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|---|---|---|
200 | told in scattered fashion | 0negative |
201 | takes chances that are bold by studio standards | 1positive |
202 | believe it or not , jason actually takes a backseat in his own film to special effects | 0negative |
203 | only thing to fear about `` fear dot com '' | 0negative |
204 | whole mess | 0negative |
205 | manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor | 1positive |
206 | 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 . | 1positive |
207 | a résumé loaded with credits like `` girl in bar # 3 | 0negative |
208 | enjoy the ride | 1positive |
209 | very little to add beyond the dark visions already relayed by superb recent predecessors | 0negative |
210 | the , yes , snail-like pacing | 0negative |
211 | an extremely unpleasant film . | 0negative |
212 | if it is n't entirely persuasive , it does give exposure to some talented performers | 1positive |
213 | the whole affair , true story or not , feels incredibly hokey ... | 0negative |
214 | are all things we 've seen before | 0negative |
215 | poignant and leavened | 1positive |
216 | breathless anticipation | 1positive |
217 | significantly better | 1positive |
218 | as predictable as the tides | 0negative |
219 | bewilderingly brilliant and entertaining | 1positive |
220 | it 's smooth and professional | 1positive |
221 | , unassuming , subordinate | 0negative |
222 | the horror | 0negative |
223 | a technically superb film | 1positive |
224 | the positive change in tone here seems to have recharged him . | 1positive |
225 | pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators | 1positive |
226 | a dim | 0negative |
227 | , vicious and absurd | 0negative |
228 | because he acts so goofy all the time | 0negative |
229 | to a kinetic life so teeming that even cranky adults may rediscover the quivering kid inside | 1positive |
230 | 's at once laughable and compulsively watchable , | 1positive |
231 | merit its 103-minute length | 1positive |
232 | the value and respect for the term epic cinema | 1positive |
233 | as a dentist 's waiting room | 0negative |
234 | showing honest emotions | 1positive |
235 | amazingly lame . | 0negative |
236 | confessions may not be a straightforward bio | 0negative |
237 | seems a disappointingly thin slice of lower-class london life ; despite the title ... amounts to surprisingly little | 0negative |
238 | the story is bogus and | 0negative |
239 | this comic gem is as delightful as it is derivative . | 1positive |
240 | to spare wildlife | 1positive |
241 | ugly as the shabby digital photography | 0negative |
242 | understand the difference between dumb fun and just plain dumb | 0negative |
243 | traditionally structured | 1positive |
244 | frida is n't that much different from many a hollywood romance . | 0negative |
245 | does point the way for adventurous indian filmmakers toward a crossover into nonethnic markets . | 1positive |
246 | are worth the price of admission ... if `` gory mayhem '' is your idea of a good time | 1positive |
247 | 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 ) | 0negative |
248 | carnage and | 0negative |
249 | degraded , handheld blair witch video-cam footage | 0negative |
250 | second fiddle | 0negative |
251 | about the folly of superficiality that is itself | 0negative |
252 | serves as auto-critique , and its clumsiness as its own most damning censure . | 0negative |
253 | tedious norwegian offering which somehow snagged an oscar nomination . | 0negative |
254 | , esther kahn is unusual but unfortunately also irritating . | 0negative |
255 | a stylish exercise | 1positive |
256 | halfway through this picture i was beginning to hate it | 0negative |
257 | a setup so easy it borders on facile | 0negative |
258 | a thoroughly awful movie | 0negative |
259 | takes hold and grips hard | 1positive |
260 | look smeary and blurry , to the point of distraction | 0negative |
261 | the picture 's fascinating byways | 1positive |
262 | guns , cheatfully filmed martial arts , disintegrating bloodsucker computer effects and jagged camera moves | 0negative |
263 | breezy , distracted rhythms | 0negative |
264 | than this mess | 0negative |
265 | evanescent , seamless and sumptuous stream | 1positive |
266 | slick and manufactured to claim street credibility . | 1positive |
267 | take care is nicely performed by a quintet of actresses , | 1positive |
268 | valuable messages | 1positive |
269 | in no small part thanks to lau | 1positive |
270 | two guys who desperately want to be quentin tarantino when they grow up | 0negative |
271 | no new plot conceptions | 0negative |
272 | essentially a collection of bits -- | 0negative |
273 | does n't bode well for the rest of it | 0negative |
274 | elevated by it -- the kind of movie | 1positive |
275 | usual worst | 0negative |
276 | hugh grant , who has a good line in charm | 1positive |
277 | arrive early and stay late | 1positive |
278 | is a pan-american movie , with moments of genuine insight into the urban heart . | 1positive |
279 | i could have used my two hours better watching being john malkovich again . | 0negative |
280 | shot in artful , watery tones of blue , green and brown | 1positive |
281 | an unorthodox little film noir organized crime story that includes one of the strangest | 1positive |
282 | considerable aplomb | 1positive |
283 | acted by diane lane and richard gere . | 1positive |
284 | scant | 0negative |
285 | an admittedly middling film | 1positive |
286 | too ludicrous | 0negative |
287 | the rock 's fighting skills are more in line with steven seagal | 1positive |
288 | rich and full | 1positive |
289 | warm water under a red bridge is a celebration of feminine energy , a tribute to the power of women to heal . | 1positive |
290 | that uses a sensational , real-life 19th-century crime as a metaphor for | 1positive |
291 | , home movie will leave you wanting more , not to mention leaving you with some laughs and a smile on your face . | 1positive |
292 | , the film retains ambiguities that make it well worth watching . | 1positive |
293 | ultra-cheesy dialogue | 0negative |
294 | added depth and resonance | 1positive |
295 | the sensational | 1positive |
296 | huge-screen format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them | 1positive |
297 | handsome but unfulfilling suspense drama | 0negative |
298 | 's not very good either . | 0negative |
299 | in her most charmless | 0negative |
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