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...a series of tales told with the intricate preciseness of the best short story writing.
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I walked away not really know who "they" were, what "they" looked like.
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The movie is genial but never inspired, and little about it will stay with you.
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What happens when something goes bump in the night and nobody cares?
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Long on twinkly-eyed close-ups and short on shame.
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Familiar but utterly delightful.
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The chocolate factory without Charlie.
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May offend viewers not amused by the sick sense of humor.
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Steven Spielberg brings us another masterpiece
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It made me feel unclean, and I'm the guy who liked There's Something About Mary and both American Pie movies.
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Complex, sinuously plotted and, somehow, off-puttingly cold.
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A lot of the credit for the film's winning tone must go to Grant, who hasn't lost a bit of the dry humor that first made audiences on both sides of the Atlantic love him.
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The rare Imax movie that you'll wish was longer than an hour.
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If you're a comic fan, you can't miss it.
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A marvel of production design.
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From the choppy editing to the annoying score to 'special effects' by way of replacing objects in a character's hands below the camera line, "Besotted" is misbegotten
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A welcome relief from baseball movies that try too hard to be mythic, this one is a sweet and modest and ultimately winning story.
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From both a great and a terrible story, Mr. Nelson has made a film that is an undeniably worthy and devastating experience.
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Consider it 'perfection.'
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Affectionately reminds us that, in any language, the huge stuff in life can usually be traced back to the little things.
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If the material is slight and admittedly manipulative, Jacquot preserves Tosca's intoxicating ardor through his use of the camera.
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Like the Tuck family themselves, this movie just goes on and on and on and on
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It should be doing a lot of things, but doesn't.
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Moretti ... is the rare common-man artist who's wise enough to recognize that there are few things in this world more complex -- and, as it turns out, more fragile -- than happiness.
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...irritating soul-searching garbage.
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A humorless journey into a philosophical void.
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None of this sounds promising and, indeed, the first half of Sorority Boys is as appalling as any 'comedy' to ever spill from a projector's lens.
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You can drive right by it without noticing anything special, save for a few comic turns, intended and otherwise.
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The film's thoroughly recycled plot and tiresome jokes ... drag the movie down.
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The story gives ample opportunity for large-scale action and suspense, which director Shekhar Kapur supplies with tremendous skill.
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Were Dylan Thomas alive to witness first-time director Ethan Hawke's strained Chelsea Walls, he might have been tempted to change his landmark poem to, 'Do Not Go Gentle Into That Good Theatre.'
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The film ultimately offers nothing more than people in an urban jungle needing other people to survive...
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Triple X is a double agent, and he's one bad dude.
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Wanders all over the map thematically and stylistically, and borrows heavily from Lynch, Jeunet, and von Trier while failing to find a spark of its own.
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Lyne's latest, the erotic thriller Unfaithful, further demonstrates just how far his storytelling skills have eroded.
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A determined, ennui-hobbled slog that really doesn't have much to say beyond the news flash that loneliness can make people act weird.
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Fails to satisfactorily exploit its gender politics, genre thrills or inherent humor.
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Jeffs has created a breathtakingly assured and stylish work of spare dialogue and acute expressiveness.
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Daughter From Danang sticks with its subjects a little longer and tells a deeper story
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The movie's captivating details are all in the performances, from Foreman's barking-mad Taylor to Thewlis's smoothly sinister Freddie and Bettany/McDowell's hard-eyed gangster.
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Quite frankly, I can't see why any actor of talent would ever work in a McCulloch production again if they looked at how this movie turned out.
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A little more intensity and a little less charm would have saved this film a world of hurt.
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A really good premise is frittered away in middle-of-the-road blandness.
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A bit too eager to please.
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Sade achieves the near-impossible: It turns the Marquis de Sade into a dullard.
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It seems impossible that an epic four-hour Indian musical about a cricket game could be this good, but it is.
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Rarely has skin looked as beautiful, desirable, even delectable, as it does in Trouble Every Day.
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A piece of mildly entertaining, inoffensive fluff that drifts aimlessly for 90 minutes before lodging in the cracks of that ever-growing category: unembarrassing but unmemorable.
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Funny and also heartwarming without stooping to gooeyness.
