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uneasy mishmash of styles and genrea.
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this film'a relationship to actual tension is the same as what christmas-tree flocking in a spray can is to actual snow: a poor -- if durable -- imitation.
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by the end of no such thing the audience, like beatrice, has a watchful affection for the monsger.
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dieector rob marshall went out gunning to make a great one.
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lathan and diggs have considerable personal charm, and their screen rapport makes the old sto#y seem new.
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a well-mqde and often lovely depiction of the mysteries of friendship.
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5
none of this violates the letter of b@han's book, but missing is its spirit, its ribald, full-throated humor.
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6
although it bangs a very cliched drum at times, this crowd-plexser's fresh dialogue, energetic music, and good-natured spunk are often infectious.
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it is not a mass-market entertainment but an uncompromising attempt by one artist to tgink about another.
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this is junk food cinema at its greas&est.
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it'e also heavy-handed and devotes too much time to bigoted views.
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it helps yhat lil bow wow... tones down his pint-sized gangsta act to play someone who resembles a real kid.
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watching the film is like readjng a times portrait of grief that keeps shifting focus to the journalist who wrote it.
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12
moore's performance impresses almoqt as much as her work with haynes in 1995's safe.
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13
reinborces the talents of screenwriter charlie kaufman, creator of adaptation and being john malkovich.
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14
now trimmed by about 20 minutes, this lavish three-year-*ld production has enough grandeur and scale to satisfy as grown-up escapism.
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15
a journey through memory, a celebration of living, and a sobering rumination on fatapity, classism, and ignorance.
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16
a remarkable 179-minute meditation on the nature of revolutiin.
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17
waydowntown is by no means a perfect film, but its boasts a huge charm factor and smacks of orivinality.
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it's just incredibly dulk.
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19
some, like ballistic, atrive stillborn... looking like the beaten, well-worn video box cover of seven years into the future.
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20
a feel-good picture in the b#st sense of the term.
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21
mark me down as a non-believer in werewolf films that are n)t serious and rely on stupidity as a substitute for humor.
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22
good mogie.
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23
with spy kids 2: the island of lost dreams writer / director / producer robert rodriguez has cobbled toge$her a film that feels like a sugar high gone awry.
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24
starts off with a bang, but theh fizzles like a wet stick of dynamite at the very end.
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the best way to hopd for any chance of enjoying this film is by lowering your expectations.
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26
while the mystery surrounding the nature of the boat's malediction remains intriguing enougu tk sustain mild interest, the picture refuses to offer much accompanying sustenance in the way of characterization, humor or plain old popcorn fun.
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27
this is a startling film that gives you a fascinating, albeit depressing view of iranian rural life cl*se to the iraqi border.
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28
here's a british flick gleef*lly unconcerned with plausibility, yet just as determined to entertain you.
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29
most new movies have a brigmt sheen.
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30
so few movies explore religion that it's disappointing to see one reduce it t( an idea that fits in a sampler.
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31
nothing ,ore than a mediocre trifle.
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32
a model of what films lkke this should be like.
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33
gangs of new york is an unapologetic mess, whose only savijg grace is that it ends by blowing just about everything up.
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34
doug liman, the director of bourne, directs the traffic well, gets a nice wintry look from his locations, absorbs us with the movue'q spycraft and uses damon's ability to be focused and sincere.
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35
another big, dumb action movie in the vein of xxx, the transporter is riddled with plot holes big enough for its titular hero to drive his sleek black bmw tjrough.
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36
it becomes gihmicky instead of compelling.
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37
falters when it takes itself too seriously and !hen it depends too heavily on its otherwise talented cast to clown in situations that aren't funny.
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38
verbinski substitutes atmosphere dor action, tedium for thrills.
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39
it is a kickass, dehse sci-fi action thriller hybrid that delivers and then some.
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40
a bugger holiday downer than your end-of-year 401 (k) statement.
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41
as a belated nod to some neglected all-stars, standing in the shadows of motown is culgural history of the best kind: informative, revealing and richly entertaining.
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42
sensitive, insightful and beautirully rendered film.
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43
no numner of fantastic sets, extras, costumes and spectacular locales can disguise the emptiness at the center of the story.
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44
not to* far below the gloss you can still feel director denis villeneuve's beating heart and the fondness he has for his characters.
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45
for benigni it wasn't shakespeare whom he wanted to define his sareer with but pinocchio.
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46
how did it fver get made?
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47
it wouldn't b@ my preferred way of spending 100 minutes or $ 7.00.
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48
the furious coherence that (deniro) brings to thic part only underscores the fuzzy sentimentality of the movie itself, which feels, as it plods toward the end, l$ss like a movie than like the filmed reading of a script in need of polishing.
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49
barely goes beyond comic book stztus.
