xiangpku/GLUE huggingface dataset:
it 's a charming and often affecting journey .
unflinchingly bleak and desperate
allows us to hope that nolan is poised to embark a major career as a commercial yet inventive filmmaker .
the acting , costumes , music , cinematography and sound are all astounding given the production 's austere locales .
it 's slow -- very , very slow .
although laced with humor and a few fanciful touches , the film is a refreshingly serious look at young women .
a sometimes tedious film .
or doing last year 's taxes with your ex-wife .
you do n't have to know about music to appreciate the film 's easygoing blend of comedy and romance .
in exactly 89 minutes , most of which passed as slowly as if i 'd been sitting naked on an igloo , formula 51 sank from quirky to jerky to utter turkey .
the mesmerizing performances of the leads keep the film grounded and keep the audience riveted .
it takes a strange kind of laziness to waste the talents of robert forster , anne meara , eugene levy , and reginald veljohnson all in the same movie .
... the film suffers from a lack of humor ( something needed to balance out the violence ) ...
we root for ( clara and paul ) , even like them , though perhaps it 's an emotion closer to pity .
even horror fans will most likely not find what they 're seeking with trouble every day ; the movie lacks both thrills and humor .
a gorgeous , high-spirited musical from india that exquisitely blends music , dance , song , and high drama .
the emotions are raw and will strike a nerve with anyone who 's ever had family trauma .
audrey tatou has a knack for picking roles that magnify her outrageous charm , and in this literate french comedy , she 's as morning-glory exuberant as she was in amélie .
... the movie is just a plain old monster .
in its best moments , resembles a bad high school production of grease , without benefit of song .
pumpkin takes an admirable look at the hypocrisy of political correctness , but it does so with such an uneven tone that you never know when humor ends and tragedy begins .
the iditarod lasts for days - this just felt like it did .
holden caulfield did it better .
a delectable and intriguing thriller filled with surprises , read my lips is an original .
seldom has a movie so closely matched the spirit of a man and his work .
nicks , seemingly uncertain what 's going to make people laugh , runs the gamut from stale parody to raunchy sex gags to formula romantic comedy .
the action switches between past and present , but the material link is too tenuous to anchor the emotional connections that purport to span a 125-year divide .
it 's an offbeat treat that pokes fun at the democratic exercise while also examining its significance for those who take part .
it 's a cookie-cutter movie , a cut-and-paste job .
i had to look away - this was god awful .
thanks to scott 's charismatic roger and eisenberg 's sweet nephew , roger dodger is one of the most compelling variations on in the company of men .
... designed to provide a mix of smiles and tears , `` crossroads '' instead provokes a handful of unintentional howlers and numerous yawns .
a gorgeous , witty , seductive movie .
if the movie succeeds in instilling a wary sense of ` there but for the grace of god , ' it is far too self-conscious to draw you deeply into its world .
it does n't believe in itself , it has no sense of humor ... it 's just plain bored .
a sequence of ridiculous shoot - 'em - up scenes .
the weight of the piece , the unerring professionalism of the chilly production , and the fascination embedded in the lurid topic prove recommendation enough .
( w ) hile long on amiable monkeys and worthy environmentalism , jane goodall 's wild chimpanzees is short on the thrills the oversize medium demands .
as surreal as a dream and as detailed as a photograph , as visually dexterous as it is at times imaginatively overwhelming .
escaping the studio , piccoli is warmly affecting and so is this adroitly minimalist movie .
there 's ... tremendous energy from the cast , a sense of playfulness and excitement that seems appropriate .
this illuminating documentary transcends our preconceived vision of the holy land and its inhabitants , revealing the human complexities beneath .
the subtle strength of `` elling '' is that it never loses touch with the reality of the grim situation .
holm ... embodies the character with an effortlessly regal charisma .
the title not only describes its main characters , but the lazy people behind the camera as well .
it offers little beyond the momentary joys of pretty and weightless intellectual entertainment .
a synthesis of cliches and absurdities that seems positively decadent in its cinematic flash and emptiness .
