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The very definition of what critics have come to term an "ambitious failure."
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I can imagine this movie as a b&w British comedy, circa 1960, with Peter Sellers, Kenneth Williams, et al., but at this time, with this cast, this movie is hopeless.
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At times Auto Focus feels so distant you might as well be watching it through a telescope.
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A brutally dry satire of Middle American numbness.
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It is philosophy, illustrated through everyday events.
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This is one of the year's best films.
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The Wild Thornberrys Movie is pleasant enough and the message of our close ties with animals can certainly not be emphasized enough.
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Sounding like Arnold Schwarzenegger, with a physique to match, (Ahola) has a wooden delivery and encounters a substantial arc of change that doesn't produce any real transformation.
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The strength of the film lies in its two central performances by Sven Wollter as the stricken composer and Viveka Seldahl as his desperate violinist wife.
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Absorbing character study by André Turpin.
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Unfortunately, that's precisely what Arthur Dong's Family Fundamentals does.
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Instead, she sees it as a chance to revitalize what is and always has been remarkable about clung-to traditions.
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An odd drama set in the world of lingerie models and bar dancers in the Midwest that held my interest precisely because it didn't try to.
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A headline-fresh thriller set among orthodox Jews on the West Bank, Joseph Cedar's Time Of Favor manages not only to find a compelling dramatic means of addressing a complex situation, it does so without compromising that complexity.
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The Way Home is an ode to unconditional love and compassion garnered from years of seeing it all, a condition only the old are privy to, and...often misconstrued as weakness.
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A rude black comedy about the catalytic effect a holy fool has upon those around him in the cutthroat world of children's television.
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Despite its lavish formalism and intellectual austerity, the film manages to keep you at the edge of your seat with its shape-shifting perils, political intrigue and brushes with calamity.
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Coppola's directorial debut is an incredibly layered and stylistic film that, despite a fairly slow paced, almost humdrum approach to character development, still manages at least a decent attempt at meaningful cinema.
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So we got Ten Little Indians meets Friday the 13th by way of Clean and Sober, filmed on the set of Carpenter's The Thing and loaded with actors you're most likely to find on the next inevitable incarnation of The Love Boat.
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With its lackadaisical plotting and mindless action, All About the Benjamins evokes the bottom tier of blaxploitation flicks from the 1970s.
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Among the many pleasures are the lively intelligence of the artists and their perceptiveness about their own situations.
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A reminder that beyond all the hype and recent digital glitz, Spielberg knows how to tell us about people.
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Collapses under its own meager weight.
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Doesn't deserve a passing grade (even on a curve).
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White Oleander may leave you rolling your eyes in the dark, but that doesn't mean you won't like looking at it.
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At once disarmingly straightforward and strikingly devious.
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If you're looking for a smart, nuanced look at de Sade and what might have happened at Picpus, Sade is your film.
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I don't blame Eddie Murphy but shouldn't Owen Wilson know a movie must have a story and a script?
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A manipulative feminist empowerment tale thinly posing as a serious drama about spousal abuse.
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This in-depth study of important developments of the computer industry should make it required viewing in university computer science departments for years to come.
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The script becomes lifeless and falls apart like a cheap lawn chair.
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This is one of those war movies that focuses on human interaction rather than battle and action sequences ... and it's all the stronger because of it.
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So devoid of pleasure or sensuality that it cannot even be dubbed hedonistic.
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Solondz is without doubt an artist of uncompromising vision, but that vision is beginning to feel, if not morally bankrupt, at least terribly monotonous.
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Here's a case of two actors who do everything humanly possible to create characters who are sweet and believable, and are defeated by a screenplay that forces them into bizarre, implausible behavior.
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"Catch Me" feels capable of charming the masses with star power, a pop-induced score and sentimental moments that have become a Spielberg trademark.
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"Solaris" is a shapeless inconsequential move relying on the viewer to do most of the work.
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(T)his slop doesn't even have potential as a cult film, as it's too loud to shout insults at the screen.
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It reduces the complexities to bromides and slogans and it gets so preachy-keen and so tub-thumpingly loud it makes you feel like a chump just for sitting through it.
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While Solondz tries and tries hard, Storytelling fails to provide much more insight than the inside column of a torn book jacket.
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Pacino and Williams seem to keep upping the ante on each other, just as their characters do in the film.
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This isn't a movie; it's a symptom.
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By the end you can't help but feel 'stoked.'
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Half Past Dead is just such an achievement.
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On its own, it's not very interesting.
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Ignore the reputation, and ignore the film.
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The performances of the children, untrained in acting, have an honesty and dignity that breaks your heart.
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Peter Jackson has done the nearly impossible.
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The movie enters a realm where few non-porn films venture, and comes across as darkly funny, energetic, and surprisingly gentle.
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Director Chris Wedge and screenwriters Michael Berg, Michael J. Wilson and Peter Ackerman create some episodes that rival vintage Looney Tunes for the most creative mayhem in a brief amount of time.
