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there's a solid woman- finding-herself story somewhere in here , but you'd have to dig pretty deep to uncover it .
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i still can't relate to stuart : he's a mouse , for cryin' out loud , and all he does is milk it with despondent eyes and whine that nobody treats him human enough .
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[serry] wants to blend politics and drama , an admirable ambition . it's too bad that the helping hand he uses to stir his ingredients is also a heavy one .
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by the miserable standards to which the slasher genre has sunk , . . . actually pretty good . of course , by more objective measurements it's still quite bad .
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the only entertainment you'll derive from this choppy and sloppy affair will be from unintentional giggles – several of them .
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sam mendes has become valedictorian at the school for soft landings and easy ways out .
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lástima por schwarzenegger , pero es hora de que deje la estafeta a las nuevas generaciones .
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exactly what it claims to be -- a simple diversion for the kids .
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its story may be a thousand years old , but why did it have to seem like it took another thousand to tell it to us ?
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woefully pretentious .
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the problem with this film is that it lacks focus . i sympathize with the plight of these families , but the movie doesn't do a very good job conveying the issue at hand .
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a momentary escape from the summer heat and the sedentary doldrums that set in at this time of year .
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. . . think of it as american pie on valium .
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dull , lifeless , and amateurishly assembled .
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puportedly " based on true events , " a convolution of language that suggests it's impossible to claim that it is " based on a true story " with a straight face .
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. . . a plotline that's as lumpy as two-day old porridge . . . the filmmakers' paws , sad to say , were all over this " un-bear-able " project !
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. . . irritating soul-searching garbage .
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it's a bad thing when a movie has about as much substance as its end credits blooper reel .
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with its dogged hollywood naturalism and the inexorable passage of its characters toward sainthood , windtalkers is nothing but a sticky-sweet soap .
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some of it is clever , but it is never melodic/
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a relative letdown .
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better to just call it abc kiarostami . for aids and africa are nothing more than part of the scenery .
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no aspirations to social import inform the movie version . this is a shameless sham , calculated to cash in on the popularity of its stars .
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manages to be somewhat well-acted , not badly art-directed and utterly unengaging no matter how hard it tries to be thrilling , touching or , yikes , uproarious .
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warmed-over hash .
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this rather superficial arthouse middle-brow film knows how to please a crowd , and that's about all it does well .
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it's clear the filmmakers weren't sure where they wanted their story to go , and even more clear that they lack the skills to get us to this undetermined destination .
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as vulgar as it is banal .
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a puzzling experience .
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you wonder why enough wasn't just a music video rather than a full-length movie .
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the film's tone and pacing are off almost from the get-go .
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the talented and clever robert rodriguez perhaps put a little too much heart into his first film and didn't reserve enough for his second .
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more whiny downer than corruscating commentary .
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tambor and clayburgh make an appealing couple — he's understated and sardonic , she's appealingly manic and energetic . both deserve better .
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suffocated by its fussy script and uptight characters , this musty adaptation is all the more annoying since it's been packaged and sold back to us by hollywood .
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coughs and sputters on its own postmodern conceit .
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a wildly inconsistent emotional experience .
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sit through this one , and you won't need a magic watch to stop time ; your dvd player will do it for you .
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a sometimes tedious film .
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teen movies have really hit the skids .
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there are plot holes big enough for shamu the killer whale to swim through .
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. . . plays like somebody spliced random moments of a chris rock routine into what is otherwise a cliche-riddled but self-serious spy thriller .
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nasty , ugly , pointless and depressing , even if you hate clowns .
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what is 100% missing here is a script of even the most elemental literacy , an inkling of genuine wit , and anything resembling acting .
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does paint some memorable images . . . , but makhmalbaf keeps her distance from the characters
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it uses the pain and violence of war as background material for color .
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just not campy enough
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the movie , directed by mick jackson , leaves no cliche unturned , from the predictable plot to the characters straight out of central casting .
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it's everything you don't go to the movies for .
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like watching a dress rehearsal the week before the show goes up : everything's in place but something's just a little off-kilter .
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the affectionate loopiness that once seemed congenital to demme's perspective has a tough time emerging from between the badly dated cutesy-pie mystery scenario and the newfangled hollywood post-production effects .
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for all its technical virtuosity , the film is so mired in juvenile and near-xenophobic pedagogy that it's enough to make one pine for the day when godard can no longer handle the rigors of filmmaking .
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american chai encourages rueful laughter at stereotypes only an indian-american would recognize . and the lesson , in the end , is nothing new .
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it made me want to wrench my eyes out of my head and toss them at the screen .
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due to some script weaknesses and the casting of the director's brother , the film trails off into inconsequentiality .
