Datasets:

jacobthebanana

/

sst5-mapped-extreme

like 0

some movies blend together as they become distant memories .

what ` dumb and dumber ' would have been without the vulgarity and with an intelligent , life-affirming script .

completely creatively stillborn and executed in a manner that i 'm not sure could be a single iota worse ... a soulless hunk of exploitative garbage .

... a vivid , thoughtful , unapologetically raw coming-of-age tale full of sex , drugs and rock 'n' roll .

what you end up getting is the vertical limit of surfing movies - memorable stunts with lots of downtime in between .

it 's fitting that a movie as artificial and soulless as the country bears owes its genesis to an animatronic display at disneyland .

we do n't get paid enough to sit through crap like this .

occasionally interesting but essentially unpersuasive , a footnote to a still evolving story .

a crude teen-oriented variation on a theme that the playwright craig lucas explored with infinitely more grace and eloquence in his prelude to a kiss .

it 's the movie equivalent of a sweaty old guy in a rain coat shopping for cheap porn .

execrable .

thoroughly awful .

entertaining despite its one-joke premise with the thesis that women from venus and men from mars can indeed get together .

a sensitive , moving , brilliantly constructed work .

perhaps the most annoying thing about who is cletis tout ?

the wonderful combination of the sweetness and the extraordinary technical accomplishments of the first film are maintained , but its overall impact falls a little flat with a storyline that never quite delivers the original magic .

although tender and touching , the movie would have benefited from a little more dramatic tension and some more editing .

the only thing that distinguishes a randall wallace film from any other is the fact that there is nothing distinguishing in a randall wallace film .

is clever enough , though thin writing proves its undoing .

a lame romantic comedy about an unsympathetic character and someone who would not likely be so stupid as to get involved with her .

but darned if it does n't also keep us riveted to our seats .

such an incomprehensible mess that it feels less like bad cinema than like being stuck in a dark pit having a nightmare about bad cinema .

the message is that even the most unlikely can link together to conquer all kinds of obstacles , whether they be of nature , of man or of one another .

if you do n't laugh , flee .

there 's too much forced drama in this wildly uneven movie , about a young man 's battle with his inescapable past and uncertain future in a very shapable but largely unfulfilling present .

to call this film a lump of coal would only be to flatter it .

all of the filmmakers ' calculations ca n't rescue brown sugar from the curse of blandness .

intriguing and stylish .

the film has too many spots where it 's on slippery footing , but is acceptable entertainment for the entire family and one that 's especially fit for the kiddies .

that death is merely a transition is a common tenet in the world 's religions .

but you 'd never guess that from the performances .

feels as if the inmates have actually taken over the asylum .

you can practically hear george orwell turning over .

eric schweig and graham greene both exude an air of dignity that 's perfect for the proud warrior that still lingers in the souls of these characters .

there is n't one moment in the film that surprises or delights .

supposedly based upon real , or at least soberly reported incidents , the film ends with a large human tragedy .

spiderman rocks

astonishing is n't the word -- neither is incompetent , incoherent or just plain crap .

kids five and up will be delighted with the fast , funny , and even touching story .

it 's a funny little movie with clever dialogue and likeable characters .

this charming , thought-provoking new york fest of life and love has its rewards .

cube 's charisma and chemistry compensate for corniness and cliche .

a full-frontal attack on audience patience .

tony gayton 's script does n't give us anything we have n't seen before , but director d.j. caruso 's grimy visual veneer and kilmer 's absorbing performance increase the gravitational pull considerably .

this long and relentlessly saccharine film is a clear case of preaching to the converted .

it 's a 100-year old mystery that is constantly being interrupted by elizabeth hurley in a bathing suit .

we get an image of big papa spanning history , rather than suspending it .

adaptation is simply brilliant .

a thought-provoking picture .

director charles stone iii applies more detail to the film 's music than to the story line ; what 's best about drumline is its energy .

williams plays sy , another of his open-faced , smiling madmen , like the killer in insomnia .

