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where tom green stages his gags as assaults on america's knee-jerk moral sanctimony , jackass lacks aspirations of social upheaval .
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more of an intriguing curiosity than a gripping thriller .
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the april 2002 instalment of the american war for independence , complete with loads of cgi and bushels of violence , but not a drop of human blood .
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contains all the substance of a twinkie -- easy to swallow , but scarcely nourishing .
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return to neverland manages to straddle the line between another classic for the company and just another run-of-the-mill disney sequel intended for the home video market .
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rarely does a film so graceless and devoid of merit as this one come along .
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it's a thin notion , repetitively stretched out to feature length , awash in self-consciously flashy camera effects , droning house music and flat , flat dialogue .
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on a certain base level , blue crush delivers what it promises , just not well enough to recommend it .
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the colorful masseur wastes its time on mood rather than riding with the inherent absurdity of ganesh's rise up the social ladder .
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. . . an incredibly heavy-handed , manipulative dud that feels all too familiar .
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wimps out by going for that pg-13 rating , so the more graphic violence is mostly off-screen and the sexuality is muted .
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trapped presents a frightening and compelling 'what if ? ' scenario that will give most parents pause . . . . then , something terrible happens .
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madonna has made herself over so often now , there's apparently nothing left to work with , sort of like michael jackson's nose .
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never having seen the first two films in the series , i can't compare friday after next to them , but nothing would change the fact that what we have here is a load of clams left in the broiling sun for a good three days .
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the story is lacking any real emotional impact , and the plot is both contrived and cliched .
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a depraved , incoherent , instantly disposable piece of hackery .
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it's a bad action movie because there's no rooting interest and the spectacle is grotesque and boring .
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[soderbergh] tends to place most of the psychological and philosophical material in italics rather than trust an audience's intelligence , and he creates an overall sense of brusqueness .
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handsome and sincere but slightly awkward in its combination of entertainment and evangelical boosterism .
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so aggressively cheery that pollyana would reach for a barf bag .
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scooby-doo doesn't know if it wants to be a retro-refitting exercise in campy recall for older fans or a silly , nickelodeon-esque kiddie flick .
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russell lacks the visual panache , the comic touch , and perhaps the budget of sommers's title-bout features .
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highly uneven and inconsistent . . . margarita happy hour kinda resembles the el cheapo margaritas served within .
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very stupid and annoying .
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the sum of all fears pretends to be a serious exploration of nuclear terrorism , but it's really nothing more than warmed-over cold war paranoia .
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a listless and desultory affair .
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represents the depths to which the girls-behaving-badly film has fallen .
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how inept is serving sara ? it makes even elizabeth hurley seem graceless and ugly .
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jam-packed with literally bruising jokes . every five minutes or so , someone gets clocked .
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wins my vote for 'the 2002 enemy of cinema' award .
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any chekhov is better than no chekhov , but it would be a shame if this was your introduction to one of the greatest plays of the last 100 years .
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helmer hudlin tries to make a hip comedy , but his dependence on slapstick defeats the possibility of creating a more darkly edged tome .
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lazy , miserable and smug . this is one of the biggest disappointments of the year .
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formula 51 has dulled your senses faster and deeper than any recreational drug on the market .
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every visual joke is milked , every set-up obvious and lengthy , every punchline predictable . there's no energy .
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apparently writer-director attal thought he need only cast himself and his movie-star wife sitting around in their drawers to justify a film .
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after the setup , the air leaks out of the movie , flattening its momentum with about an hour to go .
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this is a poster movie , a mediocre tribute to films like them !
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at three hours and with very little story or character development , there is plenty of room for editing , and a much shorter cut surely would have resulted in a smoother , more focused narrative without sacrificing any of the cultural intrigue .
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a bit too derivative to stand on its own as the psychological thriller it purports to be .
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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 .
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the film's darker moments become smoothed over by an overwhelming need to tender inspirational tidings , especially in the last few cloying moments .
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if you recognize zeus ( the dog from snatch ) it will make you wish you were at home watching that movie instead of in the theater watching this one .
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abysmally pathetic
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this is the kind of movie that you only need to watch for about thirty seconds before you say to yourself , 'ah , yes , here we have a bad , bad , bad movie . '
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shanghai ghetto should be applauded for finding a new angle on a tireless story , but you might want to think twice before booking passage .
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plays like a checklist of everything rob reiner and his cast were sending up .
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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 .
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it's at once laughable and compulsively watchable , in its committed dumbness .
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all the sensuality , all the eroticism of a good vampire tale has been , pardon the pun , sucked out and replaced by goth goofiness .
