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from the big giant titles of the opening credits to elmer bernstein's perfectly melodic score , haynes gets just about everything right .
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whether seen on a 10-inch television screen or at your local multiplex , the edge-of-your-seat , educational antics of steve irwin are priceless entertainment .
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has a shambling charm . . . a cheerfully inconsequential diversion .
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ferrara directs the entire film with the kind of detachment that makes any given frame look like a family's custom-made christmas card .
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the movie has lots of dancing and fabulous music . there are slow and repetitive parts , but it has just enough spice to keep it interesting .
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an incredibly clever and superbly paced caper filled with scams within scams within scams .
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there's not much more to this adaptation of the nick hornby novel than charm -- effortless , pleasurable , featherweight charm .
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as a belated nod to some neglected all-stars , standing in the shadows of motown is cultural history of the best kind : informative , revealing and richly entertaining .
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even if the ride's a little bumpy , with a final lap that's all too suspiciously smooth , you gotta give director roger michell , best known for the superfluous notting hill , credit for trying .
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not as distinctive or even as humorous as its needs to be to stand out , but it has clearly been made with affection and care .
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this is carion's debut feature but his script and direction hums with a confidence that many spend entire careers trying to reach .
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an intelligent , moving and invigorating film .
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ofrece una buena oportunidad de cultura ( aunque sea condensada ) que bien vale la pena aprovechar .
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. . . one of the most ingenious and entertaining thrillers i've seen in quite a long time .
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a clever blend of fact and fiction .
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a vivid cinematic portrait .
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hilarious , touching and wonderfully dyspeptic .
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es divertida , visualmente espectacular y muy entretenida . simple y sencillamente te sorprenderá .
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theirs is a simple and heart-warming story , full of mirth that should charm all but the most cynical .
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the film is an enjoyable family film -- pretty much aimed at any youngster who loves horses .
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a frisky and fresh romantic comedy exporing sexual politics and the challenges of friendships between women .
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it's a good film -- not a classic , but odd , entertaining and authentic .
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flavorful and romantic , you could call this how martha got her groove back -- assuming , that is , she ever had one to begin with .
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happily for mr . chin -- though unhappily for his subjects -- the invisible hand of the marketplace wrote a script that no human screenwriter could have hoped to match .
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thurman and lewis are hilarious throughout .
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the plot is so amusingly contrived and outlandish in its coincidences that no one could ever mistake it for anything resembling reality
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hits one out of the park for the 'they don't make 'em like that anymore' department .
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it dares to be a little different , and that shading is what makes it worthwhile .
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[fessenden] is much more into ambiguity and creating mood than he is for on screen thrills
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the comic performances are all spot on , especially lee ross's turn as ken .
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a compelling journey . . . and " his best friend remembers " is up there with the finest of specials .
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at nearly three hours , the whole of safe conduct is less than the sum of its parts .
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the hours makes you examine your own life in much the same way its characters do , and the experience is profound . the hours is what movies are supposed to be . . .
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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 .
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pretty darn good , despite its smarty-pants aura .
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so young , so smart , such talent , such a wise * * * .
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woo's fights have a distinct flair . his warriors collide in balletic explosion that implies an underlying order throughout the chaos .
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barney has created a tour de force that is weird , wacky and wonderful .
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the ending does leave you unfulfilled , but these are performances to enjoy in a memorable ensemble piece .
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. . . an agreeable time-wasting device -- but george pal's low-tech 1960 version still rules the epochs .
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it's a brave attempt to tap into the heartbeat of the world , a salute to the universal language of rhythm and a zippy sampling of sounds .
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offers an unusual opportunity to observe the inequities in the death penalty , not just the inherent immorality but also the haphazard administration of it and public misperception of how the whole thing works .
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i don't think i've been as entranced and appalled by an asian film since shinya tsukamoto's iron man .
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it is so refreshing to see robin williams turn 180 degrees from the string of insultingly innocuous and sappy fiascoes he's been making for the last several years .
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director benoit jacquot , making his first opera-to-film translation with tosca , conveys the heaving passion of puccini's famous love-jealousy- murder-suicide fandango with great cinematic innovation .
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lilia's transformation from strict mother to sensual siren is superficially preposterous , but abbas infuses the role with an unimpeachable core of emotional truth .
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frida's artistic brilliance is undeniable -- it's among the most breathtakingly designed films i've ever seen .
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the perfect film for those who like sick comedies that can be snide .
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'charly' will divide its audience in two separate groups , those reaching for more tissues and those begging for mercy . . .
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nervy and sensitive , it taps into genuine artistic befuddlement , and at the same time presents a scathing indictment of what drives hollywood .
