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This director's cut -- which adds 51 minutes -- takes a great film and turns it into a mundane soap opera.
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"The Dangerous Lives of Altar Boys" has flaws, but it also has humor and heart and very talented young actors
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Movies like High Crimes flog the dead horse of surprise as if it were an obligation.
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An amusing and unexpectedly insightful examination of sexual jealousy, resentment and the fine line between passion and pretence.
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Producer John Penotti surveyed high school students...and came back with the astonishing revelation that "they wanted to see something that didn't talk down to them."
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It's just a movie that happens to have Jackie Chan in it.
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What redeems the film is the cast, particularly the Ya-Yas themselves.
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But what's nice is that there's a casual intelligence that permeates the script.
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Adam Sandler's 8 Crazy Nights is 75 wasted minutes of Sandler as the voice-over hero in Columbia Pictures' perverse idea of an animated holiday movie.
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A mess.
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The filmmakers wisely decided to let Crocodile Hunter Steve Irwin do what he does best, and fashion a story around him.
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So purely enjoyable that you might not even notice it's a fairly straightforward remake of Hollywood comedies such as Father of the Bride.
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Talk to Her is so darned assured, we have absolutely no idea who the main characters are until the film is well under way -- and yet it's hard to stop watching.
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A genuinely funny ensemble comedy that also asks its audience -- in a heartwarming, nonjudgmental kind of way -- to consider what we value in our daily lives.
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After seeing 'Analyze That,' I feel better already.
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Mazel tov to a film about a family's joyous life acting on the Yiddish stage.
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The characters are never more than sketches ... which leaves any true emotional connection or identification frustratingly out of reach.
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Reign of Fire just might go down as one of the all-time great apocalypse movies.
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Though few will argue that it ranks with the best of Herzog's works, Invincible shows he's back in form, with an astoundingly rich film.
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Monte Cristo smartly emphasizes the well-wrought story and omits needless chase scenes and swordfights as the revenge unfolds.
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It shows us a slice of life that's very different from our own and yet instantly recognizable.
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Interesting both as a historical study and as a tragic love story.
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What we have here isn't a disaster, exactly, but a very handsomely produced let-down.
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There's a reason the studio didn't offer an advance screening.
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There is a certain sense of experimentation and improvisation to this film that may not always work, but it is nevertheless compelling.
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Though it's equally solipsistic in tone, the movie has enough vitality to justify the notion of creating a screen adaptation of Evans' saga of Hollywood excess.
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One of the worst films of 2002.
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Lazy, miserable and smug.
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(T)he script isn't up to the level of the direction, nor are the uneven performances by the cast members, who seem bound and determined to duplicate Bela Lugosi's now-cliched vampire accent.
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Often demented in a good way, but it is an uneven film for the most part.
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An animation landmark as monumental as Disney's 1937 breakthrough Snow White and the Seven Dwarfs.
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This thing is just garbage.
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"the road paved with good intentions leads to the video store"
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Still, this flick is fun, and host to some truly excellent sequences.
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A disoriented but occasionally disarming saga packed with moments out of an Alice in Wonderland adventure, a stalker thriller, and a condensed season of TV's Big Brother.
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Like the world of his film, Hartley created a monster but didn't know how to handle it.
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What's surprising is how well it holds up in an era in which computer-generated images are the norm.
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It's a clear-eyed portrait of an intensely lived time, filled with nervous energy, moral ambiguity and great uncertainties.
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The extent to which it succeeds is impressive.
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Proves a servicable World War II drama that can't totally hide its contrivances, but it at least calls attention to a problem Hollywood too long has ignored.
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A fascinating, bombshell documentary that should shame Americans, regardless of whether or not ultimate blame finally lies with Kissinger.
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Never inspires more than an interested detachment.
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A sharp and quick documentary that is funny and pithy, while illuminating an era of theatrical comedy that, while past, really isn't.
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This is a smart movie that knows its classical music, knows its Freud and knows its Sade.
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Instead of trying to bust some blondes, (Diggs) should be probing why a guy with his talent ended up in a movie this bad.
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Delivers roughly equal amounts of beautiful movement and inside information.
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Meyjes's movie, like Max Rothman's future, does not work.
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A weird, arresting little ride.
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But I had a lot of problems with this movie.
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It's dull, spiritless, silly and monotonous: an ultra-loud blast of pointless mayhem, going nowhere fast.
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The year 2002 has conjured up more coming-of-age stories than seem possible, but Take Care of My Cat emerges as the very best of them.