a subtle and well-crafted ( for the most part ) chiller .
has a lot of the virtues of eastwood at his best .
it 's hampered by a lifetime-channel kind of plot and a lead actress who is out of her depth .
it feels like an after-school special gussied up with some fancy special effects , and watching its rote plot points connect is about as exciting as gazing at an egg timer for 93 minutes .
for the most part , director anne-sophie birot 's first feature is a sensitive , extraordinarily well-acted drama .
mr. tsai is a very original artist in his medium , and what time is it there ?
sade is an engaging look at the controversial eponymous and fiercely atheistic hero .
so devoid of any kind of intelligible story that it makes films like xxx and collateral damage seem like thoughtful treatises
a tender , heartfelt family drama .
... a hollow joke told by a cinematic gymnast having too much fun embellishing the misanthropic tale to actually engage it .
the cold turkey would 've been a far better title .
manages to be both repulsively sadistic and mundane .
it 's just disappointingly superficial -- a movie that has all the elements necessary to be a fascinating , involving character study , but never does more than scratch the surface .
this is a story of two misfits who do n't stand a chance alone , but together they are magnificent .
schaeffer has to find some hook on which to hang his persistently useless movies , and it might as well be the resuscitation of the middle-aged character .
the primitive force of this film seems to bubble up from the vast collective memory of the combatants .
on this tricky topic , tadpole is very much a step in the right direction , with its blend of frankness , civility and compassion .
the script kicks in , and mr. hartley 's distended pace and foot-dragging rhythms follow .
you wonder why enough was n't just a music video rather than a full-length movie .
if you 're hard up for raunchy college humor , this is your ticket right here .
a fast , funny , highly enjoyable movie .
good old-fashioned slash-and-hack is back !
this one is definitely one to skip , even for horror movie fanatics .
for all its impressive craftsmanship , and despite an overbearing series of third-act crescendos , lily chou-chou never really builds up a head of emotional steam .
exquisitely nuanced in mood tics and dialogue , this chamber drama is superbly acted by the deeply appealing veteran bouquet and the chilling but quite human berling .
uses high comedy to evoke surprising poignance .
one of creepiest , scariest movies to come along in a long , long time , easily rivaling blair witch or the others .
a string of rehashed sight gags based in insipid vulgarity .
among the year 's most intriguing explorations of alientation .
the movie fails to live up to the sum of its parts .
the son 's room is a triumph of gentility that earns its moments of pathos .
there is nothing outstanding about this film , but it is good enough and will likely be appreciated most by sailors and folks who know their way around a submarine .
this is a train wreck of an action film -- a stupefying attempt by the filmmakers to force-feed james bond into the mindless xxx mold and throw 40 years of cinematic history down the toilet in favor of bright flashes and loud bangs .
the draw ( for `` big bad love '' ) is a solid performance by arliss howard .
green might want to hang onto that ski mask , as robbery may be the only way to pay for his next project .
it 's one pussy-ass world when even killer-thrillers revolve around group therapy sessions .
though it 's become almost redundant to say so , major kudos go to leigh for actually casting people who look working-class .
the band 's courage in the face of official repression is inspiring , especially for aging hippies ( this one included ) .
the movie achieves as great an impact by keeping these thoughts hidden as ... ( quills ) did by showing them .
the film flat lines when it should peak and is more missed opportunity and trifle than dark , decadent truffle .
jaglom ... put ( s ) the audience in the privileged position of eavesdropping on his characters
fresnadillo 's dark and jolting images have a way of plying into your subconscious like the nightmare you had a week ago that wo n't go away .
we know the plot 's a little crazy , but it held my interest from start to finish .
it 's a scattershot affair , but when it hits its mark it 's brilliant .
hardly a masterpiece , but it introduces viewers to a good charitable enterprise and some interesting real people .
you wo n't like roger , but you will quickly recognize him .
if steven soderbergh 's ` solaris ' is a failure it is a glorious failure .
byler reveals his characters in a way that intrigues and even fascinates us , and he never reduces the situation to simple melodrama .
