changes should watch some body first .
it 's inoffensive , cheerful , built to inspire the young people , set to an unending soundtrack of beach party pop numbers and aside from its remarkable camerawork and awesome scenery , it 's about as exciting as a sunburn .
while it 's genuinely cool to hear characters talk about early rap records ( sugar hill gang , etc. ) , the constant referencing of hip-hop arcana can alienate even the savviest audiences .
dull , lifeless , and amateurishly assembled .
mcconaughey 's fun to watch , the dragons are okay , not much fire in the script .
the far future may be awesome to consider , but from period detail to matters of the heart , this film is most transporting when it stays put in the past .
has all the depth of a wading pool .
a movie with a real anarchic flair .
a subject like this should inspire reaction in its audience ; the pianist does not .
... is an arthritic attempt at directing by callie khouri .
looking aristocratic , luminous yet careworn in jane hamilton 's exemplary costumes , rampling gives a performance that could not be improved upon . '