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a marvellous journey from childhood idealism to adolescent self-absorption .
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the film is just a big , gorgeous , mind-blowing , breath-taking mess .
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sharp , lively , funny and ultimately sobering film .
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though the film's scenario is certainly not earthshaking , this depiction of fluctuating female sexuality has two winning lead performances and charm to spare .
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a worthy tribute to a great humanitarian and her vibrant 'co-stars . '
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a recent favourite at sundance , this white-trash satire will inspire the affection of even those unlucky people who never owned a cassette of def leppard's pyromania .
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the recording session is the only part of the film that is enlightening -- and how appreciative you are of this depends on your level of fandom .
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occasionally funny and consistently odd , and it works reasonably well as a star vehicle for zhao .
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bright seems alternately amused and disgusted with this material , and he can't help throwing in a few of his own touches .
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the 3d images only enhance the film's otherworldly quality , giving it a strange combo of you-are-there closeness with the disorienting unreality of the seemingly broken-down fourth wall of the movie screen .
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andersson creates a world that's at once surreal and disturbingly familiar ; absurd , yet tremendously sad .
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it's predictable , but it jumps through the expected hoops with style and even some depth .
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often hilarious , well-shot and , importantly , entertaining , hell house is a fascinating document of an event that has to be seen to be believed .
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de oliveira creates an emotionally rich , poetically plump and visually fulsome , but never showy , film whose bittersweet themes are reinforced and brilliantly personified by michel piccoli .
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. . . an inviting piece of film .
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the film's real appeal won't be to clooney fans or adventure buffs , but to moviegoers who enjoy thinking about compelling questions with no easy answers .
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the fact that the rookie is a nearly impeccable cinematic experience -- and a wonderful all-ages triumph besides -- is a miracle akin to the story the film portrays .
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a deviant topical comedy which is funny from start to finish .
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a startling and fresh examination of how the bike still remains an ambiguous icon in chinese society .
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a highly intriguing thriller , coupled with some ingenious plot devices and some lavishly built settings . . it's a worthwhile tutorial in quantum physics and slash-dash
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as hugh grant says repeatedly throughout the movie , 'lovely ! brilliant ! '
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cho's fearless in picking apart human foibles , not afraid to lay her life bare in front of an audience . her delivery and timing are flawless .
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works because , for the most part , it avoids the stupid cliches and formulaic potholes that befall its brethren .
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at its best , the good girl is a refreshingly adult take on adultery . . .
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an amazing and incendiary movie that dives straight into the rough waters of contradiction .
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about nowhere kids who appropriated turfs as they found them and become self-made celebrity athletes -- a low-down version of the american dream .
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occasionally , in the course of reviewing art-house obscurities and slam-bam action flicks , a jaded critic smacks into something truly new .
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a miniscule little bleep on the film radar , but one that many more people should check out
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desta vez , columbus capturou o pomo de ouro .
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" 13 conversations " holds its goodwill close , but is relatively slow to come to the point .
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a slick , well-oiled machine , exquisitely polished and upholstered .
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don't plan on the perfect ending , but sweet home alabama hits the mark with critics who escaped from a small town life .
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it has a subtle way of getting under your skin and sticking with you long after it's over .
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the movie stays afloat thanks to its hallucinatory production design .
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it helps that the central performers are experienced actors , and that they know their roles so well .
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a provocative movie about loss , anger , greed , jealousy , sickness and love .
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worth the effort to watch .
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that rara avis : the intelligent romantic comedy with actual ideas on its mind .
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boisterous and daft documentary .
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hawke draws out the best from his large cast in beautifully articulated portrayals that are subtle and so expressive they can sustain the poetic flights in burdette's dialogue .
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a work of the utmost subtlety and perception , it marks the outstanding feature debut of writer-director eric byler , who understands the power of the implicit and the virtues of simplicity and economy .
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full frontal is the antidote for soderbergh fans who think he's gone too commercial since his two oscar nominated films in 2000
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it turns out to be a cut above the norm , thanks to some clever writing and sprightly acting .
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you might not want to hang out with samantha , but you'll probably see a bit of yourself in her unfinished story .
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a work of intricate elegance , literary lyricism and profound common sense .
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it's as close as we'll ever come to looking through a photographer's viewfinder as he works .
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thoughtful , provocative and entertaining .
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witty , touching and well paced .
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lee jeong-hyang tells it so lovingly and films it so beautifully that i couldn't help being captivated by it .
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you have to pay attention to follow all the stories , but they're each interesting . the movie is well shot and very tragic , and one to ponder after the credits roll .
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