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this sensitive , smart , savvy , compelling coming-of-age drama delves into the passive-aggressive psychology of co-dependence and the struggle for self-esteem .
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the culmination of everyone's efforts is given life when a selection appears in its final form [in " last dance " ] .
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in questioning the election process , payami graphically illustrates the problems of fledgling democracies , but also the strength and sense of freedom the iranian people already possess , with or without access to the ballot box .
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a very charming and funny movie .
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this is a film that manages to find greatness in the hue of its drastic iconography .
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streamlined to a tight , brisk 85-minute screwball thriller , " big trouble " is funny , harmless and as substantial as a tub of popcorn with extra butter .
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consummate actor barry has done excellent work here .
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the biggest problem with this movie is that it's not nearly long enough .
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while not all that bad of a movie , it's nowhere near as good as the original .
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ali's graduation from little screen to big is far less painful than his opening scene encounter with an over-amorous terrier .
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i have always appreciated a smartly written motion picture , and , whatever flaws igby goes down may possess , it is undeniably that .
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you can sip your vintage wines and watch your merchant ivory productions ; i'll settle for a nice cool glass of iced tea and a jerry bruckheimer flick any day of the week .
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may be the most undeserving victim of critical overkill since town and country .
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a chilly , brooding but quietly resonant psychological study of domestic tension and unhappiness .
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the movie does its best to work us over , with second helpings of love , romance , tragedy , false dawns , real dawns , comic relief , two separate crises during marriage ceremonies , and the lush scenery of the cotswolds .
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cold , nervy and memorable .
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becomes a fascinating study of isolation and frustration that successfully recreates both the physical setting and emotional tensions of the papin sisters .
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spend your benjamins on a matinee .
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all in all , it's a pretty good execution of a story that's a lot richer than the ones hollywood action screenwriters usually come up with on their own .
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worth seeing just for weaver and lapaglia .
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a pleasant piece of escapist entertainment .
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among the many pleasures are the lively intelligence of the artists and their perceptiveness about their own situations .
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it's consistently funny , in an irresistible junior-high way , and consistently free of any gag that would force you to give it a millisecond of thought .
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it's the cute frissons of discovery and humor between chaplin and kidman that keep this nicely wound clock not just ticking , but humming .
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the storytelling may be ordinary , but the cast is one of those all-star reunions that fans of gosford park have come to assume is just another day of brit cinema .
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there's something about a marching band that gets me where i live .
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cuaron repeatedly , perversely undercuts the joie de vivre even as he creates it , giving the movie a mournful undercurrent that places the good-time shenanigans in welcome perspective .
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it's definitely an improvement on the first blade , since it doesn't take itself so deadly seriously .
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a slam-bang extravaganza that is all about a wild-and-woolly , wall-to-wall good time .
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what's infuriating about full frontal is that it's too close to real life to make sense . what's invigorating about it is that it doesn't give a damn .
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is red dragon worthy of a place alongside the other hannibal movies ? as hannibal would say , yes , 'it's like having an old friend for dinner' .
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writer-director juan carlos fresnadillo makes a feature debut that is fully formed and remarkably assured .
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insightfully written , delicately performed
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perhaps the grossest movie ever made . funny , though .
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this 90-minute postmodern voyage was more diverting and thought-provoking than i'd expected it to be .
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one of those exceedingly rare films in which the talk alone is enough to keep us involved .
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a heartbreakingly thoughtful minor classic , the work of a genuine and singular artist .
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an affectionately goofy satire that's unafraid to throw elbows when necessary . . .
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between them , de niro and murphy make showtime the most savory and hilarious guilty pleasure of many a recent movie season .
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jackson tries to keep the plates spinning as best he can , but all the bouncing back and forth can't help but become a bit tedious -- even with the breathtaking landscapes and villainous varmints there to distract you from the ricocheting .
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filmmakers david weissman and bill weber benefit enormously from the cockettes' camera craziness -- not only did they film performances , but they did the same at home .
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interesting both as a historical study and as a tragic love story .
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a stylish but steady , and ultimately very satisfying , piece of character-driven storytelling .
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it picked me up , swung me around , and dropped me back in my seat with more emotional force than any other recent film .
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graham greene's novel of colonialism and empire is elevated by michael caine's performance as a weary journalist in a changing world .
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though it's equally solipsistic in tone , the movie has enough vitality to justify the notion of creating a screen adaptation of evans' saga of hollywood excess .
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compulsively watchable , no matter how degraded things get .
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delivers roughly equal amounts of beautiful movement and inside information .
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bon appétit ! just like a splendid meal , red dragon satisfies – from its ripe recipe , inspiring ingredients , certified cuisine and palatable presentation .
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the structure is simple , but in its own way , rabbit-proof fence is a quest story as grand as the lord of the rings .
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this charming , thought-provoking new york fest of life and love has its rewards .
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some people march to the beat of a different drum , and if you ever wondered what kind of houses those people live in , this documentary takes a look at 5 alternative housing options .
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playfully profound . . . and crazier than michael jackson on the top floor of a skyscraper nursery surrounded by open windows .
