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mctiernan's remake may be lighter on its feet -- the sober-minded original was as graceful as a tap-dancing rhino -- but it is just as boring and as obvious .
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high crimes carries almost no organic intrigue as a government/ marine/legal mystery , and that's because the movie serves up all of that stuff , nearly subliminally , as the old-hat province of male intrigue .
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this movie is about the worst thing chan has done in the united states .
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the explosion essentially ruined -- or , rather , overpowered -- the fiction of the movie for me .
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this ludicrous film is predictable at every turn .
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an incredibly irritating comedy about thoroughly vacuous people . . . manages to embody the worst excesses of nouvelle vague without any of its sense of fun or energy .
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the film desperately sinks further and further into comedy futility .
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instead of a balanced film that explains the zeitgeist that is the x games , we get a cinematic postcard that's superficial and unrealized .
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the crassness of this reactionary thriller is matched only by the ridiculousness of its premise .
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i wish it would have just gone more over-the-top instead of trying to have it both ways .
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the superior plotline isn't quite enough to drag along the dead ( water ) weight of the other .
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the film doesn't really care about the thousands of americans who die hideously , it cares about how ryan meets his future wife and makes his start at the cia .
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adrift , bentley and hudson stare and sniffle , respectively , as ledger attempts , in vain , to prove that movie-star intensity can overcome bad hair design .
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after an hour and a half of wondering -- sometimes amusedly , sometimes impatiently -- just what this strenuously unconventional movie is supposed to be , you discover that the answer is as conventional as can be .
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'linklater fans , or pretentious types who want to appear avant-garde will suck up to this project . . . '
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a woefully dull , redundant concept that bears more than a whiff of exploitation , despite iwai's vaunted empathy .
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screenwriter chris ver weil's directing debut is good-natured and never dull , but its virtues are small and easily overshadowed by its predictability .
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if you really want to understand what this story is really all about , you're far better served by the source material .
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it's mildly sentimental , unabashedly consumerist . . . studiously inoffensive and completely disposable .
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like its title character , esther kahn is unusual but unfortunately also irritating .
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the star who helped give a spark to " chasing amy " and " changing lanes " falls flat as thinking man cia agent jack ryan in this summer's new action film , " the sum of all fears . "
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a summary of the plot doesn't quite do justice to the awfulness of the movie , for that comes through all too painfully in the execution .
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every conceivable mistake a director could make in filming opera has been perpetrated here .
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snoots will no doubt rally to its cause , trotting out threadbare standbys like 'masterpiece' and 'triumph' and all that malarkey , but rarely does an established filmmaker so ardently waste viewers' time with a gobbler like this .
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[the film's] taste for " shock humor " will wear thin on all but those weaned on the comedy of tom green and the farrelly brothers .
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any enjoyment will be hinge from a personal threshold of watching sad but endearing characters do extremely unconventional things .
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if legendary shlockmeister ed wood had ever made a movie about a vampire , it probably would look a lot like this alarming production , adapted from anne rice's novel the vampire chronicles .
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hardly a nuanced portrait of a young woman's breakdown , the film nevertheless works up a few scares .
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interminably bleak , to say nothing of boring .
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things really get weird , though not particularly scary : the movie is all portent and no content .
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