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Mark Pellington's latest pop thriller is as kooky and overeager as it is spooky and subtly in love with myth.
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No amount of burning, blasting, stabbing, and shooting can hide a weak script.
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Prepare to marvel again.
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Family togetherness takes a back seat to inter-family rivalry and workplace ambition... whole subplots have no explanation or even plot relevance.
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Stiff and schmaltzy and clumsily directed.
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Troubling and powerful.
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Cassavetes thinks he's making Dog Day Afternoon with a cause, but all he's done is to reduce everything he touches to a shrill, didactic cartoon.
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'Dragonfly' dwells on crossing-over mumbo jumbo, manipulative sentimentality, and sappy dialogue.
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A genuinely moving and wisely unsentimental drama.
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Amy and Matthew have a bit of a phony relationship, but the film works in spite of it.
1
Maybe it is formula filmmaking, but there's nothing wrong with that if the film is well-crafted and this one is.
1
Nohe's documentary about the event is sympathetic without being gullible: He isn't blind to the silliness, but also captures moments of spontaneous creativity and authentic co-operative interaction.
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Rock's stand-up magic wanes.
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A delightful, if minor, pastry of a movie.
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A sexy, surprising romance... Idemoto and Kim make a gorgeous pair... their scenes brim with sexual possibility and emotional danger.
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There aren't too many films that can be as simultaneously funny, offbeat and heartwarming (without a thick shmear of the goo, at least), but "Elling" manages to do all three quite well, making it one of the year's most enjoyable releases.
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plays like some corny television production from a bygone era
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As a girl-meets-girl romantic comedy, Kissing Jessica Steinis quirky, charming and often hilarious.
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It's like a drive-by.
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It's sweet.
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One of the worst movies of the year.
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Like Brosnan's performance, Evelyn comes from the heart.
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Though the film is well-intentioned, one could rent the original and get the same love story and parable.
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(Woo's) most resonant film since The Killer.
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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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This mistaken-identity picture is so film-culture referential that the final product is a ghost.
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Strange and beautiful film.
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The histrionic muse still eludes Madonna and, playing a charmless witch, she is merely a charmless witch.
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The result, however well-intentioned, is ironically just the sort of disposable, kitchen-sink homage that illustrates why the whole is so often less than the sum of its parts in today's Hollywood.
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The catch is that they're stuck with a script that prevents them from firing on all cylinders.
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One of those so-so films that could have been much better.
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Has all the complexity and realistic human behavior of an episode of General Hospital.
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As original and insightful as last week's episode of Behind the Music.
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Marvelously entertaining and deliriously joyous documentary.
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...this story gets sillier, not scarier, as it goes along...
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... most viewers will wish there had been more of the "Queen" and less of the "Damned."
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Reveals how important our special talents can be when put in service of of others.
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As a vehicle to savour Binoche's skill, the film is well worthwhile.
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What saves this deeply affecting film from being merely a collection of wrenching cases is Corcuera's attention to detail.
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Steers, in his feature film debut, has created a brilliant motion picture.
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It has a way of seeping into your consciousness, with lingering questions about what the film is really getting at.
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The charms of the lead performances allow us to forget most of the film's problems.
1
The pleasure of Read My Lips is like seeing a series of perfect black pearls clicking together to form a string.
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Insomnia loses points when it surrenders to a formulaic bang-bang, shoot-em-up scene at the conclusion.
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This would-be 'James Bond for the Extreme Generation' pic is one big, dumb action movie.
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When it comes to the battle of Hollywood vs. Woo, it looks like Woo's a P.O.W.
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Evelyn may be based on a true and historically significant story, but the filmmakers have made every effort to disguise it as an unimaginative screenwriter's invention.
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Characterisation has been sacrificed for the sake of spectacle.
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It turns out to be smarter and more diabolical than you could have guessed at the beginning.
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is significantly less charming than listening to a four-year-old with a taste for exaggeration recount his Halloween trip to the Haunted House.
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An example of quiet, confident craftsmanship that tells a sweet, charming tale of intergalactic friendship.
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Cheap, vulgar dialogue and a plot that crawls along at a snail's pace.
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Been there done that.
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Something has been lost in the translation...another routine Hollywood frightfest in which the slack execution italicizes the absurdity of the premise.
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Tense, terrific, sweaty-palmed fun.
