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another love story in 2002's remarkable procession of sweeping pictures that have reinvigorated the romance genre .
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it's another retelling of alexandre dumas' classic . why ? who knows , but it works under the direction of kevin reynolds .
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[f]rom the performances and the cinematography to the outstanding soundtrack and unconventional narrative , the film is blazingly alive and admirable on many levels .
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shiri is an action film that delivers on the promise of excitement , but it also has a strong dramatic and emotional pull that gradually sneaks up on the audience .
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provides the kind of 'laugh therapy' i need from movie comedies -- offbeat humor , amusing characters , and a happy ending . after seeing 'analyze that , ' i feel better already .
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a penetrating , potent exploration of sanctimony , self-awareness , self-hatred and self-determination .
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this isn't a retooled genre piece , the tale of a guy and his gun , but an amiably idiosyncratic work .
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overall , it's a very entertaining , thought-provoking film with a simple message : god is love .
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it may not be a great piece of filmmaking , but its power comes from its soul's-eye view of how well-meaning patronizing masked a social injustice , at least as represented by this case .
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although mainstream american movies tend to exploit the familiar , every once in a while a film arrives from the margin that gives viewers a chance to learn , to grow , to travel .
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jeong-hyang lee's film is deceptively simple , deeply satisfying .
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the film is a hoot , and is just as good , if not better than much of what's on saturday morning tv especially the pseudo-educational stuff we all can't stand .
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george clooney , in his first directorial effort , presents this utterly ridiculous shaggy dog story as one of the most creative , energetic and original comedies to hit the screen in years .
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even when it drags , we are forced to reflect that its visual imagination is breathtaking
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although commentary on nachtwey is provided . . . it's the image that really tells the tale .
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a life-size reenactment of those jack chick cartoon tracts that always ended with some hippie getting tossed into the lake of fire .
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grainy photography mars an otherwise delightful comedy of errors .
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this film is not a love letter for the slain rappers , it's a taunt -a call for justice for two crimes from which many of us have not yet recovered .
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the film is impressive for the sights and sounds of the wondrous beats the world has to offer .
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daily struggles and simple pleasures usurp the preaching message so that , by the time the credits roll across the pat ending , a warm , fuzzy feeling prevails .
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. . . in no way original , or even all that memorable , but as downtown saturday matinee brain candy , it doesn't disappoint .
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clever and unflinching in its comic barbs , slap her is a small but rewarding comedy that takes aim at contemporary southern adolescence and never lets up .
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cremaster 3 is at once a tough pill to swallow and a minor miracle of self-expression .
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sex is one of those films that aims to confuse .
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compared to his series of spectacular belly flops both on and off the screen , runteldat is something of a triumph .
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[moore's] better at fingering problems than finding solutions . but though he only scratches the surface , at least he provides a strong itch to explore more .
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the powerful success of read my lips with such provocative material shows why , after only three films , director/co-writer jacques audiard , though little known in this country , belongs in the very top rank of french filmmakers .
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in his debut as a director , washington has a sure hand . his work with actors is particularly impressive .
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a generous , inspiring film that unfolds with grace and humor and gradually becomes a testament to faith .
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delivers the sexy razzle-dazzle that everyone , especially movie musical fans , has been hoping for .
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morvern rocks .
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vincent gallo is right at home in this french shocker playing his usual bad boy weirdo role .
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fierce , glaring and unforgettable .
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cletis is playful but highly studied and dependent for its success on a patient viewer .
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like its predecessor , it's no classic , but it provides a reasonably attractive holiday contraption , one that families looking for a clean , kid-friendly outing should investigate .
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campanella gets the tone just right -- funny in the middle of sad in the middle of hopeful .
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either a fascinating study of the relationship between mothers and their children or a disturbing story about sociopaths and their marks .
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. . . gripping and handsome execution , ( but ) there isn't much about k-19 that's unique or memorable .
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effective in all its aspects , margarita happy hour represents an auspicious feature debut for chaiken .
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the delicious trimmings…arrive early and stay late , filling nearly every minute…with a lighthearted glow , some impudent snickers , and a glorious dose of humankind's liberating ability to triumph over a scrooge or two .
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standing by yourself is haunting . . . [it's] what punk rock music used to be , and what the video medium could use more of : spirit , perception , conviction .
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not the best herzog perhaps , but unmistakably herzog .
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enjoyably fast-moving , hard-hitting documentary .
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rehearsals are frequently more fascinating than the results . last dance , whatever its flaws , fulfills one facet of its mission in making me want to find out whether , in this case , that's true .
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the film's constant mood of melancholy and its unhurried narrative are masterfully controlled . but … in trying to capture the novel's deeper intimate resonances , the film has – ironically - distanced us from the characters .
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this is a stunning film , a one-of-a-kind tour de force .
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[cho's face is] an amazing slapstick instrument , creating a scrapbook of living mug shots .
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it's about as convincing as any other arnie musclefest , but has a little too much resonance with real world events and ultimately comes off as insultingly simplistic .