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a film that will enthrall the whole family .
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the charm of the first movie is still there , and the story feels like the logical , unforced continuation of the careers of a pair of spy kids .
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k 19 stays afloat as decent drama/action flick
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it sends you away a believer again and quite cheered at just that .
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like the best 60 minutes exposé , the film ( at 80 minutes ) is actually quite entertaining .
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an 83 minute document of a project which started in a muddle , seesawed back and forth between controlling interests multiple times , then found its sweet spot
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an emotionally and spiritually compelling journey seen through the right eyes , with the right actors and with the kind of visual flair that shows what great cinema can really do .
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nair doesn't use [monsoon wedding] to lament the loss of culture . instead , she sees it as a chance to revitalize what is and always has been remarkable about clung-to traditions .
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both grant and hoult carry the movie because they are believable as people -- flawed , assured of the wrong things , and scared to admit how much they may really need the company of others .
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leading a double life in an american film only comes to no good , but not here . matters play out realistically if not always fairly .
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in the affable maid in manhattan , jennifer lopez's most aggressive and most sincere attempt to take movies by storm , the diva shrewdly surrounds herself with a company of strictly a-list players .
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like mike is a harmlessly naïve slice of b-ball fantasy , fit for filling in during the real nba's off-season .
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though writer/director bart freundlich's film ultimately becomes a simplistic story about a dysfunctional parent-child relationship , it has some special qualities and the soulful gravity of crudup's anchoring performance .
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y tu mamá también es un buen filme gracias a lo poco convencional de su narrativa , y es quizá el proyecto más arriesgado en la carrera de alfonso cuarón
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what the movie lacks in action it more than makes up for in drama , suspense , revenge , and romance .
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just offbeat enough to keep you interested without coming close to bowling you over .
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probes in a light-hearted way the romantic problems of individuals for whom the yearning for passion spells discontent .
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what elevates the movie above the run-of-the-mill singles blender is its surreal sense of humor and technological finish .
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a film about female friendship that men can embrace and women will talk about for hours .
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the directing and story are disjointed , flaws that have to be laid squarely on taylor's doorstep . but the actors make this worth a peek .
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É uma pena que , mais tarde , o próprio filme abandone o tom de paródia e passe a utilizar os mesmos clichês que havia satirizado .
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light the candles , bring out the cake and don't fret about the calories because there's precious little substance in birthday girl -- it's simply , and surprisingly , a nice , light treat .
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it may be about drug dealers , kidnapping , and unsavory folks , but the tone and pacing are shockingly intimate .
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massoud's story is an epic , but also a tragedy , the record of a tenacious , humane fighter who was also the prisoner ( and ultimately the victim ) of history .
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if villainous vampires are your cup of blood , blade 2 is definitely a cut above the rest .
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drumline ably captures the complicated relationships in a marching band .
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because the film deliberately lacks irony , it has a genuine dramatic impact ; it plays like a powerful 1957 drama we've somehow never seen before .
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does point the way for adventurous indian filmmakers toward a crossover into nonethnic markets .
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seems based on ugly ideas instead of ugly behavior , as happiness was . . . hence , storytelling is far more appealing .
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sum " is jack ryan's " do-over . " give credit to everyone from robinson down to the key grip that this bold move works . especially give credit to affleck .
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an intelligently made ( and beautifully edited ) picture that at the very least has a spark of life to it -- more than you can say for plenty of movies that flow through the hollywood pipeline without a hitch .
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a terrific date movie , whatever your orientation .
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not all of the stories work and the ones that do are thin and scattered , but the film works well enough to make it worth watching .
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what it lacks in originality it makes up for in effective if cheap moments of fright and dread .
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the pain , loneliness and insecurity of the screenwriting process are vividly and painfully brought to slovenly life in this self-deprecating , biting and witty feature written by charlie kaufman and his twin brother , donald , and directed by spike jonze .
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a gem of a movie .
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witty , vibrant , and intelligent .
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it's all stitched together with energy , intelligence and verve , enhanced by a surplus of vintage archive footage .
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miller comes at film with bracing intelligence and a vision both painterly and literary .
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the film is moody , oozing , chilling and heart-warming all at once . . . a twisting , unpredictable , cat-and-mouse thriller .
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eight legged freaks is clever and funny , is amused by its special effects , and leaves you feeling like you've seen a movie instead of an endless trailer .
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this is historical filmmaking without the balm of right-thinking ideology , either liberal or conservative . mr . scorsese's bravery and integrity in advancing this vision can hardly be underestimated .
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a thriller whose style , structure and rhythms are so integrated with the story , you cannot separate them .
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it's a hoot watching the rock chomp on jumbo ants , pull an arrow out of his back , and leap unscathed through raging fire !
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returning director rob minkoff . . . and screenwriter bruce joel rubin . . . have done a fine job of updating white's dry wit to a new age .
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unfolds with such a wallop of you-are-there immediacy that when the bullets start to fly , your first instinct is to duck .
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a strong script , powerful direction and splendid production design allows us to be transported into the life of wladyslaw szpilman , who is not only a pianist , but a good human being .
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