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enjoy it for what it is ; you can hate yourself later .
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a map of the inner rhythms of love and jealousy and sacrifice drawn with a master's steady stroke .
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más sarcástica , divertida y demencial que su predecesora , es un buen ejemplo de lo que es el cine de entretenimiento puro y sin complejos .
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a psychological thriller with a smart script and an obsessive-compulsive's attention to detail .
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often hilarious .
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grant gets to display his cadness to perfection , but also to show acting range that may surprise some who thought light-hearted comedy was his forte .
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at times funny and at other times candidly revealing , it's an intriguing look at two performers who put themselves out there because they love what they do .
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westfeldt and juergensen exude a chemistry and comfort level that's both saucy and endearing .
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harsh , effective documentary on life in the israeli-occupied palestinian territories .
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the film is all a little lit crit 101 , but it's extremely well played and often very funny .
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earns its laughs from stock redneck 'types' and from the many , many moments when we recognize even without the elizabethan prose , the play behind the thing .
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a real story about real people living their lives concerned about the future of an elderly , mentally handicapped family member .
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it's absolutely spooky how lillard channels the shagster right down to the original casey kasem-furnished voice .
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a dream cast of solid female talent who build a seamless ensemble . there isn't a weak or careless performance amongst them .
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smart science fiction for grown-ups , with only a few false steps along the way .
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it's a refreshing change from the self-interest and paranoia that shape most american representations of castro .
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often moving and explores the discomfort inherent in the contacts between the american 'hosts' and their 'guests . '
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though the controversial korean filmmaker's latest effort is not for all tastes , it offers gorgeous imagery , effective performances , and an increasingly unsettling sense of foreboding .
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lathan and diggs have considerable personal charm , and their screen rapport makes the old story seem new .
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the story may not be new , but australian director john polson , making his american feature debut , jazzes it up adroitly .
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it's endearing to hear madame d . refer to her husband as 'jackie' -- and he does make for excellent company , not least as a self-conscious performer .
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the film often achieves a mesmerizing poetry .
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more than makes up for its mawkish posing by offering rousing spates of genuine feeling .
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it's neither as romantic nor as thrilling as it should be . but it offers plenty to ponder and chew on as its unusual relationship slowly unfolds .
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occasionally funny , always very colorful and enjoyably overblown in the traditional almodóvar style .
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merchant effectively translates naipaul's lively mix of characters from the page to screen .
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some movies are like a tasty hors-d'oeuvre ; this one is a feast .
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what could have become just another cautionary fable is allowed to play out as a clever , charming tale – as pleasantly in its own way as its self-dramatizing characters .
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davis has filled out his cast with appealing fresh faces .
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achieves a sort of filmic epiphany that revels in the true potential of the medium .
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once you get into its rhythm . . . the movie becomes a heady experience .
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" auto focus " works as an unusual biopic and document of male swingers in the playboy era
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if mr . zhang's subject matter is , to some degree at least , quintessentially american , his approach to storytelling might be called iranian .
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a fast-moving and remarkable film that appears destined to become a landmark in japanese animation .
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. . . a sour little movie at its core ; an exploration of the emptiness that underlay the relentless gaiety of the 1920's . . . the film's ending has a " what was it all for ? " feeling to it , but like the 1920's , the trip there is a great deal of fun .
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a worthy entry into a very difficult genre .
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[broomfield] uncovers a story powerful enough to leave the screen sizzling with intrigue .
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eight crazy nights is a showcase for sandler's many talents .
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a sweet-natured reconsideration of one of san francisco's most vital , if least widely recognized , creative fountainheads .
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this is one of the most visually stunning and thematically moving epics in recent memory , and in spite of numerous minor flaws , scorsese's best in more than a decade .
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everywhere the camera looks there is something worth seeing .
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a richly imagined and admirably mature work from a gifted director who definitely has something on his mind .
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it's a nicely detailed world of pawns , bishops and kings , of wagers in dingy backrooms or pristine forests .
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a charming , quirky and leisurely paced scottish comedy -- except with an outrageous central gimmick that could have been a reject from monty python's meaning of life .
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it never fails to engage us .
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its direction , its script , and weaver's performance as a vaguely discontented woman of substance make for a mildly entertaining 77 minutes , if that's what you're in the mood for .
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a charming romantic comedy that is by far the lightest dogme film and among the most enjoyable .
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this is the kind of movie that used to be right at home at the saturday matinee , and it still is .
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the spark of special anime magic here is unmistakable and hard to resist .
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like its two predecessors , 1983's koyaanisqatsi and 1988's powaqqatsi , the cinematic collage naqoyqatsi could be the most navel-gazing film ever .
