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i think it was plato who said , 'i think , therefore i know better than to rush to the theatre for this one . '
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if damon and affleck attempt another project greenlight , next time out they might try paying less attention to the miniseries and more attention to the film it is about .
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this is rote drivel aimed at mom and dad's wallet .
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contrived , maudlin and cliche-ridden . . . if this sappy script was the best the contest received , those rejected must have been astronomically bad .
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i hate the feeling of having been slimed in the name of high art .
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this is more a case of 'sacre bleu ! ' than 'magnifique' .
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the kids in the audience at the preview screening seemed bored , cheering the pratfalls but little else ; their parents , wise folks that they are , read books .
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whether jason x is this bad on purpose is never clear . but one thing's for sure : it never comes close to being either funny or scary .
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yet another weepy southern bore-athon .
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i like all four of the lead actors a lot and they manage to squeeze a few laughs out of the material , but they're treading water at best in this forgettable effort .
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perhaps the most annoying thing about who is cletis tout ? is that it's a crime movie made by someone who obviously knows nothing about crime .
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except as an acting exercise or an exceptionally dark joke , you wonder what anyone saw in this film that allowed it to get made .
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this insufferable movie is meant to make you think about existential suffering . instead , it'll only put you to sleep .
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who is this movie for ? not kids , who don't need the lesson in repugnance . it's also not smart or barbed enough for older viewers -- not everyone thinks poo-poo jokes are 'edgy . '
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a sleep-inducingly slow-paced crime drama with clumsy dialogue , heavy-handed phoney-feeling sentiment , and an overly-familiar set of plot devices .
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it's so tedious that it makes you forgive every fake , dishonest , entertaining and , ultimately , more perceptive moment in bridget jones's diary .
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almost as offensive as " freddy got fingered . "
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the gifted crudup has the perfect face to play a handsome blank yearning to find himself , and his cipherlike personality and bad behavior would play fine if the movie knew what to do with him .
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it is depressing , ruthlessly pained and depraved , the movie equivalent of staring into an open wound .
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ponderous , plodding soap opera disguised as a feature film .
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cold , pretentious , thoroughly dislikable study in sociopathy .
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for the future , one hopes mr . plympton will find room for one more member of his little band , a professional screenwriter .
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a cheap scam put together by some cynical creeps at revolution studios and imagine entertainment to make the suckers out there surrender $9 and 93 minutes of unrecoverable life .
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reign of fire never comes close to recovering from its demented premise , but it does sustain an enjoyable level of ridiculousness .
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human nature is a goofball movie , in the way that malkovich was , but it tries too hard .
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originality is sorely lacking .
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the plot's clearly mythic structure may owe more to disney's strong sense of formula than to the original story . but while the highly predictable narrative falls short , treasure planet is truly gorgeous to behold .
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though there are entertaining and audacious moments , the movie's wildly careening tone and an extremely flat lead performance do little to salvage this filmmaker's flailing reputation .
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ram dass fierce grace moulds itself as an example to up-and-coming documentarians , of the overlooked pitfalls of such an endeavour .
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lucky break is perfectly inoffensive and harmless , but it's also drab and inert .
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for a story set at sea , ghost ship is pretty landbound , with its leaden acting , dull exposition and telegraphed 'surprises . '
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there might be some sort of credible gender-provoking philosophy submerged here , but who the hell cares ?
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what we have is a character faced with the possibility that her life is meaningless , vapid and devoid of substance , in a movie that is definitely meaningless , vapid and devoid of substance .
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nothing more than a stifling morality tale dressed up in peekaboo clothing .
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i like my christmas movies with more elves and snow and less pimps and ho's .
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it all seemed wasted like deniro's once promising career and the once grand long beach boardwalk .
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[i]t's certainly laudable that the movie deals with hot-button issues in a comedic context , but barbershop isn't as funny as it should be .
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unfortunately , a cast of competent performers from movies , television and the theater are cast adrift in various new york city locations with no unifying rhythm or visual style .
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just entertaining enough not to hate , too mediocre to love .
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'sophisticated' viewers who refuse to admit that they don't like it will likely call it 'challenging' to their fellow sophisticates .
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equilibrium the movie , as opposed to the manifesto , is really , really stupid .
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excruciatingly unfunny and pitifully unromantic .
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the film's thoroughly recycled plot and tiresome jokes . . . drag the movie down .
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it doesn't offer audiences any way of gripping what its point is , or even its attitude toward its subject .
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this kiddie-oriented stinker is so bad that i even caught the gum stuck under my seat trying to sneak out of the theater
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though impostor deviously adopts the guise of a modern motion picture , it too is a bomb .
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cox offers plenty of glimpses at existing photos , but there are no movies of nijinsky , so instead the director treats us to an aimless hodgepodge .
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every note rings false .
