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neil-code
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Dataset card Data Studio Files
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told in scattered fashion
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takes chances that are bold by studio standards
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believe it or not , jason actually takes a backseat in his own film to special effects
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only thing to fear about `` fear dot com ''
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whole mess
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manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor
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working from a surprisingly sensitive script co-written by gianni romoli ... ozpetek avoids most of the pitfalls you 'd expect in such a potentially sudsy set-up .
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a résumé loaded with credits like `` girl in bar # 3
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enjoy the ride
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very little to add beyond the dark visions already relayed by superb recent predecessors
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the , yes , snail-like pacing
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an extremely unpleasant film .
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if it is n't entirely persuasive , it does give exposure to some talented performers
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the whole affair , true story or not , feels incredibly hokey ...
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are all things we 've seen before
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poignant and leavened
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breathless anticipation
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significantly better
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as predictable as the tides
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bewilderingly brilliant and entertaining
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it 's smooth and professional
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, unassuming , subordinate
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the horror
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a technically superb film
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the positive change in tone here seems to have recharged him .
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pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators
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a dim
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, vicious and absurd
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because he acts so goofy all the time
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to a kinetic life so teeming that even cranky adults may rediscover the quivering kid inside
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's at once laughable and compulsively watchable ,
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merit its 103-minute length
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the value and respect for the term epic cinema
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as a dentist 's waiting room
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showing honest emotions
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amazingly lame .
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confessions may not be a straightforward bio
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seems a disappointingly thin slice of lower-class london life ; despite the title ... amounts to surprisingly little
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the story is bogus and
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this comic gem is as delightful as it is derivative .
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to spare wildlife
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ugly as the shabby digital photography
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understand the difference between dumb fun and just plain dumb
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traditionally structured
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frida is n't that much different from many a hollywood romance .
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does point the way for adventurous indian filmmakers toward a crossover into nonethnic markets .
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are worth the price of admission ... if `` gory mayhem '' is your idea of a good time
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was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one ( and no one )
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carnage and
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degraded , handheld blair witch video-cam footage
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second fiddle
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about the folly of superficiality that is itself
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serves as auto-critique , and its clumsiness as its own most damning censure .
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tedious norwegian offering which somehow snagged an oscar nomination .
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, esther kahn is unusual but unfortunately also irritating .
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a stylish exercise
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halfway through this picture i was beginning to hate it
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a setup so easy it borders on facile
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a thoroughly awful movie
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takes hold and grips hard
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look smeary and blurry , to the point of distraction
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the picture 's fascinating byways
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guns , cheatfully filmed martial arts , disintegrating bloodsucker computer effects and jagged camera moves
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breezy , distracted rhythms
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than this mess
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evanescent , seamless and sumptuous stream
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slick and manufactured to claim street credibility .
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take care is nicely performed by a quintet of actresses ,
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valuable messages
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in no small part thanks to lau
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two guys who desperately want to be quentin tarantino when they grow up
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no new plot conceptions
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essentially a collection of bits --
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does n't bode well for the rest of it
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elevated by it -- the kind of movie
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usual worst
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hugh grant , who has a good line in charm
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arrive early and stay late
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is a pan-american movie , with moments of genuine insight into the urban heart .
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i could have used my two hours better watching being john malkovich again .
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shot in artful , watery tones of blue , green and brown
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an unorthodox little film noir organized crime story that includes one of the strangest
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considerable aplomb
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acted by diane lane and richard gere .
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scant
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an admittedly middling film
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too ludicrous
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the rock 's fighting skills are more in line with steven seagal
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rich and full
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warm water under a red bridge is a celebration of feminine energy , a tribute to the power of women to heal .
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that uses a sensational , real-life 19th-century crime as a metaphor for
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, home movie will leave you wanting more , not to mention leaving you with some laughs and a smile on your face .
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, the film retains ambiguities that make it well worth watching .
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ultra-cheesy dialogue
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added depth and resonance
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the sensational
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huge-screen format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them
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handsome but unfulfilling suspense drama
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's not very good either .
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in her most charmless
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