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Nakata's technique is to imply terror by suggestion, rather than the overuse of special effects.
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The cinematic equivalent of patronizing a bar favored by pretentious, untalented artistes who enjoy moaning about their cruel fate.
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There's a part of us that cannot help be entertained by the sight of someone getting away with something.
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But Mr. Polanski creates images even more haunting than those in Mr. Spielberg's 1993 classic.
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The performances are strong, though the subject matter demands acting that borders on hammy at times.
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Never does "Lilo & Stitch" reach the emotion or timelessness of Disney's great past, or even that of more recent successes such as "Mulan" or "Tarzan."
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A wild ride with eight boarders from Venice Beach that was a deserved co-winner of the Audience Award for documentaries at the Sundance Film Festival.
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The mushy finale turns John Q into a movie-of-the-week tearjerker.
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A venturesome, beautifully realized psychological mood piece that reveals its first-time feature director's understanding of the expressive power of the camera.
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that it'll probably be the best and most mature comedy of the 2002 summer season speaks more of the season than the picture
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My own minority report is that it stinks.
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Cage makes an unusual but pleasantly haunting debut behind the camera.
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Brosnan is more feral in this film than I've seen him before and Halle Berry does her best to keep up with him.
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Ben Kingsley is truly funny, playing a kind of Ghandi gone bad.
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Frankly, it's pretty stupid.
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Ozpetek's effort has the scope and shape of an especially well-executed television movie.
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Too clever by about nine-tenths.
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Horns and Halos benefits from serendipity but also reminds us of our own responsibility to question what is told as the truth.
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A particularly joyless, and exceedingly dull, period coming-of-age tale.
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An unorthodox little film noir organized crime story that includes one of the strangest love stories you will ever see.
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Watching The Powerpuff Girls Movie, my mind kept returning to one anecdote for comparison: the cartoon in Japan that gave people seizures.
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There's no good answer to that one.
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(While The Last Metro) was more melodramatic, confined to a single theater company and its strategies and deceptions, while Tavernier is more concerned with the entire period of history.
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Cantet beautifully illuminates what it means sometimes to be inside looking out, and at other times outside looking in.
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If you think it's a riot to see Rob Schneider in a young woman's clothes, then you'll enjoy The Hot Chick.
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With the same sort of good-natured fun found in films like Tremors, Eight Legged Freaks is prime escapist fare.
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A bore that tends to hammer home every one of its points.
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A non-mystery mystery.
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There's back-stabbing, inter-racial desire and, most importantly, singing and dancing.
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There's more repetition than creativity throughout the movie.
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Together, Miller, Kuras and the actresses make Personal Velocity into an intricate, intimate and intelligent journey.
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I enjoyed the movie in a superficial way, while never sure what its purpose was.
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Fear Dot Com is more frustrating than a modem that disconnects every 10 seconds.
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Instead of a witty expose on the banality and hypocrisy of too much kid-vid, we get an ugly, mean-spirited lashing out by an adult who's apparently been forced by his kids to watch too many Barney videos.
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Feels like the work of an artist who is simply tired -- of fighting the same fights, of putting the weight of the world on his shoulders, of playing with narrative form.
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It is very difficult to care about the character, and that is the central flaw of the film.
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Gangster No. 1 is solid, satisfying fare for adults.
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Why did they deem it necessary to document all this emotional misery?
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No doubt the star and everyone else involved had their hearts in the right place.
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(Rises) above its oh-so-Hollywood rejiggering and its conventional direction to give the film a soul and an unabashed sense of good old-fashioned escapism.
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captures that perverse element of the Kafkaesque where identity, overnight, is robbed and replaced with a persecuted "other."
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Never once predictable.
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The film doesn't really care about the thousands of Americans who die hideously, it cares about how Ryan meets his future wife and makes his start at the CIA.
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Offers a guilt-free trip into feel-good territory.
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The filmmakers are playing to the Big Boys in New York and L.A. To that end, they mock the kind of folks they don't understand, ones they figure the power-lunchers don't care to understand, either.
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I wish it would have just gone more over-the-top instead of trying to have it both ways.
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The whole affair, true story or not, feels incredibly hokey... (it) comes off like a Hallmark commercial.
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The structure is simple, but in its own way, Rabbit-Proof Fence is a quest story as grand as The Lord of the Rings.
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A puppy dog so desperate for attention it nearly breaks its little neck trying to perform entertaining tricks.
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