Datasets:

jacobthebanana

/

sst5_mapped_grouped

like 0

ryosuke has created a wry , winning , if languidly paced , meditation on the meaning and value of family .

enough may pander to our basest desires for payback , but unlike many revenge fantasies , it ultimately delivers .

i prefer soderbergh 's concentration on his two lovers over tarkovsky 's mostly male , mostly patriarchal debating societies .

this is cruel , misanthropic stuff with only weak claims to surrealism and black comedy .

a pale xerox of other , better crime movies .

strange it is , but delightfully so .

the story has little wit and no surprises .

crummy .

just another disjointed , fairly predictable psychological thriller .

this is a very funny , heartwarming film .

` rare birds ' tries to force its quirkiness upon the audience .

good-naturedly cornball sequel .

the tone errs on the shrill side , tempered by a soft southern gentility that speaks of beauty , grace and a closet full of skeletons .

the french director has turned out nearly 21\/2 hours of unfocused , excruciatingly tedious cinema that , half an hour in , starts making water torture seem appealing .

it 's only in fairy tales that princesses that are married for political reason live happily ever after .

feardotcom 's thrills are all cheap , but they mostly work .

a static and sugary little half-hour , after-school special about interfaith understanding , stretched out to 90 minutes .

a small movie with a big impact .

the sort of picture in which , whenever one of the characters has some serious soul searching to do , they go to a picture-perfect beach during sunset .

crammed with incident , and bristles with passion and energy .

an intelligent and deeply felt work about impossible , irrevocable choices and the price of making them .

-lrb- gosling 's -rrb- combination of explosive physical energy and convincing intelligence helps create a complex , unpredictable character .

and it sees those relationships , including that between the son and his wife , and the wife and the father , and between the two brothers , with incredible subtlety and acumen .

though it inspires some -lrb- out-of-field -rrb- creative thought , the film is -- to its own detriment -- much more a cinematic collage than a polemical tract .

in the new guy , even the bull gets recycled .

reggio and glass so rhapsodize cynicism , with repetition and languorous slo-mo sequences , that glass 's dirgelike score becomes a fang-baring lullaby .

marshall puts a suspenseful spin on standard horror flick formula .

there might be some sort of credible gender-provoking philosophy submerged here , but who the hell cares ?

a movie that 's held captive by mediocrity .

screenwriter chris ver weil 's directing debut is good-natured and never dull , but its virtues are small and easily overshadowed by its predictability .

an admirable , sometimes exceptional film

this is a film that manages to find greatness in the hue of its drastic iconography .

a whole lot of fun and funny in the middle , though somewhat less hard-hitting at the start and finish .

... spiced with humor -lrb- ' i speak fluent flatula , ' advises denlopp after a rather , er , bubbly exchange with an alien deckhand -rrb- and witty updatings -lrb- silver 's parrot has been replaced with morph , a cute alien creature who mimics everyone and everything around -rrb-

has a customarily jovial air but a deficit of flim-flam inventiveness .

not all of the stories work and the ones that do are thin and scattered , but the film works well enough to make it worth watching .

a strangely stirring experience that finds warmth in the coldest environment and makes each crumb of emotional comfort feel like a 10-course banquet .

matthew lillard is born to play shaggy !

a dark-as-pitch comedy that frequently veers into corny sentimentality , probably would not improve much after a therapeutic zap of shock treatment .

there 's lots of cool stuff packed into espn 's ultimate x.

the mothman prophecies is best when illustrating the demons bedevilling the modern masculine journey .

at its best , it 's black hawk down with more heart .

`` home movie '' is the film equivalent of a lovingly rendered coffee table book .

invigorating , surreal , and resonant with a rainbow of emotion .

a tired , unimaginative and derivative variation of that already-shallow genre .

patchy combination of soap opera , low-tech magic realism and , at times , ploddingly sociological commentary .

a frustrating yet deeply watchable melodrama that makes you think it 's a tougher picture than it is .

a solid cast , assured direction and complete lack of modern day irony .

rodriguez has the chops of a smart-aleck film school brat and the imagination of a big kid ...

arnie blows things up .

if you 're really renting this you 're not interested in discretion in your entertainment choices , you 're interested in anne geddes , john grisham , and thomas kincaid .

a movie you observe , rather than one you enter into .

should have been worth cheering as a breakthrough but is devoid of wit and humor .

