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while puerile men dominate the story , the women shine .
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unlike lots of hollywood fluff , this has layered , well-developed characters and some surprises .
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for a film that's being advertised as a comedy , sweet home alabama isn't as funny as you'd hoped . for a film that's being advertised as a comedy , sweet home alabama isn't as funny as you'd hoped .
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vera has created a provocative , absorbing drama that reveals the curse of a self-hatred instilled by rigid social mores .
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a french film with a more down-home flavor .
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a fun ride .
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depending upon your reaction to this movie , you may never again be able to look at a red felt sharpie pen without disgust , a thrill , or the giggles .
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while bollywood/hollywood will undoubtedly provide its keenest pleasures to those familiar with bombay musicals , it also has plenty for those ( like me ) who aren't .
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there are times when you wish that the movie had worked a little harder to conceal its contrivances , but brown sugar turns out to be a sweet and enjoyable fantasy .
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fontaine masterfully creates a portrait of two strong men in conflict , inextricably entwined through family history , each seeing himself in the other , neither liking what he sees .
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one fantastic ( and educational ) documentary .
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as janice , eileen walsh , an engaging , wide-eyed actress whose teeth are a little too big for her mouth , infuses the movie with much of its slender , glinting charm .
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sure , it's contrived and predictable , but its performances are so well tuned that the film comes off winningly , even though it's never as solid as you want it to be .
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dong shows how intolerance has the power to deform families , then tear them apart .
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the chateau belongs to rudd , whose portrait of a therapy-dependent flakeball spouting french malapropisms . . . is a nonstop hoot .
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the cast , collectively a successful example of the lovable-loser protagonist , shows deft comic timing .
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it trusts the story it sets out to tell .
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i couldn't recommend this film more .
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as a good old-fashioned adventure for kids , spirit : stallion of the cimarron is a winner .
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an effective portrait of a life in stasis -- of the power of inertia to arrest development in a dead-end existence .
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succeeds as a well-made evocation of a subculture .
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. . . an interesting slice of history .
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me no lika da accents so good , but i thoroughly enjoyed the love story . scott baio is turning in some delightful work on indie projects .
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it's an experience in understanding a unique culture that is presented with universal appeal .
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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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brings together some of the biggest names in japanese anime , with impressive results .
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wonder , hope and magic can never escape the heart of the boy when the right movie comes along , especially if it begins with the name of star wars
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a flick about our infantilized culture that isn't entirely infantile .
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an exceptionally acted , quietly affecting cop drama .
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sensual , funny and , in the end , very touching .
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angel presents events partly from the perspective of aurelie and christelle , and infuses the film with the sensibility of a particularly nightmarish fairytale .
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who needs mind-bending drugs when they can see this , the final part of the 'qatsi' trilogy , directed by godfrey reggio , with music by philip glass ?
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[a] smarter and much funnier version of the old police academy flicks .
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proof once again that if the filmmakers just follow the books , they can't go wrong . better effects , better acting and a hilarious kenneth branagh . an excellent sequel .
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both a grand tour through 300 hundred years of russian cultural identity and a stunning technical achievement .
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just how these families interact may surprise you .
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allen se atreve a atacar , a atacarse y nos ofrece gags que van de la sonrisa a la risa de larga duración
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proves that some movie formulas don't need messing with -- like the big-bug movie .
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a surprisingly funny movie .
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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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like all of egoyan's work , ararat is fiercely intelligent and uncommonly ambitious .
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if a big musical number like 'praise the lord , he's the god of second chances' doesn't put you off , this will be an enjoyable choice for younger kids .
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. . . fuses the events of her life with the imagery in her paintings so vividly that the artist's work may take on a striking new significance for anyone who sees the film .
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[clooney's] debut can be accused of being a bit undisciplined , but it has a tremendous , offbeat sense of style and humor that suggests he was influenced by some of the filmmakers who have directed him , especially the coen brothers and steven soderbergh .
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although made on a shoestring and unevenly acted , conjures a lynch-like vision of the rotting underbelly of middle america .
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a piquant meditation on the things that prevent people from reaching happiness .
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a timely look back at civil disobedience , anti-war movements and the power of strong voices .
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rifkin's references are . . . impeccable throughout .
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i'd be lying if i said my ribcage didn't ache by the end of kung pow .
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more than their unique residences , home movie is about the people who live in them , who have carved their own comfortable niche in the world and have been kind enough to share it .
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the movie is ingenious fun . see it .
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the combination of lightness and strictness in this instance gives italian for beginners an amiable aimlessness that keeps it from seeming predictably formulaic .