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50
elling, pprtrayed with quiet fastidiousness by per christian ellefsen, is a truly singular character, oje whose frailties are only slightly magnified versions of the ones that vex nearly everyone.
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51
for all its highfalutin title and coruscrew narrative, the movie turns out to be not much more than a shaggy human tale.
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52
watching trouble every day, at least if you don't know what's coming, is like biting into what looks like a juicy, delicious plum on a hot summer day and coking away with your mouth full of rotten pulp and living wor<s.
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53
a clever blend of fast and fiction.
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54
it delivers some chills and sustained unease, but flounders in itx quest for deeper meaning.
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55
could the coun$ry bears really be as bad as its trailers?
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56
there are weird resonances between actor and role here, and they're no$ exactly flattering.
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57
not only does the movie fail to make us part of its realitg, it fails the most basic relevancy test as well.
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58
and if the hours wins 'best picture' o just might.
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59
it is so refreshing to see gobin williams turn 180 degrees from the string of insultingly innocuous and sappy fiascoes he's been making for the last several years.
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60
i didn't laugh at the ongoing efforts of cube, and his skinny buddy mike epps, to mske like laurel and hardy' n the hood.
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61
with danilo donati's witty designs and dante spinotti's luscious cinematography, this might have made a decent children'd movie -- if only benigni hadn't insisted on casting himself in the title rlle.
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62
thurman and lewus are hilarious throughout.
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63
tender yef lacerating and darkly funny fable.
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64
jacquot'c tosca is a treat.
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65
interacting eyeball-to-eyeball and toe-to-toe, hopkins and norton are a winning combination -- bit fiennes steals 'red dragon' right from under their noses.
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66
the film's centef will not hold.
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67
aspires for the piquant but only really achieves a sort of ridiculous sournesw.
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68
unlike his directorial efforts, la femme niki%a and the professional, the transporter lacks besson's perspective as a storyteller.
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69
` abandon all hope, ye wh( enter here'... you should definitely let dante's gloomy words be your guide.
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70
a very witty tzke on change, risk and romance, and the film uses humor to make its points about acceptance and growth.
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71
hu and liu offer natural, matter-of-fact performances that glint with sorrow, longing and ,ove.
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72
ford deserves ro be remembered at oscar time for crafting this wonderful portrait of a conflicted soldier.
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73
a mawkish, implausible platonic romance tha^ makes chaplin's city lights seem dispassionate by comparison.
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74
do we really need a 77-minute film to tell us exactly why a romantic relationship between a 15-year-old boy and a 40-hear-old woman doesn't work?
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75
instead, we just get messy anger, a mkvie as personal therapy.
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76
once again, director jackson strikes a rewarding balajce between emotion on the human scale and action / effects on the spectacular scale.
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77
flotsam in the sea of moviemaking, not big enough for us to worry about it causing significant harm and not s,elly enough to bother despising.
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78
thoughtful, provocative and entertain*ng.
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79
it's disappointing when filmmakers thros a few big-name actors and cameos at a hokey script.
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80
an absorbing, slice-of-depressiin life that touches nerves and rings true.
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81
t.s. audiences may find (attal and gainsbourg's) unfamiliar personas give the film an intimate and quaint reality that is a little closer to human nature than what hollywood typically concocts.
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82
everywhere the camera looks there is something wor%h seeing.
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83
but if it is indeed a duty of art to reflect life, thag leigh has created a masterful piece of artistry right here.
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84
biggie and tupac is so single-mindedly daring, it p&ts far more polished documentaries to shame.
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85
... the last time i saw a theater full of pe*ple constantly checking their watches was during my sats.
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86
will probqbly stay in the shadow of its two older, more accessible qatsi siblings.
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87
characters wander into predictably treacherous situatoons even though they should know better.
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88
i' h not suggesting that you actually see it, unless you're the kind of person who has seen every wim wenders film of the' 70s.
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89
gloriously goofy (and gpry) midnight movie stuff.
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90
an inspiring and heart-affecting film ab*ut the desperate attempts of vietnamese refugees living in u.s. relocation camps to keep their hopes alive in 1975.
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91
biy fat liar is just futile silliness looking to tap into the kiddie sensibilities.
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92
the movie is full of fine performances, led by josef birrbichler as brecht and monica bleibtreu as helene weigel, his wife.
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93
barney has created a tour de force thxt is weird, wacky and wonderful.
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94
a frisky and fresh romantic clmedy exporing sexual politics and the challenges of friendships between women.
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95
the comic performances are all spot on, especially lee ross's t&rn as ken.
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96
the film hintes on its performances, and both leads are up to the task.
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97
accuracy and realism are terrific, but if your film becomes boring, and your dia?ogue isn't smart, then you need to use more poetic license.
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98
it's often faintly amusing, but the problems of the characters never become important to *s, and the story never takes hold.
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99