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there aren't many conclusive answers in the film , but there is an interesting story of pointed personalities , courage , tragedy and the little guys vs . the big guys .
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vividly demonstrates that the director of such hollywood blockbusters as patriot games can still turn out a small , personal film with an emotional wallop .
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a four star performance from kevin kline who unfortunately works with a two star script .
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dogtown & z-boys evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of james dean .
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if you don't flee , you might be seduced . if you don't laugh , flee .
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payne constructs a hilarious ode to middle america and middle age with this unlikely odyssey , featuring a pathetic , endearing hero who is all too human .
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koury frighteningly and honestly exposes one teenager's uncomfortable class resentment and , in turn , his self-inflicted retaliation .
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the santa clause 2 proves itself a more streamlined and thought out encounter than the original could ever have hoped to be .
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now as a former gong show addict , i'll admit it , my only complaint is that we didn't get more re-creations of all those famous moments from the show .
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succeeds where its recent predecessor miserably fails because it demands that you suffer the dreadfulness of war from both sides .
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the first bond movie in ages that isn't fake fun .
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this odd , poetic road movie , spiked by jolts of pop music , pretty much takes place in morton's ever-watchful gaze -- and it's a tribute to the actress , and to her inventive director , that the journey is such a mesmerizing one .
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a film centering on a traditional indian wedding in contemporary new delhi may not sound like specialized fare , but mira nair's film is an absolute delight for all audiences .
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a weird and wonderful comedy .
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the movie should jolt you out of your seat a couple of times , give you a few laughs , and leave you feeling like it was worth your seven bucks , even though it does turn out to be a bit of a cheat in the end .
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has the capability of effecting change and inspiring hope .
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a first-class , thoroughly involving b movie that effectively combines two surefire , beloved genres -- the prison flick and the fight film .
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labute's careful handling makes the material seem genuine rather than pandering .
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in between all the emotional seesawing , it's hard to figure the depth of these two literary figures , and even the times in which they lived . but they fascinate in their recklessness .
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death to smoochy is often very funny , but what's even more remarkable is the integrity of devito's misanthropic vision .
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a beautiful , entertaining two hours . you get the idea , though , that kapur intended the film to be more than that .
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a wonderful , ghastly film .
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amid the new populist comedies that underscore the importance of family tradition and familial community , one would be hard-pressed to find a movie with a bigger , fatter heart than barbershop .
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parris' performance is credible and remarkably mature .
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'enigma' is the kind of engaging historical drama that hollywood appears to have given up on in favor of sentimental war movies in the vein of 'we were soldiers . '
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munch's screenplay is tenderly observant of his characters . he watches them as they float within the seas of their personalities . his scenes are short and often unexpected .
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it grabs you in the dark and shakes you vigorously for its duration .
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leigh's daring here is that without once denying the hardscrabble lives of people on the economic fringes of margaret thatcher's ruinous legacy , he insists on the importance of those moments when people can connect and express their love for each other .
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hashiguchi vividly captures the way young japanese live now , chafing against their culture's manic mix of millennial brusqueness and undying , traditional politesse .
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uneven but a lot of fun .
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i know that i'll never listen to marvin gaye or the supremes the same way again
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the two leads , nearly perfect in their roles , bring a heart and reality that buoy the film , and at times , elevate it to a superior crime movie .
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not as good as the full monty , but a really strong second effort .
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whenever it threatens to get bogged down in earnest dramaturgy , a stirring visual sequence like a surge through swirling rapids or a leap from pinnacle to pinnacle rouses us . if horses could fly , this is surely what they'd look like .
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unfolds as one of the most politically audacious films of recent decades from any country , but especially from france .
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this real-life hollywood fairy-tale is more engaging than the usual fantasies hollywood produces .
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the graphic carnage and re-creation of war-torn croatia is uncomfortably timely , relevant , and sickeningly real .
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left me with the visceral sensation of longing , lasting traces of charlotte's web of desire and desperation .
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the characters are more deeply thought through than in most 'right-thinking' films .
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crammed with incident , and bristles with passion and energy .
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it's fun , splashy and entertainingly nasty .
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a simple tale of an unlikely friendship , but thanks to the gorgeous locales and exceptional lead performances , it has considerable charm .
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it might be 'easier' to watch on video at home , but that shouldn't stop die-hard french film connoisseurs from going out and enjoying the big-screen experience .
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there's very little sense to what's going on here , but the makers serve up the cliches with considerable dash .
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witty , contemplative , and sublimely beautiful .
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a surprisingly 'solid' achievement by director malcolm d . lee and writer john ridley .
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woven together handsomely , recalling sixties' rockumentary milestones from lonely boy to don't look back .
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this is pure , exciting moviemaking . you won't exactly know what's happening but you'll be blissfully exhausted .
