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An imponderably stilted and self-consciously arty movie.
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This real-life Hollywood fairy-tale is more engaging than the usual fantasies Hollywood produces.
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Waiting for Godard can be fruitful: 'In Praise of Love' is the director's epitaph for himself.
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It's all about Anakin ... and the lustrous polished visuals rich in color and creativity and, of course, special effect.
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Solondz is so intent on hammering home his message that he forgets to make it entertaining.
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...pitiful, slapdash disaster.
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The crap continues.
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While the story's undeniably hard to follow, Iwai's gorgeous visuals seduce.
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It's a terrible movie in every regard, and utterly painful to watch.
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This is a monumental achievement in practically every facet of inept filmmaking: joyless, idiotic, annoying, heavy-handed, visually atrocious, and often downright creepy.
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A rock-solid gangster movie with a fair amount of suspense, intriguing characters and bizarre bank robberies, plus a heavy dose of father-and-son dynamics.
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A terrific B movie -- in fact, the best in recent memory.
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Unfortunately, the experience of actually watching the movie is less compelling than the circumstances of its making.
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I liked About Schmidt a lot, but I have a feeling that I would have liked it much more if Harry & Tonto never existed.
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What starts off as a potentially incredibly twisting mystery becomes simply a monster chase film.
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You may leave the theater with more questions than answers, but darned if your toes won't still be tapping.
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Nobody seems to have cared much about any aspect of it, from its cheesy screenplay to the grayish quality of its lighting to its last-minute, haphazard theatrical release.
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as in aimless, arduous, and arbitrary.
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Aside from Rohmer's bold choices regarding point of view, The Lady and the Duke represents the filmmaker's lifelong concern with formalist experimentation in cinematic art.
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A fascinating glimpse into an insular world that gives the lie to many clichés and showcases a group of dedicated artists.
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This is a poster movie, a mediocre tribute to films like Them!
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There is no solace here, no entertainment value, merely a fierce lesson in where filmmaking can take us.
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The graphic carnage and re-creation of war-torn Croatia is uncomfortably timely, relevant, and sickeningly real.
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The ingenious construction (adapted by David Hare from Michael Cunningham's novel) constantly flows forwards and back, weaving themes among three strands which allow us to view events as if through a prism
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The most horrific movie experience I've had since "Can't Stop The Music."
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But it also has many of the things that made the first one charming.
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Weaver and LaPaglia are both excellent, in the kind of low-key way that allows us to forget that they are actually movie folk.
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It's never laugh-out-loud funny, but it is frequently amusing.
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A movie in which laughter and self-exploitation merge into jolly soft-porn 'empowerment.'
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Quite simply, a joy to watch and--especially--to listen to.
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Not to mention absolutely refreshed.
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You can take the grandkids or the grandparents and never worry about anyone being bored ... audience is a sea of constant smiles and frequent laughter.
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Arteta paints a picture of lives lived in a state of quiet desperation.
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There's no reason to miss Interview with the Assassin
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I like this movie a lot.
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Comes off more like a misdemeanor, a flat, unconvincing drama that never catches fire.
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Close enough in spirit to its freewheeling trash-cinema roots to be a breath of fresh air.
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While the transgressive trappings (especially the frank sex scenes) ensure that the film is never dull, Rodrigues's beast-within metaphor is ultimately rather silly and overwrought, making the ambiguous ending seem goofy rather than provocative.
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Blue Crush has all the trappings of an energetic, extreme-sports adventure, but ends up more of a creaky "Pretty Woman" retread, with the emphasis on self-empowering schmaltz and big-wave surfing that gives pic its title an afterthought.
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A man leaving the screening said the film was better than Saving Private Ryan.
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(A) strong piece of work.
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Daring and beautifully made.
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A well-crafted film that is all the more remarkable because it achieves its emotional power and moments of revelation with restraint and a delicate ambiguity.
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...hits every cliche we've come to expect, including the assumption that "crazy" people are innocent, childlike and inherently funny.
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Slight but enjoyable documentary.
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Adam Sandler's Eight Crazy Nights grows on you -- like a rash.
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When compared to the usual, more somber festival entries, Davis' highly personal brand of romantic comedy is a tart, smart breath of fresh air that stands out from the pack even if the picture itself is somewhat problematic.
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Nicks and Steinberg match their own creations for pure venality -- that's giving it the old college try.
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Not even Solondz's thirst for controversy, sketchy characters and immature provocations can fully succeed at cheapening it.
