Datasets:

jacobthebanana

/

sst5-mapped-extreme

like 0

`` sum '' is jack ryan 's `` do-over . ''

brosnan gives a portrayal as solid and as perfect as his outstanding performance as bond in die another day .

but death to smoochy keeps firing until the bitter end .

than ` magnifique ' .

davis the performer is plenty fetching enough , but she needs to shake up the mix , and work in something that does n't feel like a half-baked stand-up routine .

the rest of the film ... is dudsville .

brutally honest and told with humor and poignancy , which makes its message resonate .

... a good film that must have baffled the folks in the marketing department .

if you 're a crocodile hunter fan , you 'll enjoy at least the `` real '' portions of the film .

we get light showers of emotion a couple of times , but then -- strangely -- these wane to an inconsistent and ultimately unsatisfying drizzle .

after you laugh once -lrb- maybe twice -rrb- , you will have completely forgotten the movie by the time you get back to your car in the parking lot .

just entertaining enough not to hate , too mediocre to love .

a drama of great power , yet some members of the audience will leave the theater believing they have seen a comedy .

while serving sara does have a long way to go before it reaches the level of crudity in the latest austin powers extravaganza , there 's nothing here to match that movie 's intermittent moments of inspiration .

despite all the closed-door hanky-panky , the film is essentially juiceless .

none of this is very original , and it is n't particularly funny .

piccoli gives a superb performance full of deep feeling .

an empty , purposeless exercise .

everything is pegged into the groove of a new york dating comedy with ` issues ' to simplify .

the obligatory break-ups and hook-ups do n't seem to have much emotional impact on the characters .

rich in shadowy metaphor and as sharp as a samurai sword , jiang wen 's devils on the doorstep is a wartime farce in the alternately comic and gut-wrenching style of joseph heller or kurt vonnegut .

highly recommended viewing for its courage , ideas , technical proficiency and great acting .

it understands , in a way that speaks forcefully enough about the mechanisms of poverty to transcend the rather simplistic filmmaking .

i had a dream that a smart comedy would come along to rescue me from a summer of teen-driven , toilet-humor codswallop , and its name was earnest .

a delightful surprise because despite all the backstage drama , this is a movie that tells stories that work -- is charming , is moving , is funny and looks professional .

` anyone with a passion for cinema , and indeed sex , should see it as soon as possible . '

a refreshing change from the usual whoopee-cushion effort aimed at the youth market .

in a 102-minute film , aaliyah gets at most 20 minutes of screen time .

for dance completists only .

less front-loaded and more shapely than the two-hour version released here in 1990 .

it 's uninteresting .

bray is completely at sea ; with nothing but a savage garden music video on his resume , he has no clue about making a movie .

seemingly a vehicle to showcase the canadian 's inane ramblings , stealing harvard is a smorgasbord of soliloquies about nothing delivered by the former mr. drew barrymore .

confusion is one of my least favourite emotions , especially when i have to put up with 146 minutes of it .

road to perdition does display greatness , and it 's worth seeing .

one of the worst movies of the year .

like a soft drink that 's been sitting open too long : it 's too much syrup and not enough fizz .

it 's actually too sincere -- the crime movie equivalent of a chick flick .

... an hour-and-a-half of inoffensive , unmemorable filler .

it 's sincere to a fault , but , unfortunately , not very compelling or much fun .

high crimes is a cinematic misdemeanor , a routine crime thriller remarkable only for its lack of logic and misuse of two fine actors , morgan freeman and ashley judd .

the project 's filmmakers forgot to include anything even halfway scary as they poorly rejigger fatal attraction into a high school setting .

the camera whirls !

... one of the most entertaining monster movies in ages ...

devoid of any of the qualities that made the first film so special .

everyone 's insecure in lovely and amazing , a poignant and wryly amusing film about mothers , daughters and their relationships .

it 's also curious to note that this film , like the similarly ill-timed antitrust , is easily as bad at a fraction the budget .

you see the movie and you think , zzzzzzzzz .

true hollywood story .

the dominant feeling is something like nostalgia . '

schnitzler does a fine job contrasting the sleekness of the film 's present with the playful paranoia of the film 's past . '

` martin lawrence live ' is so self-pitying , i almost expected there to be a collection taken for the comedian at the end of the show .

