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manages to be wholesome and subversive at the same time .
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when it's not wallowing in hormonal melodrama , " real women have curves " is a sweet , honest , and enjoyable comedy-drama about a young woman who wants many things in life , but fears she'll become her mother before she gets to fulfill her dreams .
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the film runs on a little longer than it needs to -- muccino either doesn't notice when his story ends or just can't tear himself away from the characters -- but it's smooth and professional .
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blithely anachronistic and slyly achronological .
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this starts off with a 1950's doris day feel and it gets very ugly , very fast . the first five minutes will have you talking 'til the end of the year !
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triumph of love is a very silly movie , but the silliness has a pedigree .
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discursive but oddly riveting documentary .
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the movie has no respect for laws , political correctness or common decency , but it displays something more important : respect for its flawed , crazy people .
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on its own , big trouble could be considered a funny little film .
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an undeniably gorgeous , terminally smitten document of a troubadour , his acolytes , and the triumph of his band .
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this cinema verite speculation on the assassination of john f . kennedy may have been inspired by blair witch , but it takes its techniques into such fresh territory that the film never feels derivative .
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a beautifully observed character piece .
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a coming-of-age movie that hollywood wouldn't have the guts to make .
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it is quite a vision .
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there are laughs aplenty , and , as a bonus , viewers don't have to worry about being subjected to farts , urine , feces , semen , or any of the other foul substances that have overrun modern-day comedies .
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a bittersweet drama about the limbo of grief and how truth-telling can open the door to liberation .
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a strong and confident work which works so well for the first 89 minutes , but ends so horrendously confusing in the final two
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salma goes native and she's never been better in this colorful bio-pic of a mexican icon .
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filled with alexandre desplat's haunting and sublime music , the movie completely transfixes the audience .
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as chilling and fascinating as philippe mora's modern hitler-study , snide and prejudice .
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an hour and a half of joyful solo performance .
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strange and beautiful film .
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no worse a film than breaking out , and breaking out was utterly charming .
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parker cannot sustain the buoyant energy level of the film's city beginnings into its country conclusion
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' . . . despite lagging near the finish line , the movie runs a good race , one that will have you at the edge of your seat for long stretches . '
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. . . a guiltless film for nice evening out .
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deflated ending aside , there's much to recommend the film .
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it's a treat – a delightful , witty , improbable romantic comedy with a zippy jazzy score… grant and bullock make it look as though they are having so much fun .
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performances all around are tops , with the two leads delivering oscar-caliber performances .
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everything about the quiet american is good , except its timing .
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a savage john waters-like humor that dances on the edge of tastelessness without ever quite falling over .
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at once a testament to the divine calling of education and a demonstration of the painstaking process of imparting knowledge .
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may seriously impair your ability to ever again maintain a straight face while speaking to a highway patrolman .
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it's an interesting effort ( particularly for jfk conspiracy nuts ) , and barry's cold-fish act makes the experience worthwhile .
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they're just a couple of cops in copmovieland , these two , but in narc , they find new routes through a familiar neighborhood .
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brings awareness to an issue often overlooked -- women's depression .
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it's a shame the marvelous first 101 minutes have to be combined with the misconceived final 5 .
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it has a caffeinated , sloppy brilliance , sparkling with ideas you wish had been developed with more care , but animated by an energy that puts the dutiful efforts of more disciplined grade-grubbers to shame .
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you can almost see mendes and company getting together before a single frame had been shot and collectively vowing , 'this is going to be something really good . ' and it is .
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foster and whitaker are especially fine . she is a lioness , protecting her cub , and he a reluctant villain , incapable of controlling his crew .
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undoubtedly the scariest movie ever made about tattoos .
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a movie that will wear you out and make you misty even when you don't want to be .
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not only better than its predecessor , it may rate as the most magical and most fun family fare of this or any recent holiday season .
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though the story . . . is hackneyed , the characters have a freshness and modesty that transcends their predicament .
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although frailty fits into a classic genre , in its script and execution it is a remarkably original work .
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if this movie leaves you cool , it also leaves you intriguingly contemplative .
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the climactic events are so well realized that you may forget all about the original conflict , just like the movie does
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a rude black comedy about the catalytic effect a holy fool has upon those around him in the cutthroat world of children's television .
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all comedy is subversive , but this unrelenting bleak insistence on opting out of any opportunity for finding meaning in relationships or work just becomes sad .
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if a horror movie's primary goal is to frighten and disturb , then they works spectacularly well . . . a shiver-inducing , nerve-rattling ride .
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a playful iranian parable about openness , particularly the need for people of diverse political perspectives to get along despite their ideological differences .
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brilliantly written and well-acted , yellow asphalt is an uncompromising film .
