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with its parade of almost perpetually wasted characters . . . margarita feels like a hazy high that takes too long to shake .
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if you value your time and money , find an escape clause and avoid seeing this trite , predictable rehash .
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the director and her capable cast appear to be caught in a heady whirl of new age-inspired good intentions , but the spell they cast isn't the least bit mesmerizing .
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everything is pegged into the groove of a new york dating comedy with 'issues' to simplify .
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a dramatic comedy as pleasantly dishonest and pat as any hollywood fluff .
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the cameo-packed , m : i-2-spoofing title sequence is the funniest 5 minutes to date in this spy comedy franchise . . . then mike myers shows up and ruins everything .
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it comes off as so silly that you wouldn't be surprised if ba , murdock and rest of the a-team were seen giving chase in a black and red van .
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the 50-something lovebirds are too immature and unappealing to care about .
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so genial is the conceit , this is one of those rare pictures that you root for throughout , dearly hoping that the rich promise of the script will be realized on the screen . it never is , not fully .
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even in the summertime , the most restless young audience deserves the dignity of an action hero motivated by something more than franchise possibilities .
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what with all the blanket statements and dime-store ruminations on vanity , the worries of the rich and sudden wisdom , the film becomes a sermon for most of its running time .
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one lousy movie .
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as gamely as the movie tries to make sense of its title character , there remains a huge gap between the film's creepy , clean-cut dahmer ( jeremy renner ) and fiendish acts that no amount of earnest textbook psychologizing can bridge .
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plodding , peevish and gimmicky .
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the four feathers is definitely horse feathers , but if you go in knowing that , you might have fun in this cinematic sandbox .
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oozes condescension from every pore .
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solaris " is a shapeless inconsequential move relying on the viewer to do most of the work .
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the direction , by george hickenlooper , has no snap to it , no wiseacre crackle or hard-bitten cynicism .
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. . . hypnotically dull .
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though this saga would be terrific to read about , it is dicey screen material that only a genius should touch .
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it has plenty of laughs . it just doesn't have much else . . . especially in a moral sense .
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an awful lot like one of [spears'] music videos in content -- except that it goes on for at least 90 more minutes and , worse , that you have to pay if you want to see it .
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confusion is one of my least favourite emotions , especially when i have to put up with 146 minutes of it .
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[h]ad i suffered and bled on the hard ground of ia drang , i'd want something a bit more complex than we were soldiers to be remembered by .
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occasionally loud and offensive , but more often , it simply lulls you into a gentle waking coma .
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it may play well as a double feature with mainstream foreign mush like my big fat greek wedding
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by the time you reach the finale , you're likely wondering why you've been watching all this strutting and posturing .
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journalistically dubious , inept and often lethally dull .
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putting the primitive murderer inside a high-tech space station unleashes a pandora's box of special effects that run the gamut from cheesy to cheesier to cheesiest .
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at its best , it's black hawk down with more heart . at its worst , it's rambo- meets-john ford .
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exactly what you'd expect from a guy named kaos .
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calculated swill .
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this movie . . . doesn't deserve the energy it takes to describe how bad it is .
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with or without ballast tanks , k-19 sinks to a harrison ford low .
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director oliver parker labors so hard to whip life into the importance of being earnest that he probably pulled a muscle or two .
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you might be shocked to discover that seinfeld's real life is boring .
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it's not nearly as fresh or enjoyable as its predecessor , but there are enough high points to keep this from being a complete waste of time .
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walsh can't quite negotiate the many inconsistencies in janice's behavior or compensate for them by sheer force of charm .
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this 10th film in the series looks and feels tired .
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it leers , offering next to little insight into its intriguing subject .
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i found myself growing more and more frustrated and detached as vincent became more and more abhorrent .
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one of the oddest and most inexplicable sequels in movie history .
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there's nothing to gain from watching they . it isn't scary . it hates its characters . it finds no way to entertain or inspire its viewers .
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fear permeates the whole of stortelling , todd solondz' oftentimes funny , yet ultimately cowardly autocritique .
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the skirmishes for power waged among victims and predators settle into an undistinguished rhythm of artificial suspense .
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thoroughly awful .
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. . . ice age treads predictably along familiar territory , making it a passable family film that won't win many fans over the age of 12 .
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though the film is well-intentioned , one could rent the original and get the same love story and parable .
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just too silly and sophomoric to ensnare its target audience .
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the video work is so grainy and rough , so dependent on being 'naturalistic' rather than carefully lit and set up , that it's exhausting to watch .
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truly terrible .
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a cleverly crafted but ultimately hollow mockumentary .
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it gets bogged down by hit-and-miss topical humour before getting to the truly good stuff .