sandra bullock 's best dramatic performance to date -lrb- is -rrb- almost enough to lift -lrb- this -rrb- thrill-kill cat-and-mouser ... above its paint-by-numbers plot .

a romance ?

majidi 's direction has never been smoother or more confident .

i did n't think so .

there 's only one way to kill michael myers for good : stop buying tickets to these movies .

in the telling of a story largely untold , bui chooses to produce something that is ultimately suspiciously familiar .

freundlich 's made -lrb- crudup -rrb- a suburban architect , and a cipher .

it 's a bizarre curiosity memorable mainly for the way it fritters away its potentially interesting subject matter via a banal script , unimpressive acting and indifferent direction .

not to mention a sharper , cleaner camera lens .

to build a feel-good fantasy around a vain dictator-madman is off-putting , to say the least , not to mention inappropriate and wildly undeserved .

a generic bloodbath that often becomes laughably unbearable when it is n't merely offensive .

judith and zaza 's extended bedroom sequence ... is so intimate and sensual and funny and psychologically self-revealing that it makes most of what passes for sex in the movies look like cheap hysterics .

this is the kind of movie during which you want to bang your head on the seat in front of you , at its cluelessness , at its idiocy , at its utterly misplaced earnestness .

though uniformly well acted , especially by young ballesta and galan -lrb- a first-time actor -rrb- , writer\/director achero manas 's film is schematic and obvious .

the latest adam sandler assault and possibly the worst film of the year .

the determination of pinochet 's victims to seek justice , and their often heartbreaking testimony , spoken directly into director patricio guzman 's camera , pack a powerful emotional wallop .

a beautiful , timeless and universal tale of heated passions -- jealousy , betrayal , forgiveness and murder .

the 1960s rebellion was misdirected : you ca n't fight your culture .

you ca n't believe anyone would really buy this stuff .

the plot is nothing but boilerplate clichés from start to finish , and the script assumes that not only would subtlety be lost on the target audience , but that it 's also too stupid to realize that they 've already seen this exact same movie a hundred times

twenty years later , e.t. is still a cinematic touchstone .

lohman adapts to the changes required of her , but the actress and director peter kosminsky never get the audience to break through the wall her character erects

one of the most exciting action films to come out of china in recent years .

makes a joke out of car chases for an hour and then gives us half an hour of car chases .

-lrb- a -rrb- soulless , stupid sequel ...

unpretentious , charming , quirky , original

-lrb- a -rrb- rare movie that makes us re-assess the basis for our lives and evaluate what is truly ours in a world of meaningless activity .

humorless , self-conscious art drivel , made without a glimmer of intelligence or invention .

at once emotional and richly analytical , the cosby-seinfeld encounter alone confirms the serious weight behind this superficially loose , larky documentary .

dogtown and z-boys more than exposes the roots of the skateboarding boom that would become `` the punk kids ' revolution . ''

a dull , dumb and derivative horror film .

how about surprising us by trying something new ?

a wordy wisp of a comedy .

even by the intentionally low standards of frat-boy humor , sorority boys is a bowser .

i found it slow , predictable and not very amusing .

see it .

few of the increasingly far-fetched events that first-time writer-director neil burger follows up with are terribly convincing , which is a pity , considering barry 's terrific performance .

the genius of the work speaks volumes , offering up a hallucinatory dreamscape that frustrates and captivates .

a worthy addition to the cinematic canon , which , at last count , numbered 52 different versions .

how inept is serving sara ?

a thoughtful , reverent portrait of what is essentially a subculture , with its own rules regarding love and family , governance and hierarchy .

the film makes strong arguments regarding the social status of america 's indigenous people , but really only exists to try to eke out an emotional tug of the heart , one which it fails to get .

a vibrant whirlwind of love , family and all that goes with it , my big fat greek wedding is a non-stop funny feast of warmth , colour and cringe .

like a skillful fisher , the director uses the last act to reel in the audience since its poignancy hooks us completely .

you can see where big bad love is trying to go , but it never quite gets there .

the movie has generic virtues , and despite a lot of involved talent , seems done by the numbers .

the film 's heady yet far from impenetrable theory suggests that russians take comfort in their closed-off nationalist reality .

on a cutting room floor somewhere lies ... footage that might have made no such thing a trenchant , ironic cultural satire instead of a frustrating misfire .