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. . . plot holes so large and obvious a marching band might as well be stomping through them in clown clothes , playing a college football fight song on untuned instruments .
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so devoid of any kind of intelligible story that it makes films like xxx and collateral damage seem like thoughtful treatises
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combining quick-cut editing and a blaring heavy metal much of the time , beck seems to be under the illusion that he's shooting the latest system of a down video .
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dragonfly has no atmosphere , no tension -- nothing but costner , flailing away . it's a buggy drag .
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works hard to establish rounded characters , but then has nothing fresh or particularly interesting to say about them .
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the action switches between past and present , but the material link is too tenuous to anchor the emotional connections that purport to span a 125-year divide .
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nonsensical , dull " cyber-horror " flick is a grim , hollow exercise in flat scares and bad acting .
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instead of hiding pinocchio from critics , miramax should have hidden it from everyone .
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manages to be both repulsively sadistic and mundane .
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a great ensemble cast can't lift this heartfelt enterprise out of the familiar .
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there ought to be a directing license , so that ed burns can have his revoked .
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the structure the film takes may find matt damon and ben affleck once again looking for residuals as this officially completes a good will hunting trilogy that was never planned .
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whereas last year's exemplary sexy beast seemed to revitalize the british gangster movie , this equally brutal outing merely sustains it .
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. . . a boring parade of talking heads and technical gibberish that will do little to advance the linux cause .
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green might want to hang onto that ski mask , as robbery may be the only way to pay for his next project .
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i can take infantile humor . . . but this is the sort of infantile that makes you wonder about changing the director and writer's diapers .
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there isn't nearly enough fun here , despite the presence of some appealing ingredients .
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the tale of tok ( andy lau ) , a sleek sociopath on the trail of o ( takashi sorimachi ) , the most legendary of asian hitmen , is too scattershot to take hold .
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directed in a paint-by-numbers manner .
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a cheerful enough but imminently forgettable rip-off of [besson's] earlier work .
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a lackluster , unessential sequel to the classic disney adaptation of j . m . barrie's peter pan .
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samira makhmalbaf's new film blackboards is much like the ethos of a stream of consciousness , although , it's unfortunate for the viewer that the thoughts and reflections coming through are torpid and banal
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. . . routine , harmless diversion and little else .
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late marriage's stiffness is unlikely to demonstrate the emotional clout to sweep u . s . viewers off their feet .
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this time mr . burns is trying something in the martin scorsese street-realist mode , but his self-regarding sentimentality trips him up again .
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while there's something intrinsically funny about sir anthony hopkins saying 'get in the car , bitch , ' this jerry bruckheimer production has little else to offer
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it's hampered by a lifetime-channel kind of plot and a lead actress who is out of her depth .
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let's hope -- shall we ? -- that the 'true story' by which all the queen's men is allegedly " inspired " was a lot funnier and more deftly enacted than what's been cobbled together onscreen .
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is there a group of more self-absorbed women than the mother and daughters featured in this film ? i don't think so . nothing wrong with performances here , but the whiney characters bugged me .
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there is very little dread or apprehension , and though i like the creepy ideas , they are not executed with anything more than perfunctory skill .
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if you've ever entertained the notion of doing what the title of this film implies , what sex with strangers actually shows may put you off the idea forever .
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in the end , the movie collapses on its shaky foundation despite the best efforts of director joe carnahan .
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adults will wish the movie were less simplistic , obvious , clumsily plotted and shallowly characterized . but what are adults doing in the theater at all ?
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sticky sweet sentimentality , clumsy plotting and a rosily myopic view of life in the wwii-era mississippi delta undermine this adaptation .
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it's another stale , kill-by-numbers flick , complete with blade-thin characters and terrible , pun-laden dialogue .
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every time you look , sweet home alabama is taking another bummer of a wrong turn .
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partway through watching this saccharine , easter-egg-colored concoction , you realize that it is made up of three episodes of a rejected tv show .
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the overall effect is less like a children's movie than a recruitment film for future hollywood sellouts .
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portentous and pretentious , the weight of water is appropriately titled , given the heavy-handedness of it drama .
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a fitfully amusing romp that , if nothing else , will appeal to fans of malcolm in the middle and its pubescent star , frankie muniz .
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jason x is positively anti-darwinian : nine sequels and 400 years later , the teens are none the wiser and jason still kills on auto-pilot .
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to say this was done better in wilder's some like it hot is like saying the sun rises in the east .
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at the very least , if you don't know anything about derrida when you walk into the theater , you won't know much more when you leave .
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the actors are appealing , but elysian fields is idiotic and absurdly sentimental .
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as 'chick flicks' go , this one is pretty miserable , resorting to string-pulling rather than legitimate character development and intelligent plotting .
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