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the only excitement comes when the credits finally roll and you get to leave the theater .
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there's no emotional pulse to solaris . with an emotional sterility to match its outer space setting , soderbergh's spectacular swing for the fence yields only a spectacular whiff .
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it can't decide if it wants to be a mystery/thriller , a romance or a comedy .
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denis o'neill's script avoids the prime sports cliche , a last-second goal to win the championship , but it neglects few others .
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the character of zigzag is not sufficiently developed to support a film constructed around him .
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one of those pictures whose promising , if rather precious , premise is undercut by amateurish execution .
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serving sara doesn't serve up a whole lot of laughs .
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the most hopelessly monotonous film of the year , noteworthy only for the gimmick of being filmed as a single unbroken 87-minute take .
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with virtually no interesting elements for an audience to focus on , chelsea walls is a triple-espresso endurance challenge .
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stale , futile scenario .
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deadeningly dull , mired in convoluted melodrama , nonsensical jargon and stiff-upper-lip laboriousness .
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a misogynistic piece of filth that attempts to pass itself off as hip , young adult entertainment .
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like the chelsea's denizens . . . burdette's collage-form scenario tends to over-romanticize the spiritual desolation of the struggling artiste .
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it's basically an overlong episode of tales from the crypt .
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the film makes a fatal mistake : it asks us to care about a young man whose only apparent virtue is that he is not quite as unpleasant as some of the people in his life .
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another in-your-face wallow in the lower depths made by people who have never sung those blues .
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shaky close-ups of turkey-on-rolls , stubbly chins , liver spots , red noses and the filmmakers new bobbed do draw easy chuckles but lead nowhere .
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i can't quite recommend it -- it's too patched together -- but i almost can ; it's the kind of movie that makes you want to like it .
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complete lack of originality , cleverness or even visible effort
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though perry and hurley make inspiring efforts to breathe life into the disjointed , haphazard script by jay scherick and david ronn , neither the actors nor director reginald hudlin can make it more than fitfully entertaining .
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something akin to a japanese alice through the looking glass , except that it seems to take itself far more seriously .
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it takes talent to make a lifeless movie about the most heinous man who ever lived .
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on the whole , the movie lacks wit , feeling and believability to compensate for its incessant coarseness and banality .
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the story and the friendship proceeds in such a way that you're watching a soap opera rather than a chronicle of the ups and downs that accompany lifelong friendships .
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offers very little genuine romance and even fewer laughs . . . a sad sitcom of a movie , largely devoid of charm .
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makes for a pretty unpleasant viewing experience .
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the movie fails to live up to the sum of its parts .
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although huppert's intensity and focus has a raw exhilaration about it , the piano teacher is anything but fun .
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it showcases carvey's talent for voices , but not nearly enough and not without taxing every drop of one's patience to get to the good stuff .
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bad . very bad . stultifyingly , dumbfoundingly , mind-numbingly bad .
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may reawaken discussion of the kennedy assassination but this fictional film looks made for cable rather than for the big screen .
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if looking for a thrilling sci-fi cinematic ride , don't settle for this imposter .
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not really bad so much as distasteful : we need kidnapping suspense dramas right now like we need doomsday thrillers .
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the result is a gaudy bag of stale candy , something from a halloween that died .
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davis . . . is so enamored of her own creation that she can't see how insufferable the character is .
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the man from elysian fields is a cold , bliss-less work that groans along thinking itself some important comment on how life throws us some beguiling curves .
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the messages of compassion and mercy are clearly , squarely and specifically expounded via computer animated old testament tale of jonah and the whale . determined to be fun , and bouncy , with energetic musicals , the humor didn't quite engage this adult .
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historical dramas fused with love triangle is a well worn conceit . but this films lacks the passion required to sell the material .
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long time dead ? not nearly long enough .
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nothing more substantial than a fitfully clever doodle .
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a solid film . . . but more conscientious than it is truly stirring .
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there's not enough here to justify the almost two hours .
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the x potion gives the quickly named blossom , bubbles and buttercup supernatural powers that include extraordinary strength and laser-beam eyes , which unfortunately don't enable them to discern flimsy screenplays .
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perceptive in its vision of nascent industrialized world politics as a new art form , but far too clunky , didactic and saddled with scenes that seem simply an ill fit for this movie .
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verbinski implements every hack-artist trick to give us the ooky-spookies .
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mcconaughey's fun to watch , the dragons are okay , not much fire in the script .
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an unwise amalgam of broadcast news and vibes .
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skins has a right to yawp , and we have a right to our grains of salt .
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who needs love like this ?
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hit and miss as far as the comedy goes and a big ole' miss in the way of story .
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returning aggressively to his formula of dimwitted comedy and even dimmer characters , sandler , who also executive produces , has made a film that makes previous vehicles look smart and sassy .