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an achingly enthralling premise , the film is hindered by uneven dialogue and plot lapses .
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it's tommy's job to clean the peep booths surrounding her , and after viewing this one , you'll feel like mopping up , too .
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rifkin no doubt fancies himself something of a hubert selby jr . , but there isn't an ounce of honest poetry in his entire script ; it's simply crude and unrelentingly exploitative .
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fluffy and disposible .
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such a bad movie that its luckiest viewers will be seated next to one of those ignorant pinheads who talk throughout the show .
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if you go into the theater expecting a scary , action-packed chiller , you might soon be looking for a sign . an exit sign , that is .
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holds limited appeal to those who like explosions , sadism and seeing people beat each other to a pulp .
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the dialogue is very choppy and monosyllabic despite the fact that it is being dubbed .
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a feature-length , r-rated , road-trip version of mama's family .
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what you end up getting is the vertical limit of surfing movies - memorable stunts with lots of downtime in between .
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stealing harvard doesn't care about cleverness , wit or any other kind of intelligent humor .
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bigelow handles the nuclear crisis sequences evenly but milks drama when she should be building suspense , and drags out too many scenes toward the end that should move quickly .
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there's undeniable enjoyment to be had from films crammed with movie references , but the fun wears thin -- then out -- when there's nothing else happening .
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imagine kevin smith , the blasphemous bad boy of suburban jersey , if he were stripped of most of his budget and all of his sense of humor . the result might look like vulgar .
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suffers from a lack of clarity and audacity that a subject as monstrous and pathetic as dahmer demands .
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what soured me on the santa clause 2 was that santa bumps up against 21st century reality so hard , it's icky .
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it's an 88-minute highlight reel that's 86 minutes too long .
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the film favors the scientific over the spectacular ( visually speaking ) .
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such an incomprehensible mess that it feels less like bad cinema than like being stuck in a dark pit having a nightmare about bad cinema .
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with the exception of mccoist , the players don't have a clue on the park . the acting isn't much better .
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the whole affair is as predictable as can be .
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a not-so-divine secrets of the ya-ya sisterhood with a hefty helping of re-fried green tomatoes .
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this cloying , voices-from-the-other-side story is hell .
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a suffocating rape-payback horror show that hinges on the subgenre's most enabling victim . . . and an ebullient affection for industrial-model meat freezers .
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star trek was kind of terrific once , but now it is a copy of a copy of a copy .
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[n]o matter how much good will the actors generate , showtime eventually folds under its own thinness .
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every potential twist is telegraphed well in advance , every performance respectably muted ; the movie itself seems to have been made under the influence of rohypnol .
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puts on airs of a hal hartley wannabe film -- without the vital comic ingredient of the hilarious writer-director himself .
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ver wiel's desperate attempt at wit is lost , leaving the character of critical jim two-dimensional and pointless .
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despite a performance of sustained intelligence from stanford and another of subtle humour from bebe neuwirth , as an older woman who seduces oscar , the film founders on its lack of empathy for the social milieu - rich new york intelligentsia - and its off
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although disney follows its standard formula in this animated adventure , it feels more forced than usual .
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gaghan . . . has thrown every suspenseful cliché in the book at this nonsensical story .
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a sham construct based on theory , sleight-of-hand , and ill-wrought hypothesis .
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[p]artnering murphy with robert de niro for the tv-cops comedy showtime would seem to be surefire casting . the catch is that they're stuck with a script that prevents them from firing on all cylinders .
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'you'll laugh for not quite and hour and a half , but come out feeling strangely unsatisfied . you'll feel like you ate a reeses without the peanut butter . . . '
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gooding offers a desperately ingratiating performance .
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parker should be commended for taking a fresh approach to familiar material , but his determination to remain true to the original text leads him to adopt a somewhat mannered tone . . . that ultimately dulls the human tragedy at the story's core .
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the director has injected self-consciousness into the proceedings at every turn . the results are far more alienating than involving .
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bogdanich is unashamedly pro-serbian and makes little attempt to give voice to the other side .
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a lack of thesis makes maryam , in the end , play out with the intellectual and emotional impact of an after-school special .
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the worst film of the year .
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by-the-numbers yarn .
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without shakespeare's eloquent language , the update is dreary and sluggish .
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if h . g . wells had a time machine and could take a look at his kin's reworked version , what would he say ? 'it looks good , sonny , but you missed the point . '
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during the tuxedo's 90 minutes of screen time , there isn't one true 'chan moment' .
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bisset delivers a game performance , but she is unable to save the movie .
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watching austin powers in goldmember is like binging on cotton candy . it's sweet and fluffy at the time , but it may leave you feeling a little sticky and unsatisfied .
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