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una película oscura , precisa , por momentos grandiosa y casi siempre conmovedora .
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the script is smart and dark - hallelujah for small favors .
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an intelligent , multi-layered and profoundly humanist ( not to mention gently political ) meditation on the values of knowledge , education , and the affects of cultural and geographical displacement .
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mr . polanski is in his element here : alone , abandoned , but still consoled by his art , which is more than he has ever revealed before about the source of his spiritual survival .
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spectacular in every sense of the word , even if you don' t know an orc from a uruk-hai .
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this isn't exactly profound cinema , but it's good-natured and sometimes quite funny .
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this is a finely written , superbly acted offbeat thriller .
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tres greek writer and star nia vardalos has crafted here a worldly-wise and very funny script .
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os problemas têm início a partir do momento em que saímos do cinema e começamos a pensar sobre o que acabamos de ver . É então que sinais realmente desaponta .
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a tasty appetizer that leaves you wanting more .
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it gives devastating testimony to both people's capacity for evil and their heroic capacity for good .
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the film reminds me of a vastly improved germanic version of my big fat greek wedding -- with better characters , some genuine quirkiness and at least a measure of style . the difference is that i truly enjoyed most of mostly martha while i ne
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morton deserves an oscar nomination .
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a colorful , vibrant introduction to a universal human impulse , lushly photographed and beautifully recorded .
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the screenplay never lets us forget that bourne was once an amoral assassin just like the ones who are pursuing him . . . there is never really a true " us " versus " them " .
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the history is fascinating ; the action is dazzling . they just don't work in concert .
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for those in search of something different , wendigo is a genuinely bone-chilling tale .
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a lovely film for the holiday season .
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it remains to be seen whether statham can move beyond the crime-land action genre , but then again , who says he has to ?
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a hypnotic cyber hymn and a cruel story of youth culture .
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it's a fairy tale that comes from a renowned indian film culture that allows americans to finally revel in its splendor .
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at once subtle and visceral , the film never succumbs to the trap of the maudlin or tearful , offering instead with its unflinching gaze a measure of faith in the future .
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the performances of the children , untrained in acting , have an honesty and dignity that breaks your heart .
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despite its lavish formalism and intellectual austerity , the film manages to keep you at the edge of your seat with its shape-shifting perils , political intrigue and brushes with calamity .
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this rush to profits has created a predictably efficient piece of business notable largely for its overwhelming creepiness , for an eagerness to create images you wish you hadn't seen , which , in this day and age , is of course the point .
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adams , with four scriptwriters , takes care with the characters , who are so believable that you feel what they feel .
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a completely spooky piece of business that gets under your skin and , some plot blips aside , stays there for the duration .
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superbly photographed and staged by mendes with a series of riveting set pieces the likes of which mainstream audiences have rarely seen .
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the ensemble cast turns in a collectively stellar performance , and the writing is tight and truthful , full of funny situations and honest observations .
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not quite as miraculous as its dreamworks makers would have you believe , but it more than adequately fills the eyes and stirs the emotions .
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a properly spooky film about the power of spirits to influence us whether we believe in them or not .
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the lightest , most breezy movie steven spielberg has made in more than a decade . and the positive change in tone here seems to have recharged him .
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like edward norton in american history x , ryan gosling ( murder by numbers ) delivers a magnetic performance .
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this is a very funny , heartwarming film . it has fun with the quirks of family life , but it also treats the subject with fondness and respect .
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rarely , indeed almost never , is such high-wattage brainpower coupled with pitch-perfect acting and an exquisite , unfakable sense of cinema .
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the leanest and meanest of solondz's misanthropic comedies .
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a dark , quirky road movie that constantly defies expectation .
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there are some movies that hit you from the first scene and you know it's going to be a trip . igby goes down is one of those movies .
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often messy and frustrating , but very pleasing at its best moments , it's very much like life itself .
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a burst of color , music , and dance that only the most practiced curmudgeon could fail to crack a smile at .
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an energetic , violent movie with a momentum that never lets up .
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lasker's canny , meditative script distances sex and love , as byron and luther . . . realize they can't get no satisfaction without the latter .
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it turns out to be smarter and more diabolical than you could have guessed at the beginning .
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cage makes an unusual but pleasantly haunting debut behind the camera .
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noyce has worked wonders with the material .
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it's mostly a pleasure to watch . and the reason for that is a self-aware , often self-mocking , intelligence .
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the chateau is a risky venture that never quite goes where you expect and often surprises you with unexpected comedy .
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a very well-meaning movie , and it will stand in future years as an eloquent memorial to the world trade center tragedy .
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