Datasets:

jacobthebanana

/

sst5_mapped_grouped

like 0

it does n't matter that the film is less than 90 minutes .

the plot is paper-thin and the characters are n't interesting enough to watch them go about their daily activities for two whole hours .

this english-language version ... does full honor to miyazaki 's teeming and often unsettling landscape , and to the conflicted complexity of his characters .

whether quitting will prove absorbing to american audiences is debatable .

the film is a hoot , and is just as good , if not better than much of what 's on saturday morning tv especially the pseudo-educational stuff we all ca n't stand .

the ending feels at odds with the rest of the film .

in the end there is one word that best describes this film : honest .

the movie barely makes sense , with its unbelievable naïveté and arbitrary flashbacks .

it 's a quirky , off-beat project .

if you can get past the taboo subject matter , it will be well worth your time .

coy but exhilarating , with really solid performances by ving rhames and wesley snipes .

starts slowly , but adrien brody -- in the title role -- helps make the film 's conclusion powerful and satisfying .

feeble comedy .

no amount of blood and disintegrating vampire cadavers can obscure this movie 's lack of ideas .

simply does n't have sufficient heft to justify its two-hour running time .

... the good and different idea -lrb- of middle-aged romance -rrb- is not handled well and , except for the fine star performances , there is little else to recommend `` never again . ''

parker should be commended for taking a fresh approach to familiar material , but his determination to remain true to the original text leads him to adopt a somewhat mannered tone ... that ultimately dulls the human tragedy at the story 's core .

would that greengrass had gone a tad less for grit and a lot more for intelligibility .

sadly , as blood work proves , that was a long , long time ago .

the performers are so spot on , it is hard to conceive anyone else in their roles .

the first mistake , i suspect , is casting shatner as a legendary professor and kunis as a brilliant college student -- where 's pauly shore as the rocket scientist ?

wise and deadpan humorous .

twenty-three movies into a mostly magnificent directorial career , clint eastwood 's efficiently minimalist style finally has failed him .

boring and meandering .

while certainly more naturalistic than its australian counterpart , amari 's film falls short in building the drama of lilia 's journey .

make chan 's action sequences boring .

simply put , there should have been a more compelling excuse to pair susan sarandon and goldie hawn .

proves a lovely trifle that , unfortunately , is a little too in love with its own cuteness .

but its storytelling prowess and special effects are both listless .

an energizing , intoxicating documentary charting the rise of hip-hop culture in general and the art of scratching -lrb- or turntablism -rrb- in particular .

screenwriter dan schneider and director shawn levy substitute volume and primary colors for humor and bite .

but if you 've paid a matinee price and bought a big tub of popcorn , there 's guilty fun to be had here .

-lrb- ramsay -rrb- visually transforms the dreary expanse of dead-end distaste the characters inhabit into a poem of art , music and metaphor .

works as pretty contagious fun .

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 .

a dark , dull thriller with a parting shot that misfires .

... liotta is put in an impossible spot because his character 's deceptions ultimately undo him and the believability of the entire scenario .

if there was ever a movie where the upbeat ending feels like a copout , this is the one .

... the cast portrays their cartoon counterparts well ... but quite frankly , scoob and shag do n't eat enough during the film . '

the sheer dumbness of the plot -lrb- other than its one good idea -rrb- and the movie 's inescapable air of sleaziness get you down .

those who do n't entirely ` get ' godard 's distinctive discourse will still come away with a sense of his reserved but existential poignancy .

provides a very moving and revelatory footnote to the holocaust .

... there is enough originality in ` life ' to distance it from the pack of paint-by-number romantic comedies that so often end up on cinema screens .

raimi crafted a complicated hero who is a welcome relief from the usual two-dimensional offerings .

if you saw benigni 's pinocchio at a public park , you 'd grab your kids and run and then probably call the police .

it is dark , brooding and slow , and takes its central idea way too seriously .

it cuts to the core of what it actually means to face your fears , to be a girl in a world of boys , to be a boy truly in love with a girl , and to ride the big metaphorical wave that is life -- wherever it takes you .

an enjoyable , if occasionally flawed , experiment .

it is , however , a completely honest , open-hearted film that should appeal to anyone willing to succumb to it .

i do n't think this movie loves women at all .

american musical comedy as we know it would n't exist without the precedent of yiddish theater , whose jolly , fun-for-fun 's - sake communal spirit goes to the essence of broadway .

do n't judge this one too soon - it 's a dark , gritty story but it takes off in totally unexpected directions and keeps on going .