... its stupidities wind up sticking in one 's mind a lot more than the cool bits .

turturro is fabulously funny and over the top as a ` very sneaky ' butler who excels in the art of impossible disappearing\/reappearing acts

from beginning to end , this overheated melodrama plays like a student film .

this is a superior horror flick .

yet another self-consciously overwritten story about a rag-tag bunch of would-be characters that team up for a ca n't - miss heist -- only to have it all go wrong .

a moving and not infrequently breathtaking film .

i know we 're not supposed to take it seriously , but i ca n't shake the thought that undercover brother missed an opportunity to strongly present some profound social commentary .

with few respites , marshall keeps the energy humming , and his edits , unlike those in moulin rouge , are crisp and purposeful without overdoing it .

wiseman reveals the victims of domestic abuse in all of their pity and terror .

light-years ahead of paint-by-number american blockbusters like pearl harbor , at least artistically .

to work , love stories require the full emotional involvement and support of a viewer .

trailer park magnolia : too long , too cutesy , too sure of its own importance , and possessed of that peculiar tension of being too dense & about nothing at all .

all of it works smoothly under the direction of spielberg , who does a convincing impersonation here of a director enjoying himself immensely .

a work that lacks both a purpose and a strong pulse .

very well made , but does n't generate a lot of tension .

-lrb- a -rrb- real pleasure in its laid-back way .

what is the filmmakers ' point ?

trades run-of-the-mill revulsion for extreme unease .

reeks of rot and hack work from start to finish .

the 50-something lovebirds are too immature and unappealing to care about .

a lot of fun , with an undeniable energy sparked by two actresses in their 50s working at the peak of their powers .

a breathtaking adventure for all ages , spirit tells its poignant and uplifting story in a stunning fusion of music and images .

unspeakable , of course , barely begins to describe the plot and its complications .

a limp eddie murphy vehicle that even he seems embarrassed to be part of .

the film sparkles with the the wisdom and humor of its subjects .

when seagal appeared in an orange prison jumpsuit , i wanted to stand up in the theater and shout , ` hey , kool-aid ! '

the vistas are sweeping and the acting is far from painful .

this is a movie that refreshes the mind and spirit along with the body , so original is its content , look , and style .

a much better documentary -- more revealing , more emotional and more surprising -- than its pedestrian english title would have you believe .

handsome and sincere but slightly awkward in its combination of entertainment and evangelical boosterism .

at its best -lrb- and it does have some very funny sequences -rrb- looking for leonard reminds you just how comically subversive silence can be .

it 's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on oprah .

at its best ... festival in cannes bubbles with the excitement of the festival in cannes .

at times , the movie looks genuinely pretty .

this is surely one of the most frantic , virulent and foul-natured christmas season pics ever delivered by a hollywood studio .

anyone who 's ever suffered under a martinet music instructor has no doubt fantasized about what an unhappy , repressed and twisted personal life their tormentor deserved .

returning director rob minkoff ... and screenwriter bruce joel rubin ... have done a fine job of updating white 's dry wit to a new age .

an involving , inspirational drama that sometimes falls prey to its sob-story trappings .

bravo reveals the true intent of her film by carefully selecting interview subjects who will construct a portrait of castro so predominantly charitable it can only be seen as propaganda .

one of the funnier movies in town .

still , not every low-budget movie must be quirky or bleak , and a happy ending is no cinematic sin .

a preposterous , prurient whodunit .

`` the turntable is now outselling the electric guitar ... ''

absolutely -lrb- and unintentionally -rrb- terrifying .

instead of making his own style , director marcus adams just copies from various sources -- good sources , bad mixture

it 's harmless , diverting fluff .

here is a divine monument to a single man 's struggle to regain his life , his dignity and his music .

if you 're the kind of parent who enjoys intentionally introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix , i have just one word for you - -- decasia

both overstuffed and undernourished ... the film ca n't be called a solid success , although there 's plenty of evidence here to indicate clooney might have better luck next time .