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the film apparently takes place in a fantasy world where people in hotel hallways recite poetry in voice-over instead of speaking to each other .
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the element of surprise might be the only thing femme fatale has going for it .
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it's the kind of movie you can't quite recommend because it is all windup and not much of a pitch , yet you can't bring yourself to dislike it .
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maybe it's asking too much , but if a movie is truly going to inspire me , i want a little more than this .
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a graceless , witless attempt at mating some like it hot with the wwii espionage thriller .
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the story and characters are nowhere near gripping enough .
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based on a david leavitt story , the film shares that writer's usual blend of observant cleverness , too-facile coincidence and slightly noxious preciousness .
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just like every other seagal movie , only louder and without that silly ponytail .
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to enjoy this movie's sharp dialogue and delightful performance by jolie and burns , you have to gloss over the no sense ending .
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national lampoon's van wilder could be the worst thing to come out of national lampoon since class reunion
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this is a great subject for a movie , but hollywood has squandered the opportunity , using it as a prop for warmed-over melodrama and the kind of choreographed mayhem that director john woo has built his career on .
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ecks this one off your must-see list .
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overall , the film misses the brilliance of jelinek's novel by some way . it settles for being merely grim .
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the irwins emerge unscathed , but the fictional footage is unconvincing and criminally badly acted .
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it's not thirsty , consuming passion which drives this movie . no , it's the repetition of said behavior , and so children of the century is more mindless love than mad , more grating and boring than anything else .
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just because it really happened to you , honey , doesn't mean that it's interesting to anyone else .
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just like the deli sandwich : lots of ham , lots of cheese , with a sickly sweet coating to disguise its excrescence until just after ( or during ) consumption of its second half .
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every so often a movie comes along that confirms one's worse fears about civilization as we know it . the new guy is one of them .
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this isn't a " friday " worth waiting for .
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everything that's worthwhile about collision course can already be seen on television .
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if this movie belonged to a sorority , it would be called beta alpha delta .
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not a cheap slasher flick , as the subject matter would suggest , but is a little like a nature film , showing a patient predator and his foolish prey .
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uneasy mishmash of styles and genres .
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herzog is obviously looking for a moral to his fable , but the notion that a strong , unified showing among germany and eastern european jews might have changed 20th-century history is undermined by ahola's inadequate performance .
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all in all , there's only one thing to root for : expulsion for everyone .
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beyond a handful of mildly amusing lines . . . there just isn't much to laugh at .
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secret ballot is too contemplative to be really funny .
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the film's center will not hold .
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myers never knows when to let a gag die ; thus , we're subjected to one mind-numbingly lengthy riff on poo and pee jokes after another .
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too lazy to take advantage of its semi-humorous premise .
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a great ending doesn't make up for a weak movie , and crazy as hell doesn't even have a great ending .
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dialogue-heavy and too cerebral for its own good -- or , at any rate , too cerebral for its racy subject matter .
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its over-reliance on genre conventions , character types and formulaic conflict resolutions crushes all the goodwill it otherwise develops .
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as an actor , the rock is aptly named .
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a mostly tired retread of several other mob tales .
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i wish i could say " thank god it's friday " , but the truth of the matter is i was glad when it was over .
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nothing about it fits .
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as it abruptly crosscuts among the five friends , it fails to lend the characters' individual stories enough dramatic resonance to make us care about them .
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somehow we're meant to buy that this doting mother would shun her kids , travel to one of the most dangerous parts of the world , don fatigues and become g . i . jane .
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the cast is so low-wattage that none of the characters comes off as big . . . and the setting remains indistinct .
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consider the title's clunk-on-the-head that suggests the overtime someone put in to come up with an irritatingly unimaginative retread concept .
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the movie quickly drags on becoming boring and predictable . i tried to read the time on my watch .
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the film makes a tragic error by going on for too long , trying to mirror every subsequent event in chinese history : war , revolution , communism , etc .
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johnson has , in his first film , set himself a task he is not nearly up to .
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ultimately the project comes across as clinical , detached , uninvolving , possibly prompting audience members to wonder , 'what's the point ? '
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the two leads are almost good enough to camouflage the dopey plot , but so much naturalistic small talk , delivered in almost muffled exchanges , eventually has a lulling effect .
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the film meant well in its horse tale about freedom , but wasn't able to reach the heart because it was too overbearing .
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the movie is as far as you can get from racy , to the point where it almost stops the blood flow to your brain ; it has a dull , costumey feel .
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once the audience figure out what's being said , the filmmaker's relative passivity will make it tough for them to really care .
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there's nothing provocative about this film save for the ways in which it studiously avoids provoking thought .
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it seems just a long , convoluted ploy to get men into drag -- period drag , no less .