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baran isn't the most transporting or gripping film from iran -- or , indeed , by its director -- but it's a worthy companion to the many fine , focused films emerging from that most surprising of nations .
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the visuals alone make metropolis worth seeing .
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dark , resonant , inventively detailed and packed with fleet turns of plot and a feast of visual amazement .
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a picture that extols the virtues of comradeship and community in a spunky , spirited fashion .
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a resonant tale of racism , revenge and retribution .
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noyce's film is contemplative and mournfully reflective .
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here , adrian lyne comes as close to profundity as he is likely to get .
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evokes a little of the fear that parents have for the possible futures of their children--and the sometimes bad choices mothers and fathers make in the interests of doing them good .
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uno de los policiales más interesantes de los últimos tiempos .
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rain is a small treasure , enveloping the viewer in a literal and spiritual torpor that is anything but cathartic .
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an elegant , exquisitely modulated psychological thriller .
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this concoction , so bizarre to the adult mind , is actually a charming triumph where its intended under-12 audience is concerned .
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droll caper-comedy remake of " big deal on madonna street " that's a sly , amusing , laugh-filled little gem in which the ultimate " bellini " begins to look like a " real kaputschnik . "
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it's a beautifully accomplished lyrical meditation on a bunch of despondent and vulnerable characters living in the renown chelsea hotel . . .
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is it a total success ? no . is it something any true film addict will want to check out ? you bet .
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zany , exuberantly irreverent animated space adventure .
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dolgin and franco fashion a fascinating portrait of a vietnamese-born youngster who eagerly and easily assimilated as an all-american girl with a brand new name in southern tennessee .
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the disarming cornball atmosphere has a way of infecting the entire crowd as the film rolls on .
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a refreshingly honest and ultimately touching tale of the sort of people usually ignored in contemporary american film . search it out .
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engrossing and affecting , if ultimately not quite satisfying .
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the story , like life , refuses to be simple , and the result is a compelling slice of awkward emotions .
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a sly game of cat and mouse that's intense and thrilling at times , but occasionally stretches believability to its limits and relies on predictable plot contrivances .
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funny and , at times , poignant , the film from director george hickenlooper all takes place in pasadena , " a city where people still read . "
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this horror-comedy doesn't go for the usual obvious laughs at the expense of cheap-looking monsters -- unless you count elvira's hooters .
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the movie's eventual success should be credited to dennis quaid , in fighting trim shape as an athlete as well as an actor
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not a bad journey at all .
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sits uneasily as a horror picture . . . but finds surprising depth in its look at the binds of a small family .
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windtalkers blows this way and that , but there's no mistaking the filmmaker in the tall grass , true to himself .
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there is a refreshing absence of cynicism in stuart little 2--quite a rarity , even in the family film market . eventually , it wins you over .
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noyce films it more as a shocking history lesson than as drama .
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like a south-of-the-border melrose place .
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those with an interest in new or singular sorts of film experiences will find what time is it there ? well worth the time .
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a wildly funny prison caper .
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huppert gives erika a persona that is so intriguing that you find yourself staring hypnotically at her , trying to understand her and wondering if she'll crack .
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despite what anyone believes about the goal of its makers , the show . . . represents a spectacular piece of theater , and there's no denying the talent of the creative forces behind it .
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you'll be left with the sensation of having just witnessed a great performance and , perhaps , give in to the urge to get on your feet and shake it .
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the actors are so terrific at conveying their young angst , we do indeed feel for them .
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the reason this picture works better than its predecessors is that myers is no longer simply spoofing the mini-mod-madness of '60s spy movies .
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it is a kickass , dense sci-fi action thriller hybrid that delivers and then some . i haven't seen one in so long , no wonder i didn't recognize it at first .
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a compelling portrait of moral emptiness
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in adobo , ethnicity is not just the spice , but at the heart of more universal concerns .
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it is ridiculous , of course . . . but it is also refreshing , disarming , and just outright enjoyable despite its ridiculousness .
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. . . blade ii is more enjoyable than the original .
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a film that takes you inside the rhythms of its subject : you experience it as you watch .
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the movie exists for its soccer action and its fine acting .
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the movie is saved from unbearable lightness by the simplicity of the storytelling and the authenticity of the performances .
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the film starts out as competent but unremarkable . . . and gradually grows into something of considerable power .
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nothing denis has made before , like beau travil and nenette et boni , could prepare us for this gory , perverted , sex-soaked riff on the cannibal genre .
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reinforces the talents of screenwriter charlie kaufman , creator of adaptation and being john malkovich .
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greene delivers a typically solid performance in a role that is a bit of a departure from the noble characters he has played in the past , and he is matched by schweig , who carries the film on his broad , handsome shoulders .
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