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This kiddie-oriented stinker is so bad that I even caught the gum stuck under my seat trying to sneak out of the theater
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Shreve's graceful dual narrative gets clunky on the screen, and we keep getting torn away from the compelling historical tale to a less-compelling soap opera.
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The story passes time until it's time for an absurd finale of twisted metal, fireballs and revenge.
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imagine a scenario where Bergman approaches Swedish fatalism using Gary Larson's Far Side humor
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He's not good with people.
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Big mistake.
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Aan opportunity wasted.
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Y Tu Mamá También is hilariously, gloriously alive, and quite often hotter than Georgia asphalt.
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Rubbo's humorously tendentious intervention into the who-wrote-Shakespeare controversy.
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It is quite a vision.
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A stupid, derivative horror film that substitutes extreme gore for suspense.
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The color sense of Stuart Little 2 is its most immediate and most obvious pleasure, but it would count for very little if the movie weren't as beautifully shaped and as delicately calibrated in tone as it is.
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Downbeat, period-perfect biopic hammers home a heavy-handed moralistic message.
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Less a study in madness or love than a study in schoolgirl obsession.
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The pairing does sound promising in theory...but their lack of chemistry makes Eddie Murphy and Robert DeNiro in Showtime look like old, familiar vaudeville partners.
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You come away thinking not only that Kate isn't very bright, but that she hasn't been worth caring about and that maybe she, Janine and Molly -- an all-woman dysfunctional family -- deserve one another.
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If you're looking for something new and hoping for something entertaining, you're in luck.
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A triumph of pure craft and passionate heart.
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Cool.
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The film boasts dry humor and jarring shocks, plus moments of breathtaking mystery.
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Beautiful, angry and sad, with a curious sick poetry, as if the Marquis de Sade had gone in for pastel landscapes.
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Morvern Callar confirms Lynne Ramsay as an important, original talent in international cinema.
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Guy gets girl, guy loses girl, audience falls asleep.
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There are so few films about the plight of American Indians in modern America that Skins comes as a welcome, if downbeat, missive from a forgotten front.
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Depressingly thin and exhaustingly contrived.
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Bluer than the Atlantic and more biologically detailed than an autopsy, the movie ... is, also, frequently hilarious.
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Bouquet gives a performance that is masterly.
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It's as sorry a mess as its director's diabolical debut, Mad Cows.
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There's a lot to recommend Read My Lips.
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I'd rather watch a rerun of The Powerpuff Girls
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This submarine drama earns the right to be favorably compared to Das Boot.
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The only question ... is to determine how well the schmaltz is manufactured -- to assess the quality of the manipulative engineering.
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It's impossible to even categorize this as a smutty guilty pleasure.
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Maintains your interest until the end and even leaves you with a few lingering animated thoughts.
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The movie doesn't think much of its characters, its protagonist, or of us.
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Britney Spears' phoniness is nothing compared to the movie's contrived, lame screenplay and listless direction.
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The movie's progression into rambling incoherence gives new meaning to the phrase 'fatal script error.'
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Devos and Cassel have tremendous chemistry -- their sexual and romantic tension, while never really vocalized, is palpable.
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...about as exciting to watch as two last-place basketball teams playing one another on the final day of the season.
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Terrific as Nadia, a Russian mail-order bride who comes to America speaking not a word of English, it's Kidman who holds the film together with a supremely kittenish performance that gradually accumulates more layers.
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He fails.
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This new movie version of the Alexandre Dumas classic is the stuff of high romance, brought off with considerable wit.
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Nicolas Cage isn't the first actor to lead a group of talented friends astray, and this movie won't create a ruffle in what is already an erratic career.
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It's dark but has wonderfully funny moments; you care about the characters; and the action and special effects are first-rate.
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Jeong-Hyang Lee's film is deceptively simple, deeply satisfying.
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The bodily function jokes are about what you'd expect, but there are rich veins of funny stuff in this movie.
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For a film about action, Ultimate X is the gabbiest giant-screen movie ever, bogging down in a barrage of hype.
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It's a solid movie about people whose lives are anything but.
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One can't shake the feeling that Crossroads is nothing more than an hour-and-a-half-long commercial for Britney's latest album.
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Visually engrossing, seldom hammy, honorably Mexican and burns its Kahlories with conviction.
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High Crimes steals so freely from other movies and combines enough disparate types of films that it can't help but engage an audience.
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Subsets and Splits
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