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exists then as an occasionally insightful acting exercise .
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trite , banal , cliched , mostly inoffensive .
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mattei is tiresomely grave and long-winded , as if circularity itself indicated profundity .
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it's not original , and , robbed of the element of surprise , it doesn't have any huge laughs in its story of irresponsible cops who love to play pranks .
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whenever its story isn't bogged down by idiocy involving the cia and a lost u . s . satellite , hunter -- starring irwin and his american wife/colleague , terri -- is a movie children should enjoy .
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it offers little beyond the momentary joys of pretty and weightless intellectual entertainment .
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a sequence of ridiculous shoot-'em-up scenes .
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nothing in waking up in reno ever inspired me to think of its inhabitants as anything more than markers in a screenplay .
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i'm just too bored to care .
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irwin is a man with enough charisma and audacity to carry a dozen films , but this particular result is ultimately held back from being something greater .
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not a stereotype is omitted nor a cliché left unsaid .
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as befits its title , this pg-13-rated piffle is ultimately as threatening as the snuggle fabric softener bear .
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attempts by this ensemble film to impart a message are so heavy-handed that they instead pummel the audience .
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it all feels like a monty python sketch gone horribly wrong .
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nervous breakdowns are not entertaining .
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scorsese doesn't give us a character worth giving a damn about .
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a beautifully made piece of unwatchable drivel .
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like being trapped at a perpetual frat party . . . how can something so gross be so boring ?
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this is so bad .
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even film silliness needs a little gravity , beyond good hair and humping .
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i felt sad for lise not so much because of what happens as because she was captured by this movie when she obviously belongs in something lighter and sunnier , by rohmer , for example .
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prurient playthings aside , there's little to love about this english trifle .
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this is a train wreck of an action film -- a stupefying attempt by the filmmakers to force-feed james bond into the mindless xxx mold and throw 40 years of cinematic history down the toilet in favor of bright flashes and loud bangs .
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the film flat lines when it should peak and is more missed opportunity and trifle than dark , decadent truffle .
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it's played in the most straight-faced fashion , with little humor to lighten things up . the heavy-handed film is almost laughable as a consequence .
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van wilder brings a whole new meaning to the phrase 'comedy gag . ' at least one scene is so disgusting that viewers may be hard pressed to retain their lunch .
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a disappointment for those who love alternate versions of the bard , particularly ones that involve deep fryers and hamburgers .
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the film tries too hard to be funny and tries too hard to be hip . the end result is a film that's neither .
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every nanosecond of the the new guy reminds you that you could be doing something else far more pleasurable . something like scrubbing the toilet . or emptying rat traps . or doing last year's taxes with your ex-wife .
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scooby dooby doo / and shaggy too / you both look and sound great . / but daphne , you're too buff / fred thinks he's tough / and velma - wow , you've lost weight !
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is the time really ripe for a warmed-over james bond adventure , with a village idiot as the 007 clone ?
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there's enough melodrama in this magnolia primavera to make pta proud yet director muccino's characters are less worthy of puccini than they are of daytime television .
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however it may please those who love movies that blare with pop songs , young science fiction fans will stomp away in disgust .
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the humor isn't as sharp , the effects not as innovative , nor the story as imaginative as in the original . but it could have been worse .
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some of their jokes work , but most fail miserably and in the end , pumpkin is far more offensive than it is funny .
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even horror fans will most likely not find what they're seeking with trouble every day ; the movie lacks both thrills and humor .
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comes off like a rejected abc afterschool special , freshened up by the dunce of a screenwriting 101 class . . . . designed to provide a mix of smiles and tears , " crossroads " instead provokes a handful of unintentional howlers and numerous yawns .
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it seems to me the film is about the art of ripping people off without ever letting them consciously know you have done so
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it's just disappointingly superficial -- a movie that has all the elements necessary to be a fascinating , involving character study , but never does more than scratch the surface .
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the title not only describes its main characters , but the lazy people behind the camera as well .
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sometimes it feels as if it might have been made in the '70s or '80s , and starred chevy chase and goldie hawn .
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schaeffer has to find some hook on which to hang his persistently useless movies , and it might as well be the resuscitation of the middle-aged character .
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demands too much of most viewers .
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the story drifts so inexorably into cliches about tortured ( and torturing ) artists and consuming but impossible love that you can't help but become more disappointed as each overwrought new sequence plods on .
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it should be mentioned that the set design and interiors of the haunted vessel are more than effectively creepy and moodily lit . so i just did .
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shamelessly sappy and , worse , runs away from its own provocative theme .
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aggravating and tedious .
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the ring just left me cold and wet like i was out in the seattle drizzle without rainwear .
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the film seems a dead weight . the lack of pace kills it , although , in a movie about cancer , this might be apt .
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