Datasets:

SeungAhSon

/

SentEval-MR

like 0

[ at least ] moore is a real charmer .

the film reminds me of a vastly improved germanic version of my big fat greek wedding -- with better characters , some genuine quirkiness and at least a measure of style . the difference is that i truly enjoyed most of mostly martha while i ne

steven spielberg brings us another masterpiece

some of their jokes work , but most fail miserably and in the end , pumpkin is far more offensive than it is funny .

when you resurrect a dead man , hard copy should come a-knocking , no ?

there 's a reason why halftime is only fifteen minutes long .

. . . too contrived to be as naturally charming as it needs to be .

it tends to remind one of a really solid woody allen film , with its excellent use of new york locales and sharp writing

they presume their audience wo n't sit still for a sociology lesson , however entertainingly presented , so they trot out the conventional science-fiction elements of bug-eyed monsters and futuristic women in skimpy clothes .

`` birthday girl `` is an actor 's movie first and foremost .

the appeal of the vulgar , sexist , racist humour went over my head or -- considering just how low brow it is -- perhaps it snuck under my feet .

painfully padded .

steve irwin 's method is ernest hemmingway at accelerated speed and volume .

the script is smart , not cloying .

. . . plenty of warmth to go around , with music and laughter and the love of family .

none of these characters resembles anyone you 've ever met in real life , unless you happen to know annoyingly self-involved people who speak in glib sentences that could have only come from the pen of a screenwriter .

a startling and fresh examination of how the bike still remains an ambiguous icon in chinese society .

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 .

rifkin no doubt fancies himself something of a hubert selby jr . , but there is n't an ounce of honest poetry in his entire script ; it 's simply crude and unrelentingly exploitative .

movie fans , get ready to take off . . . the other direction .

a deceivingly simple film , one that grows in power in retrospect .

an appealingly juvenile trifle that delivers its share of laughs and smiles .

it 's refreshing to see a movie that embraces its old-fashioned themes and in the process comes out looking like something wholly original .

devoid of any of the qualities that made the first film so special .

a timely look back at civil disobedience , anti-war movements and the power of strong voices .

a bold and subversive film that cuts across the grain of what is popular and powerful in this high-tech age , speaking its truths with spellbinding imagery and the entrancing music of philip glass .

in a movie full of surprises , the biggest is that secret ballot is a comedy , both gentle and biting .

fast-paced and wonderfully edited , the film is extremely thorough .

`` looking for leonard `` just seems to kinda sit in neutral , hoping for a stiff wind to blow it uphill or something .

succeeds where its recent predecessor miserably fails because it demands that you suffer the dreadfulness of war from both sides .

the most wondrous love story in years , it is a great film .

. . . takes the beauty of baseball and melds it with a story that could touch anyone regardless of their familiarity with the sport

williams plays sy , another of his open-faced , smiling madmen , like the killer in insomnia . he does this so well you do n't have the slightest difficulty accepting him in the role .

if high crimes were any more generic it would have a universal product code instead of a title .

the film is like sitting in a downtown cafM-i , overhearing a bunch of typical late-twenty-somethings natter on about nothing , and desperately wishing you could change tables .

the tonal shifts are jolting , and though wen 's messages are profound and thoughtfully delivered , more thorough transitions would have made the film more cohesive .

woo 's fights have a distinct flair . his warriors collide in balletic explosion that implies an underlying order throughout the chaos .

the sweetest thing is expressly for idiots who do n't care what kind of sewage they shovel into their mental gullets to simulate sustenance .

enough may pander to our basest desires for payback , but unlike many revenge fantasies , it ultimately delivers .

this is an undeniably intriguing film from an adventurous young talent who finds his inspiration on the fringes of the american underground .

the fact that the 'best part ' of the movie comes from a 60-second homage to one of demme 's good films does n't bode well for the rest of it .

michael gerbosi 's script is economically packed with telling scenes .

the film runs on equal parts of innocence and wisdom -- wisdom that comes with experience . it has fun being grown up .

if reno is to the left of liberal on the political spectrum , her tough , funny , rather chaotic show is n't subversive so much as it is nit-picky about the hypocrisies of our time .

this cinema verite speculation on the assassination of john f . kennedy may have been inspired by blair witch , but it takes its techniques into such fresh territory that the film never feels derivative .

maud and roland 's search for an unknowable past makes for a haunting literary detective story , but labute pulls off a neater trick in possession : he makes language sexy .

bartlett 's hero remains a reactive cipher , when opening the man 's head and heart is the only imaginable reason for the film to be made .

weaves a spell over you , with its disturbingly close-up look at damaged psyches and its subtle undercurrents of danger . but its awkward structure keeps breaking the spell .