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when the screenwriter responsible for one of the worst movies of one year directs an equally miserable film the following year , you'd have a hard time believing it was just coincidence .
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it never rises to its clever what-if concept .
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admirably ambitious but self-indulgent .
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this story of unrequited love doesn't sustain interest beyond the first half-hour .
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this angst-ridden territory was covered earlier and much better in ordinary people .
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the entire film is one big excuse to play one lewd scene after another . about half of them are funny , a few are sexy and none are useful in telling the story , which is paper-thin and decidedly unoriginal .
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a big , loud , bang-the-drum bore .
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grating and tedious .
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[less a movie than] an appalling , odoriferous thing . . . so rotten in almost every single facet of production that you'll want to crawl up your own * * * in embarrassment .
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the concept behind kung pow : enter the fist is hilarious . it's too bad nothing else is .
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hardman is a grating , mannered onscreen presence , which is especially unfortunate in light of the fine work done by most of the rest of her cast .
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el crimen del padre amaro would likely be most effective if used as a tool to rally anti-catholic protestors .
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interesting and thoroughly unfaithful version of carmen
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a serious movie with serious ideas . but seriously , folks , it doesn't work .
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there's nothing exactly wrong here , but there's not nearly enough that's right .
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the action here is unusually tame , the characters are too simplistic to maintain interest , and the plot offers few surprises .
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i couldn't help but feel the wasted potential of this slapstick comedy .
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what madonna does here can't properly be called acting -- more accurately , it's moving and it's talking and it's occasionally gesturing , sometimes all at once .
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[a] painfully flat gross-out comedy . . .
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even if you're an elvis person , you won't find anything to get excited about on this dvd .
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the movie certainly has its share of clever moments and biting dialogue , but there's just not much lurking below its abstract surface .
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it's bedeviled by labored writing and slack direction .
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i'm sure there's a teenage boy out there somewhere who's dying for this kind of entertainment .
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the tuxedo miscalculates badly by forcing the star to play second fiddle to the dull effects that allow the suit to come to life .
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the film is a confusing melange of tones and styles , one moment a romantic trifle and the next a turgid drama .
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obviously , a lot of people wasted a lot of their time ( including mine ) on something very inconsequential .
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there's a little violence and lots of sex in a bid to hold our attention , but it grows monotonous after a while , as do joan and philip's repetitive arguments , schemes and treachery .
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it drowns in sap .
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deliberately and devotedly constructed , far from heaven is too picture postcard perfect , too neat and new pin-like , too obviously a recreation to resonate .
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it's rare that a movie can be as intelligent as this one is in every regard except its storyline ; everything that's good is ultimately scuttled by a plot that's just too boring and obvious .
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i'm giving it thumbs down due to the endlessly repetitive scenes of embarrassment . there's got to be a more graceful way of portraying the devastation of this disease .
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the good thing -- the only good thing -- about extreme ops is that it's so inane that it gave me plenty of time to ponder my thanksgiving to-do list .
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the modern-day characters are nowhere near as vivid as the 19th-century ones .
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blessed with a searing lead performance by ryan gosling ( murder by numbers ) , the movie is powerful and provocative . it's also built on a faulty premise , one it follows into melodrama and silliness .
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uneven performances and a spotty script add up to a biting satire that has no teeth .
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director jay russell stomps in hobnail boots over natalie babbitt's gentle , endearing 1975 children's novel .
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benigni's pinocchio is extremely straight and mind-numbingly stilted , its episodic pacing keeping the film from developing any storytelling flow .
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the troubling thing about clockstoppers is that it doesn't make any sense .
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with its paint fights , motorized scooter chases and dewy-eyed sentiment , it's a pretty listless collection of kid-movie clichés .
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mostly the film is just hectic and homiletic : two parts exhausting men in black mayhem to one part family values .
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kicks off with an inauspicious premise , mopes through a dreary tract of virtually plotless meanderings and then ends with a whimper .
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a rote exercise in both animation and storytelling .
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the material and the production itself are little more than routine .
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the movie's major and most devastating flaw is its reliance on formula , though , and it's quite enough to lessen the overall impact the movie could have had .
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not even steven spielberg has dreamed up such blatant and sickening product placement in a movie .
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it's all surface psychodramatics .
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the mothman prophecies , which is mostly a bore , seems to exist only for its climactic setpiece .
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that frenetic spectacle [on the tv show] has usually been leavened by a charm that's conspicuously missing from the girls' big-screen blowout .
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kitschy , flashy , overlong soap opera .
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for all the time we spend with these people , we never really get inside of them .
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yet another arnold vehicle that fails to make adequate use of his particular talents .
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sandra bullock , despite downplaying her good looks , carries a little too much ain't- she-cute baggage into her lead role as a troubled and determined homicide cop to quite pull off the heavy stuff .
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