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the 1960s rebellion was misdirected : you can't fight your culture .
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works because reno doesn't become smug or sanctimonious towards the audience .
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nettelbeck . . . has a pleasing way with a metaphor .
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a pure participatory event that malnourished intellectuals will gulp down in a frenzy .
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the cast delivers without sham the raw-nerved story .
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steven soderbergh's digital video experiment is a clever and cutting , quick and dirty look at modern living and movie life .
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the film's highlight is definitely its screenplay , both for the rhapsodic dialogue that jumps off the page , and for the memorable character creations .
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it lets you brush up against the humanity of a psycho , without making him any less psycho .
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sillier , cuter , and shorter than the first ( as best i remember ) , but still a very good time at the cinema .
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the film is bright and flashy in all the right ways .
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elegant and eloquent [meditation] on death and that most elusive of passions , love .
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cut through the layers of soap-opera emotion and you find a scathing portrayal of a powerful entity strangling the life out of the people who want to believe in it the most .
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filmmaker tian zhuangzhuang triumphantly returns to narrative filmmaking with a visually masterful work of quiet power .
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it excels because , unlike so many other hollywood movies of its ilk , it offers hope .
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shot in rich , shadowy black-and-white , devils chronicles , with increasingly amused irony , the relationship between reluctant captors and befuddled captives .
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there's no clear picture of who killed bob crane . but here's a glimpse at his life .
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spectacularly beautiful , not to mention mysterious , sensual , emotionally intense , and replete with virtuoso throat-singing .
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weird . rewarding .
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a summer entertainment adults can see without feeling embarrassed , but it could have been more .
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sparse but oddly compelling .
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a stirring , funny and finally transporting re-imagining of beauty and the beast and 1930s horror films
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the pinochet case is a searing album of remembrance from those who , having survived , suffered most .
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a sweet-tempered comedy that forgoes the knee-jerk misogyny that passes for humor in so many teenage comedies .
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argento , at only 26 , brings a youthful , out-to-change-the-world aggressiveness to the project , as if she's cut open a vein and bled the raw film stock .
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sleek and arty .
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with so many bad romances out there , this is the kind of movie that deserves a chance to shine .
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brash , intelligent and erotically perplexing , haneke's portrait of an upper class austrian society and the suppression of its tucked away demons is uniquely felt with a sardonic jolt .
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though jackson doesn't always succeed in integrating the characters in the foreground into the extraordinarily rich landscape , it must be said that he is an imaginative filmmaker who can see the forest for the trees .
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" the quiet american " begins in saigon in 1952 . that's its first sign of trouble .
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a dazzling thing to behold -- as long as you're wearing the somewhat cumbersome 3d goggles the theater provides .
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be patient with the lovely hush ! and your reward will be a thoughtful , emotional movie experience .
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the large-format film is well suited to capture these musicians in full regalia and the incredible imax sound system lets you feel the beat down to your toes .
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godard has never made a more sheerly beautiful film than this unexpectedly moving meditation on love , history , memory , resistance and artistic transcendence .
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the kind of movie that comes along only occasionally , one so unconventional , gutsy and perfectly executed it takes your breath away .
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unlike most surf movies , blue crush thrillingly uses modern technology to take the viewer inside the wave . by the end you can't help but feel 'stoked . '
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the off-center humor is a constant , and the ensemble gives it a buoyant delivery .
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a tasty slice of droll whimsy .
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mike leigh populates his movie with a wonderful ensemble cast of characters that bring the routine day to day struggles of the working class to life
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awesome work : ineffable , elusive , yet inexplicably powerful
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sparkling , often hilarious romantic jealousy comedy . . . attal looks so much like a young robert deniro that it seems the film should instead be called 'my husband is travis bickle' .
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even if you're an agnostic carnivore , you can enjoy much of jonah simply , and gratefully , as laugh-out-loud lunacy with a pronounced monty pythonesque flavor .
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where bowling for columbine is at its most valuable is in its examination of america's culture of fear as a root cause of gun violence .
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the result is somewhat satisfying -- it still comes from spielberg , who has never made anything that wasn't at least watchable . but it's also disappointing to a certain degree .
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the all-french cast is marveilleux .
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there's a lot to recommend read my lips .
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a minor film with major pleasures from portuguese master manoel de oliviera . . .
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brosnan gives a portrayal as solid and as perfect as his outstanding performance as bond in die another day .
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audiences are advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching , but otherwise the production is suitably elegant .
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the movie is . . . very funny as you peek at it through the fingers in front of your eyes .
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nicks sustains the level of exaggerated , stylized humor throughout by taking your expectations and twisting them just a bit .
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a refreshing change from the usual whoopee-cushion effort aimed at the youth market .
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it finds its moviegoing pleasures in the tiny events that could make a person who has lived her life half-asleep suddenly wake up and take notice .
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