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And it's not that funny -- which is just generally insulting.
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Evokes the style and flash of the double-cross that made Mamet's "House of Games" and last fall's "Heist" so much fun.
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...the efforts of its star, Kline, to lend some dignity to a dumb story are for naught.
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One of the most original American productions this year, you'll find yourself remembering this refreshing visit to a Sunshine State.
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The more you think about the movie, the more you will probably like it.
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Some Like It Hot on the Hardwood proves once again that a man in drag is not in and of himself funny.
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There's a lot of tooth in Roger Dodger.
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A brutal and funny work.
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Ramsay is clearly extraordinarily talented, and based on three short films and two features, here's betting her third feature will be something to behold.
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We never feel anything for these characters, and as a result the film is basically just a curiosity.
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Director Shekhar Kapur and screenwriters Michael Schiffer and Hossein Amini have tried hard to modernize and reconceptualize things, but the barriers finally prove to be too great.
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Melds derivative elements into something that is often quite rich and exciting, and always a beauty to behold.
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It's like going to a house party and watching the host defend himself against a frothing ex-girlfriend.
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A great companion piece to other Napoleon films.
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It aimlessly and unsuccessfully attempts to fuse at least three dull plots into one good one.
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However, it's pleasant enough and its ecological, pro-wildlife sentiments are certainly welcome.
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Between bursts of automatic gunfire, the story offers a trenchant critique of capitalism.
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Kinnear ... gives his best screen performance with an oddly winning portrayal of one of life's ultimate losers.
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It has plenty of laughs.
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Beautifully crafted, engaging filmmaking that should attract upscale audiences hungry for quality and a nostalgic, twisty yarn that will keep them guessing.
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But the problem with Wendigo, for all its effective moments, isn't really one of resources.
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Transcends its agenda to deliver awe-inspiring, at times sublime, visuals and offer a fascinating glimpse into the subculture of extreme athletes whose derring-do puts the X into the games.
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(Denis') bare-bones narrative more closely resembles an outline for a '70s exploitation picture than the finished product.
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Snipes is both a snore and utter tripe.
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The Chateau has one very funny joke and a few other decent ones, but all it amounts to is a mildly funny, sometimes tedious, ultimately insignificant film.
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Not only is entry number twenty the worst of the Brosnan bunch, it's one of the worst of the entire franchise.
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Shot like a postcard and overacted with all the boozy self-indulgence that brings out the worst in otherwise talented actors...
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Stephen Earnhart's documentary is a decomposition of healthy eccentric inspiration and ambition – wearing a cloak of unsentimental, straightforward text – when it's really an exercise in gross romanticization of the delusional personality type.
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77 minutes of Pokemon may not last 4ever, it just seems like it does.
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A colorful, vibrant introduction to a universal human impulse, lushly photographed and beautifully recorded.
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A droll, bitchy frolic which pokes fun at the price of popularity and small-town pretension in the Lone Star State.
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Full of surprises.
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Whether or not Ram Dass proves as clear and reliable an authority on that as he was about inner consciousness, Fierce Grace reassures us that he will once again be an honest and loving one.
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The whole thing's fairly lame, making it par for the course for Disney sequels.
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Vividly demonstrates that the director of such Hollywood blockbusters as Patriot Games can still turn out a small, personal film with an emotional wallop.
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One of the best rock documentaries ever.
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As David Letterman and The Onion have proven, the worst of tragedies can be fertile sources of humor, but Lawrence has only a fleeting grasp of how to develop them.
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Somehow Ms. Griffiths and Mr. Pryce bring off this wild Welsh whimsy.
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If the film's vision of sport as a secular religion is a bit cloying, its through-line of family and community is heartening in the same way that each season marks a new start.
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While somewhat less than it might have been, the film is a good one, and you've got to hand it to director George Clooney for biting off such a big job the first time out.
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If anything, the film is doing something of a public service -- shedding light on a group of extremely talented musicians who might otherwise go unnoticed and underappreciated by music fans.
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Boasting some of the most poorly staged and lit action in memory, Impostor is as close as you can get to an imitation movie.
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Claude Chabrol's camera has a way of gently swaying back and forth as it cradles its characters, veiling tension beneath otherwise tender movements.
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The crassness of this reactionary thriller is matched only by the ridiculousness of its premise.
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Anyone who welcomes a dash of the avant-garde fused with their humor should take pleasure in this crazed, joyous romp of a film.
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It's about as convincing as any other Arnie musclefest, but has a little too much resonance with real world events and ultimately comes off as insultingly simplistic.
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Nothing more or less than an outright bodice-ripper -- it should have ditched the artsy pretensions and revelled in the entertaining shallows.
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Precocious smarter-than-thou wayward teen struggles to rebel against his oppressive, right-wing, propriety-obsessed family.
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'Unfaithful' cheats on itself and retreats to comfortable territory.
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Yes, Spirited Away is a triumph of imagination, but it's also a failure of storytelling.