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brown sugar signals director rick famuyiwa's emergence as an articulate , grown-up voice in african-american cinema .
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with exquisite craftsmanship . . . olivier assayas has fashioned an absorbing look at provincial bourgeois french society .
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it's rare for any movie to be as subtle and touching as the son's room .
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it has a way of seeping into your consciousness , with lingering questions about what the film is really getting at .
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maelstrom is a deliberately unsteady mixture of stylistic elements .
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[leigh] has a true talent for drawing wrenching performances from his actors ( improvised over many months ) and for conveying the way tiny acts of kindness make ordinary life survivable .
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[d]espite its familiar subject matter , ice age is consistently amusing and engrossing . . .
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the ingenious construction ( adapted by david hare from michael cunningham's novel ) constantly flows forwards and back , weaving themes among three strands which allow us to view events as if through a prism
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assured , glossy and shot through with brittle desperation .
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the bottom line is the piece works brilliantly .
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it was only a matter of time before some savvy producer saw the potential success inherent in the mixture of bullock bubble and hugh goo .
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it is scott's convincing portrayal of roger the sad cad that really gives the film its oomph .
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while this movie , by necessity , lacks fellowship's heart , two towers outdoes its spectacle .
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meyjes . . . has done his homework and soaked up some jazzy new revisionist theories about the origins of nazi politics and aesthetics .
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para hitler , o mundo era sua tela ; e o horror , seu pincel . e max retrata este fato com elegante abandono , numa triste constatação da realidade histórica .
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aside from rohmer's bold choices regarding point of view , the lady and the duke represents the filmmaker's lifelong concern with formalist experimentation in cinematic art .
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what 'dumb and dumber' would have been without the vulgarity and with an intelligent , life-affirming script .
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. . . a vivid , thoughtful , unapologetically raw coming-of-age tale full of sex , drugs and rock 'n' roll .
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you wouldn't want to live waydowntown , but it is a hilarious place to visit .
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films are made of little moments . changing lanes tries for more . it doesn't reach them , but the effort is gratefully received .
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when the movie mixes the cornpone and the cosa nostra , it finds a nice rhythm .
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the story is a rather simplistic one : grief drives her , love drives him , and a second chance to find love in the most unlikely place - it struck a chord in me .
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terrific casting and solid execution give all three stories life .
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a hard look at one man's occupational angst and its subsequent reinvention , a terrifying study of bourgeois desperation worthy of claude chabrol .
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neatly constructed thriller .
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[ramsay] visually transforms the dreary expanse of dead-end distaste the characters inhabit into a poem of art , music and metaphor .
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frequent flurries of creative belly laughs and genuinely enthusiastic performances . . . keep the movie slaloming through its hackneyed elements with enjoyable ease .
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at its best , this is grand-scale moviemaking for a larger-than-life figure , an artist who has been awarded mythic status in contemporary culture .
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'possession , ' based on the book by a . s . byatt , demands that labute deal with the subject of love head-on ; trading in his cynicism for reverence and a little wit
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the plot of the comeback curlers isn't very interesting actually , but what i like about men with brooms and what is kind of special is how the film knows what's unique and quirky about canadians .
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10 minutes into the film you'll be white-knuckled and unable to look away .
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it's a beautiful film , full of elaborate and twisted characters - and it's also pretty funny .
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could this be the first major studio production shot on video tape instead of film ?
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not since ghostbusters has a film used manhattan's architecture in such a gloriously goofy way .
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as tricky and satisfying as any of david mamet's airless cinematic shell games .
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the universal theme of becoming a better person through love has never been filmed more irresistibly than in 'baran . '
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cube's charisma and chemistry compensate for corniness and cliche .
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with lesser talents , high crimes would be entertaining , but forgettable . with freeman and judd , i'll at least remember their characters .
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as a director , paxton is surprisingly brilliant , deftly sewing together what could have been a confusing and horrifying vision into an intense and engrossing head-trip .
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the film is filled with humorous observations about the general absurdity of modern life as seen through the eyes outsiders , but deftly manages to avoid many of the condescending stereotypes that so often plague films dealing with the mentally ill .
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daughter from danang sticks with its subjects a little longer and tells a deeper story
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a coming-of-age film that avoids the cartoonish clichés and sneering humor of the genre as it provides a fresh view of an old type -- the uncertain girl on the brink of womanhood .
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the faithful will enjoy this sometimes wry adaptation of v . s . naipaul's novel , but newcomers may find themselves stifling a yawn or two during the first hour .
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a distinguished and thoughtful film , marked by acute writing and a host of splendid performances .
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barry convinces us he's a dangerous , secretly unhinged guy who could easily have killed a president because it made him feel powerful .
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takes you by the face , strokes your cheeks and coos beseechingly at you : slow down , shake off your tensions and take this picture at its own breezy , distracted rhythms .
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i don't feel the least bit ashamed in admitting that my enjoyment came at the expense of seeing justice served , even if it's a dish that's best served cold .
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it's a smart , solid , kinetically-charged spy flick worthy of a couple hours of summertime and a bucket of popcorn . nothing overly original , mind you , but solidly entertaining .