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that 'alabama' manages to be pleasant in spite of its predictability and occasional slowness is due primarily to the perkiness of witherspoon ( who is always a joy to watch , even when her material is not first-rate ) . . .
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personal velocity has a no-frills docu-dogma plainness , yet miller lingers on invisible , nearly psychic nuances , leaping into digressions of memory and desire . she boxes these women's souls right open for us .
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a fascinating literary mystery story with multiple strands about the controversy of who really wrote shakespeare's plays .
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throughout , mr . audiard's direction is fluid and quick .
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a dashing and absorbing outing with one of france's most inventive directors .
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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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. . . flat-out amusing , sometimes endearing and often fabulous , with a solid cast , noteworthy characters , delicious dialogue and a wide supply of effective sight gags .
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the trials of henry kissinger is a remarkable piece of filmmaking … because you get it .
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nachtwey clears the cynicism right out of you . he makes you realize that deep inside righteousness can be found a tough beauty .
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what it lacks in substance it makes up for in heart .
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robert harmon's less-is-more approach delivers real bump-in -the-night chills -- his greatest triumph is keeping the creepy crawlies hidden in the film's thick shadows .
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genuinely unnerving .
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american and european cinema has amassed a vast holocaust literature , but it is impossible to think of any film more challenging or depressing than the grey zone .
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a compelling film .
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with its hint of an awkward hitchcockian theme in tact , harmon's daunting narrative promotes a reasonable landscape of conflict and pathos to support the scattershot terrorizing tone
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in auteil's less dramatic but equally incisive performance , he's a charismatic charmer likely to seduce and conquer .
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the heart of the film is a touching reflection on aging , suffering and the prospect of death .
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will you go ape over this movie ? well , it probably won't have you swinging from the trees hooting it's praises , but it's definitely worth taking a look .
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its director's most substantial feature for some time .
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fontaine's direction , especially her agreeably startling use of close-ups and her grace with a moving camera , creates sheerly cinematic appeal .
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the son of the bride's humour is born out of an engaging storyline , which also isn't embarrassed to make you reach for the tissues . this movie is to be cherished .
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. . . a visually seductive , unrepentantly trashy take on rice's second installment of her vampire chronicles .
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the story's scope and pageantry are mesmerizing , and mr . day-lewis roars with leonine power .
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p . t . anderson understands the grandness of romance and how love is the great equalizer that can calm us of our daily ills and bring out joys in our lives that we never knew were possible .
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twenty years later , e . t . is still a cinematic touchstone .
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this fascinating experiment plays as more of a poetic than a strict reality , creating an intriguing species of artifice that gives the lady and the duke something of a theatrical air .
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it's virtually impossible to like any of these despicable characters .
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this is mostly well-constructed fluff , which is all it seems intended to be .
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even through its flaws , revolution #9 proves to be a compelling , interestingly told film .
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the best way to describe it is as a cross between paul thomas anderson's magnolia and david lynch's mulholland dr .
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schepisi , aided by a cast that seems to include every top-notch british actor who did not appear in gosford park ( as well as one , ms . mirren , who did ) , has succeeded beyond all expectation .
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lejos del paraíso es al mismo tiempo una fiesta para los ojos y oídos y un movilizador cuadro de personajes enfrentados a sus propios deseos , miedos y prejuicios .
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watching this film , one is left with the inescapable conclusion that hitchens' obsession with kissinger is , at bottom , a sophisticated flower child's desire to purge the world of the tooth and claw of human power .
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there is no denying the power of polanski's film . . .
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the movie is amateurish , but it's a minor treat .
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this charming but slight tale has warmth , wit and interesting characters compassionately portrayed .
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el título no engaña : la película narra una historia donde una mujer enfrentará cierta realidad , y donde el sexo es . . .
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offers a persuasive look at a defeated but defiant nation in flux .
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'interesante y disfrutable trabajo gracias a que prescinde del clásico elemento estadounidense patriotero y manipulador . '
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a return to pure disney magic and is enjoyable family fare .
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takes a fresh and absorbing look at a figure whose legacy had begun to bronze .
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a triumph of pure craft and passionate heart .
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gosling creates a staggeringly compelling character , a young man whose sharp intellect is at the very root of his contradictory , self-hating , self-destructive ways .
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witty and often surprising , a dark little morality tale disguised as a romantic comedy .
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even as it pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators , scratch is great fun , full of the kind of energy it's documenting .
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got a david lynch jones ? then you'd do well to check this one out because it's straight up twin peaks action . . .
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astonishing . . . [frames] profound ethical and philosophical questions in the form of dazzling pop entertainment .
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take care is nicely performed by a quintet of actresses , but nonetheless it drags during its 112-minute length .
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