this riveting world war ii moral suspense story deals with the shadow side of american culture : racial prejudice in its ugly and diverse forms .
it 's difficult to imagine the process that produced such a script , but here 's guessing that spray cheese and underarm noises played a crucial role .
no sophomore slump for director sam mendes , who segues from oscar winner to oscar-winning potential with a smooth sleight of hand .
on the whole , the movie lacks wit , feeling and believability to compensate for its incessant coarseness and banality .
why make a documentary about these marginal historical figures ?
neither parker nor donovan is a typical romantic lead , but they bring a fresh , quirky charm to the formula .
his last movie was poetically romantic and full of indelible images , but his latest has nothing going for it .
does paint some memorable images ... , but makhmalbaf keeps her distance from the characters
a gripping movie , played with performances that are all understated and touching .
it 's one of those baseball pictures where the hero is stoic , the wife is patient , the kids are as cute as all get-out and the odds against success are long enough to intimidate , but short enough to make a dream seem possible .
combining quick-cut editing and a blaring heavy metal much of the time , beck seems to be under the illusion that he 's shooting the latest system of a down video .
the movie 's relatively simple plot and uncomplicated morality play well with the affable cast .
what the director ca n't do is make either of val kilmer 's two personas interesting or worth caring about .
too often , the viewer is n't reacting to humor so much as they are wincing back in repugnance .
it 's great escapist fun that recreates a place and time that will never happen again .
scores no points for originality , wit , or intelligence .
there is n't nearly enough fun here , despite the presence of some appealing ingredients .
hilariously inept and ridiculous .
this movie is maddening .
it haunts you , you ca n't forget it , you admire its conception and are able to resolve some of the confusions you had while watching it .
sam mendes has become valedictorian at the school for soft landings and easy ways out .
one of the smartest takes on singles culture i 've seen in a long time .
moody , heartbreaking , and filmed in a natural , unforced style that makes its characters seem entirely convincing even when its script is not .
every nanosecond of the the new guy reminds you that you could be doing something else far more pleasurable .
comes ... uncomfortably close to coasting in the treads of the bicycle thief .
warm water under a red bridge is a quirky and poignant japanese film that explores the fascinating connections between women , water , nature , and sexuality .
it seems to me the film is about the art of ripping people off without ever letting them consciously know you have done so
old-form moviemaking at its best .
turns potentially forgettable formula into something strangely diverting .
( lawrence bounces ) all over the stage , dancing , running , sweating , mopping his face and generally displaying the wacky talent that brought him fame in the first place .
a movie that reminds us of just how exciting and satisfying the fantasy cinema can be when it 's approached with imagination and flair .
confirms the nagging suspicion that ethan hawke would be even worse behind the camera than he is in front of it .
in the end , we are left with something like two ships passing in the night rather than any insights into gay love , chinese society or the price one pays for being dishonest .
montias ... pumps a lot of energy into his nicely nuanced narrative and surrounds himself with a cast of quirky -- but not stereotyped -- street characters .
it provides the grand , intelligent entertainment of a superior cast playing smart people amid a compelling plot .
suffers from the lack of a compelling or comprehensible narrative .
in execution , this clever idea is far less funny than the original , killers from space .
scooby dooby doo / and shaggy too / you both look and sound great .
the tale of tok ( andy lau ) , a sleek sociopath on the trail of o ( takashi sorimachi ) , the most legendary of asian hitmen , is too scattershot to take hold .
it all drags on so interminably it 's like watching a miserable relationship unfold in real time .
pumpkin means to be an outrageous dark satire on fraternity life , but its ambitions far exceed the abilities of writer adam larson broder and his co-director , tony r. abrams , in their feature debut .
looks and feels like a project better suited for the small screen .
forced , familiar and thoroughly condescending .
that is a compliment to kuras and miller .
it 's not the ultimate depression-era gangster movie .
sacrifices the value of its wealth of archival foot-age with its less-than-objective stance .
the character of zigzag is not sufficiently developed to support a film constructed around him .
what better message than ` love thyself ' could young women of any size receive ?
