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the story . . . is inspiring , ironic , and revelatory of just how ridiculous and money-oriented the record industry really is . it is also a testament to the integrity and vision of the band .
1pos
laced with liberal doses of dark humor , gorgeous exterior photography , and a stable-full of solid performances , no such thing is a fascinating little tale .
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huppert's show to steal and she makes a meal of it , channeling kathy baker's creepy turn as the repressed mother on boston public just as much as 8 women's augustine .
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nair doesn't treat the issues lightly . she allows each character to confront their problems openly and honestly .
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one of the best silly horror movies of recent memory , with some real shocks in store for unwary viewers .
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the work of a filmmaker who has secrets buried at the heart of his story and knows how to take time revealing them . strange occurrences build in the mind of the viewer and take on extreme urgency .
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has a certain ghoulish fascination , and generates a fair amount of b-movie excitement .
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familiar but utterly delightful .
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a fascinating , dark thriller that keeps you hooked on the delicious pulpiness of its lurid fiction .
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the film aims to be funny , uplifting and moving , sometimes all at once . the extent to which it succeeds is impressive .
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the film brilliantly shines on all the characters , as the direction is intelligently accomplished .
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while not for every taste , this often very funny collegiate gross-out comedy goes a long way toward restoring the luster of the national lampoon film franchise , too long reduced to direct-to-video irrelevancy .
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as broad and cartoonish as the screenplay is , there is an accuracy of observation in the work of the director , frank novak , that keeps the film grounded in an undeniable social realism .
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in addition to hoffman's powerful acting clinic , this is that rare drama that offers a thoughtful and rewarding glimpse into the sort of heartache everyone has felt , or will feel someday .
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jeffrey tambor's performance as the intelligent jazz-playing exterminator is oscar-worthy .
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from the opening strains of the average white band's " pick up the pieces " , you can feel the love .
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stevens' vibrant creative instincts are the difference between this and countless other flicks about guys and dolls .
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that it'll probably be the best and most mature comedy of the 2002 summer season speaks more of the season than the picture
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old people will love this movie , and i mean that in the nicest possible way : last orders will touch the heart of anyone old enough to have earned a 50-year friendship .
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meyjes' provocative film might be called an example of the haphazardness of evil .
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tian emphasizes the isolation of these characters by confining color to liyan's backyard .
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the movie is pretty funny now and then without in any way demeaning its subjects .
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imagine a scenario where bergman approaches swedish fatalism using gary larson's far side humor
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too damn weird to pass up , and for the blacklight crowd , way cheaper ( and better ) than pink floyd tickets .
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it is most remarkable not because of its epic scope , but because of the startling intimacy it achieves despite that breadth .
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it's not a great monster movie . but if you've paid a matinee price and bought a big tub of popcorn , there's guilty fun to be had here . chomp chomp !
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the grey zone gives voice to a story that needs to be heard in the sea of holocaust movies . . . but the film suffers from its own difficulties .
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fun and nimble .
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others , more attuned to the anarchist maxim that 'the urge to destroy is also a creative urge' , or more willing to see with their own eyes , will find morrison's iconoclastic uses of technology to be liberating .
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miller tells this very compelling tale with little fuss or noise , expertly plucking tension from quiet .
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time out is existential drama without any of the pretension associated with the term .
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it's a sweet , laugh-a-minute crowd pleaser that lifts your spirits as well as the corners of your mouth .
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writer/director alexander payne ( election ) and his co-writer jim taylor brilliantly employ their quirky and fearless ability to look american angst in the eye and end up laughing .
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a movie that at its best doesn't just make the most out of its characters' flaws but insists on the virtue of imperfection .
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it's tough to watch , but it's a fantastic movie .
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the best animated feature to hit theaters since beauty and the beast 11 years ago .
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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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funny and touching .
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pacino is the best he's been in years and keener is marvelous .
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a solid , spooky entertainment worthy of the price of a ticket .
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by turns fanciful , grisly and engagingly quixotic .
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. . . very funny , very enjoyable . . .
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adaptation is intricately constructed and in a strange way nails all of orlean's themes without being a true adaptation of her book .
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so purely enjoyable that you might not even notice it's a fairly straightforward remake of hollywood comedies such as father of the bride .
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moonlight mile gives itself the freedom to feel contradictory things . it is sentimental but feels free to offend , is analytical and then surrenders to the illogic of its characters , is about grief and yet permits laughter .
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the real triumphs in igby come from philippe , who makes oliver far more interesting than the character's lines would suggest , and sarandon , who couldn't be better as a cruel but weirdly likable wasp matron .
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robin williams has thankfully ditched the saccharine sentimentality of bicentennial man in favour of an altogether darker side .
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if you're willing to have fun with it , you won't feel cheated by the high infidelity of unfaithful .