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And in a sense, that's a liability.
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The romance between the leads isn't as compelling or as believable as it should be.
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Hugh Grant, who has a good line in charm, has never been more charming than in About a Boy.
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Poignant and funny.
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This is pure, exciting moviemaking.
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Never having seen the first two films in the series, I can't compare Friday After Next to them, but nothing would change the fact that what we have here is a load of clams left in the broiling sun for a good three days.
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A straight-ahead thriller that never rises above superficiality.
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The film's constant mood of melancholy and its unhurried narrative are masterfully controlled.
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There are scenes of cinematic perfection that steal your heart away.
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A low-key labor of love that strikes a very resonant chord.
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One of those movies that catches you up in something bigger than yourself, namely, an archetypal desire to enjoy good trash every now and then.
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An old-fashioned scary movie, one that relies on lingering terror punctuated by sudden shocks and not constant bloodshed punctuated by flying guts.
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There's an energy to Y Tu Mamá También.
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The problem with the film is whether these ambitions, laudable in themselves, justify a theatrical simulation of the death camp of Auschwitz II-Birkenau.
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The whole mess boils down to a transparently hypocritical work that feels as though it's trying to set the women's liberation movement back 20 years.
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Not even Steven Spielberg has dreamed up such blatant and sickening product placement in a movie.
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Miyazaki is one of world cinema's most wondrously gifted artists and storytellers.
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The Paradiso's rusted-out ruin and ultimate collapse during the film's final (restored) third...emotionally belittle a cinema classic.
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If you're down for a silly hack-and-slash flick, you can do no wrong with Jason X.
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All in all, an interesting look at the life of the campaign-trail press, especially ones that don't really care for the candidate they're forced to follow.
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In the not-too-distant future, movies like Ghost Ship will be used as analgesic balm for overstimulated minds.
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Ryan Gosling is, in a word, brilliant as the conflicted Daniel.
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I don't think so.
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At best this is a film for the under-7 crowd.
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A fresh, entertaining comedy that looks at relationships minus traditional gender roles.
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Poetry in motion captured on film.
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Parts of the film feel a bit too much like an infomercial for Ram Dass's latest book aimed at the boomer demographic.
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The script is a dim-witted pairing of teen-speak and animal gibberish.
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Almost peerlessly unsettling.
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Despite Auteuil's performance, it's a rather listless amble down the middle of the road, where the thematic ironies are too obvious and the sexual politics too smug.
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(Ferrera) has the charisma of a young woman who knows how to hold the screen.
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A solid and refined piece of moviemaking imbued with passion and attitude.
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Flamboyant in some movies and artfully restrained in others, 65-year-old Jack Nicholson could be looking at his 12th Oscar nomination by proving that he's now, more than ever, choosing his roles with the precision of the insurance actuary.
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While this one gets off with a good natured warning, future Lizard endeavors will need to adhere more closely to the laws of laughter
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The hot topics of the plot are relegated to the background -- a welcome step forward from the Sally Jesse Raphael atmosphere of films like Philadelphia and American Beauty.
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Daughter From Danang reveals that efforts toward closure only open new wounds.
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If not a home run, then at least a solid base hit.
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It's a fine, old-fashioned-movie movie, which is to say it's unburdened by pretensions to great artistic significance.
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What it lacks in substance it makes up for in heart.
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Carrying off a spot-on Scottish burr, Duvall (also a producer) peels layers from this character that may well not have existed on paper.
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There are enough throwaway references to faith and rainbows to plant smile-button faces on that segment of the populace that made A Walk to Remember a niche hit.
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Suffice to say its total promise is left slightly unfulfilled.
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The picture's fascinating byways are littered with trenchant satirical jabs at the peculiar egocentricities of the acting breed.
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Walter Hill's Undisputed is like a 1940s Warner Bros.
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Parents beware; this is downright movie penance.
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Whatever satire Lucky Break was aiming for, it certainly got lost in the "soon-to-be-forgettable" section of the quirky rip-off prison romp pile.
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Fred Schepisi's tale of four Englishmen facing the prospect of their own mortality views youthful affluence not as a lost ideal but a starting point.
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There's no energy.
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Starts off witty and sophisticated and you want to love it -- but filmmaker Yvan Attal quickly writes himself into a corner.
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Kosminsky ... puts enough salt into the wounds of the tortured and self-conscious material to make it sting.
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A well made indieflick in need of some trims and a more chemistry between its stars.
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