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changing lanes is an anomaly for a hollywood movie ; it's a well-written and occasionally challenging social drama that actually has something interesting to say .
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borrows a bit from the classics " wait until dark " and " extremities " . . . but in terms of its style , the movie is in a class by itself .
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because eight legged freaks is partly an homage to them , tarantula and other low- budget b-movie thrillers of the 1950s and '60s , the movie is a silly ( but not sophomoric ) romp through horror and hellish conditions .
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puts a refreshing and comical spin on the all-too-familiar saga of the contemporary single woman .
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if you grew up on scooby -- you'll love this movie . matthew lillard is born to play shaggy !
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intimate and panoramic .
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though filmed partly in canada , paid in full has clever ways of capturing inner-city life during the reagan years .
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" spider-man is better than any summer blockbuster we had to endure last summer , and hopefully , sets the tone for a summer of good stuff . if you're a comic fan , you can't miss it . if you're not , you'll still have a good time . "
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exciting documentary .
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this movie has a strong message about never giving up on a loved one , but it's not an easy movie to watch and will probably disturb many who see it .
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the movie is a trove of delights .
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excellent performances from jacqueline bisset and martha plimpton grace this deeply touching melodrama .
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in a summer of clones , harvard man is something rare and riveting : a wild ride that relies on more than special effects .
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while the humor is recognizably plympton , he has actually bothered to construct a real story this time .
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jolting into charleston rhythms , the story has the sizzle of old news that has finally found the right vent ( accurate ? who cares ? ) .
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an overly melodramatic but somewhat insightful french coming-of-age film . . .
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most thrillers send audiences out talking about specific scary scenes or startling moments ; " frailty " leaves us with the terrifying message that the real horror may be waiting for us at home .
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close enough in spirit to its freewheeling trash-cinema roots to be a breath of fresh air .
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skillfully weaves both the elements of the plot and a powerfully evocative mood combining heated sexuality with a haunting sense of malaise .
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damon brings the proper conviction to his role as [jason bourne] .
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for the most part , it works beautifully as a movie without sacrificing the integrity of the opera .
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as played by ryan gosling , danny is a frighteningly fascinating contradiction .
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this is not chabrol's best , but even his lesser works outshine the best some directors can offer .
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despite its flaws , crazy as hell marks an encouraging new direction for la salle .
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you'll end up moved .
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if you ever wondered what it would be like to be smack in the middle of a war zone armed with nothing but a camera , this oscar-nominated documentary takes you there .
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the woodman seems to have directly influenced this girl-meets-girl love story , but even more reassuring is how its makers actually seem to understand what made allen's romantic comedies so pertinent and enduring .
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i loved the look of this film .
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it's the kind of movie that , aside from robert altman , spike lee , the coen brothers and a few others , our moviemakers don't make often enough .
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those with a modicum of patience will find in these characters' foibles a timeless and unique perspective .
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beautiful to watch and holds a certain charm .
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13 conversations may be a bit too enigmatic and overly ambitious to be fully successful , but sprecher and her screenwriting partner and sister , karen sprecher , don't seem ever to run out of ideas .
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the movie is our story as much as it is schmidt's , no matter if it's viewed as a self-reflection or cautionary tale .
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foster breathes life into a roll that could have otherwise been bland and run of the mill .
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quitting offers piercing domestic drama with spikes of sly humor .
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some people want the ol' ball-and-chain and then there are those who just want the ball and chain .
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[barry] gives assassin a disquieting authority .
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it's refreshing to see a romance this smart .
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at its best ( and it does have some very funny sequences ) looking for leonard reminds you just how comically subversive silence can be .
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as improbable as this premise may seem , abbass's understated , shining performance offers us the sense that on some elemental level , lilia deeply wants to break free of her old life .
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anyone who ever fantasized about space travel but can't afford the $20 million ticket to ride a russian rocket should catch this imax offering .
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" the turntable is now outselling the electric guitar . . . "
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transforms one of [shakespeare's] deepest tragedies into a smart new comedy .
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an intelligent and deeply felt work about impossible , irrevocable choices and the price of making them .
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it may sound like a mere disease-of- the-week tv movie , but a song for martin is made infinitely more wrenching by the performances of real-life spouses seldahl and wollter .
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sayles is making a statement about the inability of dreams and aspirations to carry forward into the next generation .
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as antonia is assimilated into this newfangled community , the film settles in and becomes compulsively watchable in a guilty-pleasure , daytime-drama sort of fashion .
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every once in a while , a movie will come along that turns me into that annoying specimen of humanity that i usually dread encountering the most - the fanboy
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on its own staggeringly unoriginal terms , this gender-bending comedy is generally quite funny .
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it's never dull and always looks good .
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the tonal shifts are jolting , and though wen's messages are profound and thoughtfully delivered , more thorough transitions would have made the film more cohesive .
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chicago pode até ser um filme divertido e cativante ( como é ) , mas acaba representando um passo que vai na direção contrária à evolução dos musicais .
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