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Despite some charm and heart, this quirky soccer import is forgettable
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Cuaron repeatedly, perversely undercuts the joie de vivre even as he creates it, giving the movie a mournful undercurrent that places the good-time shenanigans in welcome perspective.
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For all its brooding quality, Ash Wednesday is suspenseful and ultimately unpredictable, with a sterling ensemble cast.
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Delivers the sexy razzle-dazzle that everyone, especially movie musical fans, has been hoping for.
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-- that the 'true story' by which All the Queen's Men is allegedly "inspired" was a lot funnier and more deftly enacted than what's been cobbled together onscreen.
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You could hate it for the same reason.
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A story about intelligent high school students that deals with first love sweetly but also seriously.
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waydowntown may not be an important movie, or even a good one, but it provides a nice change of mindless pace in collision with the hot Oscar season currently underway.
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"Frailty" starts out like a typical Bible killer story, but it turns out to be significantly different (and better) than most films with this theme.
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Thanks to The Château's balance of whimsicality, narrative discipline and serious improvisation, almost every relationship and personality in the film yields surprises.
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Gaghan captures the half-lit, sometimes creepy intimacy of college dorm rooms, a subtlety that makes the silly, over-the-top coda especially disappointing.
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Julie Davis is the Kathie Lee Gifford of film directors, sadly proving once again ego doesn't always go hand in hand with talent.
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In the affable Maid in Manhattan, Jennifer Lopez's most aggressive and most sincere attempt to take movies by storm, the diva shrewdly surrounds herself with a company of strictly A-list players.
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Elegantly produced and expressively performed, the six musical numbers crystallize key plot moments into minutely detailed wonders of dreamlike ecstasy.
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Dark and unrepentant, this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten.
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Solondz may be convinced that he has something significant to say, but he isn't talking a talk that appeals to me.
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A beautifully shot but dull and ankle-deep 'epic.'
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Stale, futile scenario.
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A film in a class with Spike Lee's masterful Do The Right Thing.
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In addition to sporting one of the worst titles in recent cinematic history, Ballistic: Ecks Vs. Sever also features terrible, banal dialogue; convenient, hole-ridden plotting; superficial characters and a rather dull, unimaginative car chase.
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Full of the kind of obnoxious chitchat that only self-aware neurotics engage in.
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A simpler, leaner treatment would have been preferable; after all, being about nothing is sometimes funnier than being about something.
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A delightful stimulus for the optic nerves, so much that it's forgivable that the plot feels like every other tale of a totalitarian tomorrow.
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Nothing but an episode of Smackdown!
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For all the charm of Kevin Kline and a story that puts old-fashioned values under the microscope, there's something creepy about this movie.
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Kirshner and Monroe seem to be in a contest to see who can out-bad-act the other.
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The only reason you should see this movie is if you have a case of masochism and an hour and a half to blow.
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It's pretentious in a way that verges on the amateurish.
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A plodding teen remake that's so mechanical you can smell the grease on the plot twists.
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It's drab.
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... a delightfully unpredictable, hilarious comedy with wonderful performances that tug at your heart in ways that utterly transcend gender labels.
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What's so striking about Jolie's performance is that she never lets her character become a caricature -- not even with that radioactive hair.
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In my own very humble opinion, In Praise of Love lacks even the most fragmented charms I have found in almost all of his previous works.
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I've never bought from telemarketers, but I bought this movie.
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Woven together handsomely, recalling sixties' rockumentary milestones from Lonely Boy to Don't Look Back.
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Horrid little propaganda film with fascinating connections not only to the Serbs themselves but also to a network of American right-wing extremists.
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A sun-drenched masterpiece, part parlor game, part psychological case study, part droll social satire.
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A thriller without thrills and a mystery devoid of urgent questions.
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10 minutes into the film you'll be white-knuckled and unable to look away.
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An enjoyable above average summer diversion.
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Watching this film, what we feel isn't mainly suspense or excitement.
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It's not going to be everyone's bag of popcorn, but it definitely gives you something to chew on.
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Violent, vulgar and forgettably entertaining.
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Like many such biographical melodramas, it suffers from the awkwardness that results from adhering to the messiness of true stories.
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As a story of dramatic enlightenment, the screenplay by Billy Ray and Terry George leaves something to be desired.