-lrb- barry -rrb- gives assassin a disquieting authority .

its plot and animation offer daytime tv serviceability , but little more .

a moving and important film .

these people are really going to love the piano teacher .

a disappointment for a movie that should have been the ultimate imax trip .

a portrait of alienation so perfect , it will certainly succeed in alienating most viewers .

yes , but also intriguing and honorable , a worthwhile addition to a distinguished film legacy .

`` cremaster 3 '' should come with the warning `` for serious film buffs only ! ''

this big screen caper has a good bark , far from being a bow-wow .

what 's most refreshing about real women have curves is its unforced comedy-drama and its relaxed , natural-seeming actors .

surprisingly insightful

to those who have not read the book , the film is a much better mother-daughter tale than last summer 's ` divine secrets of the ya-ya sisterhood , ' but that 's not saying much .

the director , with his fake backdrops and stately pacing , never settles on a consistent tone .

earnest yet curiously tepid and choppy recycling in which predictability is the only winner .

brash , intelligent and erotically perplexing , haneke 's portrait of an upper class austrian society and the suppression of its tucked away demons is uniquely felt with a sardonic jolt .

a glorious mess .

unfortunately , contrived plotting , stereotyped characters and woo 's over-the-top instincts as a director undermine the moral dilemma at the movie 's heart .

arguably the best script that besson has written in years .

it is most of the things costner movies are known for ; it 's sanctimonious , self-righteous and so eager to earn our love that you want to slap it .

pretend it 's a werewolf itself by avoiding eye contact and walking slowly away .

you can fire a torpedo through some of clancy 's holes , and the scripters do n't deserve any oscars .

truly terrible .

it 's hard to imagine acting that could be any flatter .

you just know something terrible is going to happen .

each scene drags , underscoring the obvious , and sentiment is slathered on top .

fluffy neo-noir hiding behind cutesy film references .

a special kind of movie , this melancholic film noir reminded me a lot of memento ...

do n't expect any subtlety from this latest entry in the increasingly threadbare gross-out comedy cycle .

one of the most genuinely sweet films to come along in quite some time .

a film really has to be exceptional to justify a three hour running time , and this is n't .

too ordinary to restore -lrb- harmon -rrb- to prominence , despite some creepy scenes that evoke childish night terrors , and a praiseworthy attempt to generate suspense rather than gross out the audience .

highly watchable stuff .

exceptionally well acted by diane lane and richard gere .

there 's no real reason to see it , and no real reason not to .

content merely to lionize its title character and exploit his anger - all for easy sanctimony , formulaic thrills and a ham-fisted sermon on the need for national health insurance .

a charming but slight comedy .

you know that ten bucks you 'd spend on a ticket ?

everything else about high crimes is , like the military system of justice it portrays , tiresomely regimented .

an unusually dry-eyed , even analytical approach to material that is generally played for maximum moisture .

a beyond-lame satire , teddy bears ' picnic ranks among the most pitiful directing debuts by an esteemed writer-actor .

it looks like an action movie , but it 's so poorly made , on all levels , that it does n't even qualify as a spoof of such .

takes one character we do n't like and another we do n't believe , and puts them into a battle of wills that is impossible to care about and is n't very funny .

but mostly it 's a work that , with humor , warmth , and intelligence , captures a life interestingly lived .

as an introduction to the man 's theories and influence , derrida is all but useless ; as a portrait of the artist as an endlessly inquisitive old man , however , it 's invaluable .

young hanks and fisk , who vaguely resemble their celebrity parents , bring fresh good looks and an ease in front of the camera to the work .

excellent performances from jacqueline bisset and martha plimpton grace this deeply touching melodrama .

the cast is spot on and the mood is laid back .