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the premise for this kegger comedy probably sounded brilliant four six-packs and a pitcher of margaritas in , but the film must have been written . . . in the thrall of a vicious hangover .
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even by dumb action-movie standards , ballistic : ecks vs . sever is a dumb action movie .
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the film equivalent of a toy chest whose contents get scattered over the course of 80 minutes .
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just a bloody mess .
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creepy but ultimately unsatisfying thriller .
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martin scorsese cria um espetáculo visual que não possui alma - um filme esteticamente belo , mas emocionalmente frio .
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you would be better off investing in the worthy emi recording that serves as the soundtrack , or the home video of the 1992 malfitano-domingo production .
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has something to say . . . but it is a statement and issue worthy of a much more thoughtfulness and insight than a melodramatic and wholly predictable thriller .
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bears is bad . not 'terrible filmmaking' bad , but more like , 'i once had a nightmare like this , and it's now coming true' bad .
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as is most commonly case with projects such noble and lofty ambitions , the film is less poetic than simply pretentious .
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george , hire a real director and good writers for the next installment , please .
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for a film about two mismatched buddies , crystal and de niro share little screen time and even less chemistry .
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however clever nelson has been in providing variation within the confines of her structure and staging , the question remains whether this should , indeed , have been presented as a theatrical release .
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extreme oops - oops , ops , no matter how you spell it , it's still a mistake to go see it .
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what could and should have been biting and droll is instead a tepid waste of time and talent .
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what will , most likely , turn out to be the most repellent movie of 2002 .
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. . . too dull to enjoy .
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a morality tale whose thought-provoking potential is hampered by a made-for-tv look , rigid performances and an asinine 'twist' that brazenly rips off the sixth sense .
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here's a self-congratulatory 3d imax rah-rah .
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eastwood is an icon of moviemaking , one of the best actors , directors and producers around , responsible for some excellent work . but even a hero can stumble sometimes .
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a sophomoric exploration of 'life problems' most people solved long ago -- or at least got tired of hearing people kvetch about .
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it's all very cute , though not terribly funny if you're more than six years old .
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the impact of the armenian genocide is diluted by too much stage business in the modern day .
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[u]nrelentingly stupid .
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going to the website may be just as fun ( and scary ) as going to the film .
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lacking gravitas , macdowell is a placeholder for grief , and ergo this sloppy drama is an empty vessel . leave these flowers unpicked -- they're dead on the vine .
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admirable , certainly , but not much fun to watch . for caine lovers only .
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a shambles of a movie--visually unattractive , unbearably loud and utterly silly . . . its hilarity is completely unintentional .
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de niro may enjoy the same free ride from critics afforded to clint eastwood in the lazy bloodwork . but like bruce springsteen's gone-to-pot asbury park , new jersey , this sad-sack waste of a movie is a city of ruins .
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no , it's not nearly as good as any of its influences .
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a reasonably efficient mechanism , but it offers few surprises and finds its stars slumming in territory they should have avoided .
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the rest of the plot is impossible to explain without blowing whatever tension there is , although it's more comedy than suspense de palma creates .
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human nature talks the talk , but it fails to walk the silly walk that distinguishes the merely quirky from the surreal .
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city by the sea is the cinematic equivalent of defensive driving : it's careful , conscientious and makes no major mistakes . but what saves lives on the freeway does not necessarily make for persuasive viewing .
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the marquis de sade couldn't have been as dull a person as this film makes him out to be .
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what could have been a neat little story about believing in yourself is swamped by heavy-handed melodrama .
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the cast is uniformly excellent . . . but the film itself is merely mildly charming .
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drives for the same kind of bittersweet , conciliatory tone that three seasons achieved but loses its way in rhetorical excess and blatant sentimentality .
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a bigger holiday downer than your end-of-year 401 ( k ) statement .
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the whole thing plays out with the drowsy heaviness of synchronized swimmer wearing a wool wetsuit .
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fairly successful at faking some pretty cool stunts but a complete failure at trying to create some pretty cool characters . and forget about any attempt at a plot !
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it will probably prove interesting to ram dass fans , but to others it may feel like a parody of the mellow , peace-and-love side of the '60s counterculture .
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take away all the cliches and the carbon copy scenes from every drug movie we've seen and all you have left are john leguizamo's cool jackets .
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it's so full of wrong choices that all you can do is shake your head in disbelief -- and worry about what classic oliver parker intends to mangle next time .
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showtime is closer to slowtime .
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it may be an easy swipe to take , but this barbershop just doesn't make the cut .
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the weight of water uses water as a metaphor for subconscious desire , but this leaky script barely stays afloat .
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'how many more voyages can this limping but dearly-loved franchise survive ? '
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despite a blue-chip cast and a provocative title , writer-director peter mattei's first feature microwaves dull leftover romantic motifs basted in faux-contemporary gravy .
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