a good documentary can make interesting a subject you thought would leave you cold . a case in point : doug pray 's scratch .

the film exudes the urbane sweetness that woody allen seems to have bitterly forsaken .

the transporter is as lively and as fun as it is unapologetically dumb

an unremarkable , modern action/comedy buddy movie whose only nod to nostalgia is in the title .

a puppy dog so desperate for attention it nearly breaks its little neck trying to perform entertaining tricks .

even film silliness needs a little gravity , beyond good hair and humping .

eisenstein lacks considerable brio for a film about one of cinema 's directorial giants .

if you think it 's a riot to see rob schneider in a young woman 's clothes , then you 'll enjoy the hot chick .

led by griffin 's smartly nuanced performance and enthusiasm , the cast has a lot of fun with the material .

like vardalos and corbett , who play their roles with vibrant charm , the film , directed by joel zwick , is heartfelt and hilarious in ways you ca n't fake .

. . . a fun little timewaster , helped especially by the cool presence of jean reno .

make no mistake , ivans xtc . is a mess .

a fantastic premise anchors this movie , but what it needs is either a more rigid , blair witch-style commitment to its mockumentary format , or a more straightforward , dramatic treatment , with all the grandiosity that that implies .

at the very least , if you do n't know anything about derrida when you walk into the theater , you wo n't know much more when you leave .

the direction occasionally rises to the level of marginal competence , but for most of the film it is hard to tell who is chasing who or why .

this is a stunning film , a one-of-a-kind tour de force .

henry bean 's thoughtful screenplay provides no easy answers , but offers a compelling investigation of faith versus intellect

maybe thomas wolfe was right : you ca n't go home again .

all movie long , city by the sea swings from one approach to the other , but in the end , it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast .

this is n't a retooled genre piece , the tale of a guy and his gun , but an amiably idiosyncratic work .

. . . while each moment of this broken character study is rich in emotional texture , the journey does n't really go anywhere .

never [ sinks ] into exploitation .

jirM-m hubac 's script is a gem . his characters are engaging , intimate and the dialogue is realistic and greatly moving . the scope of the silberstein family is large and we grow attached to their lives , full of strength , warmth and vitality . .

a beautifully tooled action thriller about love and terrorism in korea .

wildly incompetent but brilliantly named half past dead -- or for seagal pessimists : totally past his prime .

the movie is our story as much as it is schmidt 's , no matter if it 's viewed as a self-reflection or cautionary tale .

execrable .

although it lacks the detail of the book , the film does pack some serious suspense .

hey everybody , wan na watch a movie in which a guy dressed as a children 's party clown gets violently gang-raped ? i did n't think so .

a movie that harps on media-constructed 'issues ' like whether compromise is the death of self this orgasm [ wo n't be an ] exceedingly memorable one for most people .

as they used to say in the 1950s sci-fi movies , signs is a tribute to shyamalan 's gifts , which are such that we 'll keep watching the skies for his next project .

with miscast leads , banal dialogue and an absurdly overblown climax , killing me softly belongs firmly in the so-bad-it's-good camp .

the movie exists for its soccer action and its fine acting .

a non-mystery mystery .

every sequel you skip will be two hours gained . consider this review life-affirming .

a worthwhile documentary , whether you 're into rap or not , even if it may still leave you wanting more answers as the credits roll .

majidi 's direction has never been smoother or more confident .

puts on airs of a hal hartley wannabe film -- without the vital comic ingredient of the hilarious writer-director himself .

its gross-out gags and colorful set pieces . . . are of course stultifyingly contrived and too stylized by half . still , it gets the job done -- a sleepy afternoon rental .

barney 's ideas about creation and identity do n't really seem all that profound , at least by way of what can be gleaned from this three-hour endurance test built around an hour 's worth of actual material .

a simpler , leaner treatment would have been preferable ; after all , being about nothing is sometimes funnier than being about something .

clever , brutal and strangely soulful movie .

earnest but earthbound . . . a slow , soggy , soporific , visually dank crime melodrama/character study that would be more at home on the small screen but for its stellar cast .

i 'm just too bored to care .

affleck merely creates an outline for a role he still needs to grow into , a role that ford effortlessly filled with authority .

a marvellous journey from childhood idealism to adolescent self-absorption .

the movie is gorgeously made , but it is also somewhat shallow and art-conscious .

. . . a thoughtful what-if for the heart as well as the mind .

it is bad , but certainly not without merit as entertainment .

white oleander may leave you rolling your eyes in the dark , but that does n't mean you wo n't like looking at it .

in its dry and forceful way , it delivers the same message as jiri menzel 's closely watched trains and danis tanovic 's no man 's land .

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 .