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australia : land beyond time is an enjoyable big movie primarily because australia is a weirdly beautiful place .
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hoffman's performance is authentic to the core of his being .
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told just proficiently enough to trounce its overly comfortable trappings .
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an enthralling aesthetic experience , one that's steeped in mystery and a ravishing , baroque beauty .
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the quirky drama touches the heart and the funnybone thanks to the energetic and always surprising performance by rachel griffiths .
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a captivating coming-of-age story that may also be the first narrative film to be truly informed by the wireless age .
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what could have been a daytime soap opera is actually a compelling look at a young woman's tragic odyssey .
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duvall is strong as always .
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a no-holds-barred cinematic treat .
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you'd have to be a most hard-hearted person not to be moved by this drama .
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allen's underestimated charm delivers more goodies than lumps of coal .
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measured against practically any like-themed film other than its oscar-sweeping franchise predecessor the silence of the lambs , red dragon rates as an exceptional thriller .
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an exhilarating serving of movie fluff .
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maelstrom is strange and compelling , engrossing and different , a moral tale with a twisted sense of humor .
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it makes you believe the cast and crew thoroughly enjoyed themselves and believed in their small-budget film .
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dark and disturbing , yet compelling to watch .
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too often , son of the bride becomes an exercise in trying to predict when a preordained " big moment " will occur and not " if . "
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the picture uses humor and a heartfelt conviction to tell a story about discovering your destination in life , but also acknowledging the places , and the people , from whence you came .
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a solid piece of journalistic work that draws a picture of a man for whom political expedience became a deadly foreign policy .
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a terrific insider look at the star-making machinery of tinseltown .
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it's a diverting enough hour-and-a-half for the family audience .
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a party-hearty teen flick that scalds like acid .
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as giddy and whimsical and relevant today as it was 270 years ago .
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the film offers an intriguing what-if premise .
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the pianist is the film roman polanski may have been born to make .
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this version does justice both to stevenson and to the sci-fi genre .
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poignant and delicately complex .
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enough may pander to our basest desires for payback , but unlike many revenge fantasies , it ultimately delivers .
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cho's latest comic set isn't as sharp or as fresh as i'm the one that i want . . . but it's still damn funny stuff .
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in the pianist , polanski is saying what he has long wanted to say , confronting the roots of his own preoccupations and obsessions , and he allows nothing to get in the way .
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despite the film's shortcomings , the stories are quietly moving .
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those who love cinema paradiso will find the new scenes interesting , but few will find the movie improved .
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if you come from a family that eats , meddles , argues , laughs , kibbitzes and fights together , then go see this delightful comedy .
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this bracingly truthful antidote to hollywood teenage movies that slather clearasil over the blemishes of youth captures the combustible mixture of a chafing inner loneliness and desperate grandiosity that tend to characterize puberty .
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the reason to see " sade " lay with the chemistry and complex relationship between the marquis ( auteil ) and emilie ( le besco ) .
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it's the filmmakers' post-camp comprehension of what made old-time b movies good-bad that makes eight legged freaks a perfectly entertaining summer diversion .
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serious and thoughtful .
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it strikes hardest… when it reminds you how pertinent its dynamics remain . fifty years after the fact , the world's political situation seems little different , and [director phillip] noyce brings out the allegory with remarkable skill .
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the film's strength isn't in its details , but in the larger picture it paints - of a culture in conflict with itself , with the thin veneer of nationalism that covers our deepest , media-soaked fears .
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. . . best seen as speculative history , as much an exploration of the paranoid impulse as a creative sequel to the warren report .
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it has its faults , but it is a kind , unapologetic , sweetheart of a movie , and mandy moore leaves a positive impression .
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the saigon of 1952 is an uneasy mix of sensual delights and simmering violence , and the quiet american brings us right into the center of that world .
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despite its shortcomings , girls can't swim represents an engaging and intimate first feature by a talented director to watch , and it's a worthy entry in the french coming-of-age genre .
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flawed , but worth seeing for ambrose's performance .
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with dirty deeds , david caesar has stepped into the mainstream of filmmaking with an assurance worthy of international acclaim and with every cinematic tool well under his control -- driven by a natural sense for what works on screen .
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the humor and humanity of monsoon wedding are in perfect balance .
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lookin' for sin , american-style ? try hell house , which documents the cautionary christian spook-a-rama of the same name .
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a compelling motion picture that illustrates an american tragedy .
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as comedic spotlights go , notorious c . h . o . hits all the verbal marks it should .
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it's a day at the beach -- with air conditioning and popcorn .
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frida isn't that much different from many a hollywood romance . what sets it apart is the vision that taymor , the avant garde director of broadway's the lion king and the film titus , brings .
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stevens has a flair for dialogue comedy , the film operates nicely off the element of surprise , and the large cast is solid .
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