... -lrb- the film -rrb- works , due mostly to the tongue-in-cheek attitude of the screenplay .

features nonsensical and laughable plotting , wooden performances , ineptly directed action sequences and some of the worst dialogue in recent memory .

too smart to ignore but a little too smugly superior to like , this could be a movie that ends up slapping its target audience in the face by shooting itself in the foot .

it 's better than mid-range steven seagal , but not as sharp as jet li on rollerblades .

the director 's many dodges and turns add up to little more than a screenful of gamesmanship that 's low on both suspense and payoff .

or for the year , for that matter .

an invaluable historical document thanks to the filmmaker 's extraordinary access to massoud , whose charm , cultivation and devotion to his people are readily apparent .

... no charm , no laughs , no fun , no reason to watch .

thanks largely to williams , all the interesting developments are processed in 60 minutes -- the rest is just an overexposed waste of film .

what might have emerged as hilarious lunacy in the hands of woody allen or mel brooks -lrb- at least during their '70s heyday -rrb- comes across as lame and sophomoric in this debut indie feature .

paul bettany playing malcolm mcdowell ?

that 's not vintage spielberg and that , finally , is minimally satisfying .

it would take a complete moron to foul up a screen adaptation of oscar wilde 's classic satire .

jackass is a vulgar and cheap-looking version of candid camera staged for the marquis de sade set .

everyone should be able to appreciate the wonderful cinematography and naturalistic acting .

another in a long line of ultra-violent war movies , this one is not quite what it could have been as a film , but the story and theme make up for it .

one well-timed explosion in a movie can be a knockout , but a hundred of them can be numbing .

where their heads were is anyone 's guess .

scotland looks wonderful , the fans are often funny fanatics , the showdown sure beats a bad day of golf .

the music makes a nice album , the food is enticing and italy beckons us all .

one of the best silly horror movies of recent memory , with some real shocks in store for unwary viewers .

the film is a very good viewing alternative for young women .

` hey arnold ! '

beautifully shot against the frozen winter landscapes of grenoble and geneva , the film unfolds with all the mounting tension of an expert thriller , until the tragedy beneath it all gradually reveals itself .

griffin & co. manage to be spectacularly outrageous .

it is hard not to be especially grateful for freedom after a film like this .

a well-put-together piece of urban satire .

too much of nemesis has a tired , talky feel .

pan nalin 's exposition is beautiful and mysterious , and the interviews that follow , with the practitioners of this ancient indian practice , are as subtle and as enigmatic .

given the fact that virtually no one is bound to show up at theatres for it , the project should have been made for the tube .

with more character development this might have been an eerie thriller ; with better payoffs , it could have been a thinking man 's monster movie .

an entertaining british hybrid of comedy , caper thrills and quirky romance .

but ... in trying to capture the novel 's deeper intimate resonances , the film has -- ironically - distanced us from the characters .

the modern master of the chase sequence returns with a chase to end all chases

dense and thoughtful and brimming with ideas that are too complex to be rapidly absorbed .

queen of the damned as you might have guessed , makes sorry use of aaliyah in her one and only starring role -- she does little here but point at things that explode into flame .

a loud , witless mess that has none of the charm and little of the intrigue from the tv series .

a cartoon ?

if a few good men told us that we `` ca n't handle the truth '' than high crimes poetically states at one point in this movie that we `` do n't care about the truth . ''

a crass and insulting homage to great films like some like it hot and the john wayne classics .

the problem with `` xxx '' is that its own action is n't very effective .

` yes , that 's right : it 's forrest gump , angel of death . '

with a romantic comedy plotline straight from the ages , this cinderella story does n't have a single surprise up its sleeve .

it 's lazy for a movie to avoid solving one problem by trying to distract us with the solution to another .

... while certainly clever in spots , this too-long , spoofy update of shakespeare 's macbeth does n't sustain a high enough level of invention .

a sterling film - a cross between boys do n't cry , deliverance , and ode to billy joe - lies somewhere in the story of matthew shepard , but that film is yet to be made .

no new plot conceptions or environmental changes , just different bodies for sharp objects to rip through .

australian actor\/director john polson and award-winning english cinematographer giles nuttgens make a terrific effort at disguising the obvious with energy and innovation .