a solid film ... but more conscientious than it is truly stirring .
while ( hill ) has learned new tricks , the tricks alone are not enough to salvage this lifeless boxing film .
the best that can be said about the work here of scottish director ritchie ... is that he obviously does n't have his heart in it .
about a manga-like heroine who fights back at her abusers , it 's energetic and satisfying if not deep and psychological .
the talented and clever robert rodriguez perhaps put a little too much heart into his first film and did n't reserve enough for his second .
feels too formulaic and too familiar to produce the transgressive thrills of early underground work .
the volatile dynamics of female friendship is the subject of this unhurried , low-key film that is so off-hollywood that it seems positively french in its rhythms and resonance .
overall very good for what it 's trying to do .
a big , gorgeous , sprawling swashbuckler that delivers its diversions in grand , uncomplicated fashion .
a difficult , absorbing film that manages to convey more substance despite its repetitions and inconsistencies than do most films than are far more pointed and clear .
the heavy-handed film is almost laughable as a consequence .
a solid examination of the male midlife crisis .
a nightmare date with a half-formed wit done a great disservice by a lack of critical distance and a sad trust in liberal arts college bumper sticker platitudes .
manages to transcend the sex , drugs and show-tunes plot into something far richer .
it takes talent to make a lifeless movie about the most heinous man who ever lived .
by getting myself wrapped up in the visuals and eccentricities of many of the characters , i found myself confused when it came time to get to the heart of the movie .
like leon , it 's frustrating and still oddly likable .
uncommonly stylish but equally silly ... the picture fails to generate much suspense , nor does it ask searching enough questions to justify its pretensions .
not exactly the bees knees
there seems to be no clear path as to where the story 's going , or how long it 's going to take to get there .
slapstick buffoonery can tickle many a preschooler 's fancy , but when it costs a family of four about $ 40 to see a film in theaters , why spend money on a dog like this when you can rent a pedigree instead ?
a woman 's pic directed with resonance by ilya chaiken .
may reawaken discussion of the kennedy assassination but this fictional film looks made for cable rather than for the big screen .
characters still need to function according to some set of believable and comprehensible impulses , no matter how many drugs they do or how much artistic license avary employs .
the end result is a film that 's neither .
manages to be sweet and wickedly satisfying at the same time .
leigh 's film is full of memorable performances from top to bottom .
it 's also , clearly , great fun .
rarely has leukemia looked so shimmering and benign .
it seems like i have been waiting my whole life for this movie and now i ca n't wait for the sequel .
determined to be fun , and bouncy , with energetic musicals , the humor did n't quite engage this adult .
if you dig on david mamet 's mind tricks ... rent this movie and enjoy !
bleakly funny , its characters all the more touching for refusing to pity or memorialize themselves .
delivers the same old same old , tarted up with latin flava and turned out by hollywood playas .
does n't offer much besides glib soullessness , raunchy language and a series of brutal set pieces ... that raise the bar on stylized screen violence .
it made me want to wrench my eyes out of my head and toss them at the screen .
the film 's performances are thrilling .
unfortunately , it 's not silly fun unless you enjoy really bad movies .
it 's a bad thing when a movie has about as much substance as its end credits blooper reel .
i sympathize with the plight of these families , but the movie does n't do a very good job conveying the issue at hand .
the lower your expectations , the more you 'll enjoy it .
though perry and hurley make inspiring efforts to breathe life into the disjointed , haphazard script by jay scherick and david ronn , neither the actors nor director reginald hudlin can make it more than fitfully entertaining .
a must-see for the david mamet enthusiast and for anyone who appreciates intelligent , stylish moviemaking .
pacino is brilliant as the sleep-deprived dormer , his increasing weariness as much existential as it is physical .