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while not quite a comedy , the film tackles its relatively serious subject with an open mind and considerable good cheer , and is never less than engaging .
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an extremely funny , ultimately heartbreaking look at life in contemporary china .
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your response to its new sequel , analyze that , may hinge on what you thought of the first film .
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davis is funny , charming and quirky in her feature film acting debut as amy .
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bloody sunday has the grace to call for prevention rather than to place blame , making it one of the best war movies ever made . it's a movie that accomplishes so much that one viewing can't possibly be enough .
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a lively and engaging examination of how similar obsessions can dominate a family .
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in the new release of cinema paradiso , the tale has turned from sweet to bittersweet , and when the tears come during that final , beautiful scene , they finally feel absolutely earned .
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faithful without being forceful , sad without being shrill , " a walk to remember " succeeds through sincerity .
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the film is a masterpiece of nuance and characterization , marred only by an inexplicable , utterly distracting blunder at the very end .
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the film is full of charm .
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the movie is well crafted , and well executed . if you're paying attention , the " big twists " are pretty easy to guess - but that doesn't make the movie any less entertaining .
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one of those unassuming films that sneaks up on you and stays with you long after you have left the theatre .
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. . . pray doesn't have a passion for the material . he nonetheless appreciates the art and reveals a music scene that transcends culture and race .
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the one-liners are snappy , the situations volatile and the comic opportunities richly rewarded .
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it's anchored by splendid performances from an honored screen veteran and a sparkling newcomer who instantly transform themselves into a believable mother/daughter pair .
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intelligent and moving .
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fathers and sons , and the uneasy bonds between them , rarely have received such a sophisticated and unsentimental treatment on the big screen as they do in this marvelous film .
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this sci-fi techno-sex thriller starts out bizarre and just keeps getting weirder .
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last orders nurtures the multi-layers of its characters , allowing us to remember that life's ultimately a gamble and last orders are to be embraced . it's affecting , amusing , sad and reflective .
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a slight but sweet film .
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el peso de un líquido incoloro , el peso del líquido vital , del amor como elemento de vida , y de muerte . . .
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writer/director walter hill is in his hypermasculine element here , once again able to inject some real vitality and even art into a pulpy concept that , in many other hands would be completely forgettable .
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it is a happy , heady jumble of thought and storytelling , an insane comic undertaking that ultimately coheres into a sane and breathtakingly creative film .
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this new time machine is hardly perfect… yet it proves surprisingly serviceable . even at its worst , it's not half-bad .
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almost everyone growing up believes their family must look like " the addams family " to everyone looking in . . . " my big fat greek wedding " comes from the heart . . .
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once folks started hanging out at the barbershop , they never wanted to leave . chances are you won't , either .
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george lucas returns as a visionary with a tale full of nuance and character dimension .
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can be viewed as pure composition and form -- film as music
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an extraordinary dramatic experience .
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every individual will see the movie through the prism of his or her own beliefs and prejudices , but the one thing most will take away is the sense that peace is possible . that , in itself , is extraordinary .
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if you can tolerate the redneck-versus-blueblood cliches that the film trades in , sweet home alabama is diverting in the manner of jeff foxworthy's stand-up act .
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it's a treat watching shaw , a british stage icon , melting under the heat of phocion's attentions .
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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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narc is a no-bull throwback to 1970s action films . it zips along with b-movie verve while adding the rich details and go-for-broke acting that heralds something special .
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me without you has a bracing truth that's refreshing after the phoniness of female-bonding pictures like divine secrets of the ya-ya sisterhood .
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it's a strange film , one that was hard for me to warm up to .
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goes a long way on hedonistic gusto .
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the result puts a human face on derrida , and makes one of the great minds of our times interesting and accessible to people who normally couldn't care less .
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the scorpion king is more fun than conan the barbarian .
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if there's one big point to promises , it's that nothing can change while physical and psychological barriers keep the sides from speaking even one word to each other .
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unexpected moments of authentically impulsive humor are the hallmark of this bittersweet , uncommonly sincere movie that portrays the frank humanity of…emotional recovery .
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jacquot has filmed the opera exactly as the libretto directs , ideally capturing the opera's drama and lyricism .
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this is a sincerely crafted picture that deserves to emerge from the traffic jam of holiday movies .
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i liked it because it was so endlessly , grotesquely , inventive .
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audiard successfully maintains suspense on different levels throughout a film that is both gripping and compelling .
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credit director ramsay for taking the sometimes improbable story and making it feel realistic .
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this is dicaprio's best performance in anything ever , and easily the most watchable film of the year .
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witherspoon puts to rest her valley-girl image , but it's dench who really steals the show .
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even when there are lulls , the emotions seem authentic , and the picture is so lovely toward the end . . . you almost don't notice the 129-minute running time .
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while dutifully pulling on heartstrings , directors dean deblois and chris sanders valiantly keep punching up the mix .
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ambitious , unsettling psychodrama that takes full , chilling advantage of its rough-around-the-edges , low-budget constraints .
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eric byler's nuanced pic avoids easy sentiments and explanations . . .
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