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a cross between blow and boyz n the hood , this movie strives to be more , but doesn't quite get there . good performances keep it from being a total rehash .
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the screenplay is hugely overwritten , with tons and tons of dialogue -- most of it given to children .
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troll the cult section of your local video store for the real deal .
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at times , the movie looks genuinely pretty . your nightmares , on the other hand , will be anything but . not even felinni would know what to make of this italian freakshow .
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elmo touts his drug as being 51 times stronger than coke . if you're looking for a tale of brits behaving badly , watch snatch again . it's 51 times better than this .
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it's difficult to conceive of anyone who has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny .
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despite its promising cast of characters , big trouble remains a loosely tied series of vignettes which only prove that 'zany' doesn't necessarily mean 'funny . '
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both shrill and soporific , and because everything is repeated five or six times , it can seem tiresomely simpleminded .
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does not go far enough in its humor or stock ideas to stand out as particularly memorable or even all that funny .
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neither revelatory nor truly edgy--merely crassly flamboyant and comedically labored .
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just about everyone involved here seems to be coasting . there are a few modest laughs , but certainly no thrills .
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fails so fundamentally on every conventional level that it achieves some kind of goofy grandeur .
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there's a persistent theatrical sentiment and a woozy quality to the manner of the storytelling , which undercuts the devastatingly telling impact of utter loss personified in the film's simple title .
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while howard's appreciation of brown and his writing is clearly well-meaning and sincere , the movie would be impossible to sit through were it not for the supporting cast .
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a preposterous , prurient whodunit .
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go , girls , right down the reality drain .
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boasting some of the most poorly staged and lit action in memory , impostor is as close as you can get to an imitation movie .
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can be classified as one of those 'alternate reality' movies . . . except that it would have worked so much better dealing in only one reality .
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predictable and cloying , though brown sugar is so earnest in its yearning for the days before rap went nihilistic that it summons more spirit and bite than your average formulaic romantic quadrangle .
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. . . unlikable , uninteresting , unfunny , and completely , utterly inept .
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the film is so busy making reference to other films and trying to be other films that it fails to have a heart , mind or humor of its own .
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an imponderably stilted and self-consciously arty movie .
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muddled , melodramatic paranormal romance is an all-time low for kevin costner .
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too clumsy in key moments . . . to make a big splash .
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just a bunch of good actors flailing around in a caper that's neither original nor terribly funny .
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`matrix'-style massacres erupt throughout . . . but the movie has a tougher time balancing its violence with kafka-inspired philosophy .
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at least it's a fairly impressive debut from the director , charles stone iii .
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it all unfolds predictably , and the adventures that happen along the way seem repetitive and designed to fill time , providing no real sense of suspense .
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wanker goths are on the loose ! run for your lives !
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why would anyone cast the magnificent jackie chan in a movie full of stunt doubles and special effects ?
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a grating , emaciated flick .
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unambitious writing emerges in the movie , using a plot that could have come from an animated-movie screenwriting textbook .
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presents a good case while failing to provide a reason for us to care beyond the very basic dictums of human decency .
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we have poignancy jostling against farce , thoughtful dialogue elbowed aside by one-liners , and a visual style that incorporates rotoscope animation for no apparent reason except , maybe , that it looks neat .
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. . . unbearably lame .
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according to the script , grant and bullock's characters are made for each other . but you'd never guess that from the performances .
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the animation merely serves up a predictable , maudlin story that swipes heavily from bambi and the lion king , yet lacks the emotional resonance of either of those movies .
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ararat feels like a book report
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steve oedekerk is , alas , no woody allen .
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a lot like the imaginary sport it projects onto the screen -- loud , violent and mindless .
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an amalgam of the fugitive , blade runner , and total recall , only without much energy or tension .
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the acting is amateurish , the cinematography is atrocious , the direction is clumsy , the writing is insipid and the violence is at once luridly graphic and laughably unconvincing .
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shows that jackie chan is getting older , and that's something i would rather live in denial about
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with miscast leads , banal dialogue and an absurdly overblown climax , killing me softly belongs firmly in the so-bad-it's-good camp .
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alas , the black-and-white archival footage of their act showcases pretty mediocre shtick .
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the slapstick is labored , and the bigger setpieces flat .
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this is the kind of movie where people who have never picked a lock do so easily after a few tries and become expert fighters after a few weeks .
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the problem with the mayhem in formula 51 is not that it's offensive , but that it's boring .
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much of the digitally altered footage appears jagged , as if filmed directly from a television monitor , while the extensive use of stock footage quickly becomes a tiresome cliché .
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the film never rises above a conventional , two dimension tale
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