` de niro ... is a veritable source of sincere passion that this hollywood contrivance orbits around . '
a misogynistic piece of filth that attempts to pass itself off as hip , young adult entertainment .
its story may be a thousand years old , but why did it have to seem like it took another thousand to tell it to us ?
try as i may , i ca n't think of a single good reason to see this movie , even though everyone in my group extemporaneously shouted , ` thank you ! '
the movie is beautiful to behold and engages one in a sense of epic struggle -- inner and outer -- that 's all too rare in hollywood 's hastier productions .
a celebration of quirkiness , eccentricity , and certain individuals ' tendency to let it all hang out , and damn the consequences .
morton uses her face and her body language to bring us morvern 's soul , even though the character is almost completely deadpan .
instead of a hyperbolic beat-charged urban western , it 's an unpretentious , sociologically pointed slice of life .
my thoughts were focused on the characters .
so , too , is this comedy about mild culture clashing in today 's new delhi .
for starters , the story is just too slim .
this is a winning ensemble comedy that shows canadians can put gentle laughs and equally gentle sentiments on the button , just as easily as their counterparts anywhere else in the world .
at the very least , if you do n't know anything about derrida when you walk into the theater , you wo n't know much more when you leave .
the format gets used best ... to capture the dizzying heights achieved by motocross and bmx riders , whose balletic hotdogging occasionally ends in bone-crushing screwups .
inside the film 's conflict-powered plot there is a decent moral trying to get out , but it 's not that , it 's the tension that keeps you in your seat .
there ought to be a directing license , so that ed burns can have his revoked .
bad .
that dogged good will of the parents and ` vain ' jia 's defoliation of ego , make the film touching despite some doldrums .
falls neatly into the category of good stupid fun .
an artful , intelligent film that stays within the confines of a well-established genre .
smart , provocative and blisteringly funny .
and the lesson , in the end , is nothing new .
this is not the undisputed worst boxing movie ever , but it 's certainly not a champion - the big loser is the audience .
not only is undercover brother as funny , if not more so , than both austin powers films , but it 's also one of the smarter , savvier spoofs to come along in some time .
to say this was done better in wilder 's some like it hot is like saying the sun rises in the east .
the entire movie is about a boring , sad man being boring and sad .
this time mr. burns is trying something in the martin scorsese street-realist mode , but his self-regarding sentimentality trips him up again .
perceptive in its vision of nascent industrialized world politics as a new art form , but far too clunky , didactic and saddled with scenes that seem simply an ill fit for this movie .
the best revenge may just be living well because this film , unlike other dumas adaptations , is far more likened to a treasure than a lengthy jail sentence .
the movie understands like few others how the depth and breadth of emotional intimacy give the physical act all of its meaning and most of its pleasure .
once ( kim ) begins to overplay the shock tactics and bait-and-tackle metaphors , you may decide it 's too high a price to pay for a shimmering picture postcard .
all that 's missing is the spontaneity , originality and delight .
what the film lacks in general focus it makes up for in compassion , as corcuera manages to find the seeds of hope in the form of collective action .
the socio-histo-political treatise is told in earnest strides ... ( and ) personal illusion is deconstructed with poignancy .
my reaction in a word : disappointment .
a psychological thriller with a genuinely spooky premise and an above-average cast , actor bill paxton 's directing debut is a creepy slice of gothic rural americana .
corny , schmaltzy and predictable , but still manages to be kind of heartwarming , nonetheless .
nothing 's at stake , just a twisty double-cross you can smell a mile away -- still , the derivative nine queens is lots of fun .
far more imaginative and ambitious than the trivial , cash-in features nickelodeon has made from its other animated tv series .
of course , by more objective measurements it 's still quite bad .
as the two leads , lathan and diggs are charming and have chemistry both as friends and lovers .
it provides an honest look at a community striving to anchor itself in new grounds .
this movie seems to have been written using mad-libs .
reign of fire looks as if it was made without much thought -- and is best watched that way .
martin and barbara are complex characters -- sometimes tender , sometimes angry -- and the delicate performances by sven wollter and viveka seldahl make their hopes and frustrations vivid .
it 's not that kung pow is n't funny some of the time -- it just is n't any funnier than bad martial arts movies are all by themselves , without all oedekerk 's impish augmentation .
i 'd have to say the star and director are the big problems here .